July 4, 2024 • 17 mins
Icehouse are coming to New Zealand soon for the Greenstone Summer Concert Tour 2025, along with Cold Chisel, Bic Runga and everclear. Andrew caught up with Iva Davies to discuss all things about the 45th anniversary of their first ever NZ show!
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Episode Transcript
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Speaker 1 (00:05):
Bold Asides Podcast, The Stories behind Just Great Rock.
Speaker 2 (00:10):
Hi the Davies, welcome to the program. Thank you very much,
and ready to rock and roll?
Speaker 3 (00:15):
I think so? Yeah, very ready, in fact, very.
Speaker 2 (00:18):
Good, very good. You're coming in January of next year,
twenty twenty five, as part of the Greenstone Summer Tour series.
Of course, you're there with Cold Chisel celebrating their big five, oh,
their fiftieth anniversary. They're making a big deal about this
being forty five years since you first came to New Zealand.
Speaker 3 (00:35):
Is that true? It is, And there's a relationship there
that you may not be familiar with because we wasn't
broadcast at the time, of course, but there are three guys,
three managers. Two of them were occupied with the two
biggest bands in Australia by far, at the absolute peak
(00:58):
at that time, and that was The Angels and Cold Chisel.
And the third manager was looking for a young band
and found this cover band that operated out of Sydney
called Flowers, and that was us and they picked us up.
And so as part of kind of you know, our training,
(01:19):
I guess is probably the best way to put it,
we were given lots of support slots with both The
Angels and Cold Gizzl. So that was kind of, you know,
watching the very best of Australian pub rock on a
kind of stadium level. And as part of that, we
(01:39):
were brought to New Zealand for a festival called Sweetwater,
which was outside festival and we got to play in
front of a lot of people and that was televised.
It was filmed as well, and some of that footage
is still floating around you can you can actually check
out at least a number of songs that we played
(02:00):
on YouTube. And there we are on the same bill
with Cultures, once again being the little brothers of the
management stable.
Speaker 2 (02:10):
Now I need to correct you though, because it wasn't
nineteen eighty because you're playing in twenty twenty five and
you're playing aucklandan anniversary weekend in Topore and forty younger,
so to have it to be the forty fifth, that
would have to be nineteen eighty. Unfortunately it was nineteen
eighty one. And here's the thing. I know this because
(02:31):
I just left school and then I got a summer
job and I lived in a pup tent for a
month and my job was to dig the la trens
for the Sweetwater's Festival, and my job was to help
the scaffolder build the scaffolding rig for the speakers, and
I got to be side stage while you played live
for the first time in New Zealand as the Flowers,
and can I say you were magnificent?
Speaker 3 (02:52):
Oh, thank you very much. Well, I tell all of
a job. We were at that point still loading our
own gear in and out of the truck. I reverly
nearly lost a finger in the process of doing that.
So this is one abiding memory of of our first
trip to New Zealand. And likely the ring that I
was wearing broke before it took my finger off and
(03:14):
I've never worn a ring since, so they.
Speaker 2 (03:17):
Yeah, absolutely, and you're quite right. It was recorded by
Dylan Tate, it was on Radioth Pictures and it's on
YouTube right now and I looked at it the other day.
Only eleven thousand people have seen it. But I think
everyone should do yourself a favor, as Molly Melgom would say,
go and look at the Flowers Sweetwaters nineteen eighty one YouTube,
because you really bang on your pictures perfect, the band
is tight as you were always good.
Speaker 3 (03:39):
Well, thank you very much. I think by then though,
we'd played an awful lot of pubs in Australia. So
you know, one thing that characterized that particular period, and
I'm sure it's the same for Cultures and the Angels,
was that we worked incredibly hard. And you know, the
week in, week out we were doing something like nine
shows a week, and some of those involved in overnight
drive from Melbourne Sydney in the middle of it. And
(04:02):
so you know, obviously when you had a nine shows
a week and meant we were doing a number of nights,
we're doing two shows some of them, some of them
were going on stage at half past midnight. So you know,
it was no small wonder that we're all skinny as
rakes and look particularly unwell.
