Traditional music and dance
Traditional Australian music is first and foremost Aboriginal music. And Aboriginal music is first and foremost the didgeridoo. Emblematic of Australian Aboriginal culture, this wind instrument, traditionally made from a hollowed-out eucalyptus trunk, is undoubtedly the oldest musical instrument in the world. To play it, like the trumpet, the best musicians must master the circular breathing technique (or continuous breathing) that enables them to hold a harmony in length. Mostly played by men, it traditionally accompanies ceremonial or recreational singing, but is increasingly used as a solo instrument. A must-have that has seen its heyday in the hands of such masters as D. Gurruwiwi, the world star who died in 2022; Mark Atkins, who once managed to blow for a record 50 minutes straight; William Barton, who was a soloist with the Queensland Symphony Orchestra; and virtuoso Charlie McMahon, one of the first non-Aboriginal musicians to achieve success as a professional player. We should also mention an artist like Xavier Rudd, a multi-instrumentalist who has taken the didgeridoo into other musical territories, such as folk and reggae.
Much less famous, but also widely used in traditional music, are instruments such as clapsticks, a kind of oval, painted claves that are struck one on top of the other. The rhombe or bullroarer is a wind instrument used in rituals, consisting of a kind of whistle attached to a string that is turned, the friction with the air producing the sound. Last but not least, the eucalyptus leaf is also used as an instrument. Held between two fingers in front of the mouth, blowing into it produces a sound similar to that of the kazoo.
In addition to instruments, there are also musical - and choreographic - forms specific to Aboriginal tradition. The Yolngu, for example, perform Manikay, songs recounting the history of a clan or family, or various events relating to the life of the community, accompanied by a dance called bunggul. The Garma festival, held in August in the Northern Territory, sometimes features exhilarating night-time performances of bunggul.
Among the Yolngu again, but also among others, "songlines" (from the English songline), also known as "dream tracks", are traditional songs, stories and dances that enable one to trace a route through the earth or sky, and thus connect with one's ancestors by repeating the words.
In the south-east, in the Adelaide region, people practice kun-borrk, songs based on words - and not sounds, as is often the case - while in the Gurindji region in the north, people enjoywajarra, entertainment songs.
For the Australian public at large, Aboriginal music has been popularized by artists fusing with other genres, such as the flagship group Yothu Yindi, who combine Aboriginal songs with pop and rock - they have also adapted Yolngu dances to accompany their music - or Geoffrey Gurrumul Yunupingu, a guitar and didgeridoo player singing in the Yolngu language. Other aboriginal artists rose to fame as early as the 1950s without ever resorting to traditional music, such as Jimmy Little, who played country and folk rock.
Some good opportunities to rub shoulders with Aboriginal musical tradition are Queensland's Laura Dance Festival, which for over forty years has presented three days of Aboriginal ritual dances, and Brisbane's Clancestry, which features dancing, singing and didgeridoo concerts.
Popular music
Australian folk music is the heir to a long oral and folk tradition dating back to the time of the convicts at the beginning of British colonization, from 1788 onwards. The earliest Australian ballads tell of life in the outback and bush and the characters who populate them - bushmen or other swagmen - and evoke the harshness of daily life, drought, war, criticism of the government, etc. Waltzing Matilda, written at the end of the 19th century (by the Australian poet Banjo Paterson) belongs to this " bush ballad " register and is still widely regarded as Australia's unofficial anthem.
From the 1970s onwards, the country saw the emergence of a folk revival, heir to this song tradition and driven by artists - adored in the country - such as Eric Bogle, Archie Roach and Paul Kelly.
In love with its song tradition, the country cultivates numerous events to listen to it, such as the National Folk Festival in Canberra, in April, the Port Fairy Folk Festival in Victoria, in March, and above all the Woodford Folk Festival. Located 75 kilometers north of Brisbane, this internationally renowned event is held every year over six days and nights in December, with - brace yourself - over 2,000 guest artists.
Today, on the international scene, Australian folk music - in the most mainstream sense of the word - is embodied by singers who have become global stars, such as Kylie Minogue, the Melbourne-born "princess of pop", Natalie Imbruglia and Tina Arena, and of course, most recently, Sia.
