All posts tagged fortitude-valley

  • The Saturday Paper story: ‘Sobering Proposals’, July 2015

    A news feature for The Saturday Paper – my first for that publication – published in the July 4 issue. Excerpt below.

    Sobering Proposals

    Proposed changes to liquor licensing laws in Queensland are ruffling the feathers of venue owners and drinkers alike, but data following strict changes in NSW correlate with a sharp fall in assault rates.

    ++

    For bouncers in pubs and nightclubs, the turn happens about 1am. After that, there is very little good to come.

    “Most of the positive interactions happen by then, in terms of people finding partners,” says Peter Miller. “After that point, the night starts to take a different direction: the later it gets, the uglier people get.”

    Miller knows a bit about this, having spent a decade working security in Melbourne and Geelong. Now a 50-year-old associate professor of psychology at Deakin University, he still spends a fair amount of time in bars, but he has traded his walkie-talkie for an iPhone app, which he and his team use to conduct in-the-field academic research in the form of “unobtrusive observations” of bar-room behaviour and interviews with pub patrons. “I’m not an ivory tower researcher,” he says with a chuckle. “I worked in the industry for a decade, and I’ve spent the last five years on the street.”

    The bouncers’ maxim Miller relays, that ugly behaviour sees a sharp rise after 1am, is particularly pertinent given that the Labor-led Queensland government plans to follow through with its pre-election commitment to curb alcohol-related violence by introducing a raft of statewide changes to liquor licensing. The laws follow similar regulation in New South Wales.

    “We will be bringing legislation before this house to stop pubs and clubs serving alcohol after 3am, and introducing a 1am lockout,” the Queensland attorney-general, Yvette D’Ath, said in state parliament on March 26. “We will be giving police the power to breathalyse drunk or disorderly patrons so they have the evidence they need to prosecute licensees, managers and patrons who breach the Liquor Act.” Also on the agenda was preventing the sale of “high-alcohol-content drinks” – including shots – after midnight.

    The thought of breathalysing patrons to prosecute venues seemed wild and open to police abuse. Drunkenness is not an unknown quantity in any bar at closing time. The Gold Coast Bulletin seized on the claims, running a front-page story headlined “D’Ath Vader”, complete with a Photoshopped image of the minister dressed as the Star Wars villain. The strapline: “Attorney-General using the force to keep the peace … and keep you sober”.

    “Allowing police to breathalyse drunken patrons will help them to build cases for prosecution for court,” D’Ath told the Bulletin. “For example, police consider a [blood-alcohol] reading of 0.15 to be highly intoxicated.” Strangely, D’Ath’s office issued a clarifying statement the same day, which noted, “There is no plan to random breath-test drinkers and there never has been.”

    To read the full story, visit The Saturday Paper.

  • The Music Network story: ‘Brisbane’s Live Tempo Escalates’, March 2010

    A story for The Music Network about a new initiative for emerging Brisbane bands.

    Click the image for a full-size version, or read it below.

    'Brisbane's Live Tempo Escalates' story for The Music Network by Andrew McMillenBrisbane’s Live Tempo Escalates

    A rebranded Brisbane venue seeks to provide emerging live artists with opportunities to build their fanbase from the grassroots up.

    Situated at the corner of Brunswick and McLachlan streets in Brisbane’s Fortitude Valley is The Tempo Hotel, the newly-rebranded venue better known to locals as Dooley’s or, in recent years, Bar 388. Last month it was purchased by hotel operator – and avowed live music fan – Steve Hammond, who also owns another high profile property in the Queensland capital: Chalk in Woolloongabba, and previously, The Regatta in Toowong.

    In 2008, Chalk became the new home of acoustic showcase fRETfEST, which was established in 1997 by Alan Buchan. Based on the strength of that relationship and Buchan’s unwavering passion for providing young musicians with the chance to strut their stuff onstage, Hammond offered the fRETfEST founder the chance to curate ‘Escalate’, a weekly platform for emerging bands and artists to play in a public venue before both Brisbane’s live music fans, and industry tastemakers with an interest in scoping out local talent.

    Held on Tuesday afternoons from 3pm onwards, Buchan’s role as ‘Escalate’ musical curator and general artist go-between is to inform young Brisbane musos about the opportunity: a big stage, a hefty PA, professional sound and lighting, and cheap food and drinks. Though the bands who play ‘Escalate’ won’t be paid at this stage, Buchan points out that the venue is a block from the heart of The Valley, where public opportunities for performing artists are often stifled by accessibility and venue policies.

