With his new album “Wake” officially on the market, and a tour that is taking him all over Australia... and beyond, David Bridie took some time to share with Undercover how the live playing has been received so far, what kept him distracted for so long and the meaning behind his powerful "Delegate" video clip.
You’ve started touring for your new album this past 14th, how has the tour gone so far?
DB: It's always slightly strange at the beginning of a tour what with getting all the gear right and working out the versions of the songs for the live playing situation (because there is no one way to play any song live) however at this early stage am really chuffed with how the gigs are going. It’s such a treat playing with the great John Phillps again. He has such a lateral take on guitar work, he constantly amazes me with the sounds he procures and its also good to be able to bring out a few old Not Drowning Waving tunes like the Same Heat and Willow Tree. I love Eden Mullholand’s presence on stage, and his voice is to die for (his album Feed the Beast is definitely worth checking out). We’re projecting specifically created films from the likes of Mat Govoni, Rolf de Heer, Emma Sleath and Luigi Acquisto, which adds another angle to the live show and makes up for our lack of dancing skills.
How has the reception been to your new album?
DB: I’ll be in a better place to judge that in 12 months time but the reviews and punter feedback so far have been really positive. We haven’t received a Spinal Tapesque “shit sandwich” review yet, but it may happen.
In your website you write “I needed to stop being distracted, to lose myself inside the process, and make the best record I could, a record of substance.” What was distracting you?
DB: When things are difficult its easy to find distractions: drinking with friends, watching a whole series of “Deadwood” on one afternoon (a great mental health day I must confess), doing anything but the hard work required. But given my involvement with the Wantok Label, and working on film Soundtracks, producing and the Cake, I needed to block out a big period of time to work solely on the record and not on other projects. Having said that, album work tends to be in blocks and I have been fortunate enough to be able to work on the soundtracks for Catriona McKenzie’s film Satellite Boy and Pamela Rabe’s MTC theatre production, ”Solomon and Marion” over recent months.
You've once confessed that “The longer you go, the more you find repeating yourself”. Have you made an extra effort to avoid this with the new record?
DB: All artists face this I imagine. However, I’d like to think that on Wake the songs, sounds, music and lyrics reflect where I am in my life now and I’ve never been where I am in my life now previously! The process for this record was different, my mind set certainly was… mind you, its still me writing the songs, still me playing the piano and still my voice singing so its inevitable that there is some connection. It is however a very different record from my latest solo effort Succumb and very different from Fiasco as that was made in collaboration with 5 other Cake members. The reviews have been commenting on how different this album is from others so maybe I’ve got it right.
I’ve watched your powerful new clip for “Delegate” and was blown away with it. Can you tell us about that video, the message you want to convey through it?
DB: It was directed by Matt Govoni, who is a great young director I’ve worked with before. His treatment was mind blowing but risky. The concepts we discussed were of what if Australians felt as strongly about social justice issues as the monks in Tibet who self immolate in protest against government persecution or the Japanese who commit hari kari. Matt took this act of political suicide and placed it out of context into a bland public service environment, but in the Dept of Immigration in relation to the practice of placing children in detention on Manus Island. The performances from the actors was brilliantly subtle, their attention to detail fantastic. Every eyebrow lift, or lip curl is captured. I’ve never been as satisfied with a clip before as I have with this one.
If Dr Seuss was painting in the sky we would all look up, take a moment to pause, allow ourselves to imagine a world beyond ourselves. What world do you imagine?
DB: Less clutter, more imagination, a world of sprawling trees and mountains, the great thinkers celebrated, Boards of Canada and frank Yamma playing through the Pas at supermarkets, laid on west coast peaty single malt whisky and certainly no advertising boards or commercial radio ads. Probably no Alan Jones or Miranda Devine or Rupert Murdoch, either.
Dr Seuss’ animation had a whacky but beautiful bent to it. I thoroughly recommend his darker “the 5000 fingers of Dr. T”.
Do you think being an artist inevitably has also a political side to it?
DB: Everything has a political side to it. But I do think artists operate on the fringes and their work cant help but reflect their outsider status, and you reflect what you see. It’s funny I keep feeling like I have to apologise for this, but in 100 years time, I’d like to be included with those who thought our treatment of asylum seekers was atrocious in 2013, and with those in Australia who wanted to make a noise about the war in West Papua.
Why are you called the quiet achiever of Australian music?
DB: I don't say that. My PR people may have. It’s not a good look for any artists commenting on the success of their career. Quiet Achiever sounds like a BHP sound grab. I’ve probably done too many records and projects over the years, so it in some ways dilutes. But like Ed Kuepper, who I have great admiration for, I can’t help myself. I often think it’d work better if I didn't live in Australia, because there is not a great market here for the kind of music that I am passionate about, but the idea of not living in Australia doesn't appeal to me at all (though if Abbott gets in, I’m moving to The Baining in Papua New Guinea where I have a shack, the fishing and music are great and mobile phones don't work very well).