Speaker 2 (04:20):
Yeah, yeah, well you know what they said, They say
it takes ten thousand hours to get good at it,
and you get very good at it. We do ten
thousand hours in RSL.
Speaker 3 (04:30):
Exactly right, yes, And so yeah, they were they were
I think in only only the energy of a mad
youth could deal with it.
Speaker 2 (04:38):
But then you're.
Speaker 3 (04:39):
Talking to Jimmy Varnes didn't have exactly the same story
to tell.
Speaker 2 (04:42):
Then, of course, the flowers turn into ice house for
various contractual reasons. The ice houses, by the way, that's
that's named after your old flat, isn't it.
Speaker 3 (04:52):
Yeah, Well, when I first moved out at home, it
was into one of three flats, which was a subdivision
of a big, old two story mansion. It's a very
old building and I think I found I found eventually
the probably the last hardware store in Sydney that actually
stole bags of coal because it was absolutely freezing this house.
(05:17):
But it did have a working coal fireplace, and you know,
I remember going out to play it at gigs with
the very early iteration of the band and coming back
and the coal fire would still be there, giving a
bit of a poke with a poker and getting it
going again. And I used to put my stage boots
(05:39):
that I had down next to this coal fire, and
in the morning i'd wake up and they were black
leather boots. But in the morning I'd wake up and
they were completely white because so sodden with perspiration that
they were covered in the salt that i'd lost the
night before from playing in a pub. So yes, interesting
(05:59):
memories and enough to inspire a song exactly.
Speaker 2 (06:03):
And the walls are coming in on you as well, Yeah,
I get that. Hey. So so then the ice House
just carried on and did so very very well. Back
in the early days when you were the Flowers, I
remember looking at you and going, there's a guy who
listened to an awful lot of David Bowie. But there's
also a guy who's taken up the synthesizer. So what
were you trying to achieve with the ice House sound
through through the great years?
Speaker 3 (06:25):
Well, the pod the period of time you're talking about
was actually an incredible one really to be kind of
experimenting in music, because there were just a series of
incredible inventions that happened sort of bang bang, bang, one
after the other. We'd already had, you know, the fore
runner synthesizers that Pink Floyd were using, you know, a
(06:48):
couple of years before we started, and you'll find you know,
the mini move and all that sort of stuff all
over there, very early recordings. But by the time we arrived,
there was the invention of drum machines which hadn't previously existed.
And then it was this extraordinary invention and it was
(07:08):
an Australian invention called the fairlight, which was the very
first stampler. Now I'm not going to explain the technology
to you right now, but I'll say this that, apart
from the technology of recording itself, probably the most influential
piece of music technology ever invented. And by sheer coincidence,
(07:30):
our managers had an office in the upper floor of
a two story building in the center of Sydney, and
by sheer coincidence, they were building these fairlight samplers in
the ground floor and recognized me and dragged me through
the door and took me round the back, and there
were a whole bunch of guys with soldering irons and
circuit boards actually making these things. They are extraordinarily expensive.
(07:56):
I bought one and it cost me. I had just
bought a house in Sydney for sixty thousand dollars and
a fairlight cost me thirty two thousands, so it was
half a house. But it was an extraordinary thing. And
a lot of these technologies were just, you know, like
playing with toys. Really, it was in the process of
(08:18):
learning how to use them and seeing what they could do.
You know, suddenly there appeared a new song. So it
was a great fun, incredibly interesting time to be given
all these toys to play with.
Speaker 2 (08:32):
Well, of course, the White Coach didn't know how to play.
They were musicians. They just made a piece of machinery.
They needed an artist like yourself to play. And you
were classically trained. I mean you used to play the oboe.
Do you still play the obo?
