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Good morning everyone and welcome to one of the
National Portrait Galleries in Conversations.

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My name's Sandra Bruce and I'm the Director
of Collection and Exhibitions here at the

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Portrait Gallery and in a minute we're going to
be chatting to a couple of awesome locals

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from Nowra on the South Coast and New South
Wales, Paul Green and George Bishop.

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But first let's chat about being on Zoom.

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Now we love to see your faces so by all means
turn on your cameras so that I can say hi.

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I reckon I might recognise some
of you when you dial in.

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But don't forget to keep your
microphones on mute.

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If you want to join in the conversation, if
you've got a question you want to ask to

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test people's knowledge, people being not me
but Paul and George, send your questions

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or send your comments through the chat function
of Zoom and we can capture that here and I

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can pick up on some of those
while we're talking today.

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Do let us know where you're dialing in from as well
because here in Canberra we're broadcasting

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from the land of the Ngunnawal and Ngambri peoples
and I would like to pay our respects to elders

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past and present.

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We also of course extend our respects to any
First Nations people that might be joining

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us today and I also on behalf of the Shoalhaven
Regional Gallery and our guests today like

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to acknowledge the First Nations people of the
Shoalhaven area who are speakers of the

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Dharawal and Dhurga languages.

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Alright we've got Bridget from Gadigal Country
High, Bridget nice to meet you.

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Now I'm going to introduce our special guests who
are going to I reckon have a lot to talk

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about with our exhibition that we've got touring
in Nour at the moment, Pub Rock, Paul Green

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and George Bishop and we've asked them to join
us today because if you can't tell by

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the name of the exhibition, Pub Rock is something
that's dear to a lot of Australians hearts

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and it's about the live music scene in Australia.

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It's a little bit retro, we get to reminisce
quite a bit you know I mean really when we

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look at Pub Rock from our perspective when we
decided to curate an exhibition like this

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we thought where does it start, it kind of starts
in the 70s and it kicks right through

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into the 90s, maybe it tips into this century a
little bit but when you look at the I don't

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know maybe 80 or so photographs that are in the
exhibition we really hit some sweet spots

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around the live music scene in the 70s, 80s and
90s I think and we look at the different

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venues it's not just about the pubs it's also
about uni bars you know outdoor stages

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festivals, RSLs, surf clubs you know anywhere that
you could get sticky carpet, stinky cigarette

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smoke and decent music that's what we're talking
about with an exhibition like this.

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I think it was really great for the Portrait Gallery
to go down this road I mean we curated

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this exhibition in 2020, it was something that
we wanted to offer our audiences coming

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out of that first series of lockdowns because
it was a really interesting time to live in

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and we wanted to sort of be able to talk about
celebrating and remembering when we got to

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have shared experiences and how important music is
to us around storytelling and collaborating

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and sharing joy and so that's kind of the approach
we took with Pub Rock and as we have

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this chat today I reckon Hector who is one of
my awesome colleagues who is behind the

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scenes he's probably going to flash up some
examples of some of the works in the show

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but Paul and George I don't know should I dob
in Paul first one or you go first when

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you came to the exhibition launch and you had
your first look at the exhibition what

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were some of the things that really hit you when
you were looking at some of the photographs?

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There's a lot of my heroes on the wall here they
all probably had a part to play in my

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motivation and my inspiration musically and
also the journey that the music has taken

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me on and I remember as an underage sneaking into
pubs as bands were coming through playing

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in places like the Ex Servos or the Bridgetown
and having my first experience of I guess

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it's sort of almost like a tribal thing that
was for me my first experience of that of

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a subculture in a way and the music really spoke
to me and so to see all these people

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on the walls including Molly Mildrem from
centre over here that goes back to my

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early childhood watching Countdown and that's basically
been my with the start of my education

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as a musician and the legacy that all of the people
in the world who have left behind are

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basically what we've all learnt from
and what has brought us to today.

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Yeah so tell us a little bit about your musical
career I mean you've performed with some of

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the musos that are on the walls there right?

