To say that 2021 was a year of transition for the Hard-Ons would be putting it lightly. A veteran act whose career spans 40 years, this year was originally set to not only see the Hard-Ons record their 13th studio album, but it was also supposed to be accompanied by the release of the Jonathan Sequeira-directed documentary, Hard-Ons: The Most Australian Band Ever. But unfortunately, things quickly changed.
In March of this year, news broke that founding member and lead vocalist Keish de Silva had been ejected from the group following allegations of sexual misconduct. In a statement released by the band, the group promised that “the Hard-Ons will keep on playing, just not with Keish.”
As one would expect, confusion reigned – both inside and outside of the band – as questions arose as to what the future of the Hard-Ons would look like. Unbeknownst to fans, the group had been in the process of preparing to record their forthcoming album when this lineup shift occurred, necessitating quick action if the Hard-Ons were to continue through 2021 as best they could.
Though information as to the inner-workings of the group was kept under wraps, the Hard-Ons officially re-emerged in early August, announcing that not only You Am I frontman Tim Rogers would be taking up vocal duties for the group going forward, but that a new album and tour were imminent.
For casual observers, it felt like they were witnessing the construction of a new supergroup of sorts, with one of the country’s most respected vocalists joining one of the country’s most revered outfits. But on a more granular level, it felt like the most perfect of pairings.
Speaking of his new gig as frontman for the band, Rogers rather succinctly summed things up by noting that he “was already the luckiest goof in rock’n’roll” before he was “asked to make a racket with [his] heroes”. But Rogers hadn’t been silent about his admiration of the band previously, either, having not only recalled how they were one of the first bands he saw live, but naming 1989’s Love Is A Battlefield Of Wounded Hearts as one of his favourite records back in 2016.
Now, with new album I’m Sorry Sir, That Riff’s Been Taken officially released today, and a national tour set to kick off next year, Rogers and founding Hard-Ons bassist Ray Ahn spoke to Rolling Stone Australia about the process of recruiting a new vocalist for the group, and recording one of their best albums to date.
I think it needs to be said that with how crazy that last two years have been, I daresay that folks didn’t expect Tim Rogers to be fronting the Hard-Ons in 2021. I would say that’s also likely a bit of a surprise for everyone else involved here.
Tim Rogers: Yeah, I was definitely just surprised to be asked. It was a surprise, but then when Ray explains why, it makes perfect sense, and my own consistent response is to be this mixture of fan and enthusiast and be the best version of myself that I can be. And I’ve trusted Ray for so long that if he asked me to do it, then why wouldn’t it be the best idea?
It’s just been a joy. It’s been a bit of a lifesaver, really, and it’s given me a new enthusiasm for living – let alone music. From the initial shock, it’s just become a joy.
The news was first announced in early August, what the response from fans like? The responses seemed to range from calling it the “best Aussie rock combination ever” to some thinking it was a prank. Was it similar on your end?
Ray Ahn: I think it was like 99% really positive from Hard-Ons fans. I actually saw some responses from Tim Rogers and You Am I fans, and most of that was really positive as well. There were some negative comments, but I had to always remind myself, to put it into some kind of context, that people who are really not going to enjoy were the ones most likely to be using the power of social media to have their say on it.
So I think social media really distorts reality to the point where all you need is a handful of people to make a little bit of noise, and it looks like a tsunami [of negativity], but it’s not. It was a couple of people who really disliked it, but when you go and look at their Facebook profile, it’s like, this guy hasn’t seen the Hard-Ons in about 30 years so his voice doesn’t really count anyway, y’know?
So almost every one of our fans who has been constantly coming to see us play has been pretty overjoyed about what was going to happen. And not surprisingly, there was a lot of crossover between You Am I, Tim Rogers, and Hard-Ons fans; there’s a huge crossover, and a lot of those people are really happy and intrigued as to what it was going to sound like. So the overwhelming response was really great. For me, anyway.
TR: I didn’t even have in mind the people who would be into what I’d done previously, but the more I thought about it in speaking to Ray and Blackie [Peter Black, guitar] and Murray [Ruse, drums], I thought, “Well if they’re those people who have an interest in our band and haven’t heard the last seven or eight Hard-Ons LPs and I get those into their brains, then my job is done.”
“I mentioned seeing the band when I was really young, but it’s not my favourite era of the band. My favourite era has been the last ten years. I think what they’ve done has been fucking remarkable.”
