Single release: 'Rope' by Rachael Fahim

It's hard to believe that singer-songwriter Rachael Fahim is only 19 years of age when you hear her gutsy, mature sound - but it's the truth. Her new single, 'Rope', is foot-stompy and swampy and catchy, and worth listening to over and over.

www.facebook.com/rachaelfahim/

Single release: 'Warrior Daughter' by Wildwood Kin

Wildwood Kin are a British trio playing Americana music. Sisters Beth and Emilie Key and their cousin Meghann Loney use their harmonies to great effect in their new single, 'Warrior Daughter', which will feature on their forthcoming EP.  The band have been touring extensively in the UK - if you're not resident there, this video is the next best thing.

www.wildwoodkin.com

Single release: 'Get You Back' by Kayla Mahon

From across the ditch comes Kayla Mahon, winner of the Horizon Award at the 2015 New Zealand Country Music Awards, with her new single 'Get You Back'. Mahon recently returned from CMA Fest in Nashville and Hats Off to Country in Tamworth.

www.facebook.com/kaylamahonmusic

Cairns Ukulele Festival: Taimane

Those of you heading to the Cairns Ukulele Festival on 25-28 August 2016 must not miss the inspirational, extraordinary Taimane Gardner. Taimane lives on the island of Oahu in Hawaii and she was there when I spoke to her recently.

I’ve just watched you very impressively playing some Bach in a Youtube video, and playing some other music too. So clearly your style is eclectic and diverse. What music will you be bringing to Cairns with you?

I am bringing the ukulele in an innovative and modern way because I play Led Zeppelin, I play Beethoven – I play things that most people think the ukulele wouldn’t be capable of playing. And the reason why I do this is that for me it’s such a versatile instrument that can do anything. I’m hoping people will be able to see that it doesn’t play just Hawaiian music. I want people to be open and see that the ukulele can be just as serious a piano or a guitar. I feel like it’s underestimated. When you think of an ukulele most people think, Oh, it’s a souvenir from Hawaii or it’s a toy. But it can play beautiful things – it can play classical, it can play all sorts of different things.

Certainly watching you on video, you’re so expressive as you play and you convey that physically as well as in the notes that are coming out of the instrument.

Well, the ukulele was the instrument that was given to me when I was five. I never thought of it as an ukulele that needed to play a certain type of music. It was just the instrument that I was able to express myself out of. I enjoy playing music that I like to listen to. I love to listen to classical. I love to go crazy and listen to metal, and the ukulele was just the way I was able to express this.

Some people might play an instrument just the way they’re taught to play it, but the way you play the ukulele suggests a lot of exploration and experimentation. So at what age did you start to experiment with the instrument?

Good question. I started in college, when you’re exploring a lot of different things at that time. So I would say about 18, 19, is kind of when I started going into theatrics, writing original music. At the time I was playing a lot in Waikiki and I was playing surf music, I was playing things that go really well with Waikiki, and it was amazing but at the same time I didn’t feel like I was artistically growing so I was kind of getting burnt out from the ukulele. Thankfully my girlfriend took me to a place in Chinatown, which is more of like a seedy place in Hawaii, and we went to this underground art gallery and they had all these musicians creating, improvising on the spot, collaborating with dancers and it kind of just rekindled the creative fire inside of me and I started going with that and playing the ukulele in a different way that was satisfying what I was looking for.

Have you found that – when you’re playing an instrument in a non-traditional way, like Bob Dylan going electric - any audiences have been resistant to the way you play?

I have, actually, and it’s funny you bring that up. I remember playing in Tahiti – that was the first time I had that reaction. I guess they’re very set on the ukulele being played traditionally and I wasn’t quite sure how to handle it at the time. But, you know, art is going to get a good reaction and a bad reaction, that’s what makes good art is that people will have a reaction in their own way. What I’m doing is weird, it is – it’s something that’s never really been done. I accept that and I’m just going to keep doing what I enjoy doing. And you’re going to have people who love it and you’re going to have people who don’t like it, and you just have to keep living your life.

It’s true, because if you listened to everyone else’s opinions you would lose yourself in all that.

Exactly. Everyone has a different opinion and you can’t please everyone, so you might as well enjoy what you’re doing.