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Yeah so I was a musician but I didn't really
know any musicians so I didn't really have

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any influence I was actually working in a totally
different field but luckily I came

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across I was working as a musician so I was
just playing in pubs and things and I was

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sort of making up songs but it was something I
was kind of ashamed of so I remember playing

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in a pubs band in the early 80s and saying how
about we just make up our own song everyone

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was sort of laughing at me that you can't just
make up songs but so it was we ended up

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doing that but that sort of making your own music
and working as an artist is very different

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to working as an entertainer everyone does a bit
of both I think but having I was really

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lucky to work with Rob Hurst from Midnight Oil
he was one of the first musos that I got

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to work with I actually have a band as a sports person
as well I was a track and field athlete

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and I was training for the Sydney Olympics and
I didn't make the team but I ended up

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working on a project with Rob Hurst which was
called Olympic Record and it had diesel

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and it had a whole bunch of Australian artists
playing on it and I got to be in the house

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band and then I ended up joining Rob Hurst's band
Ghostwriters and he was one of the first

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people that said to me you know you could have
a career as a musician if you wanted to work

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towards that I had nobody to know what was involved
and he was kind of the first person

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that said well it's coming write some songs with
me and I played with their band and I

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sort of learned as I was watching and couldn't really
ask for a better mentor to have although

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another thing that sort of happened around about
that time was that I was I'm very I

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was very sort of a lot of oppositional defiance
and identify as a pirate so I can understand

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that that makes sense I didn't want to do the
mainstream thing I didn't see that as

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being I saw a kind of a new problem rising the
more kind of connected everything was

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becoming with the internet I could see this disconnect
also happening with communities

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and people being like pokies in the pubs and
people being torn away from that sense of

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that tribal community and having that sort of
connection and it becoming very online

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and very sort of controlled by mainstream media
and quite sort of becoming more and

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more contrived and less organic more kind of
controlled by the corporate side of things

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and less controlled by that tribal thing that
I really loved about my only days of music

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so I decided to start just putting out my own
records avoiding the record labels avoiding

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the industry altogether pretty much going with
my with I wasn't really didn't really

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know as a pirate back then but that's pretty
much what I did and I made albums and sold

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them out the back of my van as I traveled around
the country and every person I met

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I kind of connected with and got the email address
initially it was like postal addresses

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there was a few artists that really inspired
me with that Arne de Franco who would sort

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of someone I discovered through Woodford Folk
Festival and she had this sort of empire

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and created this empire on her own record label
and very much used music as a social

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tool and I thought that was really powerful and
really spoke to me so it's something that

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I still try to try to do today also so she had
sort of started her own record label I

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thought well you can do that I'd been offered record
like record deals actually I was sort

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of but I felt like I was just being I didn't
know what I didn't know what it was about

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I didn't understand anything and I felt totally
vulnerable so I just made it I figured out

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if I could go to I spent I went to Damien Girard
studio in Sydney I recorded between

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10pm and 3am in the morning and I think I made
my first album for around about $1500

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and then then I got my own CDs pressed and I
sold enough CDs in the first in six months

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to I needed to get another batch done so I made
more CDs and then a year and a half later

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I made another album and I sold that and then
I started touring further and wider and it

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was enough to sustain me and I fame was never really
the objective for me it was just about

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being able to create music that I felt was honest
and felt was coming from the heart

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kind of seeing a bit of a social thing happening
with disconnect and the need for communities

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and for people to connect through music and I
saw that as a great way to do it and that's

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pretty much what I did and then last year I
put out my tenth record I think one of my

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albums was an Aria finalist the best blues and
roots album I did with License for ABC

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music had a really great team of people helping
me out of manager Neil Richards and Sean

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Tell and Jeff Bell as a booking agent who had
worked with Slim Dusty and Casey Chambers

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so I had some really great people helping me
and managed to I still managed to do it

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so it's still my job but now I'm working more
as a producer I've started my own record

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label releasing other artists I help artists
develop their music record and release it

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and that's sort of I'm kind of at the start of
that journey but I'm really enjoying it

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do you know what I love about that Paul it's
kind of a really nice segue into bringing

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George into the conversation because as someone
that's part of you know part of the scene

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it's not just about being a muso is that it's
about offering opportunities to others and

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you've got a venue so I mean a big part of what
you do is around supporting live music

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and inviting people in right yeah there's a band
who hasn't been there today and we've

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got a gig on the weekend actually for the next
few months every weekend we've got a

