AUSTRALIAN ROAD CREW ASSOCIATION (ARCA) ANNOUNCE TOUR OF DUTY LIVE AT NATIONAL STADIUM SET FOR APRIL 25 RELEASE
CHRISTMAS CONCERT FOR THE TROOPS, EAST TIMOR DEC 21, 1999
FEATURING LIVE PERFORMANCES FROM JOHN FARNHAM, KYLIE MINOGUE, DOC NEESON, GINA JEFFREYS, JAMES BLUNDELL AND THE LIVING END
Australian Road Crew Association (ARCA) has today announced Tour of Duty, the star-studded live album of 1999’s Christmas benefit concert for the troops, featuring performances from John Farnham, Doc Neeson, Kylie Minogue, The Living End, James Blundell, Gina Jeffreys and more.
Set for release on April 25, Tour Of Duty marks the 40th release of ARCA’s Desk Tape Series, a series created by ARCA to raise much-needed finances for Support Act’s Roadies Fund to provide financial, health, counselling and wellbeing services for roadies and crew in crisis.
Televised by the Seven and Nine networks at the time, the concert at National Stadium in Dili, East Timor on December 21, 1999, was staged as a thank you to the Australian troops serving with the International Force for East Timor (INTERFET), whose duties kept them away from their families in Australia during Christmas celebrations. The show, to 4,000 troops and local civilians, featured John Farnham, Doc Neeson, Kylie Minogue, Gina Jeffreys and her record producer husband Rod McCormack, James Blundell, The Living End, Dili Allstars and the RMC Band, and was hosted by Roy Slaven and H. G. Nelson (John Doyle and Greig Pickhaver).
John Farnham said shortly after arriving in Dili: “I’ll never be able to explain to my family and friends how I felt being transported in a green truck accompanied by a soldier brandishing arms, and looking at children and women on the streets in what’s been a horrendous situation.”
Added Kylie Minogue: “Even if it takes people’s minds off this situation, even for an hour, I’m fully honoured to be part of it.”
Working closely with the Defence Forces for the desk tape release of Tour of Duty, the two organisations share a synergy with a number of ARCA crew members serving in Vietnam or national service, and both associations working tirelessly with members on mental wellbeing and suicide prevention programs. ARCA co-founder Ian ‘Piggy’ Peel recalls how he was contacted by Colin Taggart, a board member of Pro Patria, an innovative multidisciplinary facility in Wagga Wagga which works with veterans and their families. “Colin asked, ‘How do you stop suicides?’ Piggy told them, ‘We put people back together and in touch with each other. They understood that they could talk with their mates about things that happened during their time away, that they could not talk to their families about. Being able to do that takes a great weight off your shoulders. It helps to heal the heart and helps the family bond grow stronger’. It made sense for everybody concerned, and it worked. This is a huge honour for ARCA to be able to release this live show to say thanx to all the troops who keep us safe.”
ARCA also worked closely with Luke Gosling OAM, who served in East Timor and is MP for Solomon in the Northern Territory. The Tour of Dutyaudio was supplied by Rev. Darren Hewitt, a chaplain working with returned veterans in South Australia, spiritually dealing with their depression and anxiety. Twenty years before, Rev. Hewitt planned to set up an audio-visual museum Fields of Remembrance in Queensland to commemorate Australia’s involvement in conflicts and wars. He reached out to Glenn Wheatley about getting an audio recording of Tour of Duty. “Glenn sent me a double CD of AV files.” Soon after Rev. Hewitt moved to South Australia, the museum plan was put on hold and the files were forgotten for two decades until he discovered them in a portable MP3 player. While searching for Archie Roach music on the internet he came across the ARCA website and its star-studded collection of releases. “I learned more about ARCA and was in awe of what they were doing for crews in crisis.” With approval from Gaynor Wheatley, Rev. Hewitt offered ARCA the tapes. “There was such great support for what Australian troops were doing in East Timor, and that was reflected in how the acts were choosing their songs to be directed at them. It was a different story for older vets who had served in Vietnam,” explains Rev. Hewitt. “Called “baby killers” by protesters and cold-shouldered by the nation and even the RSL, you can see why there is so much hardship and mental health problems with them.”
