Gyroscope’s Rob Nassif Launches New Live Music Venue

Published on, Jul 2016


With nearly 20 years experience behind the kit with favourites Gyroscope and an overview of the larger WA scene as the owner-operator of the state’s largest rehearsal studios, Rob Nassif has unveiled a new live music hub in Perth.

Named after Hen House Rehearsal Studios, the 100-capacity Hen House Live venue is part of the remodelled Badlands Barin Northbridge, accompanying its 400-capacity main room, which reopens Aug 6.

Launching Sept 2, Nassif’s new endeavour will host two shows every Friday and Saturday night, with sessions at 8pm and 10pm, focusing on new bands and acts that haven’t played their first show yet.

“We’re going to make it fun, and we’re going to make it easy, and my 700 shows with Gyroscope have taught me a thing or two about looking after bands and creating a cool environment for bands to perform in,” Nassif told

Since taking over and rebranding the Osborne Park jam rooms in 2010, Nassif has seen a lot of talent start out and move onto bigger things, with Tired Lion first rehearsing at the space four years ago and last month playing a set at Glastonbury.

“A lot of bands that rehearse at the Hen House, they’re really hungry for it; they’re playing in a band and they’re treating it as a hobby and it’s fun, but they also want to take their music somewhere,” Nassif tells.

“Because we’ve had six years of The Hen House Rehearsal Studios, we’re seeing bands that are coming through and succeeding and it’s feeding the energy and the hunger of the younger bands.”

On top of a space for new bands to break in their live show, Hen House Live will also provide full backline and pair acts with one another in an effort to create networks and new audiences.

“The music scene is super healthy and people are passionate about playing in bands and playing shows, they just need more options and venues out there to do that.”

“Hopefully we can make Hen House Live and Badlands a real music hub here in Perth where bands can be playing shows and hang out late. We want to make that the centre of the Perth music community.”

In recent months, the main room has hosted sold out shows from Karnivool, King Gizzard & The Lizard Wizard and more, with Badlands Bar owner Mark Partridge saying Hen Hosue taking over the smaller space is a “great fit for all involved”.

“Teaming up with the Hen House gives Badlands a smaller room to support up-and-coming local bands in a cool as fuck dive-bar environment,” Partridge said.

“The guys at the Hen House love what they do and look after their bands.”

If you’re keen to play at Hen House Live, head over to their website and register your details.


INTERVIEW: Descendents

Published in The Music (NSW & VIC) and on, Jul 2016


With Descendents’ seventh record on the horizon, frontman Milo Aukerman tells Daniel Cribb why, at 53, his music career is only just beginning.

Getting fired isn’t usually a good thing, but for Descendents’ musician-turned-biochemist-turned-musician Milo Aukerman, losing his job at the start of the year couldn’t have come at a better time. “I just found the last few years were so miserable that I was considering just quitting and doing music full-time,” he tells, sipping on a beer in his basement. “Lo and behold, they laid us all off in January and the timing couldn’t have been better, because I was sick of it and we were recording [Hypercaffium Spazzinate].”

His scientist and punk rock frontman alter-egos have been at ends since before the band’s debut record, Milo Goes To College, was released in 1982. Aukerman’s always been the face of the seminal punk rock band — depicted in cartoon form as the band’s logo and on their album covers — but it’s a role he’s always considered a hobby. That’s about to change. “It’s actually the first time in my life that I’ve been able to treat music as a career, so the fact that I now have an opportunity to make it a career is an exciting thing for me.”

It took 12 years for the band to produce a follow-up to Cool To Be You, but with a reinvigorated passion for music and more than a decade to piece together the songs on it, it seems the wait will be worth it. “Bill [Stevenson, drums] and Stephen [Egerton, guitar] just really nailed it. I came in with like 12 songs early and felt pretty good and pat myself on the back, and then Bill came in with six and his six just totally destroyed my 12,” he reveals.

“It was totally humbling to see him come in with these six songs that were just kickarse. His songs were more challenging to for me to sing; he’s kind of a crooner and I struggle a bit with trying to croon his songs.

“The way we made it helped me out quite a bit in the vocal department; I was able to do the vocals over the course of three weeks and that means I could get much more aggressive about it and even risk blowing my voice out if necessary.”

