- Birds of Tokyo
Dark. Dystopic. Cinematic. In equal parts a radical departure and a return to their epic rock roots. It’s fitting that Birds of Tokyo have called their new album, Brace.
Over recent years highly melodic radio staples like ‘Plans’, ‘Wild At Heart’, ‘Lanterns’, ‘This Fire’ and ‘Anchor’ have brought Birds of Tokyo multiple ARIA and APRA Awards plus a string of platinum plaques making them the country’s most popular contemporary rock band. But this new album sees them torching that formula and embracing a heavier, more urgent attitude; making good on the title track’s tidal wave promise to “destroy it all”.
The relentless ten song set was produced with Canadian David Bottrill who has helmed releases for Tool, Muse and Silverchair. Together they’ve created a bold and uncompromising piece of work.
According to the band Brace was created to be played live – hence the opening lines of the opening track that invite the listener to “come take a seat, enjoy the show”. This is why they are unveiling it with a gig rather than an online stream or suchlike. It’s a muscular but deeply layered journey that’s deliberately conceived to be shared physically – not just digitally.
It should be no surprise that these songs were written during the rise of Trump and the return of Hanson. It’s not an overtly political album but there’s an end-of-days mood pervading each of these tunes and it makes for an unusually cohesive body of work. From the brutal opening riffage of ‘Harlequins’ it’s clear that the band has a point to prove and all is not well. This outlook is most explicit on songs like ‘Empire’ where crumbling walls are torn down and on the closer ‘Mercy Arms’ which literally tracks the final moments of life support. Along the way ‘Discoloured’ (featuring Hayley Mary from The Jezabels) embraces life on the ledge; awash in a sea of paranoia and dislocation. Even the mid-album moment which initially seems like a respite – ‘Pilot’ – grows gradually into a climax of “watching it all fall apart to be new again”.
- Cold Chisel
Beginning in Adelaide in 1973, it wasn’t until 1975 that Cold Chisel consolidated into its definitive line-up: Jimmy Barnes (vocals): born in Glasgow, Scotland, Ian Moss (guitar/vocals): born Alice Springs, Northern Territory, Steve Prestwich (drums): born in Liverpool, UK, Phil Small (bass): born Adelaide and Don Walker (piano): born in Ayr, Queensland.
Cold Chisel moved to Sydney via Melbourne in 1976. Impassioned hard rock covers got the band gigs while Don Walker developed original songs. He zeroed in on the hopes, fears, anger and alienation, as well as the humour of working and student under-classes. Appreciative Cold Chisel armies formed. They followed the band from venue to venue, appearing just before Cold Chisel played and leaving directly afterwards. In late 1977 WEA (now Warner Music) signed the band to a modest contract, just in case there was a hit record somewhere in the mayhem.
LIGHT A LONG FUSE: 1978-9
The first two albums, Cold Chisel and Breakfast at Sweethearts presented the live classics ‘Khe Sanh’, ‘Home and Broken Hearted’, ‘One Long Day’, ‘Merry-Go-Round’, ‘Shipping Steel’, ‘Breakfast at Sweethearts’ and ‘Goodbye (Astrid Goodbye)’. But the band wasn’t happy with either album. Cold Chisel suffered from studio debutante nerves. Production difficulties on Breakfast left a bitter aftertaste. ‘Khe Sanh’, originally banned from commercial radio for its lyric content subsequently became Australia’s ‘unofficial national anthem’ and the Australian cricket team’s victory song. In late 1979, they found studio satisfaction recording ‘Choirgirl’ with young producer/engineer Mark Opitz.
#1 WITH A BULLET: 1980/82
The 1980 Top 10 single, ‘Cheap Wine’, previewed the album East, where all band members contributed songs. East peaked at #2 then stayed in the Top 10 for 26 weeks and in the ARIA Album Chart for a record 63 weeks. ‘Choirgirl’, ‘Cheap Wine’, ‘Star Hotel’, ‘Rising Sun’, ‘Standing on the Outside’ and ‘Four Walls’ became embedded into our national identity. Live album Swingshift hit #1 in 1981. Two months later the band toured America, with live performances rattling headliners including Joe Walsh and Cheap Trick. Back in Australia, the band recorded Circus Animals, which was led-out by Barnes’ vehement ‘You Got Nothing I Want’. Walker’s songwriting advanced into the compelling, spleen-venting rock of ‘Taipan’, ‘Houndog’ and ‘Letter to Alan’. The melodic uplift of Prestwich’s ‘Forever Now’ and ‘When the War is Over’ and Moss’ ‘Bow River’ became radio staples. ‘Forever Now’ made #4, Cold Chisel’s only Top 5 single.