The actual idea of Tour of Duty started with Doc Neeson, and was put together by Glenn Wheatley through his company Talentworks. “Having done my national service in New Guinea and being an army brat myself, I knew how the troops would have felt at that time of the year,” Neeson said at that time. “They would have been homesick, felt disconnected and wanted some real entertainment.”
Although all the musicians and production crews donated their fees, Glenn Wheatley still had to find $1 million for production costs. “The entire infrastructure in Dili has collapsed,” Wheatley revealed. “There is no electricity, running water, cables, generators, roofing or staging. Everything has to be taken from Australia.” The stage and camera equipment required eight transport planes, Australian companies including Westfield Holdings, Compaq Computer, Qantas, Arnotts and Solo donated cash and in kind. Wheatley reported at the time: “The response from companies has been extraordinary. Their December budgets had been allocated but I was banging on their doors saying ‘I need an answer now’. Most responded within a day.” Compaq Computer provided computers for troops to contact their families and friends by email through the Christmas period, and a dedicated website so cricket fans could check scores, and had their staff on the ground in Dili to help troops have access to the internet. Booths were set up in Westfield’s shopping centres, where consumers could sponsor, for $25-$35, “Dili bags” of food, drinks, magazines and other items for the troops. Calls were made to the artists. Wheatley’s star client, John Farnham, agreed on the spot.
Kylie Minogue, then living in London, was going through an upswing in popularity in Australia, with the Impossible Princess/ Kylie Minogue album spending 35 weeks in the charts and her Intimate And Live tour having to be extended a number of times.
Queensland sheep farmer James Blundell was back in the charts with his sixth studio album Amsterdam Breakfast, was on TV singing the Qantas ad ‘I Still Call Australia Home’, and had just returned from time off driving around Europe in a van, earning money busking. Blundell had military roots too, as the grandson of Captain Peter Blundell of the 2/25th Battalion, who served in the Second World War. After the Dili Stadium show, he stayed on in East Timor to play unplugged shows with members of the Royal Military College Band. During breaks Blundell also assisted with serving drinks and dedicated ‘Blundell’s Bar’ to his grandfather.
At the time, country singer songwriter Gina Jeffreys was heavily touring, playing six shows a week, every six weeks, with country music loving girls taking up her “Girls Night Out” as an anthem.When she got her invitation, she cancelled some Australian shows to make the trip. “I knew what an important event it was going to be,” Jeffreys recalls. “It was exciting but I was also nervous, partly because I seldom go out of my comfort zone, and partly because we were going into a war zone.
In 1999, The Living End were the hottest new band. After breaking into the US and UK charts with their Prisoner of Society, their first album went to number one, was certified 4 x platinum, yielded six hits and won two ARIA awards. “It was definitely surreal to be asked,” remembers singer and guitarist Chris Cheney. “Eighteen months before we were still trying to get our feet in the door, suddenly a heavy hitter like Glenn Wheatley was calling our manager, asking us to go to East Timor and the show was going to be televised, and going to be on that concert were people like John Farnham and Kylie Minogue whom we didn’t know and had only seen on TV.”
For the reggae/ska band Dili Allstars – formed in 1992 and made up of Australian and Timorese expatriates – it was a time for healing. It was the first time the Timorese members returned to their homeland in 25 years. For co-founder Paul Stewart, also with the Melbourne band Painters & Dockers, it was where his brother Tony was among five Australian journalists who were said to have been shot by Indonesian military forces in Balibo, East Timor, in 1975.
Chris Cheney: “It was a different world. Military escorts, jumping into green trucks, all the guys were armed. This was no holiday destination!”
Jeffreys: “Each of us was assigned a high level soldier. They were never more than a metre and a half from us at all times, even in the shower and the toilet. They took turns to protect us, even when we were sleeping. The boys slept in one tent, and Kylie and I were in another. Throughout the night, tanks were circling the tents. They never stopped protecting us, they made us feel safe in an unsafe environment.”
As to be expected, it was an emotional show, both for the performers and for the audience.
Chris Cheney: “When John hit that really high note at the end, it was spine-tingling. Twenty five years later, I am still transported back to that moment. That voice, the way he hit the note, and the whole atmosphere. You felt very lucky to be there. Seeing the look of joy on the faces of the troops, they were having the time of their lives.”