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gig that's pretty cool so what George why was
it that you decided that what you wanted

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to do was create a space for live music you know
what was it that sort of got you started

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down that road an opportunity come up where there's
there's a space to do that like another

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building that was in my family so I can run down
and as a kid like I was in there much

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and around it used to be a seeding produce shop
selling hay and seeds for agricultural

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supplies alright then so it's a bit like a
shed in the middle of town and then it's

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getting a bit kind of like nothing was happening
there and yeah they back us they said okay

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after a while and that like what a persuasion
they said okay and it's been great yeah so

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it's been going for a while now how long have
you been part of the mix in now I grew up

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here then actually first place I moved away to
was Canberra I was cutting my teeth back

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same like when people buy and see these and things
then travel a lot coming back now and

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then but I moved back the summer before the bush
fire and I was doing just trading work

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sort of thing and then quit that work and started
setting up the venue and and then bush fires

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and then covert and so it's sort of been stop and
start but it was getting a bit of a roll

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on yeah yeah yeah so what was it like what was
it like coming into the gallery which is

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not necessarily the sort of a venue that you
you know associate with you know where you

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guys put your hearts which is about being really
active and a bit like sweaty and messy

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and grotty and having a good time bit rowdy obviously
with live music what's it like coming

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into a gallery and looking at an exhibition of
people doing their thing on stage is it

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is it a bit weird or does it make a lot of sense
to you to see an exhibition like this

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the visuals always been a I think it's always been
a really important part of music I know

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it sounds silly but the analogy I make is people
go to restaurants and they they don't

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they don't look at food or taste it and order it like
you have to kind of be shown a representation

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of them and usually it's visual especially to
go to those dodgy Chinese places which

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are you know see a photo or something and that represents
it and I think a lot of photography

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is its own art form and is a separate a separate
thing obviously it has a really magical way

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of being able to put into like show what the
band is about show what their character is

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their ethos their energy in a way and capture
that in a different medium which is which

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is pretty amazing I think yeah but the visual
element has always been part of it so I see

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there's a very different separate expression and
separate art form and a way of capturing

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that expression but and it's always kind of
been what sell is the music or what helps

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what I like helps the audience find the band or
find the music that they love I think there's

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a lot of that in the visual representation sometimes
before they hear music you know

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they might see if you see AC/DC like a photo of
them live on stage you instantly kind of

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understand what they're about that sort of you
know stepping into the business with like

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branding of what of what you what your music is
all about yeah absolutely I mean actually

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I think Hector's just brought one up now of Angus
still looking like a schoolboy although

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he's out of uniform but you know I think that
was a question I was going to have so you

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mentioned you know there's a portrait there's a
great there's a great black and white head

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shot there of Molly in the exhibition but were
there any of the live sort of what we'd

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called documentary portraits that captured either
of you and and sort of brought back

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memories because I think that's the other element
isn't it of an exhibition like this

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it really does bring back memories yeah I've seen
I think what this shows in you know in

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2023 we we kind of have this we're working
now there's people I've met George and I

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both working now with the tools we've got you
know with what we've got at our disposal

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to try and contribute even a small part because
the music of tomorrow depends on people doing

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it and having that experience and so and we're
kind of standing on the shoulders of giants

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and the sense of the people here and I feel
like what this exhibition captures really

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well is the origins of that story for us it's
origins although it goes much further back

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like the easy beats I still think are one of
the most important Australian bands the

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big brothers of Malcolm and Angus from ACDC yeah
at the music they made the way that they

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did it there's so many people that are invisible in
the music industry and I think intentionally

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so because for every band that you see on this
on the walls here there was a team of people

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managers record labels publicists tour managers sound
guys guitar techs there was there's a whole

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and a whole tribe behind every every band that's on
the wall here and they're all part of they're

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all part of that which is I think it captures that a
lot of the ones that really take me back are like

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seeing like Minot oil with chicken wire in front of
them I've been known their story and being close

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to them seeing how they kind of hold themselves
today as musicians and that they are actually

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musicians that that's what they love it that's what
they do they're not in it for fame they're not in

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it for they see it's a business obviously but they
just want to make good music that's going to be

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remembered and that's that was one of the most important
things that I learned from those guys that

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with all the glamour and all the the kind of the
way you interact with music now it's radio and