    The new event is a platform upon which to build an audience, in addition to the bar’s existing live entertainment on other nights of the week. At the event’s pre-launch last Tuesday, Buchan told The Music Network: “If we discover enough bands through this avenue, then we’ll look to expand this onto other nights.” In line with the curator’s goals of connecting young Brisbane performers regardless of their style of playing, ‘Escalate’ is not genre-specific: in his words, everyone from “metal to Irish folk” is invited to play.

    “With ‘Escalate’, we simply want to provide the opportunity for good bands to play,” Buchan suggests. “If you’re bringing your mates, if you’re easy to work with, and you’ve got a great sound – we’ll include you. Ultimately, what we’re aiming to do is provide more opportunities the most reliable bands with the best sound and attitude.”

    Tempo owner Steve Hammond had music on his mind when purchasing the venue. “I thought, ‘where can young bands these days get a start these days?” he says. “[They] can’t get a spot on a Friday or Saturday because that’s the Valley venues’ best times, when the public want to come in. I went to Alan Buchan and asked how we could get this off the ground, and here we are. This is the pre-launch event; we haven’t hit [‘Escalate’] with much advertising just yet, but we’ll get it right. It’s all ‘suck and see’ at the moment.”

    Beginning at 3pm Tuesday and allocating up to 90 minutes per act, ‘Escalate’ is aimed at showcasing ‘entry level bands’; as defined by Buchan, “those who haven’t got a record deal yet”. The event is inclusive for bands of all ages; both covers and original are favoured, though the curator states a preference for original acts.

    While the whole initiative is still very much “in start-up mode”, as Buchan puts it, Hammond hints at a longview for the new initiative which should be attractive to local acts: “Every month we’d like to pick a couple of the best bands from ‘Escalate’ and stick them into a paid weekend support slot.”

    The Tempo Hotel, Fortitude Valley, BrisbaneBeyond fRETfEST, Buchan is a stage manager at the annual Woodford Folk Festival, which now allocates a few hours per year to the curator’s hottest fRETfEST picks. He understands that the music industry is built upon relationships and communication. “My role with ‘Escalate’ is to connect young bands with Steve and his facility here, to open the doors for them to come in and play.”

    As the first performer at ‘Escalate’ prepares to take the stage, Buchan concludes: “It’s exciting to be part of a grassroots movement that supports original live music. I’m looking forward to escalating Brisbane’s best new bands, and giving them the opportunity to take their music and their experience to the next level.”

    Web: ‘Escalate’ on FacebookFretfest.com

    This story was published in The Music Network issue 779 on 22 March 2010.

  • A Conversation With Anthony Osborne, The Hi-Fi General Manager

    hifiweb

    Melbourne‘s Hi-Fi  is a day away from the public opening of their Brisbane venue. They’ve opted to establish it in the southern suburb of West End, outside of Fortitude Valley‘s live music hub. The Drones will be the first act to headline the venue, while fellow Melburnians Witch Hats and local act Hits will strike the first cymbals and chords. I spoke with The Hi-Fi’s General Manager, Anthony Osborne, about his expectations for the new room and the nature of the promoter-venue relationship.

    Note: this interview was conducted on behalf of Mess+Noise. This is the entire conversation that I had with Anthony, while an abridged version is contained in my feature article, entitled High Stakes, which also includes interviews with several Brisbane music authorities and stakeholders.

    We’ve always wanted to grow our business, and Brisbane is one of the key touring markets on the east coast. Brisbane’s part of the roster for most acts; it’s a good market that’s growing in terms of youth culture and population, so it just made business sense.

    Did you guys have a knowledge of the local scene up here, or were you assisted by some industry contacts?

    We’ve had a good look for a few years before diving in. For all the capital city markets in Australia, we’ve had consultants from a property and hospitality perspective who we’ve worked with to look at different areas of the city, to see what we can put together in terms of a live music venue. Our own knowledge of the touring market has assisted, too. In particular, West End stood out as a good spot, as a good cultural fit for our target market.

    Why the West End location, when The Valley has become known as Brisbane’s live music HQ? 

    We’re in the business of placing bands who will attract people from anywhere nearby. We’re not really a ‘drop-in’ venue; we put on headlining artists in an effort to fill the room as often as possible. Although we’d like to be in a spot that has a good fit, at the end of the day, we can be a bit more flexible. West End is as suitable for us as The Valley, because of the fact that people will come to the destination to see a particular headlining artist.

    West End. Not a cultural desert. (via Cultureboy, flickr)

    And I suppose that the audience will hang around after the show and get to know West End a bit more.

