WA’s Fly By Night To Reboot With New Lease And Liquor Licence

Published on, Jun 2016


It’s been a rough couple of years for Fremantle institution, creative hub and live music space Fly By Night but the venue is looking to reboot to its former glory as it secures a five-year lease and at its new home of Victoria Hall and a liquor licence.

Fremantle’s iconic Fly By Night was forced from its original home of Military Drill Hall in 2015 after the National Trust WA opened expressions of interest for the venue to third parties.

The musicians club then relocated to Victoria Hall where executive director John Reid and the rest of the team were “treading water” as they worked tirelessly to secure the lease and a liquor licence that would allow them to operate as they used to.

“We’ve just been doing smaller shows and putting on events where a liquor licence isn’t imperative and just soldiering on until we got the lease sorted and the liquor licence sorted to actually generate revenue to pay for staffing and overheads,” Reid told

“It’s been a bit of a tricky journey, but we’ve made it. I’m actually very surprised.”

The Hall currently has a capacity of 280, with a mezzanine level being installed to bring the total to 330.

With a new PA in the space, the venue is now taking bookings, with a goal to host smaller national and international tours as well as continuing to support local bands.

“The Victoria Hall is perfect for some touring acts, local acts doing CD launches, smaller theatre productions and movie screenings.”

The City Of Fremantle has granted The Fly a five-year lease and the Department of Racing, Gaming and Liquor has approved a Special Facilities licence.

“The Fly By Night as a not-for-profit member-based organisation. It’s been going for 28 years, it’s an iconic, cultural entity in Fremantle and it’s here for musicians and the community to facilitate what they want to do.”

Check out theGuide for all upcoming events at Fly By Night.


INTERVIEW: Shannen Doherty

Published in The Music (NSW) and on, Jun 2016


Why Shannen Doherty Would Follow Kevin Smith Anywhere

Having had a rough 12 months, the charming Shannen Doherty tells Daniel Cribb why she won’t let the “shitty journey called cancer” stop her from taking on challenging roles.

It’s evidence of the dedication US actor Shannen Doherty has for her craft that she’s sitting in a parking lot after a day of seeing doctors, making time to chat about her upcoming Supanova run and other projects. The first film she appears in since being diagnosed with breast cancer at the start of 2015 sees her take on one of her most challenging roles yet, as she plays Maria in an all-star Brooklyn-based boxing drama alongside Alec Baldwin, Danny Glover and more.

“Playing a Brooklyn-Italian girl was a challenge for me,” the Charmed star begins. “The character attracted me to the role. I was going to have to do a Brooklyn accent and figure out how was I going to make myself look a little bit more Italian, because it’s pretty obvious that I’m Irish. That’s what I’m doing right now — things that challenge me.”

On top of committing to play the mother of famous American poet Charles Bukowski in the James Franco-directed biographical film Bukowski, she’s been confirmed to star in the sequel to Kevin Smith’s 1995 cult hit Mallrats (titled MallBrats) and reprise her role as Rene, alongside lead Jason Lee. “I’d follow Kevin anywhere and we have a mutual love for each other, so I’m very excited. Whenever he says it’s go time, I’m there,” she tells.

Twenty years on, Doherty never expected she’d be involved in a sequel. “What a testament to Kevin Smith and his writing and how much people love him and what he does.

“Kevin really captures what a particular generation is going through; he definitely got the pulse of the people. That’s what it did, it captured a time — it’s like a time capsule of a moment and everything he does turns into a cult classic, so I think naturally people want to know where these characters ended up.”

Heading down to Australia this month, Doherty will no doubt be questioned relentlessly by adoring fans about the classic hit and its follow-up, as well as her work as Prue Halliwell on Charmed, as she tours the convention circuit with longtime pal and co-star Holly Marie Combs.

