Alex Cameron rewrites the rules of intimacy. Whether it be as a photographer, songwriter, or performer, the Sydney-native spins unflinching truths through singular fictional narratives, chameleonic as he slips in and out of the mindsets of contemporary villains, the people we hold at arm’s length (for good reason). His minimal debut Jumping the Shark offers a synth-driven understated exploration of deadbeat parents, failing showmen, and all that comes with the dark, seediness of show biz. 2017’s Forced Witness, produced by Jonathan Rado and including collaborations with The Killers’ Brandon Flowers, zeroes in on the alpha male. Plush, glimmering ‘80s pop, all synths and sax, skitters over the dark underbellies of Bad Men, the toxic masculinity lurking in corners of the internet or in pubs, and the feeling that even if you want to, you can’t look away. And why would you? Across his work, Cameron inhabits the darkness effortlessly — his solution to the mayhem is a danceable and dangerous earnestness, vivid portraits of misfits’ views of the world.
Known for a red-hot live show, thanks to both Cameron’s dancing chops and his chemistry with business associate and sax player Roy Molloy, Cameron and associates have spent the better part of the last several years touring globally, both as headliners and as support for the Killers, establishing themselves as bonafide road dogs and building up a die-hard fan base. Because in these chaotic times when we aren’t able to look away, Cameron is offering us a pure account as he’s seen it.
After selling out KOKO last April, Alex Cameron and his full band return to London.
Pixx shared her latest album, Small Mercies, on June 7th. The 23 year-old BRIT School graduate’s second record is a series of poetic examinations of love across the experiential spectrum, from the micro (self-love) to the macro (devotional faith-inspired love, love for this planet), set to a soundtrack that mixes electronic pop and grungy guitar rock with aplomb.
Small Mercies follows 2017’s The Age Of Anxiety – an unsettling synth-pop record fuelled by Pixx’s own debilitating experience of angst – and 2015’s forlorn and folk-edged Fall In EP. Co-produced by Simon Byrt (who worked on both her EP and debut album) and Dan Carey, it sees Pixx assuming different personas to examine the damage done by religion, gender-based power hierarchies and stereotypes, the tipping point of Earth’s destruction and love.
Jack Ladder is one of the most singular characters in Australian music. Sentimental and mournful, sardonic and surreal. He brings that towering and tender baritone to bear on tales of beauty, love, hope and redemption. A master of musical narrative, he conjures lyrics that celebrate the absurdity and sincerity of the human condition in songs that groove in subtle ways.
The self-produced Blue Poles, released in May 2018 has proven to be the perfect culmination of Ladder’s musical trajectory so far, receiving critical acclaim both in Australia and overseas.
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Tickets £15 +bf +40p venue restoration levy
Town Hall Parade, London, SW2 1RJ