2014’s Filmage documentary brought the band’s legacy into the spotlight with testimony from Dave Grohl, Blink-182’s Mark Hoppus and more. Aukerman’s modest take on the band sees them as one piece in a complex puzzle. “I see us as a link in the chain,” he tells, tripping over words as he tries to process his life’s work in a succinct few sentences. “To me, music is so important, and to watch it evolve in the past 20 to 30 years, I love being a part of it and that would be what I hope our legacy is, that we could be considered an important link and making a difference in people’s lives.

“I still like my music hard and fast — I can’t seem to get away from that; I’ll probably go to my grave wanting to hear fast punk rock.”

IV: Gregg Turkington (Entertainment)

Published on, Jul 2016


From being showered in spit in Melbourne to the star of a feature film, Gregg Turkington tells Daniel Cribbhis onstage alter ego, Neil Hamburger, has Aussie punks Frenzal Rhomb to thank for it all.

“Hello, please state your name after the tone and Google Voice will try to reach… Neil Hamburger,” says a robotic voicemail message spliced with a recording from the alter ego of Aussie-born US actor Gregg Turkington. “Jeez, maybe I should fix that, huh?” the funnyman says on the next try.

Having conceived the character in the early ‘90s through a series of prank calls and established it through years of touring, he never imagined the Neil Hamburger would be at the helm of feature film Entertainment 20 years down the track, and he’s quick to praise Aussie punk legends Frenzal Rhomb for their part in the character’s development. “Those guys started the whole Neil Hamburger live thing,” he reveals. “The first actual live Neil Hamburger show was six years after the first record at the University Of Sydney, opening for Frenzal Rhomb.

“I love those guys. I just have so many great memories of hanging out with them and I’m so grateful to them for pushing me in that direction, because I was like, ‘Well, I like Neil Hamburger as a recording project, but I don’t think I need to do it as a show,’ and they talked me into it.

“I think the second show we did on that tour was an under-18s only and those kids just soaked me in spit. It was just the nastiest response I’ve had ever, and I’ve done a couple of thousand shows since then.”

The backstory of the tormented fictitious character was never explored, which was intentional on Turkington’s behalf. “I always thought it was best to leave it to people’s imaginations to fill in the blank. So much of what Neil Hamburger brings to stage is stuff that shouldn’t be brought to stage — personal issues and depression and exhaustion.”

Although the character has a film now, there’s still plenty of mystery surrounding Neil Hamburger in Entertainment — the onstage comic in the movie isn’t actually called Neil Hamburger and the offstage comic isn’t Greg Turkington, rather unnamed (although given a few throughout, including Gene, during an awkward bathroom interaction with Michael Cera).

Many envisioned Hamburger’s life off stage to be just as funny, but that couldn’t be further from Turkington’s take. “I had been approached by people over the years who were interested in doing a Neil Hamburger movie that would be more of a comedy, and while they had some good ideas, to me the story always worked best as a drama.”

And that’s where co-writer, director and producer Rick Alverson comes into play. Turkington had worked with Alverson a few years earlier on The Comedy, along with long-time collaborator Tim Heidecker. “I just really love how he works and his vision for things and it was obvious that this was the guy and this was the direction to take this.

The Comedy challenges film conventions and the idea of what art/comedy is, which is what Turkington and Heidecker do on almost a daily basis through their comprehensive list of collaborations, including Adult Swim favourites On Cinemaand Decker. “We’ve always got a bunch of weird, half-baked projects up our sleeves,” he says on their creative relationship.

They’re producing things that they enjoy and that comes across in the final product — even if that is a little bizarre from time to time. “I don’t know if you saw The Yellow River Boys record?” he asks. “The record is called Urinal St. Station. That’s something that we wrote lyrics while cooped up in a car driving back from San Francisco one day.

“It’s basically a whole album of songs coming from the point of view of a shitty, southern rock band who is really interested in drinking their own urine and drinking other people’s urine and whose who life revolves around pissing in people’s faces and slurping up urine out of a dog bowl.”

He understands that some people won’t understand Entertainment, but it won over John C Reilly, Cera and more, both who star in the film. “I tried to watch the new Star Wars movie, and I couldn’t make head or tail out of it,” he laughs. “I really couldn’t understand what the fuck as going on, and that’s fine. They might not understand Entertainment… I fully expect we’ll get some nasty reviews on IMDB, people that say, ‘What the fuck did I just watch? This is a nightmare.’”