Speaker 3 (08:44):
Yeah? I do, certainly, not as well as I just did,
but yes we still. I still use it the obo
on stage on a cab. Well, okay, and yes I
had all that training. But I had also a very
close relationship with because because literally they were building the
fair lights underneath where our managers were. I developed a
(09:05):
very close relationship with the engineers, and every time I
kind of hit a wall where I wanted to be
able to get the machine to do something, I would
contact them. I would call them, or I would drop
in and see them and go, can you get it
to do this? And we'd invent something. And in fact,
(09:27):
this week, after being apart from my Fairlight, which I
showcased and donated out of university for decades, the Fairlight
is coming back to me and one of the original
engineers who invented some of these things that I kind
of asked them to try and dream up, has been
restoring it, and so this extraordinary machine is actually coming
(09:50):
back into my possession and being installed in my freshly
renovated studio. And it is a real, really historic historical
piece of equipment and mine, especially because it was the
protoce type for a lot of what followed it.
Speaker 2 (10:07):
Wow, that is an excellent story because you started making
heads and they just kept on coming. And yeah, great
Southern Land. You can hear the sympthom There is just
such a beautiful sound as well. You got to the
point where what I think crazy, You got to number
fourteen in the United States of America. Would that be
the high point?
Speaker 3 (10:25):
No? That was followed by a song called Electric Blue,
which was top ten in America.
Speaker 2 (10:29):
Oh okay, Well, I know you're massive in Australasia, but
I don't hear about the ice House tours of America.
Are there?
Speaker 3 (10:39):
Yes, well, there were, certainly, I haven't We haven't toured
there for quite a long time. It's incredibly the problem
that's always existed. I'm sure it's exactly the same if
you had this conversation with Neil Fenn with New Zealand bands,
is that we are literally on the other side of
the world and The problem that produces for Australasian bands
(11:05):
is that we don't have the same ability as in
vans in the UK or from Germany or from the
United States of just popping on a plane and a
couple of hours later being somewhere else in Europe or
somewhere else in Canada or North America. And so it
becomes extraordinarily and prohibitively expensive to relocate an entire rock
(11:30):
and roll band and all the instruments and equipment literally
to the far side of the world. And so this
is something that's always been a barrier. I dare say
things have changed in some departments, but I don't think
the tyranny of distance has really changed.
Speaker 2 (11:48):
No, no, And if it's not fun, why do it?
And I see that Neil Finn is actually starting a
tour of America on August the twenty ninth, and then
he goes to Europe, and then he finally comes back
to New Zealand and he plays every second night and
he won't be finished on December the fourteenth, And frankly,
who can be bothered doing that, Neil Finn or when
you're either.
Speaker 3 (12:06):
Davies, I don't know. I think obviously a lot of
people enjoy incredibly the the whole process of performing. And
earlier this year we were reunited with Simple Minds because
we had a history with them. They supported us in
Australia when they were unknown completely in Australia, and we
(12:30):
went and supported them in the UK when we were
unknown in Europe. So it was kind of like a
student exchange program. And so we had this extraordinary experience
of sort of react re enacting that that exchange program
in a tour earlier this year where by on all
(12:53):
thurtny nights, you know, Simple Minds with headline and then
we'd headline and they toured with us in Australia, and
so it reminded us both hanging out with Jim Kerr
of you know, the extraordinary thing for them was coming
from Scotland to this very strange place called Australia and
(13:15):
realizing that they were ten thousand miles from home. You
know it, it was a very big deal.
Speaker 2 (13:21):
It's a big deal absolutely. Now speaking of Simple Minds,
they were in fact the headline act at the Greenstone
Summer Series last year last summer and I went along
and they did all the old songs I loved song
and the American and all this made an old man
like me very very happy. And now it's you and
you'll be doing a gig just before Chisel comes on
and does their Big five. Oh so, what can punters
(13:42):
expect from Ice House this January in Queenstown, Fitty Younger
and Topoul.
Speaker 3 (13:51):
What do I can expect is that we'll probably almost
inevitably leave out something that somebody wants to hear, which
is a dilemma and a very and a wonderful dilemma
to have, because it just means that we have far
too many songs that people know and love to choose from.
(14:12):
But the downside is, of course we can't play them all,
so it'll be very interesting. The whole process of picking
the set list will be very very interesting. It always is,
all right, and the show and the band and the band.
