Back in a 1998 issue of Flipside Magazine (the punk one), the Warped Tour got a righteous lambasting in a column detailing the tour’s mall punk lineup, excessive prices of bottled water and the general lameness of the music festival routine. It was a terrific piece detailing a punk rocker’s bewildering and angry journey into a then bubbling underground; a soon to be mass produced factory-line punk rock show. At the time, the Warped Tour was in just its third year, and already its predictable transformation was seen as inevitable.
News has come to light that the Warped Tour will return to Australia for the first time since 2002 and people seem to be excited about it. But in what capacity does Australia need the Warped Tour? It doesn’t of course, but for co-organizers Kevin Lyman and Soundwave honcho AJ Maddah, this is just another clever, money printing venture meant to tap in to the already saturated, exhausted alternative music touring scene.
But you see, Lyman and Maddah are brilliant entrepreneurs. They saw a gaping hole in a scene bursting into the mainstream and filled it with their money-hungry, intelligently forward-thinking dongs. When Warped Tour pulled the plug on their Australian adventure in 2002, Maddah saw a perfect opening in the genre and grew what eventually became Soundwave in Perth from some extreme sports/music festival called Gravity Games. True to form, the first Soundwave in 2007 featured many of the same Warped bands- Thrice, MxPx, Unwritten Law etc- that became the staple of Lyman’s annual touring circus. And as the year went on and the festival grew, it very much became the Southern hemisphere’s alternative music festival.
You can say they’re “different” AJ, but they’re not.
So here we are, drenched in music festivals and broke because of $10 bottles of water and $100+ tickets, and we’re getting the Warped Tour in December, just 3 months before the annual Soundwave Festival. It is another preposterous money grab at the poor kids who love alternative music and can only seek refuge in the giant arms of Maddah and Lyman. And save your time from announcing the bands, I’m sure half of them will have been here on Soundwave. Same festival, same bands, paying for it all twice.
I am unsure who is the bigger villain here; Lyman and Maddah or all the people who bought in to all of this bullshit. Growth and success come with choice. With success comes the idea that you can still be at the top of your mountain while giving back to those who put you there. Perhaps alternating the years in which Warped and Soundwave tour? Maybe kids are just stupid enough to buy a ticket to the same festival twice.
There are pages and pages worth of bile reserved for all the music festivals currently on the Australian market. We are slowly seeing the market implode as the garbage festivals are weeded out of the pile. Imbecile promoters interested in the bottom line more than an artist is interested in the biggest paycheck out of a 30 minute performance. As festivals fall, we will find a balance in what music, and in certain cases punk rock specifically, is all about.
Queers frontman Joe Queer said it best;
You play music because there’s something inside of you that says you have to play music … The Warped Tour changed it. Fuck it. To me a punk gig is a small sweaty club with the audience right in your face knocking over the mic stand and boogying off the energy.
Too bad there are not enough Joe Queers left in the world. And too bad not enough listeners of whatever the hell consists of punk music today know who Joe Queer is.
Both festivals and their promoters are no stranger to endless amounts of criticism and drama. Maddah being the most notorious with his trigger happy twitter account and his incessant need to pick fights with the likes of that Good Charlotte guy, Travis Barker and anyone who generally rubs him the wrong way. If only someone could add an extra “think before you hit send” button just for him. Just as if we could add a “think before you buy” one to everyone thinking about buying a ticket to Warped Tour Australia 2013. But if you are too stupid to do so, well, there’s nothing I can do about it except to tell you, like those in 1998, you are fucking lame.
Hatchie – Keepsake
Keepsake, the debut album by Brisbane dream pop artist Hatchie is musical luminescence that can only be described as music written for the stars
Brisbane indie-pop artist Hatchie (known to her friends and family as Harriette Pilbeam) is in the envious position of being a pop artist unspoiled by the many trappings of what it is to be a modern pop artist. Unlike some of her contemporaries who craft music by committee or with Sheeran-like self-importance, Hatchie is as of now, unsullied by the pressures of the cookie-cutter pop machine. Hatchie’s debut full length is a showcase for a talent who is supremely confident and composed in her abilities, and Keepsake is musical luminescence that can only be described as music written for the stars. The album is also a wonderful throwback to pop’s dreamy 60s influences that shuffle in and out of this delirium while working alongside distinctly more current musical touches.
There is the lush dream pop sounds of “Without a Blush”, taking cues from the best of what Stars and Goldfrapp conjure but heaping a tonne of Pilbeam’s charisma on it. Like her vocals, “Without a Blush” has this elegance that has the ability to elevate songs from being beautiful to grand. It is the kind of vocal elegance that really shines through on songs like the skittering, beat-driven “Obsessed” and the alternative, guitar-fuelled (yay!) “When I Get Out”. Indie/electronic closer “Keep” is a wonderful end to proceedings.
However, the great strength of Keepsake is not just its composure in how all the songs have been put together. It is also this genuine, natural-sounding quality that permeates the album- nothing overly written, overly produced or put together by research groups or music analysts. It just sounds like talent. We can argue that much of pop music is constructed to appease the moment- designed to grab as much attention as possible in an A.D.D. world. And sure, that can be said about almost any kind of music, but the resulting aural tone of Keepsake is anything but transient or transparent.
The best way to combat tepid chart-topping music is to write better pop songs. Songs like “Her Own Heart” and the disco-toned “Stay” are examples of pop music that come across as timeless. We are moved by the songs found on Keepsake when we listen to them today. And I suspect that in 10 years time, or in 20, we will most likely feel the same. It is rare to find the sort of ageless beauty you find on Keepsake.