Eleven Music

Formed in Perth in the early 2000’s, Birds of Tokyo have grown from independent roots to become one of Australia’s most popular contemporary rock bands.

Since their 2008 breakthrough Universes, all five of the group’s albums have reached the ARIA top 3 including two #1 hits: March Fires (2013) and Human Design (2021). Classic songs like “Good Lord”, “Plans”, “Lanterns”, “Two Of Us”, “Brace” and “Unbreakable” have all been top 10 airplay hits and more than seventy of their tracks have featured on Triple J, making them one of the National Youth Broadcaster’s three most played artists of this millennium. The band has also won the APRA Award for “Most Performed Rock/Alternative Work” on a record setting six separate occasions.

Epic live shows have always been at the core of their appeal. Birds Of Tokyo have played major festivals from Splendour In The Grass & Falls to Red Hot Summer and they have appeared as special guests for superstars like Muse, Midnight Oil, Cold Chisel, Incubus and Bon Jovi.  In recent years the band has toured across Australia with the country’s most prestigious Symphony Orchestras drawing unanimous critical acclaim and selling out three nights each at the Sydney Opera House and Melbourne’s Hamer Hall.

This band’s broad appeal and anthemic slew of songs-everybody-knows have made them a favourite for all of Australia’s major sporting events. They have headlined the F1 Grand Prix, V8 Supercars, the NRL State of Origin and the AFL Grand Final (twice!).

Most recently, Birds of Tokyo dropped its latest single Starlights, helping raise important focus on the work of the Starlight Children’s Foundation which grants wishes to kids experiencing serious illness. The song’s official music video features the artwork of more than 20 children receiving support from Starlight around Australia.

CLICK HERE for full Cold Chisel bio.

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 1.2 billion times on YouTube, 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.

Recently, Gotye won the Helpmann Award for Best Australian Contemporary Music Concert for his “Gotye Presents a Tribute to Jean-Jacques Perrey” show at the 2018 Sydney Festival, and is currently busy working away in his studio in New York City. 

Midnight Oil are 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, challenged the concepts of “business as usual” 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.

Everything about the band is uncompromising, but their greatest achievement is that they are, night after night and album after album, a great rock ‘n’ roll band. For all of the incredible growth, ambition and experimentation that Midnight Oil have evidenced, the sound and the fury and the spirit of their earliest recordings are still there over 40 years later.

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 1980 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.

The eponymous debut album, smartly nicknamed “The Blue Meanie” (equal parts a reference to the Beatles and the snarl of the sound), was released in 1978 and was a collection of primal, spiky rock ‘n’ roll. Like so many great debut albums it spoke directly about the milieu in which it was born (Sydney surf/suburbs culture) and was an in-studio approximation of their live set. The song “Run By Night” became an instant classic and despite receiving next to no commercial radio support, the album cracked the Australian Top 50. Midnight Oil was on its way.

A second album, “Head Injuries”, followed the next year featuring the singles “Cold Cold Change” and “Back on the Borderline” – the geography was a little broader, the subject matter a little more universal and the sound a little closer to their live energy.

Shortly after Head Injuries Andrew “Bear” James retired and the bass was picked up by Peter “Giffo” Gifford. Recalibrating their sound as they would do many times, the band’s new line-up released the 12″ “Bird Noises” EP (featuring “No Time For Games” and the sublime surf instrumental “Wedding Cake Island”).

Their ambitions growing, the band decamped to England to record the “Place Without A Postcard” album with legendary producer Glyn Johns (The Faces, The Who, The Rolling Stones). A dense, claustrophobic gem, “Place Without A Postcard” is arguably Midnight Oil’s first great album – defiantly articulating a broader Australian world view on tracks like “Armistice Day”, “Don’t Wanna Be The One” and the epic “Lucky Country”.

By the time “Place Without A Postcard” was released in 1981, the Australian pub rock scene was at its zenith. Suburban beer barns held 2,000 punters and the Oils were filling them nightly, creating rock ‘n’ roll chaos. Being an Oils fan wasn’t a part-time or passive experience.

Throughout all this 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. Recorded as the band lived on the breadline in London in the shadow of the nuclear arms race and produced by an enthusiastic, irreverent 21 year old Nick Launay, (PIL, Gang of 4), 10-1 is rock ‘n’ roll paranoia at its finest. They deconstructed their sound and reassembled it into complex agitrock anthems like “Power And The Passion” where drums play against drum machines while thick warm waves of acoustic guitar lay a bed for the immensely unsettling “US Forces”. 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 Australians charts in excess of 200 weeks. It was also popular on US college radio and across pockets of Europe – as the band expanded its ambitions it also expanded its reach.

“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 and loomed large on the charts through 1984 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 honour their commitment to 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 song writing 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 guerrilla 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 the band held a press conference on Sydney Harbour to announce that they would be playing shows around the world from April through November of that year. “The Great Circle” tour was accompanied by the release of three new box sets; one containing all their existing LP’s and EP’s, another containing all their existing CD’s and videos, plus a new 4 CD/8 DVD treasure trove of previously unreleased and rare material called “The Overflow Tank”.