In order to make the album happen, you resorted to crowd funding. What was that experience like?
DB: I was so grateful to all of those who contributed. It was humbling, honest, empowering… I think it's the new model, an improved way of working for all musicians perhaps bar the X Factor artists, for who the record company model still works. In regards to the A&R side of things, it led to me using my peers, my engineer and the guest musicians for feedback. It was also positive when in those inevitable times of doubt, I was able to draw on the idea that a whole bunch of people believed in me enough to invest in me before I had made the record, so “pull your head in Bridie” and get on with it. It was greatly appreciated. Funding for the album also came through a small Australia Council grant and I contributed a bunch as did a guy who I play cricket with (true story, thanks Robbo).
In an interview you did a while ago, you said community radios helped promote your first albums, which led to gigs, which eventually led to more popularity. Do you think crowd funding is the way to go for indie bands?
DB: Independent by its definition means making a record away from the corporate model…so making an album on your laptop in your own studio, getting your own fans to pay for it and selling your cds through your own website and at your own shows is a model that gives you control. The returns are better and it’s DIY…there is a plethora of other independent ways of operating that bands are starting to do: house concerts, sharing expenses and touring with like minded bands, sharing equipment, resources, putting film clips out through social media, hiring the disused fire brigade station and bringing in a PA and putting on your own special gig. Of course community radio still is a major factor in all of these. Melbourne has the best community radio in the world bar none.
As many already know, you have a strong connection to Melanesian music. Could you tell us how that began?
DB: Mark Worth, who did visuals for NDW and was a regular at the Crystal Ballroom doing visuals for the Models and Wild Dog Rodeo used to regale me with stories about his life being brought up on Manus Island PNG where his father was at the Lombrum Naval Base (this is now the very place asylum seekers are dumped). Mark told me that all Australians should go to PNG because of its proximity, and because we have an amazing connection due to the war and colonial rule and because it was the most fascinating place on the planet with an amazing music, art, culture, complex, fascinating social obligation structures, tribal life and a landscape to die for. And that was my first overseas trip. It was in Rabaul that I got to meet the amazing George Telek and we struck up a friendship based on us both being singers and songwriters, and a few years later NDW recorded the Tabaran album at pacific Gold Studios in Rabaul. We toured, film soundtracks came through up there and it went on. Once Melanesia gets into your skin, you don't want to ever let it out. I have been blessed. I am very proud of all the artists on the Wantok label. Airileke, Mogu, Ngaiire, Telek, Pius Wasi Ronny Kareni, the list goes on. This is our region!
Has Australia become a conduit for that music to have access to bigger markets?
DB: There are festivals here such as Womadelaide and Message Sticks and the forthcoming Indigenous festival at the same site as the Byron Bay Blues and Roots festival, “Boomerang” that are attracted to music from our region. Hopefully other festivals will follow suit. Id have thought Splendour, Meredith, Big Day Out and so forth would be served well by having the best Pacific acts at their festivals…I’m sure their audiences would get into it. New Zealand does this way better than Australia.
You are the conductor of so many projects… what is next for you?
DB: I really want to concentrate on playing this record and working it hard here and overseas. I am enjoying live performance at present. Let this album take its course. However, The Wantok label will continue to offer up projects of great value, and I’m sure Ill keep my hand in doing the odd soundtrack if it feels like a good fit.
Wake Tour Australian dates:
Thursday 11 July: Mullum Civic Memorial Hall / Mullumbimby NSW (book here)
Saturday 13 July: Powerhouse / Brisbane QLD (book here)
Thursday 18 July: The Loft / Warrnambool VIC (book here)
Friday 19 July: The Ararat Hotel Red Room / Ararat VIC (book here)
Saturday 20 July: Northcote Social Club / Melbourne VIC (book here)
Thursday 25 July: The Clarendon / Blue Mountains NSW
Friday 26 July: The Basement / Sydney NSW (book here)
Saturday 27 July: Lizottes Central Coast / Kincumber NSW (book here)
Sunday 28 July: Lizottes Newcastle / Newcastle NSW (book here)
Friday 2 August: The Memo / Healesville VIC (book here)
Saturday 3 August: Caravan Music Club / Oakleigh VIC
Sunday 4 August: Montrose Town Centre / Montrose VIC (book here)
Saturday 17 August: Republic Bar / Hobart TAS (book here)
Sunday 18 August: Brookfield Margate / Margate TAS (more info)
Check out the 'Delegate' Music Video:
