photo by Julie Schuchard
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After ten years of music and geekery in San Francisco (and a brief stint in Senegal), I decided it was time to head back to Sydney. It was 2002, and I was between adventures. There was nothing keeping me in San Francisco, and I thought it might be nice to spend some time with my family and my Aussie friends.
I wasn't particularly indie-centric during the San Francisco years. I was quite distracted by the dot.com boom, raves, and the highly amusing goth/industrial scene. But I still managed to pack in my fair share of memorable shows. I got up to the front of a few They Might Be Giants shows — I was so overexcited that I forgot to propose to them! I participated in the world's most beat-accurate singalong to Soul Coughing's Super-Bon-Bon. And I remember the opening act at a Stereolab show at Great American Music Hall www.musichallsf.com — just a man and his guitar captivating a full house with his bittersweet ditties. It was my first encounter with Elliot Smith.
Thanks to the guidance of the lovely Andy Slopesema (Skyscaper, ex-Sinombre), I was also lucky enough to catch a bunch of lesser-known treasures at much-loved San Francisco venues. There was Court and
Spark at the Make Out Room www.makeoutroom.com, Mates of State in the tiny room upstairs at Edinburgh Castle (which I like to call the puppet-show stage), and Tarentel and Retsin at Bottom of the Hill. I guess a couple of those bands are a little more well-known now!
I was packed and ready to leave, but at the last minute I decided I couldn't bear to miss the Flaming Lips (wheee), Cake (swoon), De La Soul (ooh baybee) and Modest Mouse at the Greek Theater in Berkeley. So I changed my flight dates to accommodate this last musical fling. After all, when I got back to Sydney it'd be a long time before I'd get to see a lineup like this. Right?
Not quite right, as it turns out.
I returned to find Sydney's live scene emerging — or perhaps exploding is a more appropriate word. During the late 90's, poker machines took over a lot of the traditional live venues, which made it really hard for bands to get started. But by the time I got back, the poker machines had finally worn out their welcome. It's almost as though the creative pressure built up over the years until it could no longer be contained. Sydney's live music scene was about to go off! If I'd realized what was coming, I might have gotten some rest before diving in headfirst.
It started with countless local talent showcases. My first couple of years back in Sydney, I fell in love with new bands week after week (never fear, you'll hear all about all of them soon enough). And just as I was coming to terms with this onslaught of fabulous local music, a new phenomenon started to emerge: promoters began to sprinkle in the occasional international act.
Of course Sydney has always had shows by international artists, but for the most part they were established acts at bigger venues. There wasn't a lot of fresh international indie action. Popfrenzy started bringing us acts like Camera Obscura, Xiu Xiu, and Diplo. And if you were still standing by the time Sunday rolled around, there was Frigid to contend with, bringing out delicious bleep-and-beat riddled goodies like APSCI and Havartski.
At this point I'm about ready for a serious grandma-style nap. I think three months would do the trick. I don't mean to sound ungrateful — I'm just tired!
But no: Rebel Rebel has decided to put on weekly parties showcasing tasty local acts alongside bands like, oh, let me see, the Dears, Death Cab for Cutie, Clap Your Hands Say Yeah, and so on. Then there's Mates of State at the Annandale this week, Buck 65 at @Newtown next week...
Promoters, please have mercy! Readers, please excuse me while I sneak a quick nap.
Posted July 2006
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