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internet and you know youtube and video clips and
going live and it's all changing faster than

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anyone can keep up with yeah I mean that essence that
that core essence of it being about playing

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music and making music that just makes you feel good
making music that engages an audience that

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people can relate to it's what it's all about and that's
I think what these photos really do for me

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yeah and George would you say I reckon it keeps dragging
people back right I mean we know that the

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famous frontman of midnight oil sort of diverted his
career for a few years and he he decided to

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go and do something else for a little while it was
fairly high profile but you know midnight

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oil were on the road again just over this last summer
and they played in or spring and summer and

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they played in Canberra I think back in February
Peter Garrett was back in Canberra but he was

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back doing what we first knew and loved about him
yeah as the frontman of midnight oil so George

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would you say that's exactly that's very much what
music is and what the live scene is it does

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it is something that's always in your blood and
you're always going to be brought back to it

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yeah yeah it's amazing what I was thinking about
when Paul was talking to me sound like

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live music and being there at the venues and in the
you know like it's so different from being in

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the gallery that's like being peaceful in here and you
can look at the pictures and no one else is here

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where at the concert it's just this collective
energy and it's humming like Paul was saying

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there's a lot of people involved not just some musicians
and everyone that's there there's like

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this really good vibe and and you come here and you
can see pictures like the photographer who

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was there at the time was able to capture and um and
we can see you know like afterwards a little bit

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that in in the visual arts yeah yeah it's interesting
because when we were working on this show

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we had some great conversations with some of those
you know the way Paul was describing them as the

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invisible people that contributed you know like Wendy
McDougal who does these amazing you know

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shots she's so good at what she does when she's in
that live environment and there's some really

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great examples of her you know gig photography in this
exhibition and um it really does help I think

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connect us to the experience even if it is in a gallery
you know yeah yeah it does it has sort of

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every story has a beginning and quite often it's
kind of inspired by a previous story I think

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there's a and this I think finds those kind of
defines those beginnings because when things

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begin like with what George is doing here like in
now having a home and a place for people to

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incubate their music and connect and find their
tribe and find their people not just bands

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but the venue like what George is doing as well it's
like it brings a whole section of the community

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together because they love what George does and they
love the the vibe that it creates and it makes

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people feel connected and we look back now on the success
stories and this you know time has proven

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these to be the beginnings of of bands and art and
music that has become kind of entrenched in the

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Australian psyche that's part of who we are but I
knew that when it started no one knew that's

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what was going to happen and I remember listening to
me nod oil for the first time and just be like

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what is that I don't get it like I was a probably now
it's probably eight or nine I do remember the

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moment really clearly of hearing that and going listen
that's not what I thought music was about

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but who is to know how important that step was going
to be for the consequence like the consequences

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of those steps are something that you know the the
sorry shirts at the Olympic opening closing

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ceremony like it led to that which totally changes
the way people think and that's something I kind

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of try and impart to younger songwriters and aspiring
artists now is that it might just seem like

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you're just wasting time I know when I when I a
lot of my youth as a musician I was kind of

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discouraged it's like you're only going to
get a real job you know that's sort of

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please show you but it's been my job ever since and
you never know when someone's going to come up

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with something that just might change the world and
I think that's for me what keeps me excited

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about it you can get really really burnt out
really quickly if you worry too much about

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success or fame or basically the results of what
it is that you're doing because everyone

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wants to be successful everyone wants to do well I
want to just be able to make me living out of it

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that's all I really want but you never know when
someone's going to walk through that door that

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is going to be the future that's going to be the person
that the next generation are going to look

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up to and I think everyone one of the beautiful things
is everyone has a shot at that yeah no I

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agree I'm going to ask Hector to bring up slide I've
got numbers here slide four because if we're

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going to talk about you never know what might happen
particularly when it when we're talking about

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you know the creative process and collaboration
all that kind of thing I mean we look back at

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what poor Kelly's gotten up to over the years we don't
I mean we could talk for hours about Kelly but

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1991 was the year that Treaty came out now that
Yothu Yindi song that was written by

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Yunupingu and Kelly getting together around a campfire
and working up that song Treaty and we

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know what an impact you know that's had and then you
know I think it was around the same time that

