‘The model is broken’: Brisbane live music venue the Zoo to close after 32 years

Fortitude Valley institution and sister venue Stranded will soon shut as owner cites cost-of-living pressures and young people drinking less

The Brisbane music venue the Zoo will call last drinks in July, with the owner listing a “perfect storm” of forces leading to its closure, including cost-of-living pressures and declining alcohol consumption among young people.

The 500-capacity room, which first opened its doors on Ann Street in 1992 in the formerly down-at-heel but now heavily gentrified inner suburb of Fortitude Valley, is one of Australia’s oldest music venues.

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Nick Cave speaks out against boycotting songs because of creators’ actions

Australian musician told Hay festival we should not ‘eradicate the best of these people in order to punish the worst of them’

Nick Cave has said that boycotting songs because of the actions of the artist “is not a very good way to go about things”.

The Australian singer-songwriter told the Hay festival: “Making art – especially making music – it prevents you from becoming the worst aspects of your character, and that’s why I very much think we need to be very, very careful about the music we don’t think people should listen to any more because of what the artist who has made that music may have been like,” the Australian singer-songwriter said.

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Brad Pitt makes surprise debut as a sculptor at Finland art gallery

Actor appears alongside Australian musician Nick Cave and British sculptor Thomas Houseago to reveal his first ever public art exhibition

Most know him for his blockbuster movies, chiselled cheekbones and high-profile relationships, but Brad Pitt can now add creating sculpture to his list of achievements after publicly debuting his first works of art in a lakeside museum in Finland.

The A-list Hollywood star unveiled the sculptures – what he called a “radical inventory of self” – at the Sara Hildén Art Museum in Tampere, a move that came as a surprise. It is the first time the “largely self taught” artist presented his sculptures to the public, the gallery said.

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‘I don’t want to remember these things’: dark pop poet John Murry on surviving rape, heroin and family strife

The singer-songwriter talks about his relative William Faulkner, his violent childhood and drugs – and saves a surprise until the end

If you’re after cheery crowdpleasers, John Murry is not your man. Murry is 41, barely known, and has never come close to denting the charts. Yet he has been compared to the great existential pop poets Nick Cave, Leonard Cohen and Scott Walker. And with good reason – he has a rich baritone, writes gorgeous ballads and is half in love with death. The titles of his first two albums, The Graceless Age and A Short History of Decay, reflect the melancholy at the heart of his work. The title of his third, The Stars Are God’s Bullet Holes, is equally bleak. Yet, it turns out that Murry has a surprise in store.

The singer-songwriter is related to the Nobel-prize winning American novelist William Faulkner. Like Faulkner, he paddles along his stream of consciousness – sometimes ferociously. You get a sense of what his songs are about, but seldom know for sure. Take the new album’s opener, Oscar Wilde (Came Here to Make Fun of You). We get the references to terrorist attacks and the images of foreboding, but the meaning is left to us.

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Madonna, Motown and Mongolian metal: the music to listen out for in 2020

The queen of pop gets intimate, Taylor Swift feels the sunshine and Stormzy takes on the world … plus, classical celebrations begin for Beethoven’s 250th

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Suzanne Moore on Nick Cave: ‘Rarely have I heard someone express grief so well’

The musician’s latest show, in which he sings, takes questions and talks about losing his son, left our writer astonished

‘Freewheeling adventures in intimacy where anything can happen.” So say the words on the seat as we wait for Nick Cave to come on stage and sit in it. Who could resist? The man is here to play songs but also to answer questions. “You can ask me anything,” he promises on his Red Hand Files website, which offers one-to-one correspondence with fans. “There will be no moderator. This will be between you and me. Let’s see what happens.”

The resulting tour is “a work in progress” that has grown from the blog, which had become a series of love letters, meditations on loss, and poetry. Cave is “acting on the intuition that something of value” can come from doing it live. He was worried about something he wrote: that social media undermines “both nuance and connectivity”. Here he is trying to deepen the connection, a word he returns to again and again. He comes on suited and booted, immaculate, the knowing elder statesman, the ex-junkie, the writer of murder ballads and the tenderest love songs, the storm-bringer who will somehow shelter us and reassure us that there can be, in that quaint old-fashioned way, “a dialogue”.

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