    Yeah, definitely. We think that pre-show and post-show is important, as you don’t want to be stuck in a cultural desert. People like to be able to go and do something. It’s no sin to not be in The Valley; we’d have happily taken an opportunity in The Valley, but we’re very happy to be in West End.

    Did you encounter any resistance when planning for the venue, either from locals or other Brisbane venues?

    Everyone’s pretty much welcomed us with open arms. We’ve got a real sense that our venue will be a good fit, and that it’ll be nice to have another venue in the mix.

    So you recognised a gap in the market? Did you think that Brisbane was missing a mid-range venue?

    There’s room in all the capital city markets for professionally-run venues that have a good tech solution, and a good customer solution. So Brisbane wasn’t missing a venue more than any other market; Melbourne has a lot of options for venues, but you still see people coming in and out of the market, and you see improvements for artists and promoters who want quality. There are some good operators in the Brisbane market, but there’s certainly room for us. It’s not that we recognised a gap; we see ourselves fitting into any market, if we can provide the right solution.

    I’ve read that the venue capacity is 1,200.

    That’s roughly correct. The capacity tends to get slightly reduced due to guest lists and so forth, but that range is where we’re aiming to be.

    Okay, so locally, we’ve got The Tivoli, which is of a similar size [approximately 1,500], and I’m sure you’re aware that The Arena has closed.

    Yeah, The Arena closure is disappointing for Brisbane. That venue took some bigger events. We always saw The Arena and The Tivoli – and to some degree, The Zoo – as being competitors who offer alternatives. Artists may still play multiple Zoo shows, as they haven’t had historically had many options at that 1,000-1,200 capacity level.

    The Hi-Fi has taken a few of the shows that were scheduled to be played at The Arena; are you looking to occupy a similar market space?

    The live industry is essentially promoter-driven at that end of the scale. We can’t match the capacity that The Arena offered [note: commonly quoted at 2,000], but there’s certainly other ways to package the experience. If we’ve got turnkey operations and good marketing and ticketing support, then we can offer a more cost-effective alternative for promoters to use The Hi-Fi. This means that they can perhaps look at reduced capacities with a similar cost result.

    We work on keeping the costs down for those who book the room. We think that’s the best competitive advantage that we can offer, in addition to offering a great live experience. It’s about punters and artists; if they’re both happy, then promoters are happy. The ultimate clients in many cases are the promoters, who we get much of our business from. To make them happy, we’ve just got to make sure that the fans want to come to the venue, and that the artists have a great experience. That starts with a good tech solution, a smooth ticketing system, bars and a great sight-line for all in attendance. Melbourne’s Hi-Fi is one of the best viewing venues, and we’ve tried to replicate that with the Brisbane Hi-Fi. It’s purely designed for live music.

    I read that the venue will offer seven levels of tiered vantage points.

    We’ve designed it to allow everyone in the room to see the stage easily. That’s the most important thing we can do – you know yourself from going to gigs. All of a sudden you wonder why you went, because you’re stuck in a back corner and you can’t see anything. As much focus has gone into that aspect as the sound system.

    The venue was previously a hotel for years, which did some live music, but in its last incarnation it was a pool hall. So it had a big space out the back – a big ‘footprint’ – but the inside has been custom-made to our requests. We put in a mezzanine, added a stage, tiered the floor and completely remodelled inside the building.

    I’ve noticed that The Hi-Fi has some great national and international acts lined up; what are your plans to support the local scene?

    thedrones

    We held a promotion to recruit local support acts for the opening night, headlined by The Drones, which received over 200 entries from local acts. Those entries have allowed us to build a database of artists comprising many different genres who’ll be interested in support work. We’ll be pushing those into the mix whenever we’re after local acts.

    We’ll be supporting local promoters who want to put on local bands. If promoters approach us with a desire to put on themed nights for whichever genre they’ve organised, such as a collection of indie, or hard rock bands, we support that by actively seeking these kinds of requests. We also make it efficient and reasonable for promoters to put these shows on. We do this a lot at the Melbourne venue, too.

    Our main focus is headlining Australian and international acts – that’s certainly the ‘bread and butter’ of our business – but we want to be as open as possible, to support the local scene by creating opportunities for promoters and acts.

    How did the idea to get The Drones on board for the venue launch come about, and how did you arrive on the invite-only free show idea?

