1 00:00:01,440 --> 00:00:03,440 Speaker 1: And Amanda jam Nason. 2 00:00:03,640 --> 00:00:05,720 Speaker 2: I would have liked to have played this one Brave, 3 00:00:06,120 --> 00:00:07,120 Speaker 2: but it goes too long. 4 00:00:07,160 --> 00:00:08,760 Speaker 1: It's five times on. 5 00:00:10,840 --> 00:00:14,240 Speaker 3: Love that she goes on. You're here, well, we want 6 00:00:14,320 --> 00:00:17,520 Speaker 3: you to talk about your new book called Unsung, which 7 00:00:17,680 --> 00:00:20,880 Speaker 3: is just filled with art and lyrics and your beautiful 8 00:00:20,920 --> 00:00:22,960 Speaker 3: handwriting and your wonderful stories. 9 00:00:23,480 --> 00:00:26,880 Speaker 1: This all came about because of COVID. Yes, and just 10 00:00:26,920 --> 00:00:29,000 Speaker 1: to roll it back just a little bit before COVID, 11 00:00:30,000 --> 00:00:32,080 Speaker 1: the tour that I'm on now is My Life is 12 00:00:32,120 --> 00:00:35,640 Speaker 1: a symphony. I had recorded with Melbourne Symphony and we'd 13 00:00:35,680 --> 00:00:39,200 Speaker 1: recorded the track, all of the tracks, excuse me, multiple 14 00:00:39,240 --> 00:00:41,959 Speaker 1: tracks in the week before COVID, and I never got 15 00:00:42,000 --> 00:00:46,879 Speaker 1: to shut down exactly, so exactly that sounds weird before shutdown, 16 00:00:47,280 --> 00:00:50,680 Speaker 1: and so I was lamenting the fact that I may 17 00:00:50,720 --> 00:00:52,720 Speaker 1: never get that album up and running. It was one 18 00:00:52,760 --> 00:00:56,720 Speaker 1: of those opportunities a pop act, working with them as 19 00:00:56,760 --> 00:01:00,960 Speaker 1: so seventy plus orchestra of my own original work. It 20 00:01:01,080 --> 00:01:04,440 Speaker 1: was a big triumph and then this huge letdown. So 21 00:01:04,480 --> 00:01:06,440 Speaker 1: the book is an addendum. It's actually something that I 22 00:01:06,480 --> 00:01:09,319 Speaker 1: was writing during COVID as and every chapter is listed 23 00:01:09,319 --> 00:01:11,840 Speaker 1: from every track from the album. It was a little 24 00:01:11,840 --> 00:01:15,120 Speaker 1: bit like, well, if it all goes away, this is 25 00:01:15,120 --> 00:01:18,040 Speaker 1: what I'll have to tell. That was what I thought. 26 00:01:18,160 --> 00:01:19,280 Speaker 3: That's what it was called unsung. 27 00:01:19,400 --> 00:01:21,840 Speaker 1: But you have got to see and well I've got 28 00:01:21,840 --> 00:01:24,080 Speaker 1: to more than seeing it. I'm slaying ladies and gentlemen. 29 00:01:25,680 --> 00:01:30,240 Speaker 1: Well you really are so amazing. I'm saying that tangy. 30 00:01:30,319 --> 00:01:32,520 Speaker 1: But we did actually only plan to do one show 31 00:01:32,959 --> 00:01:35,440 Speaker 1: with the MSO at Hamer Hall, which was and then 32 00:01:35,480 --> 00:01:37,759 Speaker 1: it sold out. It was like one of those great 33 00:01:37,800 --> 00:01:40,560 Speaker 1: stories where then it then sold out the next, and 34 00:01:40,600 --> 00:01:43,840 Speaker 1: then the next, and then suddenly we started putting it 35 00:01:43,840 --> 00:01:46,080 Speaker 1: across every state, which we're still in the middle of 36 00:01:46,120 --> 00:01:50,720 Speaker 1: doing now. I think we've got Queensland, Perth and then 37 00:01:50,760 --> 00:01:53,800 Speaker 1: I end at the Sydney Opera House in January. 38 00:01:53,760 --> 00:01:55,600 Speaker 3: With the Cydney Symphony Orchestra. 39 00:01:55,880 --> 00:01:59,400 Speaker 1: Yeah no, actually it's they're putting another orchestra together. I'm 40 00:01:59,400 --> 00:02:00,480 Speaker 1: still just a cross all of that. 41 00:02:00,680 --> 00:02:01,800 Speaker 3: Their instruments. 42 00:02:01,840 --> 00:02:04,240 Speaker 1: Now, well that's right. Do you know what people don't 43 00:02:04,280 --> 00:02:07,320 Speaker 1: really realize that a symphony album you have to play 44 00:02:07,400 --> 00:02:10,920 Speaker 1: with different symphonies, Like I don't think general public understand 45 00:02:11,000 --> 00:02:13,640 Speaker 1: you can't take a symphony with you, much as I'd 46 00:02:13,639 --> 00:02:14,000 Speaker 1: love to. 47 00:02:14,680 --> 00:02:17,280 Speaker 2: But they've been a lot of catering expensive. 