Australian folk music is the traditional music from the large variety of immigrant cultures and those of the original Australian inhabitants.
Celtic, English, German and Scandinavian folk traditions predominated in the first wave of European immigrant music. The Australian tradition is, in this sense, related to the traditions of other countries with similar ethnic, historical and political origins, such as New Zealand, Canada and the United States.
For much of its history, Australia's bush music belonged to an oral and folkloric tradition, and was only later published in print in volumes such as Banjo Paterson's Old Bush Songs, in the 1890s. More than 70 of Banjo Paterson's poems have been set to music by Wallis & Matilda since 1980. [1] The distinctive themes and origins of Australia's "bush music" or "bush band music" can be traced to the sea shanties of 18th and 19th century Europe and other songs sung by the convicts who were sent to Australia during the early period of the British colonisation, beginning in 1788. Early Australian ballads sing of the harsh ways of life of the epoch and of such people and events as bushrangers, swagmen, drovers, stockmen and shearers. Convict and bushranger verses often railed against government tyranny. Classic bush songs on such themes include: The Wild Colonial Boy, Click Go The Shears, The Eumeralla Shore, The Drover's Dream, The Queensland Drover, The Dying Stockman and Moreton Bay. [2]
Later themes which endure to the present include the experiences of war, of droughts and flooding rains, of Aboriginality and of the railways and trucking routes which link Australia's distances. Isolation and loneliness of life in the Australian bush has been another theme.
Waltzing Matilda, often regarded as Australia's unofficial national anthem, is a quintessential Australian folk song, influenced by Celtic folk ballads.
Country and folk artists such as Lionel Long, Gary Shearston, Marian Henderson, Margaret Roadknight, The Bushwackers and John Schumann of the band Redgum and country artists like Tex Morton, Slim Dusty and John Williamson have continued to record and popularise the old bush ballads of Australia through the 20th and into the 21st century – and contemporary country artists including Sara Storer and Lee Kernaghan draw heavily on this heritage.
A number of British singers have spent periods in Australia and have included Australian material in their repertoires, e.g. A. L. Lloyd, Martyn Wyndham-Read, Eric Bogle and
Notable Australian exponents of the folk revival movement included both European immigrants such as Eric Bogle, noted for his sad lament to the Gallipoli campaign "And the Band Played Waltzing Matilda", and indigenous Australians like Archie Roach and many others. In adapted forms Indigenous Australian music influenced the development of Australian country music and particularly after the folk revival, Australian folk music.[ citation needed ]
In the 1960s and the 1970s, Australian Folk Rock brought both familiar and less familiar traditional songs, as well as new compositions, to live venues and the airwaves. Notable artists include The Bushwacker Band and Redgum. Redgum are known for their 1983 anti-war protest song "I Was Only Nineteen", which peaked at #1 on the National singles charts.
The Australian indigenous tradition brought to this mix novel elements, including new instruments, some of which are now internationally familiar, such as the didgeridoo of Northern Australia.The 1990s brought Australian Indigenous Folk Rock to the world, led by bands including Yothu Yindi. Australia's long and continuous folk tradition continues strongly to this day, with elements of folk music still influencing many contemporary artists including those generally thought of as Rock, Heavy metal and Alternative Music.
European settlement of Australia began with the transportation of convicts from Great Britain. These convicts brought songs with them which were rapidly adapted to Australian conditions. Songs such as Moreton Bay based on the Irish song Boolavogue described the sufferings of the convicts.
The most notable songwriter of this era was Frank Macnamara, better known as Frank the Poet, author of such well known songs as Bold Jack Donahue, which developed into The Wild Colonial Boy.
The convict tradition also came to include songs popular in the English music halls, such as Botany Bay, and broadsheet ballads such as The Black Velvet Band.
In the century following European settlement of Australia, a musical tradition developed in the bush, particularly among itinerant workers such as shearers. As in the convict era, most bush music was made by setting new words to well-known traditional or popular songs. The Bulletin , known as the 'Bushman's bible' played a prominent role in publishing and popularising new songs.
As in other countries, the spread of recorded music and the arrival of radio spelt the end of Australian bush music in its traditional form. American country music largely displaced traditional Australian music in the bush. However, traditional dance music proved more durable and retains a considerable number of adherents.
The rise of rock'n'roll and rock music in the 1950s and 60s saw the popularity of folk music decline, particularly among younger generations.