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he's working with Kev Carmody on From Little Things
Big Things Grow so it is sorry if I make

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an a noise on my mic so it is you know it does speak
to that idea that not only not only is it a

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case of creativity sparking something can you just
don't know until it's done but it also kind of

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speaks to the sense of community in the music industry
and how lovely and collaborative it

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can be in Australia and really Australia is a pretty
small country in that respect isn't it kind

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of there's lots of little interconnections it's almost
kind of like a spider's web. Yeah I remember

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I went to LA I went to New York after I went to
the Canadian Music Week and then I caught the

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Amtrak to New York through the train from Canada to
New York and standing on the river of the Hudson

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and looking at the New Jersey skyline and then having
New York behind me and kind of getting

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around my head that within my field of vision was probably
the same amount of people as there were

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dispersed across our entire continent and having
driven across the Nullarbor to do gigs

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a dozen times maybe that plays an enormous factor
with us with our population is definitely a big

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part of that yeah yeah you're absolutely right I
think for people to embark even just to start

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making music to start expressing themselves I think
it's near impossible on your own I really

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think you do need to have a team and have a community
around you that can be supportive

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when you say is it feel good yes there's a lot of
good vibes as well but the reality of it is

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it's really tough it's just tough and gruelling physically
financially you know a lot of people

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like I paid my price personally and like I wouldn't
change it but it has been hard and it's

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AC/DC if you want to be on stage and screen look out
it's tough and mean it's that's true because

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it's competitive and it's also there's only there's
so much music uploaded these days and I'm

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very little of a play very little of it cuts through
and everyone wants to be the person that

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cuts through there's an industry that makes a lot of
money like it's a pretty large percentage of our

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gross domestic products the amount of money that the
whole music industry makes I think the arts

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industry is something like 4.6% of our GDP yeah right
yeah um and music is a large portion of that

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so it does it's scarce on the ground it's like there's
not a lot of there's not a lot of time in

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the spotlight you know like there's not a lot of um there's
a lot of energy that like keep it all going

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so it's everyone has to fight for it but I think
what that does is it makes Australia know it's

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truly tough yeah that's good like you can't you're
not going to get away with it if you're not

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because there's going to be another great band playing
the next night I thought with the next

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band to be able to put out records at the same time
so without without providing the space for

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that to kind of bring the community here nothing that's
um he's he's like incubating new music for

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that's going to be coming out that we might be listening
to in 20 years from now yeah well we

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just don't know do we I mean there's so much there's
so much wealth of content online and

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everybody it's it's most people's first port of call we
hear more and more people nobody has televisions

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anymore they're using their phones or their laptops
or whatever because it's all about streaming and

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all that kind of thing but um I think one thing
that Australia continues to embrace even with

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gentrification is live venues you know there's struggles
I mean I'm I've got a bit of history

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in Melbourne so you know we we know about you know
the struggles of the espion over the years and

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places like the tote which is currently going through
a challenging calling what at the moment

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challenging time in Collingwood but if it's not for
you know there's always something to be said

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for the live experience isn't there George it's not
just music's beautiful in all its in all its

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means and and online and through headphones is great
but there's something about a live performance

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that you can't get through a device is there a
challenge for musicians because uh you know

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if you record music or if you make visual
art you can just be at home

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and your work is off doing its thing without you
whereas uh if you want to if you want to

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you have to play music you have to be there where
the people are you can't just be sitting out

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at home or what do you have to you have to go out
and stay up late and have party and things

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yeah now yeah well there's parties yeah no
there's parties isn't there yeah um

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we have to behave ourselves here
in this forum but um I think

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can you bring your memory right right back to that
first first time you decided to put yourself

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out there and put yourself on stage in front of
an audience and what that was like was it

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adrenaline was it butterflies was
it a combination of the two

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I can't I can't I can't know I don't know when I
was when I was really young and still learning

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how to play guitar there's I remember there was
like a little thing that I had to do where I

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I played the the start of the song
missed most of the song and just

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what happened to you I um I had actually my the the
moment that I realized that you could you could

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have music could be something you do for a living I
didn't really realize at the time I was actually

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in Canberra I was in the Civic for work experience in
nine I think it wasn't 14 I had and I was away

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from my family so I was staying with a friend who
was an architect and my dad wanted me to be an