So in terms of your own creativity, do you let things come to you or do you actively seek out pieces to play or write new music? Some might say they follow the muse – or do you let the muse follow you?

That is so hard, because what I do is my passion but it’s also my work. I have my boyfriend who’s always saying, ‘You’re always working! You never have any time for me!’ But at the same time it’s what I love doing, so I’m just constantly surrounded that I automatically think, That would be a great place to shoot or Oh, that’s a great melody. So I have to choose whether or not I listen to that muse or whether I’m going to be like a normal person and try to enjoy a show as a regular person – which never happens, because I always have a notepad where I scribble ideas. So it’s all over the place.

I think it’s the challenge of the creative life – there’s no off switch for it. You’re clearly so passionate about your work, but it is also part of you – and that probably comes up more for passionate people than non-passionate people.

You’re always working but I guess it’s never work.

I also saw in your videos this element of performance you bring – you don’t just stand at the front of a stage playing your instrument and looking outwards, you really bring this great performance sensibility to it. Do you plan things or do you let the moment decide?

I do both. I go into it with somewhat of a set list – some bread and butter so if something were to drastically go wrong I would have something. But most of the time I see what the audience is feeling – if they’re in a rowdy mood or if they’re in a really dark mood. For me it’s a symbiotic relationship – I constantly am giving the audience energy and then the audience will give the energy back, so it’s an exchange and that’s what I love about performance. It’s not just me – everyone is included. If you’ve seen me perform, I always like to give the death stare – I stare people down while I’m playing music, and they’re either creeped out or they really enjoy it, or both. It goes well in concerts.

So you give the death stare to be deliberately provocative?

Yes, well … I wouldn’t say deliberately – I think it just comes from me and I realise a little later when I’m doing it, This is probably a little weird for people. But at the same time I’m already doing it, so you kind of just have to stick it, go with it. I don’t try to make it a little provocative – it just kind of comes out that way and I go with it.

And that energy exchange you describe is a mysterious process and it can be hard to get it right. For some artists it can happen quite instinctually and you can hone it over it. Is it something you found you were just able to manage the more you performed?

It’s a good question. Yes, the more you do it the more you get a feel for it, but I still have some problems trying to figure out what the hell’s going on. I hear things in my head and then trying to put it into my fingers so they’ll play the right notes is still a little bit of a difficulty, but it gets easier and easier, and then I kind of just go from there after that. But it usually starts either from a dream or an idea that I’ve had, I make a story out of it – I write a little story with these different characters and then I perform it. I perform songs that go into that theme that I’ve thought about.

You perform in four different languages: Japanese, Maori, Hawaiian and English. Do you have a favourite?

I actually do a lot more. I do Hindi, I do French, I do Chinese, Italian, Tahitian. The most recent one I’ve been having a lot of fun with is Chinese. I just learnt that about six months ago. It’s really fun! It’s fun to sing in Chinese, and they have some beautiful songs. Every language is fun but I have to say the hardest is French. I’ve been going to Paris about four to five times but I still can’t get their back-of-the-throat pronunciation.

Particularly to put it in song.

For me, in song it works easier. But when I try to just say things it’s hard. I don’t understand that. I just listen to the songs that I want to learn over and over and over in my head until I get every pronunciation right – that’s how I learn the songs.

It seems from talking to you that you have this incredible creative expansion going on – there’s no limit to what you’re prepared to take on or explore. So after the festival, what comes next?

Today is August. I’m going to Samoa and after that I’m going to California. But regarding my life, I’m writing a new album and I’ve decided that I really want to do this full on. I’m ready. At first I was, like, ‘I kind of enjoy my routine. I enjoy being here in Hawaii and my privacy.’ But now I’m ready to travel the world and see where the ukulele’s going to take me.

taimane.com

cairnsukulelefestival.net

Album review: This Crazy Life by The Wolfe Brothers

Country rock isn't for everyone. A lot of the time I'd say it isn't for me - and that's probably because some of it is overproduced, overplayed, underwritten and insincerely delivered, and that gives the genre a bad name.

When Tasmania's Wolfe Brothers emerged as country rock artists, supporting Lee Kernaghan on tour as his band and support act, I was sceptical. Then I was asked to interview a couple of the band members on separate occasions and it became immediately clear that their commitment to their music came from a well-established and passionate place. They were professional, astute and hardworking, and they simply loved playing music.