However, folk music continued to develop amongst small audiences. Bush bands experienced a revival in 1953 with the musical play Reedy River , which was first produced and published by the New Theatre (Sydney) [3] and most recently produced in 2002.[ citation needed ] Written by Dick Diamond, the musical featured twelve or so Australian songs, which included Doreen Jacobs' setting of Helen Palmer's "Ballad of 1891", as well as the title song, Chris Kempster's setting of Lawson's "Reedy River". The backing band for this popular stage production was "The Bushwhackers", who had formed a year earlier in 1952. As the musical was performed in Brisbane and other Australian cities, local "bush bands" modeled on the Sydney group, such as Brisbane's "The Moreton Bay Bushwhackers" featuring Stan Arthur and Bill Scott, sprang up in each place; many of these remained together following the closing of the musical, and spawned other, similar groups.
This traditional period was superseded by a revival of folk music that featured more contemporary forms. The Australian band The Seekers emerged in 1963 and blended traditional music, and Lionel Long, with contemporary folk music and pop, an illustration of the rapid evolution and diversification of folk music that took place in the mid-1960s.
In Brisbane, from 1962 until it closed in 1977, the Folk Centre (renting facilities on Ann Street, adjacent to the People's Palace hotel) served as a crucible for both established and emerging artists. Stan and Kathy Arthur ran it, and the Wayfarers (Stan Arthur, Garry Tooth, Bob Stewart & Alistair Frazer) were the mainstay of the venue; [4] while emerging local groups included the Wildwood Trio and the Babayaga Trio. [5] [6] [7]
In Perth, W.A. in the early 70s, Stan Hastings ran a popular folk club called The Stables (a music venue in Malcolm Street) where Stan and his son Greg were instrumental in starting a Bush Band – Mucky Duck Bush Band . The 'Duck' turned professional in 1974, taking Australian bush music to many regional areas of W.A. Greg Hastings left the band in '79 to go solo and the band has kept going, with numerous different members throughout the years.
The popularity of international folk-rock artists such as Bob Dylan, The Byrds, and The Band, along with the rise of protest movements, inspired new folk and folk-rock acts in Australia in the 1970s, such as Eric Bogle, Judy Small, Redgum, and the folk-punk band Roaring Jack.
Many folk acts featured songs with political or social commentary. Bogle wrote the song 'And the band played Waltzing Matilda' in 1971 as an oblique comment on the Vietnam war but instead referencing Australian involvement in Gallipoli. The song became a hit overseas in the mid 70s and has since won awards, been covered many times and been voted as one of the Top 30 Australian songs of all time.
Redgum achieved mainstream chart success in 1983 with their #1 hit 'I was only 19' - another political commentary on war.
In the 1980s and 90s Indigenous musicians such as Kev Carmody, Archie Roach and Tiddas gained a following combining acoustic folk songs with story-telling, and occasionally incorporating traditional Aboriginal instruments.
As music festivals became more popular in the 1970s, festivals dedicated to folk music began. Port Fairy folk festival started in 1977 in Victoria, under the theme of 'Australian and traditional Irish music'. The festival has continued annually, expanding its focus to include folk music from around the world. Similarly, Maleny folk festival which began in 1987 in Queensland, expanded to the Woodford folk festival in 1994, and now encompasses a wide range of international folk and some rock music. Both these, and smaller festivals such as the Blue Mountains Music Festival of Folk, Roots & Blues , have provided an outlet for folk and folk-inspired music outside mainstream venues and radio.
There has been somewhat of a revival of Australian folk music in recent years with many folk bands and musicians becoming quite successful. For example, Geoffrey Gurrumul Yunupingu whose debut album Gurrumul was nominated for four ARIA awards and reached 2× Platinum. Other Bands such as Angus & Julia Stone or Boy & Bear have also heavily drawn on folk influences.
Known internationally, were the Bushwackers (spelt without the "h" as in the earlier Bushwhackers Band of the 1950s), who formed in Melbourne and were active from the early 1970s to 1984. Their style was infused with Celtic music (i.e. reels and jigs) to a greater extent than previous bush bands, and they used an electric bass guitar in place of the more traditional bush bass. The period leading up to and following Australia's Bicentenary, 1988, saw a marked resurgence in bush music and bush dances that lasted for many years.
Many bands also bearing the rock influence and adding original music rode this Australiana wave. Examples are the Ants Bush Band, Eureka!, Rantan Bush Band and Bullamakanka. Few bands formed in the 1980s survive to this day. One exception, while seeing many player changes over the years, is Currency Lads (Sydney), which still performs regularly (2009). Brisbane's Rantan Bush Band, formed in 1977, continues to perform commercially on at least a weekly basis (2010) and still has three of its original line-up.
In recent years the emergence of bands such as The Currency (Melbourne), The Handsome Young Strangers (Sydney) and Sydney City Trash (Sydney) has moved bush music into rock and roll venues and major festival stages, with a blended style that includes rock drums and guitars whilst combining with Celtic influences. The Handsome Young Strangers lean more towards the traditional style of bands such as The Bushwackers, whilst The Currency and Sydney City Trash incorporate both punk and Celtic styles. Rantan Bush Band has maintained a folk/country blend as its trademark and performs both traditional Australian songs as well as Australian country music and a supporting repertoire of regular pop and rock music for dancing.