I just think that with those people who were into the Hard-Ons 30 years ago, but then there are those who have followed the band or come to the band late, and it’s almost an alarming level of quality, of dexterity, and of songwriting prowess. So I guess purposefully, I’m here to have fun with my friends – they’ve become very dear people to my heart – but also to spread the word. And not just on this last record, I mean, anyone who comes to me at shows, and if they haven’t been seeing the ‘Dons for the last 20 years, the last 15 years, the last ten years, I’ve got mixtapes for them. Then I say, “Now you go and buy the fucking records,” because they’re just so shit-hot.
When we were going through a proposed setlist, and Ray and Blackie and Murray said, “Y’know, throw in what you want,” I went home and called my best mate Nik and said, “Fuck! I’ve got to whittle it down from 90!” And we sort of got it down to the early 20s and it was just spread out over all the eras of the band, and all records, but especially from the last five or six, which are just my favourites. I mentioned seeing the band when I was really young, but it’s not my favourite era of the band. My favourite era has been the last ten years. I think what they’ve done has been fucking remarkable. So y’know, I’ve got a job.
That was one question I had for you as well, just what were your first experiences with the Hard-Ons? How did they manage to get on your radar as a young music lover?
TR: They were my first broken nose. There’s been a few, but none as fun as that. I think my first show was Sydney Cove Tavern in ’86 or ’87. I was pretty starstruck, and then when my friends and my brother were chatting to Ray and Blackie after the show, I couldn’t believe it that everything was so approachable. It was my introduction to the scene, I guess, and knowing you could be friends and companions and swap records and memories, and there wasn’t this stand-off between the band and the audience.
For the Hard-Ons, that was absolutely my first experience, and I just left with my jaw open, thinking that this had opened everything up for me. And the stories on the drive back to Parramatta were just like, “Fuck, you were chatting to them? And you offered to help lift out gear into cars and stuff?” Before that, I thought to get on stage you had to wear a flag on your back like Mick Jagger in ’81 with the Stones, or have seven-inch glitter boots [laughs].
When the need arose for a new vocalist within the band, what exactly was the plan? Was there actually thoughts of recruiting someone? Previously Blackie had done vocals, so were there thoughts of that happening again?
RA: I’ll be really honest, me and Blackie had been thinking about what we were going to do with the Hard-Ons in the future because we had lots and lots of different ideas. I think it’s good to have lots of musical ambition. So we were talking to a friend of ours, Carlos [Rodríguez], who’s a friend in Buenos Aires. He was also our promoter for our shows in Argentina, he put out our records in Argentina 20 years ago and stuff like that.
He was in a band called the Fun People in Argentina, who are like a top ten band over there; pretty big celebrities at some stage. And his favourite band was the Hard-Ons, so he came out to Australia and I helped him form a band a couple of years ago with local kids, playing his songs, and they supported the Hard-Ons and that kind of stuff. And he came on stage one night and sung one of our songs in Spanish.
We had a pretty big following, a pretty decent and honest and devoted following in Spain, and we really liked Spanish fans, and also fans from Latin America because they seem to understand the schtick and the DNA of the band better than other people. The whole idea of why we’re in a band and our approach to music, they understand it’s basically kind of like a high school band gone feral. So we absolutely have no shackles or restrictions in terms of what we can do, because we’ve got nothing to lose. Of course the downside of that is that sometimes it’s not very good for your career if you want to climb up the career ladder or whatever.
But we just wanted to play, and Spanish fans seemed to understand that. So we were going to one day do a Spanish language Hard-Ons album with our friend Carlos. We talked about it and we say, “Well, when can we do it? Because we’re already in our 50s now, and we have to do this and that. We’re talking about doing an album with this person, that person. When are we going to do all this stuff one day?” We talked about those things.
And then something happened that meant that our original singer Keish had to not be in the band anymore, and it was something that as forced upon the band that we had to deal with, so we basically let the relevant people deal with that, and we had to move on with no singer. But we had two months or a month and a half before recording, and we were all a bit down in the dumps.
We’d stopped practicing, and up until then, the three of us – me; Blackie, our guitar player and main songwriter; Murray, our drummer – were meeting up every week to learn these new songs. And we’d done that since late last year. We were just going really hard, every week, practicing and practicing every new song. Then it just stopped. It was like we didn’t know what was happened with the band, we didn’t know whether we were going to break up, if we were going to continue. At the time, none of that was really important, y’know.