“That show was about family and that strong sisterhood where they stuck together, and meanwhile there was three very distinct, different personalities, so people could relate to one of the sisters at all times,” Doherty comments on its popularity.  “That connection and relationship felt real, and then you add supernatural into it and you’ve got a show that resonates with people and is still fun to watch. We could talk about serious family things, but then that supernatural element would add a mystery, intrigue or fantasy into it so it wasn’t quite as serious.“

Show Review: The Living End 16.06.16

Published on, Jun 2016

The Living End

Astor Theatre

Jun 16

The Perth leg of The Living End‘s first headline run in five years was sandwiched right in the middle of a completely sold out East Coast stint, making the Astor date look somewhat lacklustre in comparison.

If the saying ‘don’t judge a book by its cover’ ever held truer, it was inside that iconic building as the floor and mezzanine were overflowing with long-time fans eagerly awaiting the return of their Aussie rock punk heroes.

A dapper Chris Cheney slid into the spotlight, with three giant monkeys in the background and the steady thump of Andy Strachan’s punchy drums carrying engulfing bass lines from Scott Owen for Monkey.

Although it was a new tune that kicked off proceedings, the Melbourne rockers were quick to let it be known the show was going to be so much more than a promo run for new album Shift, as Cheney grabbed his trusty Gretsch for the instantly infectious chorus of Roll On. Fifteen years on and its nostalgia-fuelled rhythm was just as powerful as ever.

“Five years is a long time to make a record,” Cheney confessed, knowing full well half a decade wasn’t going to be theDeath of their loyal following – that much was clear during the audience reaction to All Torn Down.

Their energy continued to Hold Up, with the three-piece erupting into a rockabilly onslaught, and Owen’s harmonies transporting things to the next level with solid harmonies in Killing The Right.

While Shift‘s second single, Keep On Running, seemed a little off-kilter as a studio recording, it was right at home on the stage, taking on a completely different energy.

“They’re a bit bloody quiet aren’t they,” Owen said of the crowd’s energy mid-set, but that didn’t last long, as an anecdote turned into an impromptu cover of The Proclaimers’ I’m Gonna Be (500 Miles).

The Living End haven’t enlisted many new fans in recent years – largely to do with their inactivity – and punters who fell in love with the rockers in the ’90s are now at an age where moshing and crowd surfing isn’t of appeal and more a health risk, but while the energy was lacking at times, it wasn’t a painful silence and it didn’t have any impact on the band’s enthusiasm.

The lack of movement was completely torn away when crowd favourite Prisoner Of Society was unleashed as punters leaped from all corners of the venue to partake in the mosh.

“It’s almost been 20 fucking years now, so I don’t need to prompt you,” Cheney reiterated as the chorus of Second Solution almost tore the roof of the old theatre.

Infusing killer talent with brilliant songwriting and a flawless live show, it’s safe to say The Living End are one of the country’s all-time best rock bands. Hell, they might even be one of the best rock bands in the world.

INTERVIEW: James Marsters

Published in The Music (NSW) and on, Jun 2016


Dealing With The World Through Ageless Themes And Coffee

Hopped up on caffeine and ready to conquer the world, Buffy favourite James Marsters tells Daniel Cribb how your worst day could turn into your best.

It can be easy for an actor to get typecast when scoring a career-defining role, much in the same way a band can be pigeonholed after the release of a major hit. But, in April of this year, two entities that have had such success proved they’re so much more than the major hits they’re widely known for. At Santa Barbara’s Velvet Jones, Ghost Of The Robot – fronted by James Marsters of Buffy fame – supported long-running pop-punk icons Nerf Herder, the seminal ‘90s band responsible for the show’s theme. It’s a song they didn’t play, regardless of the line-up – a bill where the support act proved Marsters’ skillset and career expand far beyond that of Spike.

“They didn’t do [the theme]! Well, they didn’t do it that show. They were doing an album launch, so they were concentrating on doing an album launch. I was waiting for that, but they didn’t do it,” Marsters tells from his LA residence.

“I’m sitting out here by my pool, in the sunset, the birds are singing, coffee’s still working; I’m going well. I’m drinking coffee at six o’clock in the evening so, that’s my problem,” he laughs.