Gina Jeffreys: “I remember distinctly standing on the stage and looking at the sea of soldiers. This one lady looked up at me and she just had tears streaming down her face and she mouthed ‘Thank you’. They were so thankful that we would be there, and thinking of them at that time of the year, and with TV coverage as well. It was massive and they felt seen and appreciated. I came off the stage afterwards and spoke to her, and she made me cry because she was over there protecting someone else’s children while her children were at home during Christmas. I bawled my eyes out, that really moved me.”
Chris Cheney: “Years later I still meet people who tell me they were in the audience, and how magical it was. We were a lot more raw and aggressive than the other acts, and I think we were chosen to appeal to the younger crowd. It worked, they were singing along to all our songs and even threw in a couple of ‘Aussie Aussie Aussie Oi! Oi!’ in for us!”
Tour of Duty Live at National Stadium is set for release on April 25 via ARCA’s Black Box Records.
Watch: I Still Call Australia Home live at Tour Of Duty benefit concert
PERFORMERS
John Farnham
Doc Neeson
Kylie Minogue
Gina Jeffreys
James Blundell
The Living End
BAND
Lisa Edwards
Stuart Fraser
Joe Creighton
Chong Lim
Lindsay Field
Angus Burchall
Steve Williams
Jack Jones
CREW
Grant Walsh (front of house)
Chris Newman (lighting director)
John Henderson (monitors)
Gary Radbourne (keys tech)
Harry Woods (guitar tech)
Frank Iskara (drum tech)
Frank Greer (World Stages)
Tom Wilkins (stage builder)
Greg Romans (audio tech chief, Jands)
Glenn Williams (lighting chief, Jands)
Michael Kent (rigger safety officer)
Ross Clunes (rigger safety officer)
TRACKLIST
You’re The Voice – Everyone
I Just Wanna Be With You – Doc Neeson
Shadow Boxer – Doc Neeson
She’s So Fine / Sorry – John Farnham and Doc Neeson
No Secrets – Doc Neeson and Living End
Mambo No.5 – R.M.C. Band
Silent Night – Rachael Starkey (RMC Band) Have Yourself A Merry Little Christmas – Gina Jeffreys
Dancing With Elvis – Gina Jeffreys
Libertade – Dili All Stars
Way Out West – James Blundell
Chain Reaction – John Farnham
Have A Little Faith – John Farnham
Playing To Win – John Farnham
Sadie (The Cleaning Lady) – John Farnham
That’s Freedom – John Farnham
You’ll Never Walk Alone – John Farnham
Shout – John Farnham & Kylie Minogue4
Santa Baby – Kylie Minogue
All Torn Down -The Living End
West End Riot – The Living End
Jingle Bell Rock – Kylie Minogue and The Living End
It’s A Long Way To The Top – Everyone
Take A Long Line – Everyone
Will I Ever See Your Face Again – Everyone
GREG GOULD RELEASES POWERFUL SEXUAL ABUSE ANTHEM ‘WHO GAVE YOU PERMISSION?’
Primal, moody and inescapably moving, the powerful new single Who Gave You Permission? out today from Australian powerhouse Greg Gould is a potent blend of pop, soul and searing intimacy. With an accompanying music video slated to land next week, and also set to captivate crowds with his latest release live in action throughout 2024, including onstage at SYNTHONY, Australia’s biggest orchestrated dance party this June, Gould also vigorously tackles exceedingly difficult narrative terrain via Who Gave You Permission? with unwavering finesse and poise.
Opening with a melancholic piano line, Who Gave You Permission? swells alongside Gould’s cogent vocals, ultimately building into a formidable primal pop anthem. Equally gripping musically as it is lyrically, Who Gave You Permission? weaves nods to the likes of Benson Boone, Rag’n’Bone Man, Teddy Swims and Sam Smith while also profoundly detailing an exceedingly personal experience for Gould himself. “To be honest I’m only just starting to feel comfortable to talk about this,” shares Gould. “The first time I performed the song live I burst into tears. I have been a victim of sexual abuse on four separate occasions in all very different circumstances from when I was 10 years old, right up until I was 30. Each time left me feeling so violated, so powerless, paralysed. Nobody has the right to touch you without permission. No means no. It was a very emotional, heart wrenching and confronting experience to write this song to be honest as I’d pushed a lot of those feelings and experiences down and hadn’t dealt with them – it took a while for me to be ok to admit it. There is a stigma around sexual abuse in general, and I do think it can be really difficult for men who are the victim – whether it be at the hands of another man or a woman. In my case, it was both on separate occasions. I want other men to feel comfortable to talk about this and speak up too.”