“We just needed a singer really quickly, and we thought Tim ticked all the boxes. We needed somebody who understood the DNA of the band.”
Then one day, I asked Blackie, “Are we still doing this album in May?” Y’know, in a month-and-a-half, or two months time, or whatever it is. And he looked at me like David St. Hubbins looked at Derek Smalls [in This Is Spinal Tap] when he asked if we’re still going to do Stonehenge tomorrow night [laughs]. It was like that, and Blackie was like, “I don’t know if we’re going to record. I’m not going to sing,” he told me that. So I said, “Okay, leave it with me”, and I rang Tim. Then I rang the other guys and said, “I found a singer!” And they’re like, “Who is it? Who is it?” And I go, “It’s Tim Rogers from You Am I.” And they’re like, “Righto, get into band practice.”
And then I get this phone call from Blackie and Murray: “Who did you say?” I say, “Tim Rogers from You Am I.” They said, “Why would he want to do that?” I said, “Because he knows quality.” That’s basically it. We just needed a singer really quickly, and we thought Tim ticked all the boxes. We needed somebody who understood the DNA of the band, and the people who understand the DNA of the band aren’t necessarily other people in other bands. Because they’ve got their own inertia, y’know? They’ve got their own trajectory – they’re on their own path.
But really, at some point, musicians have to be really insular and… You know that whole term ‘garage band’? That actually exists. You go in a garage, lock the door, the whole world disappears, and it’s just you stewing in your own juices. And the Hard-Ons were really like that for a long time. And we suspect other bands are like that. They’re really focused and they know their own DNA, they don’t know other bands’ DNA.
“We didn’t have to get someone we didn’t know very well, someone who’s an unknown quantity. We didn’t have to worry about auditioning people.”
And that’s really good, but one thing we knew about Tim was that he understood the whole idea behind the band, how the songs flow backwards and forwards, he understood the rhythm of the band really well, and he understood the melody. He understood the juxtaposition of really harsh sounds and melodies, because I’ve heard Tim on interviews say, “The Hard-Ons were a powerful band, but they had this undercurrent of beautiful melodies.” I’ve listened to Tim talk about the band many times, and I said, “Look, he understands the band’s DNA and schtick really well. And I like him, personally, and his voice will suit this particular album we’ve got ready to go really, really well.” So we could fast-track it.
We didn’t have to get someone we didn’t know very well, someone who’s an unknown quantity. We didn’t have to worry about auditioning people. With Tim, we could just give him a parachute and let him float into the studio. And that’s basically what he did. He just ran from his hire car, ran into the studio, grabbed his mic and started singing. It was like he was already running when he hit the studio.
So everything happened really quickly, and we knew that it would, because at some point we needed somebody who had a lot of talent – and we think Tim’s got a lot of talent – but also somebody who has a good ability to back their own talent. And we knew Tim could do it. We were 100% convinced that Tim could do it.
Even just hearing the news as a fan, it felt like it made perfect sense for those very same reasons. But Tim, for yourself, when this opportunity came your way, did you approach it with any apprehension at all? Because if someone asked me to front You Am I tomorrow, I doubt I could even consider it, because that’s a huge legacy to live up to.
TR: Well, You Am I have been looking for a singer for 28 years, so I’ll keep your number. Was there apprehension? No. A bit of giddiness, maybe. But I trust Ray and Blackie, and I think I was probably apprehensive about meeting Murray, really. I’ve got such a relationship with Russ [You Am I drummer Russell Hopkinson] and other percussionists that I play with that I just wanted to get in tight with him because I felt like I knew so much about Blackie and Ray. So when I turned up to the rehearsal room the first time, and Murray and I just met outside the rehearsal room, and we just sort of grabbed each other. Sort of a [growling] “Hey mate, ah, how’s it going? Ah!”
Over the next couple of weeks, myself and my partner would drive over to Newcastle and hang out with Murray and his wife and go to their business, and we’re as tight as the sock on my foot. That was probably the only apprehension, because I wanted to show my worth to him. And we’ve just got a really strong friendship now, and we do talk a lot about arrangements of songs and music stuff. Just being in a room with them and hearing the way that those guys talk, I knew it would be intoxicating and it’d make me giddy – because I’m just such a slavish fan – but I didn’t realise how much it would be like, ‘Oh, fuck! We’re right in there.”