UP & DOWN: 1983
1983 began with a triumphant headlining performance at the Narara Festival before a jubilant crowd of 30,000, but by August the band had begun to splinter, with Prestwich the first to go and tensions between the other members reaching breaking point. Cold Chisel decided it was ‘time gentlemen please’ and recalled Prestwich to complete a final album and 26-date arena tour, The Last Stand. The album, Twentieth Century, added the title track, ‘Saturday Night’, ‘Painted Doll’, ‘No Sense’, ‘Hold Me Tight’ and ‘Flame Trees’ to the Cold Chisel paradigm. The album debuted #1 early 1984.
CHISEL BY CHOICE: 1984/2010
Barnes hit the ground running with 1984’s Bodyswerve, the first of eight consecutive #1 albums. Walker, Moss, Prestwich and Small took time to reaffirm themselves. In 1989, Walker formed Catfish and released Unlimited Address while Moss debuted #1 with the album Matchbook, the majority of songs written by Walker. Prestwich joined Little River Band for a period and developed his songwriting. Small forsook music for family life. ‘I’d been in the best band in the world,’ he said. But radio and record buyers kept Cold Chisel as present tense. As Barnes’s solo output hit sales of 3 million, so did the Chisel catalogue. The band agreed to reunite in 1995. In 1998, after traversing many speed humps, a new album, The Last Wave of Summer, debuted #1 with 100,000 presales. The title track, ‘Yakuza Girls’, ‘Way Down’ and ‘Things I Love in You’ stood tall next to the band’s earlier work. The triumphant Last Wave arena tour drew 150,000. Lingering disputes within the band were resolved in 2003/4 by 16 Ringside shows that exhilarated band and audiences. ‘It’s been fun darlings,’ said Barnes, ‘Let’s do it again sometime.’ One-off performances ensured: In 2005, Cold Chisel headlined the Melbourne benefit for Boxing Day tsunami victims. In December 2009, Cold Chisel played to 50,000 at the Sydney V8 Supercars event and in October 2010 the band headlined the Deniliquin Ute Muster to 25,000.
FOREVER NOW, 2011… AND BEYOND
The most recent chapter in Cold Chisel’s compelling story began in 2010 when the band secretly started recording new material. Jimmy Barnes, Ian Moss, Don Walker, Steve Prestwich and Phil Small got together and wrote and recorded a handful of songs and realised that the magic was still there. With plans to continue performing and recording, the band was gutted in January 2011 when drummer Steve Prestwich passed away suddenly as a result of complications from a brain tumour. With Steve’s performances and some of his songs captured on tape, the band ultimately felt compelled to continue with the plans they had begun. Recording continued through May and June with drummer Charley Drayton.
In July 2011, the band rolled out the biggest archival release in Australian music history, remastering their entire catalogue and unearthing 56 new or rare live and studio recordings. It was the first time ever that the band had released their music digitally and it saw 8 of their albums hit the ARIA Top 100 Albums chart and numerous songs hit the singles chart. In a strange twist of fate, almost 35 years after it was first released, ‘Khe Sanh’ hit the Australian Top 40 for the first time.
Cold Chisel then announced their most extensive tour in 30 years and when tickets for the Light The Nitro tour were released in early August, the band was overwhelmed by the massive public reaction, selling over 160,000 tickets in the first day and ultimately going on to sell over 285,000 tickets across Australia and New Zealand.
But the stats are just the background… when the band stepped onstage for the first of the shows of the Light The Nitro tour the music did the talking. Across the country, the tour was met with unanimous raves reviews from the critics and the public alike. Meanwhile their compilation album, The Best of Cold Chisel – All For You, which features 2 of their new recordings, debuted at #2 on the national ARIA Albums chart and is officially double platinum.
In April 2012 Cold Chisel released its 7th studio album, No Plans. The album featured 13 songs drawn from recording sessions in 2010/2011 and includes the final recorded performances by drummer Steve Prestwich. No Plans, which debuted at #2 on the national ARIA chart, was the band’s first studio album in 14 years.