Regardless of how it’s received by the IMDB critics, Turkington knows there’s an audience out that that needs more of these types of films, and Entertainment was an important part in the life of Neil Hamburger. “The strange things is, when the character was first conceived back in 1993 he was actually more similar to the way the character is in the movie than the way the character has been in recent years, so it’s kind of like the whole thing has gone full circle.”

Show Review: Peter Garrett & The Alter Egos 21.07.16

Published on, Jul 2016

Pic by Ted Dana

Peter Garrett & The Alter Egos


Jul 21

“Mostly I like to write about sex,” local legend Abbe May said after loosening up the room with an intimate, rhythmic rendition of Ginuwine’s My Pony — quick to justify that said topic is political and fitting for the occasion.

It set the tone for a semi-acoustic set driven by electronic drums and playful guitar work.

Having wrapped a full-band headline tour in support of single Are We Flirting? a week previous, May not only proved the diversity of her stage presence, but showed a different side to her songwriting. Bring on Bitchcraft.

Much like the artwork surrounding ArtBar, Peter Garrett‘s career can be viewed in multiple ways, so while an art gallery foyer may seem an unorthodox choice of venue for the singer to end his 15-year musical draught, there really couldn’t have been a better fit for the first date on his A Version Of Now album tour.

The man of the hour casually strolled onto the stage with a quaint hello, acknowledging the traditional land owners before his aptly titled backing band, The Alter Egos, kicked off proceedings with the steady beat of Kangaroo Tail. The unmistakable and iconic vocals of the muso-turned-political-turned-muso echoed throughout the room and it was clear it was going to be a special evening.

The intensity began to build with fellow Midnight Oil star Martin Rotsey’s bold intro to No Placebo, and when chunky bass from Jet’s Mark Wilson and a beat from seasoned drummer Peter Luscombe kicked in, punters were temporarily transported to a different era.

May, back on stage and playing guitar, added endless depth to other songs with sweeping harmonies, and when Rosa Morgan of Red Ghost fame added another level, they were unstoppable.

A Version Of Now, as Garrett explained, was the result of creative impulses after he had completed his memoir, Big Blue Sky, and an exercise that saw him return to his roots; a journey he relayed to the crowd through an eclectic mix of covers that gave truth to the title of Muddy Waters’ I’ve Got My Mojo Working.

Garrett’s Ego Is Not A Dirty Word was in check as he jittered around the stage to the Skyhooks’ classic, thrusting nonsensical hand gestures and unpredictable steps to the delight of everyone.

Reminiscing fondly on his 10 years in Parliament, he gave a shout-out to former colleague Stephen Smith in the crowd, continuing the hometown love with Divinyls’ Back To The Wall; a tribute that gave an insight into why Garrett is such an engaging frontman. His dance moves mightn’t be the best and his vocal abilities limited, but there’s an authenticity surrounding what he does, and that shone through boldly during his triumphant return to the stage.

I’m back,he sung over and over in radio rock number Tall Trees, showing more of those trademark dance ticks and vocal quirks, before uniting the room for a spine-tingling singalong to Midnight Oil’s The Dead Heart. The Meeting Tree Leave Fans With Cliffhanger Split

Published on, Jul 2016


In what feels like a TV show being struck down in its prime with little time to provide closure, Aussie hip hop duo The Meeting Tree – the collab between Joyride and Raph Dixon – will perform their final show at Splendour In The Grass, citing “legal reasons” as a deciding factor.

Well-versed in the art of pranking, a series of tongue-in-cheek memes in regards to the split have surfaced on the band’s social media in the past week, directing attention to the company that created Auto-Tune, Antares, and loose connections to copyright.

Mainstream pop may be proof that the software can fix just about anything, but unfortunately it won’t be able to mend the broken hearts of fans around the country mourning the demise of The Meeting Tree.

Perhaps trying to untangle the “death rattle” the band have left behind will keep The Meeting Tree spirit alive in our hearts for years to come.

“It is what it is – legal reason,” Joyride told

“We just want other people who are making music now – especially on computers, which is the way to go – to keep in mind that people that make the software that we use are trying to make money just the way that we are and it’s worth being mindful of that.

“Copyright and ownership are two of the cornerstones of democracy, something that we try and celebrate here in Australia.”