Bush bands play music for bush dances, in which the dance program is usually based on dances known to have been danced in Australia from colonial times to the folk revival in the 1950s. Contemporary dances, composed in the traditional style, are also featured at bush dances.
Folk music is a music genre that includes traditional folk music and the contemporary genre that evolved from the former during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, music that is played on traditional instruments, music about cultural or national identity, music that changes between generations, music associated with a people's folklore, or music performed by custom over a long period of time. It has been contrasted with commercial and classical styles. The term originated in the 19th century, but folk music extends beyond that.
The music of Australia has an extensive history made of music societies. Indigenous Australian music forms a significant part of the unique heritage of a 40,000- to 60,000-year history which produced the iconic didgeridoo. Contemporary fusions of indigenous and Western styles are exemplified in the works of Yothu Yindi, No Fixed Address, Geoffrey Gurrumul Yunupingu and Christine Anu, and mark distinctly Australian contributions to world music.
A roots revival is a trend which includes young performers popularizing the traditional musical styles of their ancestors. Often, roots revivals include an addition of newly composed songs with socially and politically aware lyrics, as well as a general modernization of the folk sound.
The folk music of England is a tradition-based music which has existed since the later medieval period. It is often contrasted with courtly, classical and later commercial music. Folk music traditionally was preserved and passed on orally within communities, but print and subsequently audio recordings have since become the primary means of transmission. The term is used to refer both to English traditional music and music composed or delivered in a traditional style.
Scottish folk music is a genre of folk music that uses forms that are identified as part of the Scottish musical tradition. There is evidence that there was a flourishing culture of popular music in Scotland during the late Middle Ages, but the only song with a melody to survive from this period is the "Pleugh Song". After the Reformation, the secular popular tradition of music continued, despite attempts by the Kirk, particularly in the Lowlands, to suppress dancing and events like penny weddings. The first clear reference to the use of the Highland bagpipes mentions their use at the Battle of Pinkie Cleugh in 1547. The Highlands in the early seventeenth century saw the development of piping families including the MacCrimmons, MacArthurs, MacGregors and the Mackays of Gairloch. There is also evidence of adoption of the fiddle in the Highlands. Well-known musicians included the fiddler Pattie Birnie and the piper Habbie Simpson. This tradition continued into the nineteenth century, with major figures such as the fiddlers Niel and his son Nathaniel Gow. There is evidence of ballads from this period. Some may date back to the late Medieval era and deal with events and people that can be traced back as far as the thirteenth century. They remained an oral tradition until they were collected as folk songs in the eighteenth century.
Eric Bogle is a Scottish-born Australian folk singer-songwriter. Born and raised in Scotland, he emigrated to Australia at the age of 25, to settle near Adelaide, South Australia. Bogle's songs have covered a variety of topics and have been performed by many artists. Two of his best known songs are "No Man's Land" and "And the Band Played Waltzing Matilda", with the latter named one of the APRA Top 30 Australian songs in 2001, as part of the celebrations for the Australasian Performing Right Association's 75th anniversary.
Australian country music is a part of the music of Australia. There is a broad range of styles, from bluegrass, to yodeling to folk to the more popular. The genre has been influenced by Celtic and English folk music, the Australian bush ballad tradition, as well as by popular American country music. Themes include: outback life, the lives of stockmen, truckers and outlaws, songs of romance and of political protest; and songs about the "beauty and the terror" of the Australian bush.
A bush band is a group of musicians that play Australian bush ballads. A similar bush band tradition is also found in New Zealand.
"And the Band Played Waltzing Matilda" is a song written by Scottish-born Australian singer-songwriter Eric Bogle in 1971. The song describes war as futile and gruesome, while criticising those who seek to glorify it. This is exemplified in the song by the account of a young Australian serviceman who is maimed during the Gallipoli Campaign of the First World War. The protagonist, who had travelled across rural Australia before the war, is emotionally devastated by the loss of his legs in battle. As the years pass he notes the death of other veterans, while the younger generation becomes apathetic to the veterans and their cause. At its conclusion, the song incorporates the melody and a few lines of lyrics of the 1895 song "Waltzing Matilda" by Australian poet Banjo Paterson.
