Last week a video emerged online of Kylie Minogue reciting the rejection letter Nick Cave sent to MTV after he was nominated for a Video Music Award in 1996. A couple of days later, a large chunk of Australia’s independent music community (and various other interested parties) congregated for an awards ceremony. Cave’s letter takes issue with his music being reduced to something that’s measured and placed in competition. He speaks of himself as “unique” and “in competition with no one.” While this could be taken as a mark of ostentation, Cave’s self-appraisal gets at the essence of what motivates any creative individual to engage in artistic practice. It’s not to be the best or join the crowd – it’s to create something unique and free from externally imposed constrictions.
The independent music sphere, you’d imagine, epitomises this ethos. So why the awards ceremony then – a night of apparent competition and measurement? Well, it’s a recognised format for celebration, which brings enough urgency to get the likes of Hilltop Hoods, Urthboy, Dylan Lewis, ARIA CEO Dan Rosen and stacks of other bands, managers, journos and PR people together in the same room. Besides, the AIR Awards never have a particularly competitive atmosphere, helped along by the event’s casual nature and liberal free booze policy.
Hosted again by Lewis, a paragon of dry, awkward wit and loveable lewdness, there wasn’t much dawdling once the ceremony got underway. Airling was up first with a performance of melancholy pop. It wasn’t hugely gripping, but you could blame that on the as-yet unsettled crowd. This year’s keynote speaker was Murray Cook, AKA the Red Wiggle. Cook was about as genuine and affable as they come, giving a somewhat rambling account of his 40-odd years as an independent musician and music fan. He concluded with the basic, unpretentious advice to just keep creating, which will ensure music’s supposed downfall simply never happens.
Unfortunately Best Country Album winner Frank Yamma cancelled his performance, but Johnny Butler stepped in to fill the gap. As hard as you might try, it’s difficult to harbour serious resentment for JB – he’s been DIY since the beginning, puts a lot back into the independent sector and remains a goofy character. However, there wasn’t much to like about his treatment of an innocent banjo during a solo rendition of Better Than.
Dead Letter Circus joined Lewis on the podium to present an award, and seemed as if they’d taken full advantage of Carlton Dry’s sponsorship. Later on they performed, and despite my mass consumption of the sponsor’s produce, there was nothing revelatory about their glam-sprinkled prog rock. Likewise nominees for Best Single, Adelaide’s Bad//Dreems, whose pub rock shtick was decidedly lukewarm.
The night’s big winner was Courtney Barnett, taking out Best Artist, Single, Album and label for Milk! Records (which she runs with her partner Jen Cloher). Tall poppy syndrome creeps up here and there in regards to Barnett’s success, but her globe-smashing 24 months as a completely independent artist is really quite remarkable. If nothing else, it affirms the viability of a career as an independent Australian musician in 2015. And I’ll drink to that.
BY AUGUSTUS WELBY
Photo by Ian Laidlaw
Loved: Murray, the Red Wiggle.
Hated: I’m not Murray.
Drank: Carlton Dry, innit.