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architect so I was I was there anyway I'd spend all
my money you gave me like 20 bucks which was a

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lot of money for for a 14 year old I think about 1985
or I remember before or something um and I'd

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spend it all on music so I couldn't have thought the
latest talking heads out or whatever it was that

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I did and I ran out of money and I was hungry and
I had my car with me and I was like I'm really

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00:31:25.120 --> 00:31:30.560
I'm starving I need to eat so I actually went and busked
in Civic no license writing and I was playing

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Johnny Diesel and the injectors don't need love I remember
exactly what it was and I got five bucks

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in my guitar case and that was enough for me to get
like a pie and a dream and there was this kind

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of this moment happened where I was like hang on a
second I was there for work experience but it

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wasn't the job that I was there and I was I think that
might have been the moment I didn't want to

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I still when I'm playing though what the hell am
I doing here why am I why am I doing I thought

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that I have this then when I get on stage and I play
it's like oh this feels good I feel I think

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this feels right and I and I but there's always that
thing before I go on stage every single time

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I'm like what am I doing here why is this why is
this cool and then when I play that there's a

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thing pathos I'm fascinated with play so pathos
because I've also so another band I play with

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the spy versus spy they were my I remember them
but I'm managed by the same guy that

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00:32:32.560 --> 00:32:38.880
managed me not all um Gary Morris and um but they
were like they were never on countdown

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uh like the music was introduced to me by friends
that I was playing the band with

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and we used to cover their songs and I was really
inspired by this band because they had these

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music as a bit of a social tool a lot of social commentary
like don't tear it down they're talking

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about preserving um old architecture how dang it but
it was like but it was it made it cool but it

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was awesome um anyway this is forward 20 years I got
a call from their manager and said they needed

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a new lead singer they knew that I was working with
real person and they asked me to play for them

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and I'm touring Brazil with them twice and playing in
front of I think it was about 10,000 people in

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uh in Rio de Janeiro with everyone because the spy
versus spy are massive in Brazil they're huge

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we play on the radio all the time and I was kind of
like the caretaker I wasn't the band I was just

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00:33:31.680 --> 00:33:37.920
but I'm a fan so I wanted to play like the fans
would want to hear you know and doing that in

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Brazil in front of 10,000 people and when you're talking
about having feeling good there's something

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that happens when you've got 10,000 people singing what
you're singing back at you that I've got to say

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is the best drug I've ever had it is totally addictive
it is um it's got a really nice clean

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00:33:57.360 --> 00:34:04.880
come down and no you know it's it is it is and then
part of it I think is also addictive like it

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is it is definitely a dopamine spike or something I don't
know if it's love to me like that's probably

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00:34:11.120 --> 00:34:19.600
the but intense um and that is uh that was a rule because
I having you know driven to the gig set up

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my own pa played in the front bar of some place out in
the country on my way to like Adelaide or Perth

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wherever it was to do my gig you know with my family
as well a lot of the time they um all the

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rock and roll stories of like bountiful writers and
you know after parties and that sort of thing

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00:34:36.720 --> 00:34:42.960
and all the shenanigans that went on with that all just
seemed like like like a myth to me it's like

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that's not how it is it's actually just really hard
work it takes a bit of time and I don't make

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00:34:47.280 --> 00:34:54.400
keeps of money and it's risky and um but but in
Brazil I got a little glimpse of that 80s uh

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00:34:54.400 --> 00:35:02.400
hedonistic kind of celebration of rock and roll and
I'm I feel privileged that I got to just witness

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that for a minute I don't think I would survive long
if that was my day if that's what it was like

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00:35:09.520 --> 00:35:14.400
now um because basically what I'm doing now is running
a really small cottage industry business

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still selling CDs out the back of my van metaphorically
now it's just online yeah yeah but

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I it was to experience that and what I have also done
like plates for um Katie Griffin at a packed

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00:35:27.520 --> 00:35:34.880
Enmore theater and you know I have had some pretty
amazing moments and it is what kind of

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inspires me to work through the the hard times when
you're playing when you're doing a door deal

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in like somewhere like Geraldton or Melbourne
and no one knows me by five

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I've spent $300 on petrol just to get there and you
know that's that's the reality of it but to me

