Andrew Chats with Luke Penman from play/pause/play

Andrew Chats with Luke Penman from play/pause/play

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Andrew from Brooklyn found himself in Adelaide, South Australia recently, so he had to sit down with Luke Penman from play/pause/play: the only online radio station dedicated to the South Australian music scene. Have a listen and find out who your next favorite Radelaide band is!

Andrew from Brooklyn: (00:00)
Hello. thank you for joining me. I’m here with Luke Penman from play/pause/play. How you doing?

Luke Penman: (00:06)
I’m very well, thanks.

Andrew: (00:07)
So would you mind just as an introduction to tell the people what play/pause/play is and where it came from, cause you, you are the everything of play/pause/play.

Luke: (00:21)
That’s right. Yeah. Yeah. , it’s, it’s a huge, I wish there was a simple answer to that. I’ve been having so many conversations lately about, you know, “give me your elevator pitch.” The truth is that play/pause/play is a massive project and I’m still working out what it needs to be. , ostensibly play/pause/play is an internet radio station. The point of that is to play music that isn’t getting played elsewhere in South Australia, especially not in a strategic manner, in a true showcase manner. So we’ve got some great community stations. A lot of them are really focused on having a broad range of music. I really want to focus on artists that are playing in Adelaide soon, and music from all across Australia. So being an Internet radio station isn’t the entirety of the whole thing. So it’s very much about building a platform for people to discover music that’s being made in their own backyard, and being a lot more interactive than a radio station. So with the app you can see the cover art and upcoming gig info for the song that’s currently playing or the last 10 songs or so, , you can like and dislike songs to give feedback and keep track of your favorites. You can listen to on demand content, like the gig guides, and artist interviews and just so much. And it’s about building, again, sort of a hub of that for South Australia.

Andrew: (01:41)
Right, because the Australian music community is a very vibrant one. And we have a lot of–I’ve noticed there’s been, you know, companies and publications dedicated to like Australian music in general, but not South Australian specifically. What makes Adelaide so different than the rest of the Australian music community?

Luke: (02:04)
I think something that I’ve only realized recently of trying to pinpoint for me when this all started for me, was when I was 17 years old and a friend took me to go see a band that his friend played bass in and I stood there and watched this band and went, oh my God, they’re amazing. How are they not massive? And I think I’ve spent the last 17 years trying to answer that question still, of where are the gaps in the market that are failing our artists, that we need to be supporting and filling those gaps I guess.

Andrew: (02:35)
So it all goes back to one gig.

Luke: (02:37)
I think so. I mean, maybe not a specific gig, but definitely we saw that band a whole bunch.

Andrew: (02:43)
What was the name of that band?

Luke: (02:44)
They’re called Barcode.

Andrew: (02:46)
Barcode.

Luke: (02:46)
Yep. The singer from that band is a guy called Mario Spate.

Andrew: (02:50)
Great name.

Luke: (02:50)
Since he’s been in a band called The Killgirls. He also produced Tkay Maidza’s first few singles. Je’s done a lot of work with a lot of Adelaide bands. Every now and then I’ll get an email from a band saying, “hey, we’re about to release our debut EP, we worked with Mario Spate.” And I’ll go, “wicked, cause this is going to be sick.”

Andrew: (03:12)
Mario Spate, that’s awesome. So he’s sort of south Australian music royalty.

Luke: (03:16)
He is, but kind of quietly in in a lot of ways. He’s someone that is definitely well respected across the scene, but not a household name at this point.

Andrew: (03:26)
Right. So you I’m guessing grew up here in Adelaide?

Luke: (03:30)
Yeah.

Andrew: (03:31)
In the city? Or like, regional South Australia.

Luke: (03:35)
What we would call Adelaide metro is probably about one hour around–a one hour radius. , and almost everyone in South Australia lives within that space. What we would call regional is definitely a lot further out. So in the Metro Adelaide, what we here would call–still refer to as Adelaide, although officially it’s only the square mile city.