As the tour name implied, “The Great Circle 2017” officially began with a surfside pub gig in Sydney and then looped around Brazil, North America, Europe and New Zealand before climaxing with a lap of Australia starting in the outback then heading around the coast . Over the course of those 7 months Midnight Oil played 77 gigs in 16 countries to over half a million fans. The shows shunned showbiz norms with the band rotating over 106 songs through their sets dropping apt cover versions and some surprise performances of whole albums to ensure every gig was truly unique.

Of course as “The Great Circle 2017” circumnavigated the globe it also drew attention to various issues affecting the planet. From a gig aboard Greenpeace flagship “Rainbow Warrior” in Rio De Janeiro’s harbour to an eco-friendly festival in the Czech Republic and Great Barrier Reef benefit shows in Cairns and Perth the tour saw Midnight Oil combining militance and music in their trademark manner.

The circle finally came to a close back where it all began – in their hometown where they played two epic shows. The venue? The Domain – Australia’s traditional home of political debate. The first date? November 11, known to some as Armistice Day.

Those who were there will never forget these climactic gigs. Thankfully they were recorded and filmed – and exactly a year later they were released as a movie and album called “Armistice Day: Live At The Domain, Sydney”, which debuted at #1 on the ARIA DVD Charts, and top 5 on the ARIA Album Charts.

In 2019, Midnight Oil headlined the world’s most remote music festival, the Big Red Bash – marking their first major Australian music festival appearance in 22 years. The band also performed a string of European shows for Summer in the Northern Hemisphere.

2020 saw the band release their first new music in nearly two decades – “The Makarrata Project”. All songs on the mini-album shared a strong lyrical focus on Indigenous reconciliation, and featured collaborations with First Nations friends. The release sought to elevate public awareness of ulurustatement.org/the-statement. Lead single ‘Gadigal Land’ (feat. Dan Sultan, Joel Davison, Kaleena Briggs & Bunna Lawrie) was peer voted as the prestigious “Song of the Year “at the 2021 APRA Music Awards and “The Makarrata Project” debuted #1 on the ARIA Album Chart, becoming Midnight Oil’s first studio release to do so in over 30 years. In early 2021 it was accompanied by an acclaimed concert tour featuring lots of special guests that proceeded despite profound challenges posed by the Covid-19 pandemic.

Sadly, on the same weekend that the mini-album debuted at #1 Bones Hillman passed away after a battle with cancer. He was the bassist with the beautiful voice, the band member with the wicked sense of humour, and a brilliant musical comrade. Bones joined Midnight Oil way back in 1987 after stints in various Kiwi bands, most notably, The Swingers. He played and sang on every Midnight Oil recording since “Blue Sky Mining” and played thousands of gigs as part of the Oils. He is deeply missed.

At the time of recording “The Makarrata Project” with Bones and producer Warne Livesey (“Diesel & Dust”, “Blue Sky Mining”, “Capricornia”), they also tracked another dozen songs together. In November 2021 it was announced that this latest chapter of their career would come to a close in 2022 with a new album and final tour, both aptly titled, “Resist”.

The band has made it clear that while this will be their final concert tour that does not mean the end of the Oils. Each of the members will continue their own projects over the years ahead. They remain very open to recording new music together in future and supporting causes in which they believe. Meanwhile,Resist will be a fitting, forward looking, statement for a band whose clarion call has always been “it’s better to die on your feet than live on your knees”. The tour will see them performing classic Midnight Oil songs from across their repertoire while also showcasing some urgent new works. As the title makes abundantly clear, Resist engages with the issues of today and tomorrow – like the lead single “Rising Seas” which tackles the climate crisis in typically uncompromising fashion.

MIDNIGHT OIL:

Rob Hirst – Drums + Vocals
Martin Rotsey – Guitar
Peter Garrett – Lead Vocals
Jim Moginie – Guitar, Keyboards + Vocals
Bones Hillman – Bass + Vocals (1987 to 2020)
Andrew James – Bass (Founding member to 1980)
Peter Gifford – Bass + Vocals (1980 to 1987)
Gary Morris – Manager (1976 to 2013)

Missy Higgins is one of Australia’s most beloved singer/songwriters. She has struck a deep and enduring chord with her irresistible melodies, ‘arrow through the heart’ lyrics, unforgettable live concerts, plus classic songs like ‘Scar’, ‘The Special Two’, ‘Steer’, ‘Everyone’s Waiting’, ‘Futon Couch’ and ‘A Complicated Truth’.

Missy has blazed a trail for female singer/songwriters in Australia, marching to her own drumbeat, earning 26 ARIA Award nominations and seven ARIA #1’s (so far!).

2024 was a huge year for Missy thanks to The Second Act – “a kind of sequel” to her influential debut album The Sound Of White. That raw and introspective classic was about taking on the world as a 20-year-old while The Second Act was about doing that all over again as a 40-year-old, after the stories you told yourself turned out not to be true. Written, produced, and performed largely on her own, this powerful artistic statement topped the ARIA charts 20 years to the day after The Sound Of White first reached #1. 