You know, some of these guys I've been playing with
for was probably best not to remind anybody of how
(14:33):
long it's actually been, but it has been there, I say,
nearly forty years, so it is It's interesting to have
this kind of relationship with musicians. We don't live in
the same city, so we're sort of scattered between Melbourne
and the Blue Mountains and Adelaide and Sydney, so we
(14:54):
don't kind of have a social life until we're actually
going to play somewhere. But the fact remains, you know,
playing with these guys for forty years, so we are
very good friends by now and have the greater I guess,
advantage of not being in each other's pockets all the time.
(15:17):
It's always a joy to get to the airport and
go I haven't seen you for blah blah blah. You know,
so it's great fun. I think that's the main thing.
Speaker 2 (15:26):
And it'll be the best summer for you guys anyway.
You're going to be hanging out with Jimmy and Ian
and the whole crew of Cold Chisel, and you've got
a week just what you have, a week and a
half of it. You're going to some of the prettiest
places in New Zealand, Queenstown, Topaul and Fitty Younger on
the coast, great surf there as well. You're hanging out
with all your mates who you only see every now
and then, and you're presenting this to an audience who
(15:48):
are just gagging to see you. Because I mentioned at
the beginning I saw you in nineteen eighty one at
Sweetwaters forty four years ago. That was the last time
I saw you play live. I can't wait to see
you play live this year now.
Speaker 3 (16:02):
It's going to be amazing and I've kind of highlighted
all the things that it's going to make it quite
a special occasion because that relationship with cultures goes right
back as Before Night in the in Factor and Ian
Muss played on our very first album, and so it's
a very special relationship. But also in the most amazing place,
(16:24):
which is a favorite place I think outside of Australia,
those wonderful places in New Zealand, and I can name
a particular Japanese restaurant in Queenstown and I know that
I'll be going to probably the best Japanese restaurant I've
ever been to, and so that's really yeah, that's going
to be a highlight.
Speaker 2 (16:44):
Either. The fact that you're coming makes my heart swell
and I can't wait to see you. And thank you
so much for saying yes to this. It's going to
be a blast, Thank you very much.
Speaker 1 (16:53):
Indeed, Gold Asides Podcast The Stories behind Just Great Rock.
If you enjoyed this podcast, click to share with Fambly
or friends for just great Rock. Listen to Gold If
Him Time Anywhere on iHeartRadio,
Bold Asides Podcast, The Stories behind Just Great Rock.
Speaker 2 (00:10):
Hi the Davies, welcome to the program. Thank you very much,
and ready to rock and roll?
Speaker 3 (00:15):
I think so? Yeah, very ready, in fact, very.
Speaker 2 (00:18):
Good, very good. You're coming in January of next year,
twenty twenty five, as part of the Greenstone Summer Tour series.
Of course, you're there with Cold Chisel celebrating their big five, oh,
their fiftieth anniversary. They're making a big deal about this
being forty five years since you first came to New Zealand.
Speaker 3 (00:35):
Is that true? It is, And there's a relationship there
that you may not be familiar with because we wasn't
broadcast at the time, of course, but there are three guys,
three managers. Two of them were occupied with the two
biggest bands in Australia by far, at the absolute peak
(00:58):
at that time, and that was The Angels and Cold Chisel.
And the third manager was looking for a young band
and found this cover band that operated out of Sydney
called Flowers, and that was us and they picked us up.
And so as part of kind of you know, our training,
(01:19):
I guess is probably the best way to put it,
we were given lots of support slots with both The
Angels and Cold Gizzl. So that was kind of, you know,
watching the very best of Australian pub rock on a
kind of stadium level. And as part of that, we
(01:39):
were brought to New Zealand for a festival called Sweetwater,
which was outside festival and we got to play in
front of a lot of people and that was televised.
It was filmed as well, and some of that footage
is still floating around you can you can actually check
out at least a number of songs that we played
(02:00):
on YouTube. And there we are on the same bill
with Cultures, once again being the little brothers of the
management stable.