Andrew: (03:56)
But the majority of the scene you’d say is concentrated in the Adelaide Metro?

Luke: (04:00)
A thousand percent, definitely. And specifically within the city. That itself creates so many issues for the scene, because it means that we’re beholden to planning, development, laws, and noise complaints that occur here. When a developer knocks down something, builds up a whole block of apartments right next to a live music venue, and then the noise complaints come in and it’s the music venue’s problem, even though they’d been there for 20 years. I’m sure this is a worldwide problem. But you know, that’s something that, because our scene doesn’t really have anywhere else to go because everyone lives outside of the city. But the city’s the only central place that everyone can get some public transport or you know, lives within 25 minutes of, to be able to get to in order to build any kind of scene within it.

Andrew: (04:45)
So like with that in mind, what is the live concert scene like in Adelaide? Are there specific venues that everybody always plays or other new ones popping up?

Luke: (04:58)
Yes and no. It’s been an interesting, probably 12 months within the city. We’ve had a handful of venues closed down that have been longstanding for various reasons. So one of them is the Uni Bar at the University of Adelaide and an amazing space that had been there for 20 odd years that was on level five. So that closed down after a certain number of years for a lot of reasons. At risk of getting too political in here, one of our major federal parties canceled student union payments. So when you’re a university student, part of your fees automatically went to the student union, which then organized a whole bunch of events and programs to help out and benefit students. So a huge part of that was that they owned, say, an onsite cafe where your student union fees paid the cost of employing all the staff. So it meant that they could sell food, basically cost to students. And then similarly for the Uni Bar, you know, they owned the space, they employed all the staff. So the beer was really cheap so you could hang out and it meant that they could pay bands to come and play there. Local bands, especially university student bands, to come and play there and provide entertainment for students as well. Once one of our federal political parties decided to cancel that and make all union payments voluntary. Of course, what that means when you’re a student, when you’re 18 years old, you’re signing up for university and you can choose to pay less money to go to university. Of course you will, because you don’t know what that’s building to. And that just completely decimated campus culture in Australia. But also things like the Uni Bar. So eventually that has finally fallen through, a new team has taken over a space, created a new Uni Bar. We’re really excited about that space and what it can be, they’ve got their first gig coming up in a month or so, so hopefully that can be good. And then similarly we had a space called Fowler’s Live, which, was very well known, particularly in the heavy scene–metal, punk, etc. , And they did a lot of great work there with a lot of great with international touring artists. It’s about a 500 person space, and after 17 years, the people who had been running that had been told that they were not going to be able to run it anymore. This is something that, they had had that feeling for a long time, for a number of years, they’ve been saying, “I don’t think we’re going to be able to do it next year.” And they’d been, they’d managed to keep going for a long time and it was really great. And it was announced that they weren’t going to, and then a company that took it over has done amazing things with the space. They’ve turned it into a space that really, truly has two separate stages and has become a much more flexible space. So you’ve got artists from interstate who aren’t necessarily sure how many tickets they can sell. They can book this venue and if they sell better than they think, then they get to play on the biggest stage instead. That’s something that, especially within the city of Adelaide, we haven’t really had on that level, you know, between say 200 tickets or 500 tickets where there was a huge space for touring artists here.

Andrew: (08:06)
Yeah, we have that in00where I went to uni in Minneapolis. There’s a venue called First Avenue and Seventh Street Entry, and a lot of international touring bands making their first tours of The States other than just, you know, New York and L.A. And their first time in Minneapolis they will often play at the Seventh Street Entry, which is a 250 cap venue. And then if you do well enough they can move on to the main room, which is I believe 1000 cap. So it’s a pretty, it’s a pretty historic venue, Prince filmed Purple Rain there. And so we have, it’s interesting to see–I can’t think of any cities further away from each other than in Minneapolis, in the north of United States, and Adelaide, in South Australia. But interersting seeing the similarities there.

Luke: (08:52)
Yeah, definitely.