Classical music
Classical music was introduced to Australia by European settlers, some of whom were musically educated. Very few works from this period have survived, and it wasn't until the middle of the 19th century - 1847, to be precise - that an opera was written, composed and produced on Australian soil. The opera in question was Don John of Austria by Isaac Nathan (1790-1864). Born in Canterbury, England, Nathan was an inveterate gambler in his spare time, a fact that precipitated his decline. Plagued by financial problems, he fled to Australia, where he gave himself a second chance and established himself as a father of national music. First by giving performances of works by Mozart and Beethoven, then by composing the aforementioned opera, and finally by being the first, once again, to research and transcribe Aboriginal music. One of his descendants is Charles Mackerras (1925-2010), the country's leading conductor, who was the first Australian to become Music Director of the Sydney Symphony Orchestra.
At the end of the 19th century, a number of Australian figures came to prominence on the national scene, such as John Delany (1852-1907), a Sydney organist and great composer of choral music, nicknamed "the Australian Gounod", and on the international scene, such as Nellie Melba (1861-1931), a coloratura soprano who enjoyed great success in Europe, especially in Brussels. Anecdotally, Auguste Escoffier created the recipe for Peach Melba in her honor, the peach having been chosen as the central fruit of the dessert because of its alleged benefits for the larynx.
With the establishment of the Australian Federation in 1901, a growing sense of national identity emerged in the minds as well as in the arts. In the first half of the 20th century, a national aesthetic emerged in the works of John Antill (1904-1986), notably his ballet Corroboree in 1943, and Peter Sculthorpe - and his famous Sun Music I - which incorporated elements of Aboriginal music.
From the 1960s onwards, several currents appeared in Australian classical music, with certain composers incorporating elements of Aboriginal and/or South-East Asian music, such as the hyper-prolific Don Kay (a great name in contemporary Australian composition), jazz like Don Banks, or moving frankly towards the avant-garde and experimentation like Malcolm Williamson, strongly influenced by Schönberg, serial music and Olivier Messiaen. From 1975 to 2003, Williamson was Queen Elizabeth II's "Master of Music", in other words, the royal family's official composer, for whom he composed a number of piano pieces (including four sonatas), chamber music, several symphonies, choral works (including masses) and more.
After them, this country-continent was crossed by many talents, the most famous of whom were undoubtedly Arthur Benjamin (1893-1960), pianist and composer known for his Storm Clouds Cantata, heard in Hitchcock's The Man Who Knew Too Much; Peggy Glanville-Hicks (1912-1990), whose tormented life nourished a substantial body of work; Brett Dean, whose compositions are often centered around political or environmental issues; Ross Edwards, inspired by the environment and nature, particularly birdsong; Georges Lentz, whose music has been performed on the world's most prestigious stages (Berlin Philharmonic, Vienna Konzerthaus, Carnegie Hall, Suntory Hall, among others); Liza Lim, whose work includes The Compass, written for the didgeridoo (produced in 2006 at the Sydney Opera House); and finally Richard Mills, one of Australia's leading opera composers.
In terms of performers, the country is not to be outdone, and has accumulated many talents who have shone internationally, such as conductors Joseph Post (1906-1972), who revolutionized the way opera was conducted in the country, and Bernard Heinze, who introduced Australian audiences to the works of Anton Bruckner, Dmitri Shostakovich and Béla Bartók; Simone Young, conductor of the Sydney Symphony Orchestra and Richard Bonynge, who is remembered for his immense talent as a ballet conductor, and who was also famous for his relationship with Joan Sutherland. Nicknamed "La Stupenda " ("the astonishing") for her breathtaking technique and fascinating timbre, this soprano remains one of the country's (and perhaps the world's) greatest voices, and was particularly employed in the great roles of Bellini, Donizetti and Handel. Alongside her, mezzo-soprano Margreta Elkins (1930-2009) was the country's other great international success, while today, the Australian operatic genre is very well represented by Nicole Car, a soprano who is in great demand on the world's best stages, and baritone Derek Welton.
There are also a number of excellent pianists: Percy Grainger (1882-1961), eccentric and controversial; Leslie John Howard, famous for being the only pianist to have recorded the complete piano works of Franz Liszt; and above all, Roger Woodward, renowned for his fantastic technique and uncommonly precise interpretations of Bach, Beethoven, Debussy and Shostakovich.
The state symphony orchestras were originally run by the Australian Broadcasting Corporation (ABC), but today operate as independent entities. They have played a major role both in the interpretation and democratization of the classical repertoire for the general public, and in the dynamism of contemporary national creation through the commissioning of new works. The country's oldest and most prestigious institution is the Sydney Symphony Orchestra, which gives around 150 concerts a year and has been led by such prestigious conductors as Vladimir Ashkenazy (between 2009 and 2013). The orchestra has been in existence since 1905, and since 1973 has been based in the iconic Sydney Opera House, where Opera Australia and the Australian Ballet also perform.