“Every culture that has adopted coffee as a main drink has taken over the world,” he quickly adds. If it’s the drink of choice for world domination, then it’s not surprising that Marsters is sacrificing an early night for the buzz; not that he likely has much time for sleep with the schedule he keeps.

After seven years on cult series Buffy and six on spin-off Angel, Marsters went to star in a number of other hits, including Torchwood, Smallville, Witches Of East End, the results of which have made him a fan favourite at conventions around the world and a regular at events like Supanova, to which he’ll return this June and no doubt unveil more vampire secrets. “The secret that a lot of people don’t know about the [Buffy] scripts is that [creator] Joss Whedon was asking these writers to come up with their worst day; the day they don’t tell anyone about, the day that they’re ashamed of, their dark secret day and slap fangs on top of that secret and tell the whole world.

“The execution of the writing was really good. I think it had a really good theme, which is how do you deal with the world, especially through your teen years, but it was so good that it became important for people who are even in middle age. It’s basically saying don’t give up – the world’s not perfect, but don’t give up.”

In between world tours, he’s been busy producing new music with Ghost Of The Robot and working on other filmed projects. “We’re working on our fourth album, and it’s going to be a double album, so there’s a lot of work to do. I’m also in the very early stages of adapting Macbeth for screen – it’s not going to be a verse, it’s going to be in modern language, but it’s a very exciting project.”

INTERVIEW: Craig Robinson

Published on, Jun 2016

Why Craig Robinson Is “Loveable, Son”

It was one song that kickstarted the career of US comedic actor Craig Robinson, and with a similar artillery in place for his Australian tour, the baby-faced assassin tells Daniel Cribb about a crazy and strange new project on the horizon.

“That’s the first time I’ve heard that description of my characters, the ‘loveable villain’ – I love it,” chuckles Robinson. “This one guy actually called me the baby-faced assassin.”

It’s a fair assessment of the roles he often takes on when teaming up with longtime pals and collaborators Seth Rogen, Will Ferrell, James Franco and more, as evident from Pineapple Express and other comedy hits.

“I’m lovable, son,” he quickly adds, jumping into the character of Matheson from the 2008 stoner success story.

Throughout a lot of those roles — most prominently as Darryl Philbin in the US version The Office — he’s delivered a musical edge. “Even if there’s no music in a scene, I’m still doing it to rhythm. When I learn my lines, I’m learning to rhythm, so it’s always there,” he explains. Perhaps a solo record of reinterpreted scripts would be a good debut record. “That sound tedious, but lucrative,” Robinson laughs.

Growing up in a “rehearsal space” with a musical family, the term musician-turned-actor is a good descriptor for the formative years of his career. “I was in college and thinking about becoming a comedian and I remember writing [Can I Have Some Booty] and singing it to a girl on the phone,” he recalls.

“I was talking to her nice and softly and said, ‘Can I have some booty?’ And I remember listening to the sound of silence, but it was because she was laughing, so I ended up taking it to a couple of stages at college and that became my calling card my first five, six years of comedy. For me, it just comes naturally.”

It’s that brand of comedy that Robinson and his band, The Nasty Delicious, will bring to Australia. “I think you should expect to lower your expectations and expect yourself to entertain us as we entertain you…it’s all about that connection.”

It’s surprising he has time to visit our shores, as a stack of impressive credits continue to accrue for the star, including an announcement he’ll join the cast of Mr. Robot for a reoccurring role. “I can tell you absolute zero about Mr. Robot — you’re not tricking me,” he jokes.

On the film front, he’s been busy with the same Rogen crew and gearing up for the release of animated masterpieceSausage Party — think an R-rated Toy Story that involves food instead of toys, written by the same guys who producedThis Is The End. Robinson plays a supermarket food elder by the name of Mr Gritz. “You can get away with more in a cartoon, so they took full advantage of that,” he tells. “It’s strange, it’s crazy and so much fun. The worst thing about this movie is people having to tell their kids that they can’t watch it, because they’ll want to see it, but it’s strictly for the adults, my friend.”