Speaker 2 (02:10):
Now I need to correct you though, because it wasn't
nineteen eighty because you're playing in twenty twenty five and
you're playing aucklandan anniversary weekend in Topore and forty younger,
so to have it to be the forty fifth, that
would have to be nineteen eighty. Unfortunately it was nineteen
eighty one. And here's the thing. I know this because
(02:31):
I just left school and then I got a summer
job and I lived in a pup tent for a
month and my job was to dig the la trens
for the Sweetwater's Festival, and my job was to help
the scaffolder build the scaffolding rig for the speakers, and
I got to be side stage while you played live
for the first time in New Zealand as the Flowers,
and can I say you were magnificent?
Speaker 3 (02:52):
Oh, thank you very much. Well, I tell all of
a job. We were at that point still loading our
own gear in and out of the truck. I reverly
nearly lost a finger in the process of doing that.
So this is one abiding memory of of our first
trip to New Zealand. And likely the ring that I
was wearing broke before it took my finger off and
(03:14):
I've never worn a ring since, so they.
Speaker 2 (03:17):
Yeah, absolutely, and you're quite right. It was recorded by
Dylan Tate, it was on Radioth Pictures and it's on
YouTube right now and I looked at it the other day.
Only eleven thousand people have seen it. But I think
everyone should do yourself a favor, as Molly Melgom would say,
go and look at the Flowers Sweetwaters nineteen eighty one YouTube,
because you really bang on your pictures perfect, the band
is tight as you were always good.
Speaker 3 (03:39):
Well, thank you very much. I think by then though,
we'd played an awful lot of pubs in Australia. So
you know, one thing that characterized that particular period, and
I'm sure it's the same for Cultures and the Angels,
was that we worked incredibly hard. And you know, the
week in, week out we were doing something like nine
shows a week, and some of those involved in overnight
drive from Melbourne Sydney in the middle of it. And
(04:02):
so you know, obviously when you had a nine shows
a week and meant we were doing a number of nights,
we're doing two shows some of them, some of them
were going on stage at half past midnight. So you know,
it was no small wonder that we're all skinny as
rakes and look particularly unwell.
Speaker 2 (04:20):
Yeah, yeah, well you know what they said, They say
it takes ten thousand hours to get good at it,
and you get very good at it. We do ten
thousand hours in RSL.
Speaker 3 (04:30):
Exactly right, yes, And so yeah, they were they were
I think in only only the energy of a mad
youth could deal with it.
Speaker 2 (04:38):
But then you're.
Speaker 3 (04:39):
Talking to Jimmy Varnes didn't have exactly the same story
to tell.
Speaker 2 (04:42):
Then, of course, the flowers turn into ice house for
various contractual reasons. The ice houses, by the way, that's
that's named after your old flat, isn't it.
Speaker 3 (04:52):
Yeah, Well, when I first moved out at home, it
was into one of three flats, which was a subdivision
of a big, old two story mansion. It's a very
old building and I think I found I found eventually
the probably the last hardware store in Sydney that actually
stole bags of coal because it was absolutely freezing this house.
(05:17):
But it did have a working coal fireplace, and you know,
I remember going out to play it at gigs with
the very early iteration of the band and coming back
and the coal fire would still be there, giving a
bit of a poke with a poker and getting it
going again. And I used to put my stage boots
(05:39):
that I had down next to this coal fire, and
in the morning i'd wake up and they were black
leather boots. But in the morning I'd wake up and
they were completely white because so sodden with perspiration that
they were covered in the salt that i'd lost the
night before from playing in a pub. So yes, interesting
(05:59):
memories and enough to inspire a song exactly.
Speaker 2 (06:03):
And the walls are coming in on you as well, Yeah,
I get that. Hey. So so then the ice House
just carried on and did so very very well. Back
in the early days when you were the Flowers, I
remember looking at you and going, there's a guy who
listened to an awful lot of David Bowie. But there's
also a guy who's taken up the synthesizer. So what
were you trying to achieve with the ice House sound
through through the great years?