Andrew: (08:52)
So you growing up in South Australia, who were some of the acts that made you first fall in love with your local scene?

Luke: (09:01)
It’s something that I think about every now and then of these acts that I fell in love with–were they really great, or was I just 25?

Andrew: (09:09)
But regardless, there’s still–you did fall in love with them. So they’re all part of the narrative of your musical upbringing. I mean, do I still listen to Korn with the same reverence I did when I was 12 or 13? Not as much anymore, but they still hold a place in my heart for being part of that…you know, they’re part of my story.

Luke: (09:34)
Yeah, so definitely. You know, I mentioned Barcode…probably more when I got to my early mid twenties, that’s when Mario created The Killgirls. So they were big dance stadium rock band that did some really, really great stuff. There’s a band called The Honey Pies who were just amazing. They were very sort of pop rock, I guess if you wanted to just put them in a simple thing. Something that Jon Marco who was the singer from that band told me was that he very firmly believed that you have to write a hundred bad songs to write one good one. And so he was just constantly cranking out new songs, and had a strong philosophy that they wanted to release a new album every year. And they released three albums, but just couldn’t grow. They didn’t have the support that they needed to grow further. So unfortunately, you know, slowly drifted apart. But, three incredible albums and, you know, that’s 10 years later. I absolutely still go back to those albums with the same reverence I did 10 years ago. There was another band called The Battery Kids that I described as–this is gonna sound bad, but what’s the guy from Queens of the Stone Age?

Andrew: (10:45)
Josh Homme.

Luke: (10:46)
Josh Homme. So I always described The Battery Kids as Josh Homme and Matt Bellamy [of Muse] getting drunk and deciding to write a soundtrack to a B-grade horror movie.

Andrew: (10:56)
Well that sounds spectacular.

Luke: (10:58)
It’s amazing that that first album is–it’s absolutely that, you know? They have songs about Frankenstein and songs about vampires, but not overtly. It’s more about what it means to be human. But absolutely, incredibly produced, and fantastic sounding. Again, , you know, these are these bands that managed to make brilliant music here in South Australia, but just couldn’t find the support they needed to be able to get a bit further and get their name out there. And that’s, again, that’s that gap I’m trying to fill.

Andrew: (11:27)
Right. And how did some of the acts that didn’t make it out of South Australia, how are they able to transcend that in the past? I’m thinking–

Luke: (11:35)
There weren’t any, that’s, that’s the thing. I mean, so don’t get me wrong, there’s the hilltop hoods, The Hilltop Hoods–

Andrew: (11:41)
Wasn’t Paul Kelly an Adelaide native?

Luke: (11:44)
The answer mostly was they moved out of Adelaide. Yeah. The Hilltop Hoods, I think aree the only band that as a group that has truly transcended while remaining South Australian. So certainly in Australia, there’s a quintessentially Australian group, that every time we talk about Aussie rock we talk about Cold Chisel. And they started in South Australia. So we think of them as a South Australian band and their name is so constantly brought up when we talk about South Australian music being great. The problem is they were a cover band. They performed other people’s songs until they moved to Sydney when they finally got the chance to be able to perform their own songs. Similarly, Sia was from South Australia. The problem is that she moved overseas 10 years before she basically became Sia and became known for what she did. So it really, really pains me every time someone uses Cold Chisel or Sia as a great example of South Australian music when I think they’re actually are far stronger example of the failure of South Australian music industry to support these amazing artists that we have here.

Andrew: (12:49)
I didn’t even have a clue that Sia was from South Australia. And I thought I was up on my research.

Luke: (12:57)
Actually, a friend of mine…Sia tweeted something about, , trying to get her mom some flowers for Mother’s Day. And a friend of mine responded to her tweet and Sia sent her some money on Paypal to go buy some flowers and deliver it to her mom.

Andrew: (13:12)
That’s so sweet. Of course, we’re recording this today on Mother’s Day…well yesterday was Mother’s Day [in Australia]. Today is Mother’s Day in The States. I had to call my mother…I called her yesterday from our Mother’s Day–from this Mother’s Day, and then today for her Mother’s Day right now, even though it’s my Monday. But yeah. So how do you reckon The Hoods were able to do that?

Luke: (13:34)
That’s one that I think they were a bit before my time is the thing. So “Nosebleed Section” was the big breakthrough for the , so I was about 21 at that point, so it was slightly before I really got into the local scene. I think the truth of that is that hip hop was growing across the country in a way that almost only hip hop can. It’s something that, you know, obviously commercial radio stations here have finally in the last say, 10 years, gotten into hip hop and showcased hip hop and being okay with playing hip hop. But at that point it was so anti establishment…hip hop was so punk that it grew because people liked that. And because there’s so many great rappers in Australia. I think that hip hop is one of the few forms of music that the Australian accent actually seems to fit in. Although Australian hip hop is very, very different to U.S. hip hop.

Andrew: (14:34)
This is true. This is true, but I don’t disagree. I think that there’s something so unique about Aussie hip hop that makes it a genre unto itself. And of course, “Nosebleed Section,” Hilltop Hoods–like, that as kind of lauded as the breakout single for the genre or, at least getting it started. And like now, what, 16 years ago?

Luke: (14:59)
That’s right.

Andrew: (15:00)
And look at how far we’ve come in the interim. With that in mind, who are some of your current favorite crop of South Australian artists that you would recommend to somebody wanting to get a good taste of what South Australian music is like? Like if they’re like getting, you know, the wines from the Clare and the Barossa valleys, what would you recommend as like a musical pairing?

Luke: (15:30)
Actually, I think that someone did like a Spotify playlist and said “this is the kind of wine that would go with this. I’ve thought about doing an event of some sort of matching that because of course, you know, South Australia is well known for its wine regions.

Andrew: (15:43)
Of course.

Luke: (15:45)
Arguably the hottest act right now is West Thebarton. They are a seven piece band, definitely one of the greatest live acts that I’ve ever seen with, I think probably…they’ve got like one bass player, a drummer, an extra percussionist…and then I guess for guitarists when the singer’s playing guitar as well. And it’s just this crazy wall of noise that just somehow works and isn’t actually overwhelming. They’re not crossing over too much with all the guitars, it all just magically goes. And again, so much energy, so much power when they’re performing live.

Andrew: (16:22)
See, I’ve only listened to them on the record, so I’ve, , listening to songs like “Moving Out,” I can definitely tell how that would be just taken to another level in a live setting.

Luke: (16:35)
Absolutely. Yeah, I think “Moving Out” is clearly a favorite cause he lists off a whole bunch of south Australian suburbs in the song.

Andrew: (16:44)
Ah, a classic songwriting technique.