The music video for It’s Alright off their final EP, I Was Born A Baby And I’ll Die A Baby EP, dropped on Friday with crawling text along the bottom delivering a message to fans and then a bunch of life-changing commentary on democracy, sunsets, radio and more appearing.

“We can’t tell you anything else about the break-up other than it has been forced upon us for legal reasons,” the post said.

Dixon is featured as a cardboard cutout in said clip, which is similar to the look he will take on during Splendour In The Grass this weekend.

“After all this, he feels like he needs to step back and is doing so in the States right now,” Joyride explained.

“He’ll be there in cardboard form, which is our version of the Tupac hologram.

“I don’t think it’ll change the set too much beyond the fact that Raph saying our band name over and over again may happen a little less, because cardboard can’t really speak.

“We’ve got a couple of special guests coming up to try fill the massive gap that Raph in his human form will be leaving, so Benson – a great DJ and producer from Melbourne – will be joining us – and Sam [Margin] from The Rubens as well.”

In the past year, The Meeting Tree have produced three EPs, circled the country twice and established themselves as a staple on the festival circuit, so its fitting that, after stints at Groovin The Moo, Falls and Secret Garden, they’ll play their final gig at the festival where they played their first.

“We’ve achieved everything that we’ve wanted to,“ Joyride explained.

“Even though we didn’t start with specific goals, it doesn’t feel like there’s more to be done, which I think is nice.

“Don’t be sad it’s over, be happy it happened at all.”

Check out the Splendour timetable and our survival guide to ensure you don’t miss The Meeting Tree’s final performance.

The I Was Born A Baby And I’ll Die A Baby EP drops this Wednesday. ‘Roadies’ Proves Cameron Crowe Is Out Of Touch

Published on, Jul 2016


“Let me just say what no one is saying, the band have become relentlessly irrelevant,” said a review of fictitious indie rock act The Staton-House Band on the Sunday’s episode of Showtime comedy-drama Roadies.

Rainn Wilson (The Office) plays a popular music blogger that reviews the band’s show via a YouTube video and slams them; ironically enough, the general gist of which could loosely be applied to Roadies and creator/writer/director Cameron Crowe.

While Roadies doesn’t quite paint an accurate picture of the music industry’s inner-workings, it’s in interesting case study on Crowe and what mainstream media actually believes goes on behind the scenes.

It’s also a prime example of why shows like Scorsese and Jagger’s HBO flop Vinyl are unable to hit the mark. In order to create content relatable and entertaining to your average network TV viewer, things need to be generalised and almost dumbed down – it’s why the characters on Roadies throw Taylor Swift’s name around every five minutes (no joke) and other bands like Pearl Jam, Bruce Springsteen, Brian Wilson get name dropped, all while making the show’s writing feel like an out-of-touch parent trying to talk with their kids about what’s hip.

A network trying to stay relevant by feeding off someone who’s now so far removed from the actual way the music industry is growing was always going to be a recipe for disaster.

Crowe’s now 58 and it’s been 15 years since his Almost Famous flick came out and won a slew of awards, and since then it seems he’s been living in a bubble, blissfully unaware that touring in 2016 is quite different to how it was when he’d follow acts like the Allman Brothers Band around in the ‘70s while writing for Rolling Stone.

J.J. Abrams scores a producer credit, while Hollywood stars Luke Wilson and Imogen Poots play the show’s main characters, showing they opted for big names rather than people more relevant to the industry. They’re good actors, but none of them actually have any decent musical background, so there’s a disconnect between the actors and the authenticity of their characters.

Rapper Colson Baker, aka Machine Gun Kelly, plays Wes and is the closet it comes when looking at main cast members having strong musical ties, and his credits are linked to shows like Ridiculousness and a slew of MTV-awards. Plus he’s actually not that great an actor.

Carla Gugino plays Shelli, a production manager who works alongside tour manager Bill (Wilson), and this pair actually manage to carry the show pretty well considering what they’ve been given to work with, but once again, they’re just not all that believable as die-hard industry folk.

It’s not Gugino’s first stint on Showtime, having a recurring role in Californication back in 2010 – in fact, if the network really wants a hit, they’d be better off reviving the character of Atticus Fetch – played by Tim Minchin – and giving him a spin-off. It wouldn’t necessarily be more accurate but at least it would be more engaging. Plus it’s Tim Minchin.

