Tag Archives: Honi Soit

From The Vault: Country Music Confessionals

Next year marks my 10th anniversary with what has become a full blown love affair with twang music. It started as a crush, I swear. I’m currently working on a long form piece about the albums that came out in 2002 that sent me down the wayward path towards three chords and the truth, but in the meantime, here is something I first published as a response to the Kasey Chambers album ‘Barricades and Brickwalls’ when I was editing Sydney University’s student paper Honi Soit. I later re-worked it into this format (as in, I edited out the album review and wrote strictly memoir) for the lovely gals at Frankie magazine.

Obviously I’ve come a long way since the article was first published, in terms of what I’m listening to and loving and other things as well. Writing this from the United States (where I am hastily typing in a pink cashmere sweater and my underwear) it should be noted that the music that I love would only really be described as Americana here (check it, it’s in the dictionary) though in Australia we still have so far to come in terms of creating a definitive definition and so I have kept the ‘country’ in. Happy reading.


Flannel shirts, failed romance, heartache, heartbreak and sad, sad songs. I might live to regret putting this in print, but I have a confession to make… I like country music.

I know it isn’t fashionable. Country is just about the daggiest style of music an otherwise self-respecting young woman could have chosen to embrace. It’s tragic – like being a 24 year-old collector of Tupperware or VIP customer at Copperart. It’s the soundtrack of choice for dingy American diners and dimly lit highway truck stops. It doesn’t have the brazen rebelliousness of punk, or the art school precociousness of indie rock or the forthright sexuality of pop. The genre is defined by the nasal twang of the singer and slow walking swagger of the band. It’s country music – it’s about loneliness, loss, and line dancing. And I like it.

My music tastes have not always been this way. I have not always been a fan. I used to be one of those cynical cool kids who thought that country music, littered with hideously sequined Tammy Wynette clones and silver bearded Kenny Rogers types, was not for me. Sure I liked the bedazzlar, stone-wash denim and spiral perms as much as any child of the eighties, but I was never going to listen to Dolly Parton. No amount of Billy Ray Cyrus mulletude could make me trade ballet for boot scooting. For me, country music was always considered tacky and trashy. Even my parents – whose tastes included a passion for Australiana decor and home-made Jenny Kee knitwear – had the good sense to be fans of other musical genres.

As a kid, I spent most my childhood living in small rural areas, so most people make the assumption that it must have been the seventeen years I spent in towns without traffic lights that secured a love for country music. This is not the case. In my formative years I was a full-fledged pop fan with the Kylie Minogue cassingles and the ra-ra skirt to prove it. Growing up, the only hints of the country enthusiast within was a fairly well rehearsed cover version of the Alannah Myles song “Black Velvet” and a one time yodeling gig in my primary school eisteddfod where, armed with a hot head of freshly crimped hair and some seriously disturbing white patent leather cowboy boots, my attention seeking soul got the better of my good taste. Now, these are the embarrassing details of decidedly naff childhood, but they could belong to any performative ten-year old growing up in the early nineties.

No, this love for country music is something relatively new – something that didn’t hit me until my early twenties, when I started listening to the moderately successful new generation of artists now widely referred to under the sub-genre of “alternative country”. In the alt-country world performers like Ryan Adams, Jeff Tweedy and Lucinda Williams wooed their audiences with harrowing harmonicas and harmonies and tales of eternal heartbreak. They labelled themselves “country” but were a dark contrast to the more popular country stars like Shania Twain or Keith Urban. Archetypal alt-country bands like Wilco and Whiskeytown represented a seedier side to country – less spray tanned, less gaudy, more Neil Young than Nashville factory line.

And so I became a fan. And the more I listened to alt-country, the more I grew to accept other types of country. And the more I came to accept country music as a whole genre, the more I realised I had crossed a neon lit, barn dancing, gin swilling point of no return, signified by a proposed road trip to the Tamworth music festival and the needless ownership of three pairs of cowboy boots.

Perhaps it is because I now live in the city and the music is a nostalgic reminder of home – a place of open landscapes and dusty paddocks and tumbleweeds. Perhaps it is because I am steadfastly heading towards my mid-twenties and my taste has been blurred by the onset of premature wrinkles and a career crisis. Perhaps. I know on some level I could try to justify my love, try to defend the genre from accusations of hillbilliness, try to make it worthy, trendy, ironically cool. But I know in my heart, I cannot and do not want to. It’s country music – it’s music that by very definition is quintessentially uncool. And even though I am often embarrassed to admit it – I have to write it down… I like it.



Pines #6: Don’t Smoke Weed With Willie

The Happy Confessor Spills Again

It’s no secret that I’m a huge Willie Nelson fan. The silver plaits, the ranch, the legend status: he’s the dreamiest 77-year-old walking the planet. If I were the tattooing type (don’t fret Ma, I’m not!) I’d get something crass like this on my inner thigh in perverse tribute:

But since I’m not too keen on getting inked up, and since I do not care for living with jokes about having Willie between my legs for eternity, I’m left with little option but to show my adoration in other ways. Like by playing him on a new music focussed radio station in Sydney, in celebration of his recent arrest for marijuana possession.

As the daughter of a massive stoner (don’t fret Ma, I don’t mean you!) I find Willie’s lifelong love affair with weed kind of endearing in my own creepy, Oedipal way. EEP. Oh dear, I think I just felt the collective shudder of my six horrified siblings. Anyhow, where was I? Willie Nelson, pot, arrested, released on bail, what a dreamboat….

I’m a bit sad that the outlaw was handcuffed this week. But like most Willie fans, kind of amused and just a little bit thrilled to find that he still goes On The Road Again with his stash. So sandwiched in between all the new releases on In The Pines tonight, I played this duet he recorded with Waylon Jennings many, many decades ago.

Destroyer, You Destroy Me/ Forgive Me Father etc

Just over half a decade ago, I spent way too much time trapped in the musty, underground office of Sydney University’s student paper, Honi Soit. It was a strange and awkward year, not just because I spent most of it holed up in a two metre by two metre space with a bunch of bickering student politicians, aspiring Christopher Hitchens types and drama geeks, but because my aforementioned pot smoking father had recently died and I was doing my best to make Sylvia Plath look like Shirley Temple.

You have no idea how happy I am to repeat that it was more than half a decade ago.

Anyhow, in between wallowing in self-pity and learning how to binge drink,
I buried myself into two contradictory but complimentary tasks: editing the student paper with Ita Buttrose like dedication, and avoiding my university course work with a passion I’d previously reserved for poetry readings in the quad. Like I said, strange times.

What’s the point of all this incessant over sharing, say you?

It was in this miserable context that I first discovered Canadian musician Dan Bejar’s dream-fused melodramatic folk pop. His over-wrought, post structural masterpiece (Oh! To be back in a Cultural Studies tutorial!) Your Blues had been sent to the paper as a review copy. I snapped it up eagerly and for better or worse, listened obsessively as though his haunted, synthesised despair was my own.

Feeling fine/ Well it must be the wine/ ‘Cos It’s April 27/ And my baby’s still dying on me

Many years, beers, tears and fortunately a whole lot of good, happy times later, Destroyer has returned to my stereo, this time in the form of tonight’s In The Pines playlist. Tonight we heard ‘Chinatown’ from the upcoming album Kaputt.

I’m pleased to observe that despite his continuing association with the reasonably straight up New Pornographers, Dan Bejar still makes solo music of the decadent, sadcore variety. And equally pleased to discover he’s unafraid of the saxophone.

Pipe Down With Your Confessions, Sylvia

It’s just past two a.m. and although I’m currently experimenting with a writing philosophy I’ve dubbed ‘What Would Helen Garner Do?’ I think enough memoir has been shared for this week, so I’ll quit with the prose and leave you with a few clips of other songs that also featured on tonight’s show. And just in case you’re going nineties on the gig front this week, if you’re going to see The Lemonheads at the Metro in Sydney on Wednesday, I’ll be the one in the floral dress and docs. Likewise, if you’re going to see Nic Dalton at the Petersham Bowlo on Thursday, I’ll be the one in the floral dress and docs. And if you’re going to see Mick Thomas & The Sure Thing at the Vanguard on Friday, I’ll be the one in the…

Peace out, y’all xxx

Leave a comment

Filed under OPINION