“I didn’t want that first rehearsal to stop. But it needed to, because it killed me. They are the fittest fucking band I’ve ever fucking been in. They were just rearing up and I was looking for the oxygen. That was intimidating.”
I don’t know if it’s an intellectual exercise, but it’s definitely an aesthetic exercise. There’s references flying everywhere and no one’s trying to outdo each other. Muzza’s [got such an] enthusiasm for new songs, and he’s such a powerful drummer, but his enthusiasm for the pop songs as well. I’m sort of used to that in a way because in my own band I think we’ve got a very healthy relationship, particularly nowadays that we’re sort of eased back on the drug stuff and we can communicate a bit better. But to be in a room like that, it’s just hugely inspiring.
And I had a tour manager tell me a few years ago – he was tour managing You Am I and he says, “After shows, you guys kind of talk and you listen to music and you have fun.” Other bands he’s touring with, they chuck on headphones or watch movies on the way back to Newcastle or Sydney or whatever. And I thought, “Okay, well that’s everyone’s option to do that,” but from the moment I walked in the room, everyone’s just gabbing at each other and telling stories.
As you would know, Ray Ahn is the best storyteller in the world and we just can’t wait for his book to come out. The way Blackie tells stories and talks about music is different to Ray, but it’s complementary. That’s just 40 years of being friends together. But then Muzz just joining in on that conversation, I was just in hog heaven; I didn’t want that first rehearsal to stop. But it needed to, because it killed me. They are the fittest fucking band I’ve ever fucking been in. They were just rearing up and I was looking for the oxygen. That was intimidating.
It must be rather refreshing for fans to know that there are some things out there which are still challenging or overwhelming for a seasoned professional such as yourself.
TR: I walk wherever I can, trying to get a little healthier with some stuff, and I walk around each day listening to new stuff, new songs that we’re working on, old Hard-Ons songs, and I can feel my body tensing up and I walk really quickly. If anybody saw me, they’d either think, “That guy’s on an ayahuasca trip or there’s something a little not connected right.”
The expectation of singing in this band, with my friends, is so overwhelming. You really want to see me walk down the street one day; it’s highly comedic. It’s like the Ministry of Silly Walks from John Cleese or something.
So the album was written before Tim had joined the band, but had there been any input from Tim at all apart from the recording of the vocals? Even the title itself feels as though it has a bit of a Rogers-esque feel to it.
TR: Well a lot of my humour, I’ve got to have stolen something from these guys that I’ve loved for over three decades. So there’s that possibility, but [the title] is all Blackie’s [doing], and the songs are Ray’s and Blackie’s – and Murray as well, he had a hand in a bunch of the tunes – but I wrote lyrics for two songs. In particular, one was this tune that Ray did the music for and he gave me license
We talked a lot about where the bass riff came from, where the impulse of the song came from (which was just intoxicating to do), and to be just given that trust to do that. I just think that Pete and I have a very similar melodic sense, and we’ve always been told, both he and I, “You’re not the best singers in the world”, and I love that he and I can talk about that when I go to his shows or we call each other on the phone. Just what we have to do to produce sound through our throats, it’s a physical, laborious exercise, and I love that we’ve got that in common.
But it was 98% there. When I went into the studio to start vocals and it was all there and sounding so powerful, I asked Lachlan, the engineer, “How many weeks did you spend on that?” [Laughs]. It was a day and a half.
“The expectation of singing in this band, with my friends, is so overwhelming.”
RA: Actually, no, it was… We set up the drums at 10, we had the drums set up by midday, we had something to eat, and then we did ten songs – rhythm guitar, bass, and drums – by six that day, and the next day we came in at 10, and by 1 we’d done the remaining three songs. But the thing is that most of them were first takes or second takes. A lot of the songs, we’d do one take and say, “Okay, that sounds good”, and then Lachlan would say, “Well, do you want to do another one?” And we’d say, “No, it’s done!” But he’d say, “Well you should do another one and have a listen.” So we do another one, listen to it, and say, “See, the first one’s still good!”
So we did that by going into pre-production and just practicing the bejesus out of them until you just… We’re one of these bands where, me and Murray, we practice these songs as the rhythm guys over and over again, and you just have about five different options in each bit of the song, and the first take you just let the interplay run its course. So a lot of the bass things that I did, I just waited for Murray to do something and if I feel him doing a certain role, that would make me play the bass in a certain way. It’s different each time with this band, I swear to God. With the way that Murray plays, it’s always different.