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it all feels like a little bit like tests if you want
to if you want to kind of move on to the next

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thing you've got to you've got to prove it you got
to prove you really want it and you just have to

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you do have to really want it and yeah um that's kind
of I think what the people on the walls here

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00:36:10.320 --> 00:36:15.280
kind of inspired me like they worked hard the story
of the divinals is a really amazing story

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how hard they worked and how far they went and never
quite you know they were the next big thing

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00:36:22.560 --> 00:36:28.080
and it didn't they put out their their last album
it was like they finally got that know

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00:36:28.080 --> 00:36:34.160
who I mean geez they made some great music geez they've
got a lot of great inspiration for other

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00:36:34.160 --> 00:36:40.480
musicians and what they did is amazing but I feel
like having sort of studied their story a bit I

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think they always felt like a bit disappointed uh
Rick Rosman who was the bass player in the band

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00:36:44.640 --> 00:36:50.960
I knew quite well and there's that that sense of like
it was never quite enough and I think a lot

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of musicians feel that that they kind of no matter how
hard they work or where they get to it's like

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you're always kind of aspiring for more um uh
Colin Hayley from Men at Work just looking

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00:37:04.000 --> 00:37:09.520
his photo over there yeah he recently received a Ted
Albert award at the APRAs for a contribution

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00:37:09.520 --> 00:37:14.640
he did that's right yeah and after playing at
the closing ceremony of the Olympics and

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down under being his global hit he spent the last 15
years traveling around with him and an acoustic

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00:37:20.240 --> 00:37:27.520
guitar playing gigs to you know it's very small
groups but he does it and he still provides a

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lot of joy and he's happy with that like he is still
enjoying he still loves it and he's still

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his music is still speaking speaking to people because
of that yeah no you're absolutely right

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now do you know what I reckon that is a really great
opportunity for us to talk about a recent

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really interesting gig that you had where sort of the
arts collided and that was the opening night

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of the exhibition right in this room that we're
sitting in at the moment tell us a little bit

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about you um rocking up the end of the room there with
a bit of acoustic action and you were taking

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requests from the audience weren't you? Well so
they said they wanted a live thing uh the uh

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Rihanna at the at the art gallery who's the reason
we're all here so thank you for for bringing us

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their current visitors here into this forum she
said she wanted to put a gig on and something

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that reflected pub rock then it was going to rain
so we had to change everything last minute

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because we were going to go out in the courtyard here
this beautiful courtyard but we couldn't do

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that and my inspiration was to be like not be me like
just to be a generic 80s band that was rocking

377
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up and doing their thing you know with all the
bravado and so it's kind of in character

378
00:38:46.480 --> 00:38:54.240
with you know I love that thing of the the artist
who's like playing to five people but

379
00:38:54.240 --> 00:38:59.120
they're still acting the rock star you know like still
in character in a way I've always um I've

380
00:38:59.120 --> 00:39:05.760
always found that really interesting and fun in
a way so I kind of uh I took on this person

381
00:39:05.760 --> 00:39:12.320
like I said I study I study Australian music
all the time I have a radio show

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00:39:12.320 --> 00:39:17.120
on local community radio and I spend two hours just
playing the music of one band and I research

383
00:39:17.120 --> 00:39:23.600
their story and I've learned so much from doing that
that's just so we came in with like choir

384
00:39:23.600 --> 00:39:29.920
boys and we did some like classic Aus-rock covers and
then I got people to point out of an artist on

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the wall and ask for a question that band and I managed
I think I managed I think it was one or

386
00:39:35.200 --> 00:39:39.440
two I didn't know but I managed to just like having
a lifetime of being heckled I managed to just

387
00:39:39.440 --> 00:39:45.440
like sidestep that and uh but the easy beats we played
yeah she's so fine so I asked for an excess

388
00:39:45.440 --> 00:39:51.600
and played never terrace apart and I had with me Sid
Green on drums who's played he plays with the

389
00:39:52.160 --> 00:39:56.400
1920 they're a really big band that just played blues
first at the moment he's now playing with

390
00:39:56.400 --> 00:40:02.080
Kasey Chambers he's also played with Bayota who's like
one of my favorite Australian artists one of

391
00:40:02.080 --> 00:40:08.640
the most underrated Australian users I reckon and then
Neil Beaver who has played with the Atlantics