Speaker 3 (06:25):
Well, the pod the period of time you're talking about
was actually an incredible one really to be kind of
experimenting in music, because there were just a series of
incredible inventions that happened sort of bang bang, bang, one
after the other. We'd already had, you know, the fore
runner synthesizers that Pink Floyd were using, you know, a
(06:48):
couple of years before we started, and you'll find you know,
the mini move and all that sort of stuff all
over there, very early recordings. But by the time we arrived,
there was the invention of drum machines which hadn't previously existed.
And then it was this extraordinary invention and it was
(07:08):
an Australian invention called the fairlight, which was the very
first stampler. Now I'm not going to explain the technology
to you right now, but I'll say this that, apart
from the technology of recording itself, probably the most influential
piece of music technology ever invented. And by sheer coincidence,
(07:30):
our managers had an office in the upper floor of
a two story building in the center of Sydney, and
by sheer coincidence, they were building these fairlight samplers in
the ground floor and recognized me and dragged me through
the door and took me round the back, and there
were a whole bunch of guys with soldering irons and
circuit boards actually making these things. They are extraordinarily expensive.
(07:56):
I bought one and it cost me. I had just
bought a house in Sydney for sixty thousand dollars and
a fairlight cost me thirty two thousands, so it was
half a house. But it was an extraordinary thing. And
a lot of these technologies were just, you know, like
playing with toys. Really, it was in the process of
(08:18):
learning how to use them and seeing what they could do.
You know, suddenly there appeared a new song. So it
was a great fun, incredibly interesting time to be given
all these toys to play with.
Speaker 2 (08:32):
Well, of course, the White Coach didn't know how to play.
They were musicians. They just made a piece of machinery.
They needed an artist like yourself to play. And you
were classically trained. I mean you used to play the oboe.
Do you still play the obo?
Speaker 3 (08:44):
Yeah? I do, certainly, not as well as I just did,
but yes we still. I still use it the obo
on stage on a cab. Well, okay, and yes I
had all that training. But I had also a very
close relationship with because because literally they were building the
fair lights underneath where our managers were. I developed a
(09:05):
very close relationship with the engineers, and every time I
kind of hit a wall where I wanted to be
able to get the machine to do something, I would
contact them. I would call them, or I would drop
in and see them and go, can you get it
to do this? And we'd invent something. And in fact,
(09:27):
this week, after being apart from my Fairlight, which I
showcased and donated out of university for decades, the Fairlight
is coming back to me and one of the original
engineers who invented some of these things that I kind
of asked them to try and dream up, has been
restoring it, and so this extraordinary machine is actually coming
(09:50):
back into my possession and being installed in my freshly
renovated studio. And it is a real, really historic historical
piece of equipment and mine, especially because it was the
protoce type for a lot of what followed it.
Speaker 2 (10:07):
Wow, that is an excellent story because you started making
heads and they just kept on coming. And yeah, great
Southern Land. You can hear the sympthom There is just
such a beautiful sound as well. You got to the
point where what I think crazy, You got to number
fourteen in the United States of America. Would that be
the high point?
Speaker 3 (10:25):
No? That was followed by a song called Electric Blue,
which was top ten in America.
Speaker 2 (10:29):
Oh okay, Well, I know you're massive in Australasia, but
I don't hear about the ice House tours of America.
Are there?
Speaker 3 (10:39):
Yes, well, there were, certainly, I haven't We haven't toured
there for quite a long time. It's incredibly the problem
that's always existed. I'm sure it's exactly the same if
you had this conversation with Neil Fenn with New Zealand bands,
is that we are literally on the other side of
the world and The problem that produces for Australasian bands
(11:05):
is that we don't have the same ability as in
vans in the UK or from Germany or from the
United States of just popping on a plane and a
couple of hours later being somewhere else in Europe or
somewhere else in Canada or North America. And so it
becomes extraordinarily and prohibitively expensive to relocate an entire rock
(11:30):
and roll band and all the instruments and equipment literally
to the far side of the world. And so this
is something that's always been a barrier. I dare say
things have changed in some departments, but I don't think
the tyranny of distance has really changed.
Speaker 2 (11:48):
No, no, And if it's not fun, why do it?