Outside Sydney, the country offers a number of not-to-be-missed events for visiting music lovers: the Perth International Arts Festival, 21 days dedicated to the arts - classical music, dance, theater, opera... - theAdelaide Festival Of Arts, created in 1960 and considered one of the biggest arts festivals in Australia, with its performances of opera, theater, dance, classical and contemporary music, or the Lunchtime & Evening Concert Series, based at Adelaide's Elder Hall (the music conservatory) and offering classical and jazz concerts on Friday lunchtimes.
The rock
In Australia, rock is almost a national sport. It's in the blood of Australians, everyone plays a bit, and the country boasts an incalculable number of bands. John Farnham, former lead singer of the Little River Band, is of course at the top of the list, but many other names embody local rock just as well, if not better. In the 1960s, The Seekers, whose success spread throughout England, and The Easybeats, world-famous for their hit Friday On My Mind, were the blue chips. In the 1970s, Rose Tattoo became an important hard-rock band, though not as important as the legendary AC/DC, formed in 1973 by brothers Malcolm and Angus Young. At the same time, Midnight Oil, famous for its ecological commitments and defense of minorities, had a string of hits. The following decade saw the explosion of Nick Cave and the Bad Seeds, formed in 1984 and quickly gaining a cult following. Led by a tortured singer-poet with a hushed voice, the band has haunted the international rock scene since its inception with dark melodies and chilling, gothic blues.
The Australian 1980s also saw the formation of INXS, which enjoyed international success until the death of lead singer Michael Hutchence in 1997. In the 1990s, grunge conquered Australia and saw the emergence of Silverchair. The 2000s heralded a revival with bands like Eskimo Joe, Jet, The Vines, Wolfmother, very hard rock, or Empire of The Sun, more synthpop, but also part of this movement. More eclectic, less rocking, is John Butler, leader of the group John Butler Trio, very Australian in spirit, and successful in his own country, as well as in the USA and Europe.
While all - or almost all - of these bands have been among Australia's finest musical exports, the country has also seen the emergence in recent years of a fine psychedelic rock revival scene led by the excellent Kevin Parker of Tame Impala - for some the new Beatles. The latter has paved the way for a whole galaxy of bands, many of them based in Melbourne, ranging from 1960s homage, neo-shoegaze (dream rock) and krautrock (German rock based on repetition) to out-and-out psychedelia. The best-known of these are King Gizzard & The Lizard Wizard, a seven-piece group of hyper-planing musicians, Pond, psychedelic rock from Perth, the more melancholy Mt. Mountain, more melancholy, Beaches, a little post-punk, The Black Heart Death Cult, very sixties or Sacred Shrines, in the same spirit as the previous ones. Not quite psychedelic, but often associated with the psychedelic scene, Courtney Barnett is adored for her detached folk-rock, full of second degree.
And last but not least, the more experimental but critically acclaimed Tropical Fuck Storm, somewhere between art-punk and noise rock, Dirty Three and their instrumental rock led by the haunting violin of Nick Cave's collaborator Warren Ellis, as well as the well-known Liars, a singular band with a bit of an edge and a very (very) loyal following.
Rock fans will be well advised to check out the Falls Festival in Marion Bay, Byron Bay and Fremantle in December, which is often very well programmed.
Country music
With such wide-open spaces, it's easy to see how country music has thrived in the country. Keith Urban is Australia's best-known country artist internationally (his good looks, his career in the USA and his 2006 marriage to Nicole Kidman probably have something to do with it). However, he faces competition in his homeland from other renowned artists such as Adam Brand, James Blundell, John Williamson, Lee Kernaghan and Troy Cassar-Daley. A genre that's not as macho as it seems (at least in Australia), since many women have made their mark, including Gina Jeffreys, the genre's big star, Kasey Chambers, Missy Higgins and the duo The Sunny Cowgirls. The pioneers and godfathers of Australian country music are undoubtedly Slim Dusty (1927-2003) and his partner Joy McKean, who between them produced some 100 albums in a fifty-year career, selling over 7 million records.
In addition to country music, Australia and New Zealand are home to a wave of artists inspired byAmericana, a blend of folk, rhythm & blues, bluegrass and even a little rock, sometimes described as alternative country. These include The Weeping Willows, a duo formed by Andrew Wrigglesworth and Laura Coates, renowned for their hushed folk ballads, Georgia State Line, heavily influenced by singers like Patsy Cline, and Kerryn Fields, a folk troubadour with a highly technical guitar.