392
00:40:08.640 --> 00:40:15.120
to play with the Spy vs Spy which is how we met both
musicians are really highly respect and I've

393
00:40:15.120 --> 00:40:20.960
learned a lot from both of those guys too so yeah
to join them and just do this kind of impromptu

394
00:40:20.960 --> 00:40:26.240
things zero rehearsal uh and just that's why I like
working with these guys because I can just kind

395
00:40:26.240 --> 00:40:30.640
of be in the moment and pick up wherever you're at
and they just know what you're going to do next

396
00:40:30.640 --> 00:40:37.520
oh well that sounds fantastic look I think I've got
to let you guys get on with your day and I want

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00:40:37.520 --> 00:40:43.200
to thank you so much for joining us for me with us
putting the exhibition together in Canberra at

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the National Portrait Gallery in 2020 and then we
sent it on the road it's been on tour and it's

399
00:40:49.040 --> 00:40:54.720
now in Nour and it's been so great to talk to you guys
and I love that what is it is it triple you

400
00:40:54.720 --> 00:41:00.320
I mean you've got your radio program on triple
you Paul and with L horses it's almost like

401
00:41:00.320 --> 00:41:06.880
Nour is just one more chapter in the story isn't
it in terms of now it's actually I reckon is a

402
00:41:06.880 --> 00:41:11.360
really happening place and a lot of it's got to do
with George and and what he's doing there and if

403
00:41:11.360 --> 00:41:17.840
you that experiencing that that vibe that George
is talking about that that the energy that is

404
00:41:17.840 --> 00:41:23.280
of a crowd if you want to experience the real thing
like I would highly recommend coming to Nour

405
00:41:23.280 --> 00:41:30.400
it now has really good coffee and it has L horses here
hooking whatever's playing whatever weekend

406
00:41:30.400 --> 00:41:36.560
you can get down here and and experience experience
that because I think what George is doing is like

407
00:41:36.560 --> 00:41:42.240
it's the real McCoy and it's definitely it's a
it's something everyone has to experience in

408
00:41:42.240 --> 00:41:48.240
lifetimes to bring kids because it's all ages too right
kids can come on yeah yeah so kids are free

409
00:41:48.240 --> 00:41:53.760
kids are free oh that's even better isn't it yeah
get them in young get them in young get it

410
00:41:53.760 --> 00:41:59.440
educate educate them so I'm doing a runner shows
this week with our some record label doing

411
00:41:59.440 --> 00:42:05.040
finding film wars on Saturday it's like a family gig
but I've got seven bands all playing my band

412
00:42:05.040 --> 00:42:09.120
as well as a bunch of artists I'm working with and
I've got a tenured bow and her band swamp days

413
00:42:09.120 --> 00:42:15.680
is headlining yeah we do server and what camp let's
know it Saturday finding film wars and then

414
00:42:15.680 --> 00:42:22.640
the Tomerong School of Arts on Sunday it's a yeah
it's all kids free the Tomerong School of Arts

415
00:42:22.640 --> 00:42:27.840
is a great venue too it's like it's like a bush hall
and it still has that that community vibe

416
00:42:27.840 --> 00:42:32.880
about it which is great so that sounds great now
listen I just want to give a shout out to Anna

417
00:42:32.880 --> 00:42:38.160
who has been reminiscing she describes herself as
a geriatric millennial but she's saying the

418
00:42:38.160 --> 00:42:46.480
first gig she remembers is Body Jar at the Marlin in
Ulladulla in 1999 so right at the 10th century

419
00:42:46.480 --> 00:42:52.480
oh and oh Bridget's back from Gadigal country fun in
the sun in Canberra in 1976 it was the Bay City

420
00:42:52.480 --> 00:43:00.720
Rollers bloody hell not only but that would have been
an awesome gig listen guys thank you so much

421
00:43:00.720 --> 00:43:06.000
and thank you to Rayma who is my counterpart at Shoalhaven
it's this has been such a lovely chat

422
00:43:06.000 --> 00:43:11.120
and I know we could just keep going and going but
enjoy the exhibition and we'll look forward to

423
00:43:11.120 --> 00:43:17.600
catching up with you next time we're in
town thanks for having us see you

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