Reg Whitehead (Rafe Spall) is the show’s villain – so to speak – a suit sent from corporate to make cuts and the crew more efficient, and while it’s an obvious stab at the businesses and corporations behind the scenes of the music, the character is almost an unintentional dig at the showrunners.

On top of all this, where are the appearances from up-and-coming acts? Buzz bands and acts that are actually popular now. The support band slots on this fake tour go to artists like Lindsey Buckingham, generic indie-folk act The Head & The Heart and a somewhat cringe-worthy performance from Reignwolf.

More importantly, for a show based on the music industry, the soundtrack is less than note-worthy and once again feels cliché.

It’s only every now and then we’re given a glimpse into the real scene, and for some reason those aspects are hidden as Easter eggs, like when Bill is trying to find an opening act and we get a quick glance at his list of potentials.

Tame Impala apparently weren’t available, but he’s also listed Best Coast, Chvrches (spelt Churches on their list) and Kurt Vile – the latter of which actually does have a song on the soundtrack. So, someone on the writing staff does know music, but their expertise is being overridden by Fleetwood Mac solo acts and cheesy indie rock.

Actual roadies have been bagging the show too, with a friend of mine who works in the field saying, “If the show was accurate it would be 50% unloading trucks and 50% people trying to find cigarettes.”

One of the few correct depictions in Roadies comes from the tour managers and others needing to baby the talent and the ridiculous requests said artists make throughout, but even then they don’t explore that nearly enough.

The main problem with the show thus far is its characters and storyline could be applied to just about any other field. If you take this plot and apply it to a group of bakers, mechanics or retail workers, it wouldn’t feel all that different.

Approach Roadies as light-hearted entertainment – something to chuck on in the background as you do other things — and you won’t be too disappointed. If you dive in head-first looking for life-changing industry commentary you’ll be sorely disappointed. How Adelaide Is Becoming The Most Vibrant City In Australia

Published on, Jul 2016


There seems to be a stigma surrounding the vibrancy of Adelaide’s creative energy — an underestimation the state has been using to its advantage in recent years.

While the rest of the country frantically scrambles to keep up with trends, the City Of Churches is making its own.

It’s easy for some to dismiss South Australia as nothing more than those religious structures it’s known for, but looking a little deeper (actually, inside one of those churches), an entirely different story begins to unfold.

Seemingly ordinary from the street, St Paul’s Creative Centre is an eclectic creative hub that houses Music SA, the Music Development Office, venue The Jade Monkey and a handful of other endeavours all helping to drive a movement of global proportion.

“I’d ask him if he could feel the shift… he’s quite silent about Adelaide now,” says UNESCO Adelaide director Sarah Bleby of SA native Paul Kelly’s Adelaide, in which he sings, “All the king’s horses, all the king’s men, wouldn’t drag me back again to Adelaide.”

“He doesn’t really reference his roots here,” Bleby adds. “I’d ask him about what he experienced as a musician starting out and what he thinks is important for musicians here now.”

A completely different looking state when he penned the lyrics back in 1985, it was probably a fair call. It wasn’t that there was a lack of talent in Adelaide (see Cold Chisel, Redgum, The Angels), rather the right creative industry support systems weren’t in place. In the past, artists and industry folk would jump ship to Melbourne or Sydney in an effort to thrive, to escape the stigma associated with the state.

“I don’t think we saw ourselves as a bold city, but we are starting to now,” Bleby tells. “There was a cultural cringe going on; it’s like we’ve grown up a bit and got a sense of ourselves and don’t feel the need to be comparing ourselves to the big cities anymore.”

One of the main driving forces behind the scenes helping give a huge spectrum of up-and-coming acts a platform to be heard is Music SA, with general manager Lisa Bishop in the thick of preparing for the inaugural July Umbrella Winter City Sounds festival.

There are two coffees perched on her desk next to a stack of programs for the festival, but Bishop insists only one is hers. You couldn’t blame Bishop for needing a double dose before 10am, though, especially after you take a quick glance at the program.

The new festival aims to shine a spotlight on local talent in the gap between big-name festivals, and to describe the resulting bill as innovative and eclectic might be an understatement, with Music SA commissioning a series of curated projects from local entrepreneurs. “We just gave them a small amount of money each to go away and think creatively about how you showcase live music in Adelaide in winter,” Bishop explains. “They’ve come up with stuff like Scandinavian metal in an old criminally insane ward at a mental hospital, or pop-punk on top of a car park or new folk music in the Adelaide Zoo, so there’s a lot of stuff happening,” she tells.