Luke: (16:46)
Haha, exactly. I think, you know, talking about breakthroughs and maybe what makes a breakthrough, doing something like that might help you win a few more fans. But definitely seeing them perform in another state and seeing people from Melbourne or from Brisbane chanting all of these Adelaide suburb names is one of the most special things to me ever. But you know, again, an incredible live act. I think, West Thebarton is seven people and the hugest difference, for anyone in America listening to this, is the understanding that land mass wise Australia is about as big as America. But we have less than one 10th of the population and it’s extremely a condensed into the cities which are hundreds and hundreds of miles apart. So touring seven people is very difficult and very expensive. Even just logistically working out when you can get time off of your day job in order to go play a few shows in Sydney and Melbourne. So it’s a, it’s a huge, huge test. But of course they’ve done a number of great tours. West Thebarton have one coming up soon, but they’ve also played across Europe. They did a few shows in India…I think they played at One Day International cricket in India a few months ago. I have no idea how that came up. But that’s again, another one of these amazing examples of a South Australian band can perform at a major cricket match in India. No way they could do it in South Australia. It just doesn’t work because it’s, there’s, there’s something missing, there’s some piece of the puzzle that’s missing. And for me it’s about people simply being exposed to this music to be able to know about it. It’s one of the biggest things. So I’m trying to not go too in depth in our radio industry here, that most people when they listen to radio or most people in South Australia get their idea of what music exists in the world from listening to radio. And here it’s a handful of major commercial radio stations that are all very, very defined by genre. There’s the one for, you know, people over 50; there’s the one for men in their mid thirties; there’s the one for women in their twenties and all of the soundtracks are very specific to that. But for the most part, 90% of the music played on those stations, doesn’t come from Australia. So it’s incredibly difficult for South Australian artists to get played on those stations, especially because they’re all network stations that are actually programmed out of Sydney and Melbourne anyway. So a South Australian artists needs to go to Melbourne to be able to get played on a South Australian radio station when they’ve already got people in Melbourne who take them out for coffee all the time anyway. Who are playing with artists who are already playing to 2000 people in Melbourne. So it’s incredibly difficult for a South Australian ours to get that kind of breakthrough to then be able to go to the AFL or the cricket association and say, “Hey, you know, why don’t we play here? That will be great for your fans.” It just, it’s, it’s not working and it kills me.

Andrew: (19:50)
Well that’s the point of play/pause/play, right? Filling that hole, being that missing link, that piece in the puzzle of South Australians–of South Australian music and its ability to survive in South Australia without having to leave south Australia.

Luke: (20:05)
That’s right. I’m sick of my favorite bands either leaving or breaking up. You’re exactly right. That’s what play/ pause/play is attempting to do. I feel likepeople tend to like whatever music they’re exposed to, and whatever you’re exposed to, when you hear something that’s not that it starts to feel wrong. I feel like that’s where, that’s where metal heads come from, right? They decide they like metal, they start only listening to metal and everything else feels wrong. There’s a lot of low-fi DIY rock and roll/slacker rock in Adelaide, and there are people who are so deep in that scene that anything else, anything remotely polished, just feels wrong. And that they’re not incorrect in saying that because you feel it deep inside you, that just doesn’t feel right. But for me, if people in South Australia…if 90% of the music they’re being exposed to is and even made in this country, then when they hear something that is made in this country, it feels wrong to them. And that feels wrong to me.

Andrew: (21:00)
Absolutely. And with that you came up with a great, great idea in the Heaps Good 50, which is a countdown of exclusively Aouth Australian artists, , voted for by listeners. as artists rather than individual songs–like, “who are your favorite artists from South Australia of the year?” And you can’t down the top 50.

Luke: (21:22)
That’s right.

Andrew: (21:23)
And it’s so diverse in terms of genre, in terms of membership, in terms of, of community because everybody’s represented, everybody’s voting for their people. And , it’s such a great way to get music out there and to get, as a consumer, to get new artists that you didn’t know beforehand that you might not have otherwise.

Luke: (21:47)
Exactly right. So, you know, you and I met at South by Southwest and we spoke about our mutual l love for music countdowns.

Andrew: (21:54)
Absolutely. , Anyone who’s listened to anything I’ve ever done, will know: I love music, and I love numbered lists.

Luke: (21:59)
So on our cable, Foxtel, that we have here–we have one cable provider–and there’s a handful of music stations. And there’s one in particular, it used to be called Music Max. I think it might just be Max now if it even still exists. It’s been a long time. But one of the things that I always noticed is that it pretty much just does countdowns 24 hours a day, seven days a week. It’s the top one hit wonders, or it’s the top songs of the ’80s, or it’s the top rock songs, or it’s the top Australian songs, or whatever. And it doesn’t really matter, but it is incredibly engaging way to see something and see and go, “I wonder what comes next?