    We were always going to do a free show on the opening night, because we thought that was just a great way to launch the venue. The Grates were booked two days after the launch; we could have just opened with that show, but we wanted to open with an artist who is a good cultural fit for our business. We thought that The Drones were suitable for that purpose as they’re a great, artistic indie band. We approached The Drones with the idea, and they accepted.

    We’re doing the free opening show to give everyone an opportunity to come to the venue. We’ll have a lot of people who won’t know The Drones – they won’t be Drones fans per se – but they’ll want to check out the venue. And these people might become Drones fans on the night, or fans of the bands who are supporting [Melbourne’s Witch Hats and local promotion winners Hits]. We also allocated 300 tickets to The Drones’ fanclub, which went like wildfire. But we haven’t limited the event purely to guests, as we wanted Drones fans to come to the show, in addition to letting people in ‘off the street’, so to speak.

    It’s great that The Drones enabled us to do that, as to some degree they’re making a sacrifice of their own by playing to a percentage of the room who aren’t necessarily passionate Drones fans.

    I read a news release that mentioned live video feeds and occasional acoustic sets in a nearby bar.

    There’s a standalone bar on Boundary Street called Vinyl, where we’ll be taking live video and audio feeds from particular gigs in The Hi-Fi’s main room and feeding them to Vinyl through a couple of big projector screens in the bar. We wanted to offer this as an add-on to sold-out gigs. We thought we’d take the opportunity to run the gig into a nearby location that contains venue-quality production sound.

    We’ve had great responses from the artists, who’ve been very supportive of the idea as most of them realise that it’s an opportunity to spread their ‘brand’. It’ll be up to the artists and their management as to whether they’re comfortable going through with it, but the response we’ve had so far indicates that we’ll be doing the live Vinyl feed quite often.

    We’ve done that with Jim Beam, who’ve been partners of ours for a while. They helped us pull the deal together, invest in a bit of production infrastructure, and support it with a bit of marketing, without being overtly commercial. If we can get a good, regular roster of local and international acts who’re keen to run the feed, then it’ll be great for people to be able to hang out at the bar and watch some great acts playing live nearby.

    Vinyl will also be putting on some smaller ‘side shows’ where some artists will occasionally perform some smaller sets in an intimate location on a day surrounding their Hi-Fi show. These won’t be heavily promoted; maybe a week out from the show, we’ll advertise that a particular artist is taking a ‘lo-fi’ – most likely acoustic – opportunity, if that suits their style. The venue has a small stage and a decent production set-up, and has a capacity of around 150.

    witchhats

    What’s The Hi-Fi’s policy on punter recordings and photography?

    In most cases, the decision is made by the artist a couple of weeks prior to the gig, so our hands are tied in that aspect. We don’t have a problem with punters taking photos or recording, and most artists these days seem to agree. We provide that service as a part of our business, so if the artists want to enforce a ‘no camera’ policy, then we will oblige.

    So photography will be dealt with on a per-artist basis, instead of a blanket venue policy. But it’s a fairly difficult thing to stop, since most phones now contain cameras. And I think thatif a band gets more exposure, regardless of their position, it’s probably not such a bad thing.

    Considering the number of venues that are emerging in Brisbane, do you anticipate that ticket prices will go down?

    I don’t think that the number of venues will have any impact on the ticket prices at all. Ticket pricing is driven by the number of touring artists and global exchange rates. So if our dollar loses its value and it becomes more expensive to tour the country, ticket prices will increase, though we haven’t seen that occur yet. Ticket prices are promoter- and volume-driven; booking agents won’t necessarily bring more artists to a city if there’s more venues.

    I take it that you’re attempting to distinguish the Melbourne Hi-Fi from the Brisbane Hi-Fi.

    They’re part of the same group. We recently dropped the “Bar and Ballroom” part of our name from The Hi-Fi in Melbourne; we tended to be colloquially known as “The Hi-Fi Bar”, which is wrong since we’ve never been called that. It just got adopted by our punters, who ran with it. But both venues are run by the same management structure, and they’ll very much work together.

    Finally; you’re based in Melbourne, Anthony. Is there going to be a Brisbane-based Hi-Fi team?

    There is. There’ll be a production team, an operations manager for the venue and some other full-time staff for marketing and promotion. Although the main company administration is based in Melbourne, we may have some people representing the company nationally over time, while operating out of Brisbane. We’re very excited to get into Brisbane; we can’t wait to get on the plane and have a big opening night!

    The Brisbane Hi-Fi is located on Boundary Street, West End, Brisbane. It opens on Wednesday, April 29 with a show headlined by The Drones, featuring support from Witch Hats and Hits.