In 2015, Cold Chisel announced their One Night Stand tour of Australia in support of their 8th studio album, The Perfect Crime, which will kick off with a special mini-concert at the NRL Grand Final – and conclude with two special shows under the banner of ‘The Last Stand of Sydney’s entertainment centre’ to mark the closing of the Qantas Credit Union Arena (formerly known as the Entertainment Centre). The Perfect Crime is more diverse than any previous Cold Chisel work, with the band remarking that the record is the most rock & roll album they’ve ever made.
- Dustin Tebbutt
Dustin Tebbutt’s acclaimed debut solo recording – “The Breach” – set blogs and Triple J alight on release and his story of creating the bleak epic during the depths of a Scandinavian winter captured imaginations everywhere.
Alongside glowing reviews and a quickly growing fan base, Dustin’s music boldly gained momentum from it’s humble and completely organic start, a strong sign that his textured blend of carefully crafted sounds and lyrics had the weight to really stir the emotions.
In 2015, a seven-song mini-album entitled ‘Home’ by the bespectacled Australian singer/songwriter appropriately enough had all its songs written, recorded, produced and performed at home by Dustin. Not surprisingly there was a mood of solitary contemplation running right through this work. Much of it was captured in a dark bedroom during the wee small hours and it showed. The release was accompanied by a national tour in the largest venues he’d ever played as word of mouth spread about his distinctly evocative music.
Dustin released his debut album ‘First Light’ in August 2016 and again, the artist wrote, produced and recorded all tracks himself with only occasional help from a few friends. The album was a marked creative progression, emerging from the dawn of a romance, the record was about falling in love, then getting up and seeing the world in a whole new way.
‘First Light’ helped see Dustin’smonthly Spotify listeners increase to 1.85 million – with over 8.1 million listeners streaming a staggering 270 years worth of Dustin’s songs in the past year.
In early 2017, Dustin embarked on a sold-out, eight-date Winter tour of the UK and Europe. Dustin also released ‘Atlas In Your Eye’ – a beautifully crafted new song for the Australian film adaptation of the award-winning iconic Australian novel by Craig Silvery, ‘Jasper Jones’.
Dustin has just announced he will tour Australia with Lisa Mitchell in June this year. An intrinsically collaborative affair, the Distant Call Tour will see Dustin and Lisa perform together for the first time, sharing the same band and combining their collective energy with a carefully curated set.
Songwriter, producer and multi-instrumentalist Gotye is the music-making mantle of one-man band, Wally de Backer. A few years ago his indie album, Like Drawing Blood, became an underground classic and saw Gotye collect the 2007 ARIA Award for Best Male Artist.
The multi-platinum follow up – Making Mirrors – sold over 2 million copies worldwide and was a Top 10 album in over 25 countries. It won multiple ARIA Awards and spawned the hit single ‘Somebody That I Used To Know’ (feat. Kimbra). The single has sold nearly 15 million copies worldwide, has been viewed over 650 million times, and was the most streamed song globally on Spotify in 2013. It was also the #1 iTunes single in over 50 countries and spent eight consecutive weeks atop the Billboard Hot 100.
The success of Making Mirrors led to sold out shows around the world in major venues including Radio City Music Hall in New York and the Hammersmith Apollo in London. After a mammoth 2012, Gotye brought his world tour to a close performing a handful of special homecoming shows back in Australia throughout December.
To cap off an incredible 18 months, Wally de Backer was awarded three Grammys for Best Alternative Music Album, Best Pop Duo/Group Performance and the prestigious Record of the Year at the 2013 Grammy Awards ceremony in L.A.
- Midnight Oil
Midnight Oil is more than just a rock ‘n’ roll band. From the northern beaches of Sydney to the streets of Manhattan, they have stopped traffic, inflamed passions, inspired fans, and broken new ground.
Seeing Midnight Oil in full flight is to experience the transcendent, kinetic power of live rock ‘n’ roll. They leave you inspired to live life more passionately and to Get Involved.
Rob Hirst (drums, vocals) and Jim Moginie (guitars, keys & vocals) started making music together at school in 1972. They gradually evolved into Midnight Oil, with singer Peter Garrett joining in 1975 and Martin Rotsey (guitar), coming on board in the following year. Founding bass player, Andrew “Bear” James, was replaced by Peter “Giffo” Gifford from 1979 until 1987 when Bones Hillman joined the band.