And I see that Neil Finn is actually starting a
tour of America on August the twenty ninth, and then
he goes to Europe, and then he finally comes back
to New Zealand and he plays every second night and
he won't be finished on December the fourteenth, And frankly,
who can be bothered doing that, Neil Finn or when
you're either.
Speaker 3 (12:06):
Davies, I don't know. I think obviously a lot of
people enjoy incredibly the the whole process of performing. And
earlier this year we were reunited with Simple Minds because
we had a history with them. They supported us in
Australia when they were unknown completely in Australia, and we
(12:30):
went and supported them in the UK when we were
unknown in Europe. So it was kind of like a
student exchange program. And so we had this extraordinary experience
of sort of react re enacting that that exchange program
in a tour earlier this year where by on all
(12:53):
thurtny nights, you know, Simple Minds with headline and then
we'd headline and they toured with us in Australia, and
so it reminded us both hanging out with Jim Kerr
of you know, the extraordinary thing for them was coming
from Scotland to this very strange place called Australia and
(13:15):
realizing that they were ten thousand miles from home. You
know it, it was a very big deal.
Speaker 2 (13:21):
It's a big deal absolutely. Now speaking of Simple Minds,
they were in fact the headline act at the Greenstone
Summer Series last year last summer and I went along
and they did all the old songs I loved song
and the American and all this made an old man
like me very very happy. And now it's you and
you'll be doing a gig just before Chisel comes on
and does their Big five. Oh so, what can punters
(13:42):
expect from Ice House this January in Queenstown, Fitty Younger
and Topoul.
Speaker 3 (13:51):
What do I can expect is that we'll probably almost
inevitably leave out something that somebody wants to hear, which
is a dilemma and a very and a wonderful dilemma
to have, because it just means that we have far
too many songs that people know and love to choose from.
(14:12):
But the downside is, of course we can't play them all,
so it'll be very interesting. The whole process of picking
the set list will be very very interesting. It always is,
all right, and the show and the band and the band.
You know, some of these guys I've been playing with
for was probably best not to remind anybody of how
(14:33):
long it's actually been, but it has been there, I say,
nearly forty years, so it is It's interesting to have
this kind of relationship with musicians. We don't live in
the same city, so we're sort of scattered between Melbourne
and the Blue Mountains and Adelaide and Sydney, so we
(14:54):
don't kind of have a social life until we're actually
going to play somewhere. But the fact remains, you know,
playing with these guys for forty years, so we are
very good friends by now and have the greater I guess,
advantage of not being in each other's pockets all the time.
(15:17):
It's always a joy to get to the airport and
go I haven't seen you for blah blah blah. You know,
so it's great fun. I think that's the main thing.
Speaker 2 (15:26):
And it'll be the best summer for you guys anyway.
You're going to be hanging out with Jimmy and Ian
and the whole crew of Cold Chisel, and you've got
a week just what you have, a week and a
half of it. You're going to some of the prettiest
places in New Zealand, Queenstown, Topaul and Fitty Younger on
the coast, great surf there as well. You're hanging out
with all your mates who you only see every now
and then, and you're presenting this to an audience who
(15:48):
are just gagging to see you. Because I mentioned at
the beginning I saw you in nineteen eighty one at
Sweetwaters forty four years ago. That was the last time
I saw you play live. I can't wait to see
you play live this year now.
Speaker 3 (16:02):
It's going to be amazing and I've kind of highlighted
all the things that it's going to make it quite
a special occasion because that relationship with cultures goes right
back as Before Night in the in Factor and Ian
Muss played on our very first album, and so it's
a very special relationship. But also in the most amazing place,
(16:24):
which is a favorite place I think outside of Australia,
those wonderful places in New Zealand, and I can name
a particular Japanese restaurant in Queenstown and I know that
I'll be going to probably the best Japanese restaurant I've
ever been to, and so that's really yeah, that's going
to be a highlight.
Speaker 2 (16:44):
Either. The fact that you're coming makes my heart swell
and I can't wait to see you. And thank you
so much for saying yes to this. It's going to
be a blast, Thank you very much.
Speaker 1 (16:53):
Indeed, Gold Asides Podcast The Stories behind Just Great Rock.
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