On record, the Perth songwriter captures the zeitgeist with disarmingly spare, folk-pop indictments like ‘ Mechanical Bull' and ‘ Boys Will Be Boys'.
#JOHN BUTLER TRIO SYDNEY OPERA HOUSE FULL#
“This album is my most personal work yet,” John Butler says “ touches on the anxieties and demons I've been grappling with since the last album, but it's also full of joy, hope and redemption, and I'm looking forward to conveying the stories and passion of all of this journey one on one live with fans.”Įxpanding to a five-piece for the ‘Coming Home' tour, John Butler will be showing off their new songs and sound, alongside classics that have made them him one of Australia's biggest independent music successes.Īs if that double-header wasn't enough of a drawcard, joining John and Missy as special guest at all shows (except Margaret River and Albany) will be 2017 Unearthed Artist of the Year Stella Donnelly. RELATED: John Butler Trio's new single ‘Home' takes them in a whole new direction The ‘Coming Home' tour is named for the title of JBT's upcoming seventh studio album (out 28 September), which is shaping up to be quite the sonic switch-up from their rootsy past from the sounds of lead cuts 'Home' and 'Just Call'. John Butler Trio and Missy Higgins will be hitting the road together for a huge run of shows snaking all over Australia between January and February. “We’re acutely conscious of saving it for what we see as appropriate artistic moments.” A legendary run of Chet Faker, Florence + the Machine and Tame Impala shows held a record 24,000 people in the space of a few weekends.Two of our nation's finest are joining forces on-stage this summer. As the Opera House’s Head of Contemporary Music, Marshall is one of the people tasked with picking the right people to play.
“It’s one of the grandest gestures the city can make,” Ben Marshall told The Sydney Morning Herald.
Each year Dance Rites pays tribute to this long history, seeing the powerful coming together of traditional customs, language and contemporary culture, with hundreds of First Nations dancers from all around Australia and performers from around the world.Īt the end of 2017, the Kiwi pop prodigy Lorde became the youngest person ever to perform on the Forecourt stage, a fitting place to celebrate an artist at their peak. The Gadigal and Sydney basin clans met on the tidal island, dance, sing, feast, exchange knowledge and share stories. Since time immemorial Tubowgule, the land on which the Opera House stands, has been a place of gathering and belonging for Australia's First Peoples. It’s different to the high, shadowed ceilings of the Joan Sutherland Theatre or the elegant form of the Concert Hall, which is currently undergoing work. Panoramic sound framed by the temple-like steps, the ocean breeze on a clear night, the backdrop of Sydney ferries and the Harbour Bridge. There’s something that makes music different out in the open air. “But I thought it was a bit too grandiose.” “Our manager at the time thought it was a great way to go out with a bang,” Finn would tell ABC's 7.30 twenty years later. It wouldn’t be the last time Crowded House would play (their 2016 reunion on the Forecourt can be watched in full on Stan). Hey now, hey now … don’t dream it’s over, he sang.
To those thousands, frontman Neil Finn bid farewell with one last song. Some claim at least a hundred thousand people squeezed onto the Monumental Steps others recall it reached a quarter of a million. In the spring of 1996, thousands of Australians spilled across the Forecourt, full moon glinting above the tip of the main sail.
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