Before they took it global, Midnight Oil’s early spiritual home was the Royal Antler Hotel, Narrabeen on Sydney’s northern beaches. It was there that ‘the Oils’ fan base swelled from a handful to a thousand – in a space intended for half that number. Between 1976 and the very early 80’s, these five young men played out this blistering ritual almost 1000 times. At all of these shows the distance and the difference between audience and band was indistinguishable. From their earliest days, Midnight Oil was writing songs about who and what they saw around them.
Their earliest releases (1978’s self-titled album, 1979’s “Head Injuries” and 1981’s “Place Without A Postcard” plus their “Bird Noise” EP) all hail from this frenzied post-punk era. The legendary Australian pub rock scene was at its zenith and searing classics like “Bus To Bondi”, “Cold Cold Change”, “Back On The Borderline”, “Stand In Line” and “Don’t Wanna Be The One” left thousands of sweat drenched punters staggering out of suburban beer barns night after night. Throughout the band wrote their own rules; refusing to appear on popular TV shows like Countdown and shunning all the ‘music biz’ norms. At the same time, Midnight Oil was becoming known for their support of environmental and social justice causes. The singular trail that they blazed set the tone for everything that followed.
In 1982, their fourth album “10, 9, 8, 7, 6, 5, 4, 3, 2, 1” turned everything on its head. They deconstructed their sound and reassembled it into complex agitrock anthems like “US Forces” and “Power and the Passion”. The lyrics captured a band who would not be boxed in by geography, precedent, corporations, government or the expectations of anyone. As Midnight Oil expanded their creative ambitions they also expanded their audience. The album was a monster success in Australia, staying in the charts for more than 200 weeks. It was also popular on US college radio and in pockets of Europe.
“Red Sails in the Sunset” came next. Recorded in Japan it took sonic experimentation and polemics to new and extreme levels. It was released in 1983 against the backdrop of singer Peter Garrett making a run for the Australian Senate on a Nuclear Disarmament platform. While Garrett focused on ‘real’ politics, Red Sails saw drummer Rob Hirst coming to the fore, assuming lead vocal duties on “When The Generals Talk” and “Kosciusko”.
In 1985, Midnight Oil performed an unforgettable live set on Sydney’s Me-mel (Goat Island) to celebrate the 10th birthday of music station 2JJ before reacting to the experimental extremes of their two previous albums with the fierce, streamlined EP “Species Deceases”, featuring enduring fan favourites like “Hercules” and “Progress” this was a reset that suggested a new beginning.
That new beginning happened in 1986 when Midnight Oil was invited to tour through some of Australia’s most remote communities with legendary Aboriginal group, the Warumpi Band. The ‘Blackfella/Whitefella’ tour was a transformative experience that exposed the band to the austere beauty of the desert landscape, the inspiring creativity of the indigenous people and the deplorable conditions in which so many of those people existed.
The band returned to Sydney and began work on their global breakthrough “Diesel and Dust”. The singles lifted from that album like “The Dead Heart”, “Put Down That Weapon”, “Dreamworld” and, of course, “Beds Are Burning” brought Midnight Oil to new audiences around the globe. The band toured internationally through ‘87 and ’88 driving the album to huge critical and commercial success. It ultimately sold more than 6 million copies and earned them a Grammy nomination although the band declined to attend the ceremony in order to be part of a political event at home.
Among numerous other honours, “Beds Are Burning” is included in the U.S. Rock ‘n’ Roll Hall of Fame as one of the “500 Songs That Shaped Rock ‘n’ Roll. “Diesel & Dust” was recently listed at #1 in the definitive book “100 Best Australian Albums”.
1990’s “Blue Sky Mining” saw tracks like “One Country,” “Blue Sky Mine,” and “Forgotten Years” bring an international orientation to the band’s songwriting without losing any of their characteristically Australian voice. While touring the US after the album’s release, the band drew attention to the environmental disaster caused by an Exxon oil tanker that ran aground in Alaska. They hired a flatbed truck and played a blistering guerilla set outside the Exxon offices in New York, stopping traffic and putting the issue on front pages worldwide. “Blue Sky Mining” was another globally successful album, charting top 5 in many parts of Europe and top 20 in the U.S. Back home it won the band five ARIA Awards and was certified five times platinum.
Midnight Oil’s creative evolution continued with 1993’s “Earth and Sun and Moon” with its emphasis on melody, textures and storytelling. They toured the world on the WOMAD festival and were one of the first international artists to play in South Africa after Nelson Mandela came to power. These new experiences influenced 1996’s atmospheric album, “Breathe” which they recorded in Sydney and New Orleans. Then, in typically perverse fashion, the band veered away from these warm, dark, ambient textures to create arguably their most angry and confronting release – 1998’s “Redneck Wonderland”. In Australia, anti-migrant and anti-Aboriginal sentiment was being inflamed for political gain and Midnight Oil’s visceral response pulled no punches.
In 2000 the band performed to an audience of over a billion people at the closing ceremony of the Sydney Olympic Games revealing clothing emblazoned with the word, ‘SORRY’; thereby provoking global discussion about the apology due to stolen generations of Aboriginal children forcibly removed from their families between the 1890’s and 1970’s. That year they also recorded the excellent “Say Your Prayers”, an anthem for the East Timorese, which appeared on a benefit release and was stripped onto their 11th and final studio album, “Capricornia” Aptly enough, this swag of songs drew heavily from their deep affection and appreciation of their Australian homeland.
In December 2002 Peter Garrett left the band to pursue a full time political career. He was elected in 2004 as a federal Member of Parliament where he would eventually serve as a cabinet Minister in various portfolios including School Education and Environment. Nonetheless in 2005 the Oils regrouped to headline the “Waveaid” tsunami benefit concert for over 50,000 people at the Sydney Cricket Ground. In 2009 the band topped a massive bill at “Sound Relief” at the Melbourne Cricket Ground where over 80,000 fans joined them in raising millions of dollars for victims of Australian fires and floods. Apart from these two iconic stadium appearances for charity (and a handful of intimate ‘warmup’ gigs immediately prior to each of them) the members played together in The Break and separately in other bands for over a decade. Then in May 2016 they made headlines with a surprise announcement via Facebook that they would be “getting back together for some gigs next year“.
On February 17, 2017 (Australian time) the band held a press conference on Sydney Harbour at which they announced that they would be touring the world from April through November of this year. The tour will be accompanied by the release of three new box sets; one will contain all their existing LP’s and EP’s, another will contain all their existing CD’s and videos plus there will be a new 4 CD/8DVD treasure trove of previously unreleased and rare material called “The Overflow Tank”.
As the tour name implies, “The Great Circle” will begin with an April pub gig in Sydney and then loop around Brazil, North America, Europe and New Zealand before climaxing with a lap of Australia. These circles of both the globe and their homeland will close with one more Sydney show on Remembrance Day.
Of course “The Great Circle” will see the band drawing attention to issues affecting the planet, including collaborating with Greenpeace on crucial issues like dangerous climate change.
The tour name also has a further meaning. Sailors and airmen use “the great circle” to navigate across oceans because the planet’s curvature means the shortest distance between two points is not usually a straight line. It’s appropriate for this band who have always been deeply engaged with the world around them but whose career path has never been obvious or linear.
Midnight Oil is still more than just a rock ‘n’ roll band and in 2017 they will bring things back to where they all began. The circle remains unbroken.
- Missy Higgins
Australian singer/songwriter Missy Higgins has enjoyed phenomenal success with her irresistible melodies and ‘arrow through the heart’ lyrics, delivered by a striking voice that clearly means it.
After touring the globe with her undeniable songs and unforgettable live performances, Missy’s highly acclaimed albums The Sound Of White (Album Of The Year featuring the hit singles “Scar” and “Ten Days”), On A Clear Night (featuring North American top 20 airplay hit “Where I Stood” and “Steer”) and The Ol’ Razzle Dazzle (#1 album featuring “Everyone’s Waiting” and “Hello Hello”) have sold over two millions albums and singles globally.
Missy has appeared on the cover of Australia’s Rolling Stone magazine twice and is a three-time chart topper and multiple ARIA Award winner (Australia’s Grammys).
After seven years of touring and recording, Missy quietly took a break from music in 2009 to pursue other interests including a course in indigenous studies. She also made her acting debut in Australian film, ‘Bran Nue Dae’.
In 2011, Missy’s love of music lead her back to the studio when she set up in Nashville to record her first new songs in five years with local producer Brad Jones and co-producer Butterfly Boucher. Those recordings became The Ol’ Razzle Dazzle, Missy’s third #1 studio album in her homeland which despite the five year wait, became the most acclaimed work of Missy’s extraordinary career.
The breakup album with a difference, chronicling the much loved singer’s estrangement – and eventual rapprochement – with music making, spent over three months in the Australian top 10 after its mid 2012 release and became Missy’s first release to make the Billboard 200 in America.
In September 2014, Missy released her fourth studio album OZ, an eclectic mix of Aussie cover versions also accompanied by a quirky book of related essays. The album received rave reviews on release and in the accompanying OZ book, Missy uses each of the recordings as the starting point for a sprawling series of essays; reflecting on life, love, music and much more.
Missy recently released ‘Oh Canada’ with 100% of net profits going to the Asylum Seeker Resource Center. The song was inspired by the tragic images of an infant Syrian refugee named Alan Kurdi being carried from the water by a soldier. A powerful animated video for ‘Oh Canada’, created in partnership with Caritas and World Vision, accumulated over 1 million views within a week of it’s release. In mid-2016, Missy also sold out a series of shows as part of a 12-date US Tour – her first North American gigs in four years.
- Paul Mac
Paul Mac is one of the leading figures in Australian electronic music. He is a composer, songwriter, musician and producer. Paul is a conservatorium graduate and a multi ARIA Award winner for his work with underground dance pioneers Itch-E & Scratch-E and for his own solo work. The list of artists with whom he’s collaborated over recent years include Sia, Kylie, Daniel Johns, LCD Soundsystem and Troye Sivan.
Paul scores music for films (Kath & Kim, Sucker), TV (Good News Week) and theatre (Bangarra Theatre, Frank Woodley).
Credits for Paul’s remix duo, Stereogamous, include remixes for LCD Soundsystem, Sia, and Kylie and he has also released an album under the moniker, The Dissociatives, with Daniel Johns.
In addition to his multiple ARIA awards, Paul’s career highlights include Australian Dance Music Awards for Outstanding Contribution to Dance and Producer Of The Year. He has received an APRA Award, an MTV Award and been named Dance Artist Of The Year three times in Rolling Stone’s Readers Poll.
Paul is currently studying at the Sydney Conservatorium of Music doing a Doctor of Musical Arts in composition.
- Peter Garrett
- The Presets
The Presets are Julian Hamilton and Kim Moyes. The duo met while pursuing musical studies at the Sydney Conservatorium of Music. Discovering a mutual interest in contemporary music outside of their course, they joined the instrumental, experimental band Prop, and in 2003 formed the more techno, dance focussed duo The Presets.
The band became quickly recognised for their ability to fuse elements of dance music with an energy more akin to that of a rock’n’roll show. After signing with Modular Recordings in late 2003, the band released two EPs and an album Beams (2005).
In 2008 The Presets released the chart topping album Apocalypso, selling in excess of Triple Platinum sales in Australia and featuring four hit singles, including ‘My People’ – which became the longest charting single in Australian history. The Presets went on to win 5 ARIA awards (and 2 ARIA Artisan Awards) for the album in 2008, including Album of the Year, as well as the J Award and FBI SMAC Award for Album of The Year. They also shared the coveted Songwriter of The Year Award at the 2009 APRA Awards.
Pacifica was released in 2012, featuring Rolling Stone Magazine’s Song Of The Year, ‘Ghosts’. Pacifica was also nominated for an ARIA Award, shortlisted for the AMP Award, the J Award, and was Album of the Year in the Herald Sun and Daily Telegraph, and Electronic Album of the Year in the Sydney Morning Herald.
The Presets have been recognised worldwide for their dynamic live performances, playing hundreds of shows domestically and internationally, including key slots at renowned international music festivals such as Glastonbury, Coachella, Exit, Melt and Splendour In The Grass.
As individuals, Hamilton and Moyes have both collaborated with many other artists as songwriters, composers, producers and featured artists. Collectively they have remixed many prominent artists, as well as collaborating with Melbourne based contemporary dance company Chunky Move.
Silverchair are one of the most acclaimed and successful bands in Australian music history.
The group’s members were all born in the Newcastle surf suburb of Merewether. Singer/guitarist Daniel Johns and drummer Ben Gillies started making music together at primary school and schoolmate Chris Joannou later joined on bass. They got their big break in mid-1994 when they won a national demo competition conducted by SBS TV show Nomad and triple j.
Between 1994 and present day, Silverchair achieved phenomenal global success accumulating album sales in excess of six million across Frogstomp, Freak Show, Diorama, Neon Ballroom, and Young Modern, which became the fastest selling of their extraordinary career.
Silverchair have won 21 ARIA Awards – more than any other artist in history – nd they have enjoyed more #1 albums than any other Australian band. Daniel Johns is also the only person to ever win the prestigious APRA Songwriter Of The Year Award on three separate occasions.