Seeking to empower fellow survivors through Who Gave You Permission?, Gould co-wrote the compelling new single with Benedict, working alongside Gould to unpack his trauma and ultimately pen a connective and sonically robust ode to survival, along with production by Sydney duo Cressbrook, with live strings composed by Ryan Youens. With a striking music video set to accompany this deeply powerful song on April 20, filmed in Gould’s home state, the clip for Who Gave You Permission? flourishes with its sonic elegance alongside poignant visuals to further amplify the driving message at the track’s core. “The music video features a protagonist moving through an old house,” shares Gould.” As they enter each room, a different storyline unfolds, each scenario reveals as we move back and forth between the rooms. I wanted to highlight that sexual abuse can happen in many forms and in many ways…without over-dramatising or sensationalising it.”
A creative cauldron from way back, Greg Gould began singing the moment he could talk; a talent which ultimately followed him to securing the runner up slot at the grand finale of Australia’s Got Talent in 2013. Following his Australia’s Got Talent success, Gould has gone on to generate millions of streams as well as views of his award-winning videos, perform multiple sold out shows and festivals, tour the globe and ignite charts at home and abroad; and all while continuing to foster and grow an authentic connection with his fans through his heartfelt creations. From snagging the #1 spot on the iTunes Albums charts via his 2020 album 1998, through to collaborating with En Vogue’s Maxine Jones (“a real pinch me moment”, Gould shares), Gould’s proudest moment to date remains releasing his first-ever self-directed music video, a cover of En Vogue’s 1996 smash single Don’t Let Go (Love) with the song’s heart wrenching video having amassed an impressive 20 million+ views. Fast-forward to 2024, and Gould has embraced the mixture of excitement, anxiety, nerves and relief to unveil the vulnerable yet hopeful Who Gave You Permission?, with the latest track also offering a hint as to what’s to come from Gould’s debut album of original songs, Strings Attached, set for release July 12, including his duet with one of the Philippines’ most successful artists, Morissette called Love It All Out (co-written by Bachelor Girl’s Tania Doko) which recently hit over 1 million views on TikTok. Gould has also written and performed the main song for the credits of a new Australian feature film getting its theatrical release later this year, which is set to debut at the Berlin International Film Festival.
Set to perform Who Gave You Permission? at an array of events this April and June, fans can expect to hear Gould’s latest track live in action alongside many other original songs. As to what fans can expect in the not too distant future? “Whether the subject matter is darker or lighter, guests at my shows can expect big vocals, big moments and lot of fun,” Gould enthuses. “I love to perform and I’m excited for the next 12 months! I’ve got big plans and even bigger dreams. I am so proud that Who Gave You Permission? is out now and I’m moving forward both personally and professionally! I would love if even one survivor of abuse feels stronger as a result of hearing this song. I want people to know they are seen, they are heard and they are believed. We won’t be broken.”
Who Gave You Permission? is out now.
Strings Attached is out July 12.
Listen: WHO GAVE YOU PERMISSION?
Stream: WHO GAVE YOU PERMISSION?