“Most importantly, it’s about local talent and local venues… over 200 shows, 60 venues, I’m kind of a bit blown away about how much people have embraced it.”

There are constantly artists breaking out from the pack, most recently Adelaide singer Tkay Maidza scoring a UK BET nomination — an artist featured across the Music SA promo at St Paul’s. It’s another example of industry and creative endeavours seamlessly supporting one another through a sense of community that’s unique to the state.

One of the venues taking part in Umbrella is the Exeter Hotel, booked by 5/4 Entertainment who also manages Maidza — again, everything seems to be connected.

Both 5/4 Entertainment and Maidza have received funding and mentorship as part of the Arts SA Robert Stigwood Fellowship, now in its third year. Stigwood was born in Adelaide and managed the Bee Gees and Cream, produced Grease, Saturday Night Fever, Hair and more, and although he passed away earlier this year at 81, his legacy lives on strong.

“Initially when [Tkay] got the funding, that just allowed us to make things happen — like we needed to go to CMJ, so we went to CMJ and now we have an American record deal,” says 5/4’s Craig Lock on the balcony of the Exeter, next to collaborator Dan Crannitch, and Stu MacQueen of Wonderlick Management (Josh Pyke, Grinspoon, Boy & Bear).

“These things probably wouldn’t have happened if we didn’t have that extra little bit of money and also getting advice from a more experienced manager like Stu.”

It’s the diverse skills and practical knowledge of Crannitch and MacQueen that sees the fellowship providing more for its artists than most others can offer, with Crannitch describing it as “almost like a surrogate A&R management” funding system. “Originally it started because of a little bit of a lack of industry in South Australia, a lack of management and labels that would generally offer a bit of infrastructure around an act and help it,” he tells.

“Adelaide was one of those places — it’s definitely changed now — but traditionally, it has been a bit of a place that, when you were based here, and came back, there was a bit of a vacuum and all of sudden you were out of where the action is happening and it was easy to lose momentum, so a lot of it is about keeping the artist plugged in.”

Unlike other grants that rely heavily on paperwork, the talent selected for the program are chosen on the merit of the music, and then nurtured for a 12-month period that sees international exposure like a slot on the Aussie BBQ at UK festival The Great Escape.

“On a regular basis we sit down with each artist and look at their career, where they are creatively, what they need to be doing to move forward,” MacQueen says, juggling mentoring sessions and splitting him time between Adelaide and Sydney. “Then we try to help facilitate that as much as we can with advice and funding fairly tailored.”

Maidza’s BET nomination is just one aspect of Adelaide’s international developments in recent years, with the festival state being welcomed to UNESCO in 2015 for its vibrant multicultural events — the most anticipated and diverse of which is WOMAdeaide, smashing attendance records each year.

Director Ian Scobie reinforces the sentiment that it’s a strong sense of community that has aided a cultural explosion — an evolution that provides further insight into why recent years have seen the demise of major touring festivals like Soundwave and Big Day Out. “Those festivals, they’re not really engaged with the cities; they’re a touring event,” Scobie says. “They’re only festivals because they call themselves a festival…the reason festivals survive is they have to have a connection with the city and the people in that city, so the people that visit to it from elsewhere feel like they’re actually visiting somewhere.

“I think that’s why those festivals haven’t survived, which isn’t to say something won’t replace them, but I think a festival that has a direct connection with a local community and sense of place has a much better chance of making it work.”

The one thing that’s more present than anything else in Adelaide right now is a common sense of pride, with that aforementioned cultural cringe being broken down at a rapid rate. A creative spark has lit a fire that’s really taken off.

“Maybe four years ago, there was few if any acts that came from Adelaide that were actually successful on a national scale, let alone an international scale,” Lock comments. “Everybody likes to bring up Sia and the Hilltop Hoods, and that’s fantastic, but beyond those two acts, we never really had much come out of here, so bands that were based here, there was no hope.

“There was none of those stories, there was no industry, there was almost nothing going on, so you just felt like you had no hope to ever succeed, whereas now, there’s multiple acts that have had funding through this program or even some that haven’t — in the past two or three years. Something’s going on now, so I think people feel a lot more hope and that also [shows] locally, with audience, people going to shows, and everything feeds off that success.”