Andrew: (22:37)
For me, it was VH1’s “100 Greatest Songs of the ’80s,” “100 Greatest Songs of the ’90s,” “100 Greatest Hard Rock Songs,” hip hop songs. one hit wonders of the ’80s and ’90s,hip hop songs of the 90s… all of that was my bread and butter growing up and introduced me to so much music that I wouldn’t have otherwise [come across]. Especially being born in 1995 realizing that I loved ’80s music. And just listening to–not just the 100 Greatest Songs of the ’80s countdown, which a lot of those songs are still, you know, part of the reason that they’re on that list is that they transcend generations and like understandably, we’d all know them. Then listening to the one hit wonders countdown and hearing songs that came from one artist who had that as their only commercial hit, like, in one year in like 1983 and then like fell off for whatever reason…the accessibility of that to somebody like me in 2009 or whatever when I was I was watching it as a 13 year old was just incredible. Because you do wonder, “oh, what’s going to happen next? What’s coming next? What’s coming next? Where these are the songs that I do, where are they going to be?”

Luke: (23:45)
Exactly. So that’s very much, I guess the inspiration for doing a countdown in this way is because it is incredibly accessible. It’s a very easy way for someone who has no idea about the South Australian music scene to hear a bunch of great South Australian music. And exactly like you said, you know, one of the things that I wanted to showcase with that countdown is how diverse the South Australian music scene is and how much great music is being made here in very, very different genres. So being able to do that in that way. You know, I think if you tuned in and there was a heavy song playing and you’re not really into heavy music but you stuck around for one more song–

Andrew: (24:21)
You’d hear, “oh this is very different.”

Luke: (24:24)
Exactly. But you know, also giving people a way to have their voice heard as well, to support the artists that they like, by being able to vote. But then also, you know, one of the key things of people who only know one South Australian band cause they’re friends with someone who’s in it…the idea of telling bands to tell the fans to vote, and getting that person who knows has a mate in a band who votes for that band because they’ve heard of that band, and then ideally tunes in on the day to find out where that band comes and discovers five new artists that they’d never heard of before that they suddenly love. That’s the goal for the Heaps Good 50 countdown.

Andrew: (25:03)
Exactly. And that was my experience as well. Just tuning into it, I came away with so many different bands that I hadn’t heard of before that I immediately went and downloaded their music from all different genres–from like West Thebarton and Bad//Dreems, to sort of synthy indie pop like Pinkish Blu and The Montreals, and folky stuff like Lost Woods, and then Heaps Good Friends, whatever you could describe them as. They’re my favorite because they–I can’t describe their sound as anything. They’re so unique. Like they speak to a part of me that’s really likes to be spoken to.

Luke: (25:46)
I think somewhere in the way, someone described the lyrics as “text message lyrics.” Like it’s not, each line of their lyrics doesn’t really flow to the next one, but each one is itself like a self contained idea, a caption that feels like someone’s just gone through and pulled out a random bunch of text messages they’ve sent over the past month and pieced them together to make a song–and it works!

Andrew: (26:12)
It works so well. But yeah. , lastly, how do you see South Australian music transcending not just Australian state borders but international borders. Do you envision acts that are just coming up now making it big overseas and how does play/pause/play fit into that?

Luke: (26:33)
That’s something I’m still working out about how play/pause/play fits into it. I think my focus is on the grass roots level. My philosophy is that if we get a band who would normally sell a hundred tickets to a single launch–if we can get them to sell 500 tickets, then now have a much easier time going interstate and internationally as well. That’s where I see play/pause/play fitting into. It is supporting it at the local level and the rest will kind of come naturally, naturally. , there are a handful of a South Australian artists who I guess have found their niche, , overseas. There is a local folk artist by the name of Kaurna Cronin and he–I’m pretty sure he’s again this year, he has done for the last few years a European tour, particularly around Germany, just found his niche and found a lot of fans over there, and keeps going back to continue building that fan base. I think in 2019 it’s an extreme difficulty for any artist to go and do that. 20 years ago you used to be able to do that and take a thousand CDs with you and if you’ve got paid a couple of hundred dollars for playing the gig, you could still make $1,000 by selling CDs to everyone who came and has never heard of you before, and you were just the support band. They came to see the headline band, but they saw you and they loved you so they bought your CD. You can’t do that anymore. So there is an extreme difficulty across the entire international industry of working out how to do that. And again, going from South Australia internationally to do that sort of thing is very difficult. I think the most likely ones will be those solo artists. So Kaurna has started taking his band with him because those tools are being so successful. I think that it’s going to be solo artists like Lonelyspeck for example, who makes some of the most amazing different experimental music. They started tweeting about, listening to a lot of nu-metal and riffs and you know, otherwise their music has been that kind of, synthy low-fi R&B introspective sounding. I’m incredibly excited to see what music they start making if they combine those two things or something else. But, , Lonelyspeck is also someone who, has a strong Twitter following, , regularly tweeting around gender identity and linguistics. And so I think that’s probably an area that artists will find an audience a lot more strongly is something other than your music. What else are you doing or talking about that is engaging people and intriguing people. So I think they’re the ones that will probably do it, but again, West Thebarton, we’ve got a couple of, hard rock acts that have been finding their way through China and a few festivals over there. I absolutely think that a band like Heaps Good Friends, you know, could be at Glastonbury at any time if if they just got seen by the right person.

Andrew: (29:38)
Right. And any that you reckon might make it over to America anytime soon for any of our American listeners might want to see some good South Australian acts, but maybe don’t have the ability to come all the way to South Australia?

Luke: (29:51)
I think, I’m looking at West Thebaton for example, you know, they broadly fit under the genre of what we would call pub rock. Certainly Bad//Dreems fit more solidly under that genre. And again, the genre mostly comes from Cold Chisel. Because it was that working class rock and roll music that was played in pubs at that time. It’s where the working class went to let their hair down on the weekend or whatever. I don’t know that pub rock really translates to the U.S., and again, I don’t know how well Australian hip hop really translates to the U.S. either.

Andrew: (30:32)
I have met people in the States who know the Hoods. Who’d been like, “yeah, The Nosebleed Section, I know that song.” And The Hoods have toured America, they just actually announced today a world tour which will be all over like gear up Australia and North America. So that’s super exciting. But yeah, in terms of pub rock, I think that while it is very exclusively an Australian experience, I think the sentiment translates. And I totally think that pub rock could translate super well. I don’t know, like, Cold Chisel definitely don’t have the name recognition in the States that they do here–or like The Angels for example. Even Paul Kelly ,though I did see him on his last North American tour and it was spectacular. And there were some really big Paul Kelly diehards there who were ecstatic to be able to see PK, especially in such an intimate setting that you never get in Australia for sure. But yeah, I totally think the sentiment translates. So yeah, I reckon Bad//Dreems could do super well in the States.

Luke: (31:48)
They should have an album out within the next few months, so hopefully with any luck, Bad Dreems will have the U.S. in their sights.

Andrew: (31:56)
Especially considering SXSW, there’s a lot of people who come who have bands back in their hometowns and come to South By as a solo artist and it’s an inherently different experience.

Luke: (32:08)
Definitely.

Andrew: (32:09)
Yeah, it would be really nice, speaking as someone living in the States, to be able to see all of the best, South Australian acts without having–as much as I love Adelaide and I love coming to Australia, it’s quite the trek. So to be able to see acts, or at least meet them somewhere in the middle–

Luke: (32:31)
That’d be good too.

Andrew: (32:32)
Maybe we’ll all just gather in Hawaii. That can be fun.

Luke: (32:37)
We can build a South Australian tour just to Hawaii–

Andrew: (32:42)
And then we’ll all hit the beach afterwards.

Luke: (32:42)
I’ll bring the bands, you’ll ring the people. It’ll all work.

Andrew: (32:44)
Perfect. Brilliant. Wonderful. Luke, thank you so much for joining me and it’s been a pleasure to see you again and to chat with you.

Luke: (32:53)
Great to see you again. Cheers.

Andrew: (32:54)
Cheers.

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