GREG GOULD – UPCOMING SHOWS
KEEP THE FAITH – GEORGE MICHAEL & WHITNEY HOUSTON
SAT 13 APR | LOEV, MELBOURNE VIC | 18+
Tickets available from loevmoorabbin.com | All Eventbrite Outlets
GREEK LEGENDS OF THE 20TH CENTURY
SAT 20 APR | STATE THEATRE, SYDNEY NSW | ALL AGES
Tickets available from www.ticketmaster.com.au | All Ticketmaster Outlets
GREEK LEGENDS OF THE 20TH CENTURY
FRI 10 MAY | PALAIS THEATRE, MELBOURNE VIC | ALL AGES
Tickets available from www.ticketmaster.com.au | All Ticketmaster Outlets
KEEP THE FAITH – GEORGE MICHAEL & WHITNEY HOUSTON
SAT 18 MAY | ROYAL BRIGHTON YACHT CLUB, MELBOURNE VIC | 18+
Tickets available from trybooking.com
SYNTHONY
FRI 7 & SAT 8 JUNE | CARRIAGEWORKS, SYDNEY NSW | 18+
Tickets available from www.carriageworks.com.au
THE DREGGS SHARE LUMINOUS NEW SINGLE ‘PEEPS WITH THE GOODS’ DEBUT ALBUM ‘CAUGHT IN A REVERIE’ SET FOR RELEASE APRIL 26 + AUS AND NZ ALBUM HEADLINE TOUR KICKS OFF IN JUNE + APPEARING AT SPLENDOUR IN THE GRASS IN JULY
Disarming, charming and sonically warm as a summer breeze, the new single Peeps With The Goods from beloved indie-folk The Dreggs draws on the pair’s trademark vivacity, while also unfurling a fresh new direction as the band sit poised on the release of their debut album Caught In A Reverie, due out on Friday April 26. With The Dreggs set to celebrate their first-ever full length via a national Australian tour this June and July, fans can also catch some extra Dreggs infamous live magic rounding out the Aussie run with an appearance on the main stage on Saturday July 20 as part of the stacked lineup for Splendour In The Grass.
An effervescent addition to their ever-expanding repertoire, Peeps With The Goods finds The Dreggs, aka Paddy Macrae and Zane Harris, exploring new terrain, injecting elements of airy soul and gospel alongside a treatise on life as an independent artist in the modern music industry. With inspiration from fellow Aussie indie legend Matt Corby, Peeps With The Goods was fittingly conjured with the man himself, as The Dreggs’ own Paddy Macrae explains, “Matt Corby was a huge influence for this track. We were given the opportunity to write and record with Corby and this song is the result of that collaboration. The song is about the push and pull a lot of independent artists have to confront within the music industry. It’s an anthem to those who have experienced equal parts joy and frustration with their career, but also a reminder that persevering is the only way to push through and find that ‘happy place’, whatever that might mean for them.”
Working alongside Alex Henriksson as well as Corby in the studio to bring Peeps With The Goods to life, with mastering courtesy of Paul Blakey, the latest single from The Dreggs joins recent drops Take A Little Time and Places, setting the scene for a universe of magic lying in wait on the duo’s long-awaited debut album due out this April. Building on the sturdy foundations set out by their 2018 debut EP Seas Embrace, Caught In A Reverie is The Dreggs taking full, shimmering flight, with 12 songs set to delight, calm and charm. Opening with the breezy warmth of Peeps With The Goods, Caught In A Reverie sonically transports you into a daydream of acoustic percolating beauty (Train Left The Station), stirring indie folk (Places), airy stomping yarns (I’m A Little Older) and bluesy bliss (Berlin), with each passing track glowing with The Dreggs’ intuitive storytelling and vibrant instrumentation. An equally intimate and engaging journey, Caught In A Reverie unfurls its poignant core themes in the seamless hands of Macrae and Harris, with the end result emerging as one of wonder and catharsis as well as showcasing the pair’s compelling growth and shift as songwriters. “We are so beyond stoked to finally be releasing our debut album,” shares Macrae. “It’s been a long time coming and we are confident that people are going to take something from it. I would be lying if I said we weren’t nervous, however, as this is an introduction into a slightly different scope of our songwriting and where it will eventually take us. Some of the tracks may surprise some of our listeners but, alas, this is a journey for us as much as it is for our fans and it wouldn’t much of an exciting one if we kept using the same equation. The album has a lot of themes of grief spread throughout. That of denial, anger, bargaining, depression and then eventually acceptance. This album is very much a personal diary, showcasing some extremely personal thoughts, feelings, and emotions with the goal to provide listeners with an individual and very raw perspective of grief without judgement. Hopefully people will listen to this album and understand a little more of how important it is that we all experience grief as individuals, and that in itself is a good thing.”