The Arts in Australia refers to the visual arts, literature, performing arts and music in the area of, on the subject of, or by the people of the Commonwealth of Australia and its preceding Indigenous and colonial societies. Indigenous Australian art, music and story telling attaches to a 40–60,000-year heritage and continues to affect the broader arts and culture of Australia. During its early western history, Australia was a collection of British colonies, therefore, its literary, visual and theatrical traditions began with strong links to the broader traditions of English and Irish literature, British art and English and Celtic music. However, the works of Australian artists – including Indigenous as well as Anglo-Celtic and multicultural migrant Australians – has, since 1788, introduced the character of a new continent to the global arts scene – exploring such themes as Aboriginality, Australian landscape, migrant and national identity, distance from other Western nations and proximity to Asia, the complexities of urban living and the "beauty and the terror" of life in the Australian bush.
"Brisbane Ladies" is an Australian folksong and is one of many adaptations of the traditional British naval song "Spanish Ladies". The song is also known as "Augathella Station". It is numbered 21114 on the Roud Folk Song Index.
The Bushwackers Band, often simply the Bushwackers, are an Australian folk and country music band or bush band founded in 1970. Their cover version of "And the Band Played Waltzing Matilda" (1976) was listed in the APRA Top 30 Australian songs in 2001, alongside its writer Eric Bogle's 1980 rendition. Their top 60 studio albums on the Australian Kent Music Report are Bushfire (1978), Dance Album (1980), Faces in the Street and Beneath the Southern Cross.
John Stanley Raymond Meredith OAM was an Australian pioneer folklorist from Holbrook, New South Wales whose work influenced the Australian folk music revival of the 1950s, in particular as a founding member of the Australia's first revivalist bush band The Bushwhackers. He was awarded the Medal of the Order of Australia in 1986 for service to Australian folklore and music, and became a Member of the Order of Australia in 1992 for service to the Arts, particularly in the collection and preservation of Australian folklore.
The bush ballad, bush song, or bush poem is a style of poetry and folk music that depicts the life, character and scenery of the Australian bush. The typical bush ballad employs a straightforward rhyme structure to narrate a story, often one of action and adventure, and uses language that is colourful, colloquial, and idiomatically Australian. Bush ballads range in tone from humorous to melancholic, and many explore themes of Australian folklore, including bushranging, droving, droughts, floods, life on the frontier, and relations between Indigenous and non-Indigenous Australians.
Franklyn B Paverty is an Australian bush band that has performed mostly in and around Canberra. Its repertoire primarily comprises Australian folk music, bush ballads and music for bush dances, varied occasionally with material from the celtic, bluegrass and old-time traditions.
The British folk revival incorporates a number of movements for the collection, preservation and performance of folk music in the United Kingdom and related territories and countries, which had origins as early as the 18th century. It is particularly associated with two movements, usually referred to as the first and second revivals, respectively in the late 19th to early 20th centuries and the mid-20th century. The first included increased interest in and study of traditional folk music, the second was a part of the birth of contemporary folk music. These had a profound impact on the development of British classical music and in the creation of a "national" or "pastoral" school and led to the creation of a sub-culture of folk clubs and folk festivals as well as influential subgenres including progressive folk music and British folk rock.
Alexander Stewart Ferguson "Alex" Hood is an Australian folk singer, writer, actor, children's entertainer/educator and folklorist.
The Bushwhackers, initially named "The Heathcote Bushwhackers", Australia's first "revival" bush band were arguably the catalyst for Australia's folk revival of the 1950s; prior to that revival, similar bush bands, utilizing a mixture of commercially available and sometimes home-made instruments, had performed a social function in rural areas since the late 19th century. The Bushwhackers performed from 1952 to 1957, when founder John Meredith disbanded the group and its members dispersed into other activities.. Over its relatively brief existence, the group evolved from an initial novelty act to one with a more serious mission of presenting and promoting to Australia its neglected bush song heritage, and laid the foundation for similar groups to follow through the 1960s and to the present. Its members also operated—at least initially—from a Marxist / Australian Communist Party ideology, attempting to embody the struggle of the working class against the ruling classes, although this may have been less than obvious to their audiences under the guise of popular entertainment.
Sydney's Bush Music Club is the oldest and longest running folk music performance and education organisation in Australia, and is believed to be the second oldest such club still in existence in the English speaking world. Founded in 1954, and still extant as at 2022, it exists to further "the collection and research of folklore traditions and folk music and to encourage the performance of traditional bush music, song and dance, spoken word, bush poetry and yarns". It hosts regular events and has published a range of folklore related materials, including the magazine "Singabout" from 1956 to 1967, which continues as a section within a subsequent publication "Mulga Wire" (1977-current).
Dobe Newton OAM is an Australian musician and member of folk and country music group the Bushwackers from 1973. He co-wrote the patriotic song "I Am Australian" in 1987 with Bruce Woodley. For his service to the performing arts as an entertainer and advocate he was appointed to the Order of Australia in 2013.