48 00:02:17,760 --> 00:02:21,400 Speaker 1: It's like hurting cats. That's seventy plus individuals who may 49 00:02:21,520 --> 00:02:23,160 Speaker 1: or may not want to go to Sydney that week, 50 00:02:23,440 --> 00:02:24,200 Speaker 1: so you have. 51 00:02:24,080 --> 00:02:26,560 Speaker 3: To rehearse with different ones every time. 52 00:02:26,880 --> 00:02:30,359 Speaker 2: Oh yes, yeah right, And who was the most loose 53 00:02:30,480 --> 00:02:32,640 Speaker 2: in the symphony always? 54 00:02:32,760 --> 00:02:35,000 Speaker 1: I would like to say that the percussionists who plays 55 00:02:35,000 --> 00:02:38,480 Speaker 1: like the tympany, they sit center and they are actually 56 00:02:38,560 --> 00:02:42,080 Speaker 1: the rock for which everything in my opinion as an 57 00:02:42,120 --> 00:02:45,399 Speaker 1: artist because I'm I come in the culture is very 58 00:02:45,440 --> 00:02:48,080 Speaker 1: formal and I'm a pop artist. These are my own 59 00:02:48,120 --> 00:02:52,040 Speaker 1: original songs. It's a big punt and I can always 60 00:02:52,040 --> 00:02:55,120 Speaker 1: glance up and have a gentle wink or it's going 61 00:02:55,160 --> 00:02:59,240 Speaker 1: to be okay from the timpani player. Everyone else is 62 00:02:59,240 --> 00:03:02,680 Speaker 1: engaged in in the hardcore business of symphonic music, and 63 00:03:02,720 --> 00:03:06,800 Speaker 1: it is. The arrangements are really deep and they're really 64 00:03:06,800 --> 00:03:09,440 Speaker 1: put to task. It's not like we've just done three chords. 65 00:03:09,440 --> 00:03:12,720 Speaker 1: And you know, Roscoe Erwin is a very very fine 66 00:03:12,800 --> 00:03:17,800 Speaker 1: virtuosity arranger. And but they they look grumpy. They can 67 00:03:17,880 --> 00:03:19,239 Speaker 1: tend to look very engaged. 68 00:03:19,280 --> 00:03:21,320 Speaker 2: So you go to the timpany, go but they look 69 00:03:21,320 --> 00:03:23,480 Speaker 2: grumpy but you're a drummer. I've seen you play the drums. 70 00:03:23,520 --> 00:03:26,840 Speaker 2: You're a very accomplished drummer. And this is an experience, 71 00:03:26,960 --> 00:03:28,520 Speaker 2: like it's a money can't buy experience. And I was 72 00:03:28,560 --> 00:03:31,120 Speaker 2: hosting and think Kate was performing. She gets on the 73 00:03:31,200 --> 00:03:33,880 Speaker 2: kit and I'm standing behind her. I'm going, holy cow, 74 00:03:34,040 --> 00:03:35,240 Speaker 2: you are a great drummer. 75 00:03:35,280 --> 00:03:37,320 Speaker 1: It will never happen again. So that was a very 76 00:03:37,720 --> 00:03:40,560 Speaker 1: very good I had to play. I had to play 77 00:03:40,600 --> 00:03:44,600 Speaker 1: for myself back then because no, it's actually a really 78 00:03:44,600 --> 00:03:48,720 Speaker 1: sweet backstory to it. I had a throat operation. I 79 00:03:48,720 --> 00:03:50,880 Speaker 1: write about it in the book actually, and I didn't 80 00:03:50,880 --> 00:03:54,280 Speaker 1: think I'd be singing the same after the operation, and 81 00:03:54,320 --> 00:03:56,160 Speaker 1: in order for my recovery, I had to sing at 82 00:03:56,200 --> 00:03:59,560 Speaker 1: a very lower level volume output, And so I got 83 00:03:59,640 --> 00:04:03,080 Speaker 1: rid of them and I just went on too percussion myself, 84 00:04:03,320 --> 00:04:05,040 Speaker 1: and then all the band had to just be the 85 00:04:05,080 --> 00:04:07,360 Speaker 1: volume of what I could output. Row. 86 00:04:07,800 --> 00:04:10,920 Speaker 2: Isn't that okay? So you control because the drums control everything? 87 00:04:11,000 --> 00:04:14,240 Speaker 1: Yeah, okay, the timpany because I told you the timpany's 88 00:04:14,600 --> 00:04:17,120 Speaker 1: the cherry on the cake and and I was just 89 00:04:17,200 --> 00:04:18,960 Speaker 1: being the volume keeper. 90 00:04:19,480 --> 00:04:21,120 Speaker 3: Was it a scary time? Did you think your voice 91 00:04:21,160 --> 00:04:22,400 Speaker 3: may not come completely back. 92 00:04:22,600 --> 00:04:26,560 Speaker 1: It was horrible. This is just like, well, you know, 93 00:04:26,680 --> 00:04:30,039 Speaker 1: this has been my sort of my only feather to 94 00:04:30,080 --> 00:04:32,240 Speaker 1: my cap. And I was thinking, well, what will I 95 00:04:32,279 --> 00:04:37,039 Speaker 1: do if I can't do that? And I think I 96 00:04:37,040 --> 00:04:38,680 Speaker 1: think a lot of artists have had that sort of 97 00:04:38,680 --> 00:04:41,800 Speaker 1: extential sort of question. What will I be if there's 98 00:04:41,800 --> 00:04:45,520 Speaker 1: no U? An audience, for instance, is essential for my 99 00:04:47,040 --> 00:04:51,960 Speaker 1: particular craft. A song isn't sung until it's sung to someone. 100 00:04:52,920 --> 00:04:56,240 Speaker 1: That's how I feel, you know. And if there's not that, 101 00:04:56,600 --> 00:04:58,839 Speaker 1: and if I'm not being able to do that, what 102 00:04:58,880 --> 00:05:01,280 Speaker 1: would I do? So, yeah, I've had many times I've 103 00:05:01,279 --> 00:05:04,080 Speaker 1: had to consider what if some where will I go? 104 00:05:05,200 --> 00:05:08,160 Speaker 1: And all roads lead to well, they lead to places 105 00:05:08,200 --> 00:05:11,800 Speaker 1: like painting and writing beautiful eyes. It's kind of what you. 106 00:05:11,720 --> 00:05:14,239 Speaker 2: Can draw you a bit of a triple million threat. 107 00:05:14,720 --> 00:05:20,599 Speaker 1: I think they call me a renaissance woman. Actually, James 108 00:05:20,640 --> 00:05:22,440 Speaker 1: Rayne called me that, and I got to say, I 109 00:05:22,480 --> 00:05:27,320 Speaker 1: think it's great profile anything about me. It's kind of. 110 00:05:29,000 --> 00:05:31,560 Speaker 2: Okate, It's always great to talk to you. Unsung as 111 00:05:31,560 --> 00:05:32,880 Speaker 2: available now from all Good Books. 112 00:05:32,880 --> 00:05:33,599 Speaker 3: A gorgeous book. 113 00:05:33,640 --> 00:05:34,920 Speaker 2: It's such a great book. 114 00:05:35,440 --> 00:05:38,200 Speaker 1: It's it's very substantial. It feels really sexy in my hands, 115 00:05:38,200 --> 00:05:40,479 Speaker 1: because it's not like it's sexy. Yeah it is. It's 116 00:05:40,560 --> 00:05:43,360 Speaker 1: got texture it does it does, and it's got weight, 117 00:05:43,440 --> 00:05:45,280 Speaker 1: and it's got a little sort of you know, I 118 00:05:45,279 --> 00:05:46,680 Speaker 1: don't know. It just feels like it's. 119 00:05:46,520 --> 00:05:48,400 Speaker 2: One of those books you could. This is what book 120 00:05:48,440 --> 00:05:50,080 Speaker 2: my brother when he comes around to the house. It's 121 00:05:50,200 --> 00:05:52,159 Speaker 2: one of the books he will take into the toilet. 122 00:05:52,440 --> 00:05:54,719 Speaker 2: He comes out of my house and he says, I'm 123 00:05:54,720 --> 00:05:56,159 Speaker 2: just going after your house. 124 00:05:56,360 --> 00:05:57,960 Speaker 3: But you're talking to the pages case. 125 00:05:58,040 --> 00:06:00,680 Speaker 1: Well, listen, I actually, just since you mentioned it, I 126 00:06:00,839 --> 00:06:03,360 Speaker 1: rate my success at at outdoor festivals by how many 127 00:06:03,400 --> 00:06:07,360 Speaker 1: Portaloos are on site. So it's kind of works pretty 128 00:06:07,400 --> 00:06:08,359 Speaker 1: tangential to that. 129 00:06:09,520 --> 00:06:10,520 Speaker 2: Kate Sobrani, he's. 130 00:06:10,360 --> 00:06:13,560 Speaker 3: An eight portadow girl for keepping a Renaissance Twitter, Yeah exactly, 131 00:06:13,960 --> 00:06:14,360 Speaker 3: I'm saying. 132 00:06:14,440 --> 00:06:15,960 Speaker 2: Is available now from all good bookstores. 133 00:06:16,040 --> 00:06:18,200 Speaker 1: Kate, thank you, thank you for having me.