A genuine force to be reckoned with in a live setting, as anyone who attended their respective mass-singalong sets at Spilt Milk and NYE On The Hill will attest to, The Dreggs will hit the road this June and July to launch Caught In A Reverie nationally, before rounding out their Aussie run with an appearance on the iconic Splendour In The Grass lineup. A band who can hold giant crowds in the palm of their hands with their irresistible wit and vulnerability, there will also be a few surprises in store for fans later this year onstage, as Macrae reveals, “It wouldn’t be a Dreggs show without a singalong and we’ve made sure there are plenty of magical moments throughout the set. One of the goals we have been working on is incorporating lot of moments where we can involve the crowd. On top of that, we are excited to be bringing the energy onstage with the addition of other band members. Don’t worry, it’ll still be Paddy and Zane, the folk duo, that we started out as, but just with some friends with us to turn it from a ‘performance’ to a ‘show’! We are also ecstatic to be a part of one of Australia’s largest and most well-known contemporary music festivals in Australia’s music history. It’s been a dream of ours for so long, and to be given the opportunity is absolutely wild. There’s no better way to finish up our major Aus tour than to top it off with Splendour!! We’ll see you guys there!”
Kicking off 2024 as triple j Unearthed’s first feature artist for the year, The Dreggs are only just getting started as they approach the release of their debut album. But 2024 isn’t the first year of highs for the Sunshine Coast band, with the pair catapulting from the release of their debut single Give Myself To You back in 2017 into one of Australia’s most in-demand live acts, alongside having their debut track certified Gold in Australia in 2023. Also selling over 15,000 tickets in Australia alone last year with their largest ever headline and regional tours, and mesmerising crowds of around 10,000 with their sets at Spilt Milk Festival, The Dreggs are undeniably the hottest ticket in town, with their recently announced album release week shows selling out in 48 hours – purely off the back of an Instagram post. And it’s not just at home that The Dreggs love runs deep, with the duo also continuing to turn heads overseas, with their return to the UK and Europe this May set to deliver their biggest headline shows to date.
Peeps With The Goods is out today, Friday March 22.
Caught In A Reverie is due out Friday April 26.
Streaming link: PEEPS WITH THE GOODS
THE DREGGS – UPCOMING ALBUM LAUNCH PARTIES
FRI 26 APRIL | MIAMI MARKETTA, GOLD COAST | SOLD OUT
SAT 27 APRIL | KINGS BEACH TAVERN, SUNSHINE COAST | SOLD OUT
SUN 28 APRIL | THE TRIFFID, BRISBANE | SOLD OUT
WED 1 MAY | TORQUAY HOTEL, VIC | SOLD OUT
THURS 2 MAY | NORTHCOTE SC, MELBOURNE | SOLD OUT
THE DREGGS – ALBUM TOUR – AUSTRALIA/NZ
FRI 14 JUN | HINDLEY STREET MUSIC HALL, ADELAIDE SA | ALL AGES
Tickets available from www.thedreggsmusic.com
SAT 15 JUN | METRO CITY, PERTH WA | 18+
Tickets available from www.thedreggsmusic.com
FRI 21 JUN | FORTITUDE MUSIC HALL, BRISBANE | ALL AGES
Tickets available from www.thedreggsmusic.com
FRI 28 JUN | ENMORE THEATRE, SYDNEY | ALL AGES
Tickets available from www.thedreggsmusic.com
SAT 29 JUN | FORUM, MELBOURNE | 18+
Tickets available from www.thedreggsmusic.com
SAT 20 JUL | NGARINDJIN NORTH BYRON PARKLANDS, BYRON BAY | ALL AGES
Tickets available from https://splendourinthegrass.com/tickets/
FRI 26 JUL | THE CHURCH, CHRISTCHURCH, NZ | 18+
Tickets available from www.thedreggsmusic.com
SAT 27 JUL | U BAR, DUNEDIN, NZ | 18+
Tickets available from www.thedreggsmusic.com
SUN 28 JUL | YONDER, QUEENSTOWN, NZ | 18+
Tickets available from www.thedreggsmusic.com
THU 1 AUG | SAN FRAN, WELLINGTON, NZ | 18+
Tickets available from www.thedreggsmusic.com
FRI 2 AUG | TUNING FORK, AUCKLAND, NZ | 18+
Tickets available from www.thedreggsmusic.com