Published in The Music (VIC) and on, Jun 2016


The Lighter Side To Death And Zombies

Spending recent years toying with morbid humour, New Zealand iZombie lead and Oz Comic-Con guest Rose McIver tells Daniel Cribb why it’s important to laugh when bad things happen.

“I’m currently lying on my parents’ sofa in Auckland,” McIver begins from her hometown. “I’m home visiting for a week and have regressed to behaving like a difficult teenager and demanding coffee from dad and lounging around,” she laughs.

It’s the first time she’s been home for a full week in several years, with an increasingly busy schedule that’s seen stints on show like Once Upon A Time and Masters Of Sex, as well as playing Liv Moore on The CW hit iZombie, so some down time is well earned, especially considering McIver put the final touches on a screenplay a week earlier. “I’m very excited — it’s with a director who actually lives in Australia now, Peter Salmon so it’s sitting in his inbox, waiting to be read,” she reveals.

“It’s a fairly different tone to iZombie; it’s very dark, gritty — there’s definitely some comedic elements, but I wouldn’t call it a comedy. It’s something that I’ve written as a writer, it’s not something for me to act in. It’s been a really good exercise, I hope it gets to come to life soon.”

It could have been quite easy for iZombie to take a similar dark path, with the inevitable element of death a prerequisite for the undead supernatural creature the show utilises, but McIver doesn’t see it as a zombie show, and after only a few episodes it’s easy to see why; you can almost forget that the lead is a zombie with everything else that’s going on. “It’s about a girl who went through an identity crisis and is trying to make sense of the way her life is unfolding and the way her relationships are changing,” McIver explains. “So it’s very relationship and character driven; I think that’s what keep it somewhat grounded and allows us to have some humour, and also high stakes, but also make it accessible and personable.”

It’s a style she attributes to showrunners Rob Thomas and Diane Ruggiero, who have given a completely original spin to the comic book-based series. “It’s almost like [Thomas] in his own life is quite comfortable with the darker side of things, and that can be a lovely balance. Some of the funniest things are borne out of situations that could be quite traumatic or quite morbid and being able to see the light and the dark in those situations is a skill set, and it’s really accessible for an audience.

“We’re working with a morgue consultant, who we put past every single question about how we would deal with a body in certain situations and she has such a dark sense of humour herself; she’s so, so funny and I find that very appealing that, you wouldn’t want it to be borne out of disrespect or anything, but bad stuff happens — that’s life and how things go and if you can’t find a way to laugh about it, then what a miserable way to exist.”

You can catch Rose McIver at Oz Comic-Con Melbourne (11 & 12 Jun). For all the details, check out their website. EXCLUSIVE: Disconnect Festival Finally Starts Paying Artists; Confirms 2016 Event

Published on, Jun 2016


Six months after its inaugural run, WA’s Disconnect Festival has finally started paying bands and crew, with the promoter confirming the event will return in 2016.

The music and arts festival came under fire in April from artist and crew claiming promoter Chris Knight of Spring Fever Promotions had not yet paid them for their involvement.

The festival then promised all outstanding payments would be settled “within four weeks”, which didn’t eventuate, but numerous sources have confirmed they have now been paid with Knight telling everyone else would be paid this week, stating the delay was due to “commercial negotiations”.

“We had to restructure the business and go find some money to get everyone paid,” Knight told

“It would have been really easy for me to say, ‘It’s been really hard, let’s just wind the company up and liquidate.’

“The only way to go forward was to make sure we got the funding and put it on again.”

Knight revealed the three-day Pinjarra-based camping festival would return for a second run in December, moving a week earlier to 2 – 4 December with a similar vibe to last year’s line-up, which featured headliners Father John Misty, Neon Indian, Mercury Rev, Bully and more with a slew of local talent and arts.

“Hopefully we can retain that good will that we got from last year because it’s such a different festival.

“Eventually, what we want it to be is like a mini-Glastonbury; it’s all about culture, art and music and people being a bit free…it’s definitely worth another crack.”