Aussie soft-punk star to close out Interstellar Rodeo
Gifted Australian songwriter brings soft-punk vibe to Interstellar Rodeo
To say Courtney Barnett is an exceptional songwriter is an understatement. Her unpretentious, gum-chewing lyrical swagger is familiar to anyone who’s ever told it like it is, or even wanted to.
This she pairs with a straightforward, playful, soft-core punk vibe — start somewhere in the neighbourhood of Patti Smith and Elastica — which she then cranks up to knock over crowds à la Sauron in the opening flashback of Lord of the Rings, all the kids from Smells Like Teen Spirit thrashing in the bleachers.
More evidence: back in November, an enviable concert in London headlined her, Smith, St. Vincent and Nick Cave — no biggie.
All of this is to say, Sunday night is going to rock loud under Paul Bunyan’s tent in Hawrelak Park as Barnett closes down Interstellar’s lucky number seventh year.
Tickets are still available, though organizers suggest you not wait long. Saturday includes July Talk, Jay Gilday, Margaret Glaspy, the Mavericks, the Deep Dark Woods and the Fairfield Four … for real. Friday night serves us Feist and A Tribe Called Red, while before Barnett on Sunday, we’ll hear the lovely Alejandro Escovedo and Cuba’s La Dame Blanche, just to name two seat-broilers.
The full schedule is at interstellarrodeo.com.
And have you seen that T-shirt Jason Carter designed yet? The Little Red River Cree Nation artist explains why he loves wolves.
“Pack animals, strong in spirit, strong in community and they love to make beautiful perfect sounds to connect with each other. This year’s Interstellar to me seems to be the perfect fit. And I secretly just freaking love wolves — carving, painting … I love everything they stand for!”
Bring cash and a big appetite for wine to this mysterious festival, where you can sit back and relax from almost any vantage, or easily get right up to the front row to raise a glass to your favourite musical illusionist.
Which brings us back to the 30-year-old Australian, currently getting rave concert reviews as she cuts a path along Canada.
The most tired little sleepy kitten I’ve ever interviewed — from not-yet-unpacked jet lag from her home base in Melbourne, Australia — Barnett says, “No, I can do this, really.” And then, no surprise, does.
Q I find it interesting people are saying the new album’s more personal — they’re always totally personal, aren’t they?
A I think so. (Laughs.) I guess I keep pushing further and further. I tried to dig deep around some kinds of things you don’t really want to say or talk about, so I tried to think about them and talk about them.
Q How does the overall tone of a record evolve? Do you ever think, I better do another fast one, I need another pop song ?
A They just sort of come out … sometimes I do jerk around with myself that way. I think everyone has a kind of go-to natural state. I always go back to the same chords or pattern or tempo. I definitely set myself little fun tasks to get around that.
Q Can you talk about working with the Deal sisters? How did that end up going down? Were you a big Breeders or Pixies fan?
A It was great. I sung a little on one of their songs. Kim was always saying, ‘Hey, we’re keen to repay the favour.’ I was finished in the studio and I asked if they would sing these lines, and it worked out perfectly. They sung what I heard in my head without realizing what it was that I wanted. I was a late learner; I only started listening to the Breeders when I was making my first album. I was into the Pixies when I was 18.
Q Was turning 30 a big deal for you this year?
A (Chuckles darkly.) I was kind of in a bit of a crazy spot, so it felt good turning 30. I just feel like it’s never gonna be what we think it’s gonna be, you know? There’s always something happening, always something changing. This idea, things’ll settle down and be OK, I don’t think it’ll ever be OK.
I tried to dig deep around some kinds of things you don’t really want to say or talk about, so I tried to think about them and talk about them.
Q As an artist, nobody warned me it was just going to get more and more hectic. You’re playing shows with Nick Cave and all.
A That’s great, the external stuff. It’s the internal stuff which is just a constant chore.
Q You’ll figure it out. Everyone loves Nameless, Faceless. It’s a revolution song, really, and despite being so upbeat, makes me cry. There’s obviously a lot to unpack in this one, but can I first ask you if you think you have a healthy relationship with social media?
A I don’t really use it that much anymore. I find it such a weird concept, so involved in our lives.
Q In Depreston, why do you think that man’s hand was in a bag?
A I guess it’s kind of reference to the wider world, cops shooting a guy because he’s reaching for a phone in his pocket.
Q How hands-on are you with the Milk! record label?
A When I’m home I’m always at the warehouse working. I do a lot of the physical stuff. I actually don’t mind it, warehouse work, moving boxes. It’s small but it does the job.
Q Who should we pay attention to on the label?
A I just took Loose Tooth on tour. They have a new album coming out which I think is amazing. I’m taking East Brunswick All Girls Choir out, it’s so nice to watch friends create such incredible art, how it transforms.
Q As colonies, I always imagine we tease each other, but do Australians make fun of Canadians much?
A I don’t … think so. What is the stereotypical Canadian?
Q I just listened to Australia’s national anthem — it has the word girt in it! I don’t even know what that means.
A Oh yeah, “girt by sea” — I guess surrounded?
Q You’re playing Interstellar Rodeo, and this year they’re having a lot of Indigenous Canadian musicians play. We have a lot of work to do with post-colonialism in Canada — what’s the feeling from a smart person like you about Australia’s situation?
A Yeah. Australia has a lot of work to do. It’s not good. One of the good things about social media, to get back to that, for all the bad parts, a whole lot of knowledge and a whole lot of voices are being heard. White Australia has only existed for the past 200 years, and the way we treated — and still treat — Indigenous people is disgusting.
Q The festival you’re coming to is smart and independently forward moving, really great people — and you’re going to see a light show projected on the tent roof.
A Oh that sounds awesome — can’t wait!