Missy also hit the road across 2024 with The Second Act Tour drawing unanimous rave reviews across 46 emotional shows to well over 100,000 Australians. The year culminated in sold out gigs at the biggest venues she had headlined in nearly 20 years, an ARIA Award for “Best Live Artist”, her induction into the ARIA Hall Of Fame, and even a return to Triple J’s Hottest 100 through her cover of Troye Sivan’s “One Of Your Girls”.

Since being Unearthed by Triple J while still at high school back in 2002, Missy Higgins has sold over two million albums globally. She became a household name in Australia with 2004’s The Sound Of White which became the country’s highest selling album of 2005 influencing a generation of singular singer/songwriters including Ed Sheeran, Amy Shark, G Flip and Angie McMahon. In 2007, On A Clear Night also topped the local charts and earned Missy a gold certification in the U.S. for her single, “Where I Stood”. Country superstar Leanne Rimes released a version of the song and another song off the album was covered by a young Billie Eilish. 

After seven years of non-stop touring and recording lead to a bout of writer’s block, Missy pursued other interests including a course in Indigenous Studies, and acting in the classic Australian film ‘Bran Nue Dae’. She finally returned to music with 2012’s The Ol’ Razzle Dazzle – her third album to top the Australian charts – then followed it two years later with a unique book/covers collection called OZ which received rave reviews.

Following standalone singles “Oh Canada” (2016) (inspired by the tragic images of infant Syrian refugee Alan Kurdi) and “Torchlight” (2017) (which won “Best Original Song Composed for the Screen” at the 2017 APRA Screen Music Awards) 2018 brought her long awaited fifth studio album, Solastalgia. Its lead single “Futon Couch” became Missy’s biggest radio hit in a decade alongside her appearance as main support on Ed Sheeran’s ÷ Tour – the largest series of concerts in Australian history with nearly 1 million tickets sold. Missy and Ed also dueted at most shows, helping her reconnect with lots of old fans and winning her lots of new ones too.

Missy capped that year with The Special Ones – a Best Of Collection that is a primer to one of Australian music’s strongest modern catalogues. The album featured four previously unreleased tracks including “Arrows” and the previously unheard demo of “All For Believing” that set her career in motion when she won Unearthed all those years ago. 

After the birth of her children, Sammy and Luna, Missy wrote original music for the first two series of ABC TV’s acclaimed ‘Total Control’. The show became the highest rated new Australian TV drama of the year during covid. Missy received another APRA nomination for the flagship track, ‘Edge of Something’ and eventually released a mini-album of songs from the program as well as featuring on “Carry You” written by Tim Minchin for his TV show ‘Upright’, which featured on the pandemic chart topper Music From The Home Front. 

In recent years Missy has featured on a hip-hop track by Birdz as well as receiving the prestigious Melbourne Prize for Music which recognizes Victorian artists who have made a significant contribution to music and cultural life. Her stunning 2024 success with The Second Act was followed by headlining performances on some of Australia’s leading summer festivals, cementing Missy Higgins’ place as an artist of singular and enduring influence to multiple generations.

The Presets took shape in 2003 when Julian Hamilton and Kim Moyes first met at the Sydney Conservatorium of Music.  They were quickly recognised for their ability to fuse elements of dance music with an energy more akin to rock’n’roll. After signing with Modular Recordings, the band released two EPs and an album Beams (2005).

In 2008 The Presets released the chart topping Apocalypso, selling in excess of Triple Platinum sales in Australia and featuring four hit singles, including the classic ‘My People’. Setting new standards for dance music in Australia, The Presets went on to win 5 ARIA awards (and 2 ARIA Artisan Awards) including Album of the Year, as well as the J Award and FBI SMAC Award for Album of The Year. Kim and Julian 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, 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, SXSW, Exit, Melt and Splendour In The Grass.

The Presets returned in 2018 with their long awaited fourth album, HI VIZ, which debuted at #1 on the iTunes album chart within hours of its release and was nominated for two ARIA Awards as well as the prestigious Australian Music Prize. The record spawned triple j Hottest 100 favourites “Do What You Want” and “Martini”, with the latter nominated for Best Song at the FBi SMAC Awards in 2019.

The band also released their expansive RAKA EP – a collaborative record with Golden Features, led by the euphoric single ‘Paradise’ in 2019. The track became triple j’s most played song shortly after its release and charted in the Hottest 100 of 2019.

The Presets kicked of 2022 with the club-primed single “You Belong” which featured in the soundtrack the band created for Sydney’s iconic midnight fireworks.  The single became the most played song on Triple J for the month of its release.

In 2023 to celebrate 20 years of making beats together, The Presets announced 20 nights of DJ sets around Australia, playing small clubs and bars (July/Aug/Sep), reconnecting with the electric spirit that got them making music in the first place. 

In addition to their work together Julian has guested with artists including Flight Facilities and Steve Angello as well as scoring pieces for the Sydney Dance Company. Kim is a prominent DJ, produced albums for artists like DMA’s, Northeast Party House and co-owns the buzzing EDM indie label Here To Hell.