The country is riddled with festivals dedicated to the genre, such as the annual Tamworth Country Music Festival in January, the biggest of them all, as well as the Katherine Country Music Muster in April, the Gympie Muster Music Festival in August, the Mildura Country Music Festival in September-October and the National Folk Festival, Canberra, in April.
Current music
In addition to the chart-topping success of singers such as Kate Ceberano, Vanessa Amorosi, Delta Goodrem, Wendy Matthews and Ruby Hunter, the indie pop scene is also well-stocked, with some very popular artists. These include Angus and Julia Stone, a brother-sister duo with sincere folk, Julia Jacklin, indie pop that blends complex lyrics with heady tunes, Mo'Ju, a highly successful rock, funk, soul and blues catch-all, and Thelma Plum, indie folk that delves deep into its author's Aboriginal roots.
On the hip-hop front, the country has been very dynamic since the international success of Iggy Azalea, which put the country on the world map of the genre and enabled artists like The Kid Laroi to achieve success beyond Australia's borders. Another success is Hiatus Kaiyote, a surprising soul, jazz and r&b quartet adored by rap stars such as Beyonce and Jay-Z, Kendrick Lamar, Anderson.Paak and Chance The Rapper.
Australian hip-hop has been on an American drip for much of its existence (this is evident in groups like Bliss n Eso), but little by little things are changing and the young scene is mobilizing to transform it and give it a face of its own. The new school of Australian rappers and producers is taking the genre back to its protest roots, using it as a bridge to denounce racism, sexism, bigotry and the police violence that is flourishing in the country. The figurehead of this new wave, rapper Sampa The Great, is a new-generation Missy Elliott who has become a fixture on the Australian scene. Other names to keep in mind include Remi, whose punchlines combine humor and social criticism; L-FRESH the LION, whose influences include Mos Def and Punjabi; and Kween G, who is highly committed and conscious.
On the electronic side, Australia is home to producers with very different personalities, such as The Avalanches, a duo who create nostalgic jewels using samples; Flume, a more dance-pop sound; Lawrence English, the pope of ambient music; and AR Wilson, an electronic producer who draws his inspiration from bush ballads .
A country of festivals, Australia offers a wide range of events to showcase young artists: Stereonic in Sydney, Perth, Adelaide, Brisbane and Melbourne, usually in late November or early December, WOMADelaide in Adelaide in March, Winter Wild in Victoria in July-August, the Queenscliff Music Festival, also in Victoria, in November, the Falls Festival in Marion Bay, Byron Bay and Fremantle in December, and Wide Open Space in Alice Springs. Year-round, in Sydney, the Metro Theatre is one of the best places (in the country) to enjoy live music. The owner also owns the Enmore Theatre (near Newtown) and The Factory (Marrickville), three excellent concert venues. Many international artists play here, as well as the best Australian bands. In Melbourne, the Revolver Upstairs is the trendiest concert venue.
The dance
In Australia, dance is a highly prized discipline. Its heritage can be traced back to Aboriginal traditions such as the corroboree, a ceremonial practice that has repeatedly inspired local choreographers and composers such as John Antill in the 1940s with his ballet aptly titled Corroboree .
Considered one of the world's most prestigious institutions, Australian Ballet is Australia's national dance company. Based in Melbourne, it was founded in 1962 by Peggy van Praagh - who became artistic director of this new state-subsidized company - assisted by Robert Helpmann (1909-1986). A dancer and choreographer as well as an actor, Helpmann was for a time an omnipresent figure on the Australian artistic scene, and remains a beloved figure. On his death, the artist was given a state funeral.
Today, contemporary dance is in very good health, driven in particular by dancer and choreographer Lloyd Newson. Passionate, committed and avant-garde, Newson likes to combine disciplines - notably video and dance - while tackling major social issues such as discrimination through powerful and memorable stagings. In the same spirit, choreographer Garry Stewart's creations have turned the Australian Dance Theatre - one of the country's leading institutions - on its head, with a modern, poetic vision of dance.
But Australia's great contemporary institution is without doubt the Sydney Dance Company. Founded in 1969 by Suzanne Musitz and directed since 2009 by Catalan-born choreographer Rafael Bonachela, the company offers disturbing, highly physical and sensory performances which, although abstract, never leave us indifferent.
And let's not forget Bangarra Dance Theatre, founded in 1989 by Carole Johnson, Australia's leading Aboriginal dance company, inspired by traditional dances and cultures.
To get a good overview of contemporary dance in Australia, head for major arts events such as theAdelaide Festival Of Arts, the Sydney Festival or the Perth International Arts Festival, which regularly commission and present contemporary dance works.