Seeing the Wolfe Brothers live affirmed all of that: their shows are vibrant and entertaining, and they engage the audience from the first note.

Ideally, all that is put aside when reviewing an album, because the album has to stand on its own merits. It's impossible to do that, however, because all that professionalism and passion is in the Wolfes' new album, This Crazy Life. This is country rock done very well: articulate lyrics, sensitive playing and producing, and attention to detail throughout. There's a great balance of up-tempo songs that have the right amount of rowdy with slower songs verging on ballads. It's a Goldilocks album: just right.

It's a mystery how the Wolfe Brothers have been album to sustain their touring workload over the past few years and still find time to create albums; I suspect it's because, while they may like to present an image of being wild musicians, they're actually highly organised, plus they understand what it means to have a relationship with their fans. Albums are their way of staying connected to their fans when they can't be there in person.

In short: the Wolfe Brothers converted me to country rock. I suspect they'll convert you too.

This Crazy Life is out now through ABC Music/Universal.
www.thewolfebrothers.com

Nimbin Roots Festival: Caitlin Harnett

Sydney singer-songwriter Caitlin Harnett has won many fans with her two exceptional EPs and her album, The River Runs North. She is one of the artists appearing at Nimbin Roots Festival and I asked her a few questions about it.

What appeals to you about playing at Nimbin Roots?

I haven't been to Nimbin for years so I am looking forward to playing there again and to a whole new bunch of people. Plus its going to be a wonderful festival! A number of people I love and respect will be playing which is very special.

Who are you looking forward to seeing play at the festival?

My buddy Sam Newton! A musical gem, he is.

How do you like playing at festivals compared with other gigs?

Festivals have such a great energy and vibe. Everyone is there just for the music. Everyone is happy and relaxed. There is never a dull moment!

What's your favourite festival thus far?

Americana Fest in Nashville has definitely been my favourite so far.

Have you made artistic/creative connections at festivals?

I've definitely met a lot of people and forged some beautiful friendships.

What's next for you, writing/recording/travelling wise?

I am currently writing so that I can record my second album. I really hope to be able to return to Canada and do that at the end of this year.

Nimbin Roots Festival takes place on 17 to 18 September 2016.

www.nrfest.com

caitlinharnett.com

Cairns Ukulele Festival: Aunty Cessa Mills

Ahead of the Cairns Ukulele Festival I was also given the chance to interview Aunty Cessa Mills, who has performed for many years as one of the Mills Sisters from Coconut and Thursday Islands. Having introduced a global audience to the trio’s classic and traditional island songs since the 1980s, Aunty Cessa Mills will be returning to the stage for the Cairns Ukulele Festival Community Concert Day. Since retiring in 1995, Aunty Cessa Mills spent her life helping bring the music of Thursday Island to the world stage with her international performances. Now a festival regular, Aunty Cessa wants to bring a multiculturally diverse group of ukulele performers with her for audiences to enjoy and celebrate cultural diversity at the Community Concert Day.

All I can say is that if Aunty Cessa brings the same sense of humour to the stage as she brought to our interview, it will be a great fun show!

When did you start playing?

Since I was a little kid, four or five years old, I’ve been playing ukulele.

Is that because you had a parent who was playing?

All my family was a musical family – they play guitar, ukulele, steel guitar.

At that age did it seem like it was a toy? Was it a fun thing?

It was a fun thing. We loved to sing. It’s in our blood that we’re always singing, getting around singing.

Given that the singing is important, did you take up the ukulele to support the singing?

When my sisters and I went out entertaining, my music was ukulele. My sisters, one played guitar and the other one a tambourine and shakers. From 1988 on.

That decision to start performing together, whose idea was that?

We were entertaining for about 20 years on the island [Thursday Island], in and out, at different festivals overseas – Europe and things – for years we were playing in the pubs once a week. We would have a packed house every Friday night.

Given that you were playing with your sisters, did you ever have any disagreements about your musical direction, what you were going to play?

No, we all sat down together on different days when we weren’t singing and learned the songs, country and western, our island songs – it was fun. We’d practise what we were going to sing.

Did you write some music together?