But because we were so well-rehearsed for the most part, first takes were normally really good. But the worst one was like, fifth take or something like that. But mainly they were first takes, and that’s kind of how the Hard-Ons have always worked for the most part.
It seems like a testament to not only the musicianship you all have, but the trust and preparation you all bring into the mix.
RA: With Murray, for example, and also with our previous drummers, we’ve always left things really open in the studio. I don’t think it’s always a commercially-successful tactic doing it that way, but I just like the excitement of randomness [being added] to the way we play. I love playing in this band, because a lot of the time it’s very random what we do. I really like that.
Once you get into the swing of things, or what they call the groove, once you get into it then first, second, third take, and that’s all you need. It’s a really fun band to play in, and me and Murray have a really great time together as the two rhythm guys. I really like playing in a band with him, actually.
While there is a lot of overlap between fans of the band, was there any fear this album could sound like ‘the Hard-Ons featuring Tim Rogers’, or ‘Tim Rogers with the Hard-Ons’ as opposed to simply a Hard-Ons record?
RA: Absolutely not. I mean, the songs were already written, right? And there were two songs where we had guitar chords or a bass run, and we didn’t have any melody on top, and we said to Tim, “This one needs melody, and this one needs lyrics and melody.” Tim just said, “Leave it with me,” and then he came up with them. I rang Blackie and I said, “Did you hear what that prick Rogers did to our songs?”, and he’s like, “Yeah! It’s fantastic!”
We’re really happy with them. We’re really happy with what Tim came up with for those songs. We were over the moon. And for me, Blackie, and Murray, it was really important that Tim do that because that meant he wasn’t just parachuted in to sing the parts we originally had intended for Keish and then walk off, but he became more part of the band. The more you become part of a band, the stronger the whole becomes.
I think I can hear in our recording that the combination of the four of us became really good, and we had no doubt whatsoever that it was going to work. But when Tim first started practicing with us, after three songs of him singing the new songs, I just said, “I’ve heard enough. I’m convinced this is going to work.” After three songs I said that. And I rang Blackie and I said, “After three songs I realised it was going to work.” And he said, “For me, it was after one song that I knew it was going to work.” And I thought “Well, fuck, you’re not going to outdo me,” so I said, “Well, I knew before he even started singing!” I knew it was going to work.
“I rang Blackie and I said, ‘Did you hear what that prick Rogers did to our songs?’, and he’s like, ‘Yeah! It’s fantastic!'”
But the reason some people were kind of saying, “Well this is going to sound like shit”, or “This isn’t going to work, I’m not interested in this,” is because they don’t have the imagination to hear what the band can hear. And it’s not their job to have the imagination to hear these things, it’s up to the band to have the imagination to come up with things. That’s our job! Our job description is to have the imagination and to have ambition to come up with something, and maybe sometimes that ambition is bigger than the ability of the band to deliver it. But the band’s got that imagination to see something can happen.
A lot of people don’t have that imagination, and that’s why they don’t necessarily play in decent bands. Maybe they play in shit bands, I don’t know. Maybe they don’t play any music, I don’t know. But if they’re going to say something negative about this project, then to me, that’s just saying, “Well, you don’t have the imagination to hear what I can hear. That’s okay, because you’re entitled to your opinion.” But that’s not their job. Maybe it’s just their job to mouth off because Facebook gives them that platform.
Once next year’s tour is over, what are the plans for the band? Tim, are you planning to juggle You Am I and the Hard-Ons, and Ray, is Tim welcome to stay as long as he wants?
TR: We’re working on new songs now. Pete’s such a prolific writer that he’s got seven or eight songs that we’re working on now until we can get together. That’s one thing we’ve got in common – that we work that way and we tumble into the next project. And as far as juggling both You Am I and the Hard-Ons, all the guys in You Am I are so in love with the Hard-Ons. Rusty got in and helped get the artwork together with Ray.
Davey [Lane, You Am I guitarist] is just a very good mate of the bands. Rusty was actually the first member of You Am I to play in the Hard-Ons. He was in them for decades before I was. And Andy [Kent, You Am I bassist] works with [agent] Dave Batty and Andy can see how joyful it is for me, so there’s a really lovely confluence with the way that the bands play. We’ve had to talk already about whenever gigs happen, if we play on the same bill. Andy’s only concern was, “Will you physically be able to do it?”, and I said, “Give me a challenge, mate, and I’m doing it.” I’ve been given the biggest challenge in my life and it’s given me a real enthusiasm for life again, and I’m going to make it work as long as I can.