Yes, we did. We sing about home, everything about home – about TI, all the beautiful islands around the place, as well as our country.

You’re going to sing in traditional language when you go to the Cairns Festival – I’d imagine that it doesn’t matter if the audience doesn’t understand the language, you can convey what you mean through your playing.

Yes, we do.

I read that you retired in 1995 but it doesn’t seem like you’re really retired because you’re doing a lot.

We retired when we turned seventy. [But] like I say, we just love music. Wherever we go, the first thing we carry is our instruments.

Do you play every day?

Well, I’m a very busy woman with sewing and things so I don’t play ukulele every day. Only when we go out – we practise a lot up here for this festival, it’s got us going, practising, practising. We’ve got a nice crowd here. There are certain days that we practise and on other days I’m home doing my craft work.

What sort of craft work do you do?

I do beading and I sew bags for markets every fortnight here, because I have to have things to take to the markets. Because they look for it – the Torres Strait bags.

It’s no surprise to me that you didn’t technically retire because it sounds like you are always occupied doing something creative.

That is correct. [Laughs] I’m always doing something. It’s boring if I sit down and do nothing. If I’m not doing anything I’ll get my ukulele out and try some songs out. Just singing the songs that we love to sing.

Were you like this as a child, always doing something?

Yes. We’d sit in the evenings with our parents and singing a lot – they’d teach us all our island songs, or we’d pick up the guitar from them. We were always singing. Never thought we’d end up like this, going out entertaining for the twenty years that we’ve been singing here and going to the Ukulele Festival.

I guess that’s the thing about magic – if you’re on stage and there’s a certain magic, you can’t force that but that’s why people respond to your music.

Well, that’s why I think.

So you all play different instruments – why did you choose the ukulele in particular?

It’s the only thing I can play, really. The guitar’s got six strings and I’ve only got five fingers [laughs]. I can only play four strings. So I love the ukulele. It’s so simple and easy.

The ukulele you play, is this an instrument you’ve had for a long time?

No, I buy ukuleles up here and I’m given gifts from everywhere. When I went entertaining out there with my sisters, everybody was giving me ukuleles for a gift, for a Christmas present, and I just sit down and play with my grandchildren. Teach them how to play, give them all away. For this purpose I bought my own.

When you’re choosing an instrument like that, is it the wood you look for, or the feeling when you play it that helps you choose?

Not really. As long as it can play a tune I don’t care what it’s made of. I wouldn’t have a clue how they make a ukulele. As long as it makes a sound. If it’s something that makes a tune, I’ll sing to it.

I suppose that means that if one of your ukuleles gets damaged, you’re not too heartbroken.

If it gets broken, there’s lots around – I can get another one and another one.

From one of your grandchildren.

Yes, but I don’t know what’s happened, whether they still own the things. As long as I’ve got one of my own that I keep and play when I want to.

So you haven’t tried to form a band with your grandchildren yet.

Oh, they’ve come in wanting to know the chords of such a thing and I say, ‘Well, I only play three chords. I don’t read music – I do everything by ear. I’ve only got three chords: C, G and F. That’s all I play.’ If they open the music book in front of me with chords I wouldn’t have a clue. I play piano by ear too. I don’t need music in front of me, love, I just go ahead and make my own.

And you’ve played in many places do that. You’ve played in Europe and across the Pacific. How do Australian audiences compare with European audiences?

Out there they didn’t even know where I come from – they thought I was some bush fella from somewhere they don’t know. They were amazed at our singing out there, and our culture. But in Australia everybody knows what we sing and where we come from. They know that we’re singing our island songs.

When you go to the Cairns Festival – you’ve been before?

Not the Ukulele Festival. It’s going to be my first. This one is going to be so lovely.

And when you go to festivals like this do you focus on your own shows or do you watch other artists?

No, we love to see other artists and hear the music. I can’t wait.

Well, you might be given some more ukuleles.

Well, I think so too [laughs]. I already have two ukuleles, one at the back of my neck playing, one in front.

When you do shows like that, do you go in with a set list and stick to it, or do you adapt to the audience that’s there?

We’ve got lots of songs. Try to stop us when we get down there! 

Cairns Ukulele Festival - 25 to 26 August 2016

cairnsukulelefestival.net