“I’ve been given the biggest challenge in my life and it’s given me a real enthusiasm for life again, and I’m going to make it work as long as I can.”
RA: For me, when the Hard-Ons originally broke up at the end of ’93 and me and Blackie formed the band Nunchukka Superfly, we were doing lots and lots of doing different music projects and I went and joined a fe other bands. And I joined this one band called Testicle Candy with a guy named Oren Ambarchi and Robbie Avenaim, the drummer, and Robbie became one of my closest friends, actually.
I remember being in band practice one day in the late ’90s and I said, “How come you can’t come to band practice next week?”, and he says, “Oh, I’ve got to do this, and this, and this…” And I go, “Tell me how many bands you’re in.” And he stood there, counting them off on his hands and his fingers, and he says, “I’m in 19 band at the moment.” I said, “19? Why are you in 19 bands?”, and he said, “I like a challenge.” That’s what he said. So I said, “Tell me them”, and he starts saying, “Well, I’m in this band, this band with two drummers with Tony Buck…” And I say, “But why 19 bands?” And he just says, “Because in Australia, if you want to play music non-stop, then you have to join as many bands as you can.”
I told this story to Blackie, I said, “Look, I’m in a few bands at the moment and I think that’s a good policy.” I think it’s better to have too much happening and start freaking out, “Fuck, I can’t do this! I’m going to be double-booked” and all that kind of stuff instead of going, “Well okay, I’m not doing anything for the next six months.” Fuck that. I’d rather be having too much on my plate musically than not enough.
“I’ve already told Tim. He can stay in the Hard-Ons as long as he wants. If he wants to leave tomorrow, that’s fine. If he wants to leave in two years’ time, that’s fine too.”
And I think playing in a band like You Am I and a band like the Hard-Ons, for sure there will be clashes with scheduling and things like that. But I’ve already told Andy from You Am I, “Look, I’ll do whatever it is to make it work. So you just tell us and you work it out with Dave Batty, our booker, and we’ll make it work. We’ll make sure that we don’t step on each other’s toes or anything like that.”
And also, I’ve already told Tim. He can stay in the Hard-Ons as long as he wants. If he wants to leave tomorrow, that’s fine. If he wants to leave in two years’ time, that’s fine too. It doesn’t matter. If Tim leaves tomorrow, for example, me and Blackie will go, “That’s a bit of a shame. It’s a bit early, but we’ll do something else.” That’s not a problem.
TR: The only reason I’d leave is to start making my special kombucha for Blackie. I just want to be in the band and I want to be friends [with them], so I’ll work on my special kombucha.
RA: Tim’s welcome to stay in the band as long as he wants, whether it’s two weeks or two months or two years. I mean, fuck, I just turned 56. What do I care? Every day playing in a band, for me, is a bonus. I’m 56 and I’m still playing in a band and so it’s good for me. So if Tim wants to stay for another year, that’s fine. Another two years, that’s fine. If he leaves tomorrow, we’ll just get someone else. But of course we want him to stay as long as he wants.
The Hard-Ons’ I’m Sorry Sir, That Riff’s Been Taken is out now via Cheersquad Records & Tapes.
The Hard-Ons’ I’m Sorry Sir, That Riff’s Been Taken Australian Tour 2022
Thursday, March 17th, 2022
Vinnie’s Dive, Southport, QLD
Friday, March 18th, 2022
The Zoo, Brisbane, QLD
Saturday, March 19th, 2022
Eltham Hotel, Eltham, VIC
Friday, March 25th, 2022
Narrabeen RSL, Narrabeen, NSW
Saturday, March 26th, 2022
The Cambridge Hotel, Newcastle, NSW
Sunday, March 27th, 2022
La La La’s, Wollongong, NSW
Thursday, March 31st, 2022
The Basement, Canberra, ACT
Saturday, April 2nd, 2022
Enigma Bar, Adelaide, SA
Thursday, April 7th, 2022
Barwon Club, Geelong, VIC
Friday, April 8th, 2022
Gershwin Room @ The Espy, St Kilda, VIC
Saturday, April 9th, 2022
Corner Hotel, Melbourne, VIC