We came off a crazy routing that took us from the South through Toronto, to Vancouver and then on to Sydney. The customs and immigration people of Canada seem to be dismayed that anyone would want to come through their airports, and at the Sydney airport all is courtesy and efficiency. I had taken a chance and checked the guitar and banners, and both were there at baggage claim in Hobart. Our driver greeted us with goodie bags of DARK MOFO info and gifts from sponsors. The temp felt like low 60’s, which the driver said was warmer than usual because of the massive storms that had come through the week before. One could see evidence of the DARK MOFO takeover of Hobart all through town, exciting and intriguing even in repose in the daylight. Room service followed by crashing for most of the following 24 hours left one day to wander, the day of the show and then t’was to get back on the plane.
The entire trip to Hobart is worth it just to experience MONA. It is going to take much for me to process and express how profound an experience it was to see what has been created here and I can feel a new vein of inspiration as an artist.
Hobart is beautiful and the people here are rightfully very proud of their town and their museum. Many a revelatory moment were found among all the automata and installations, the architecture amplifying a kind of psychogeography of the rock out of which it is carved.
I can feel an immense excitement about the energy I retain from the day, something life-changing was sparked by spending the day at MONA.
We had rehearsed the set entirely without amplification of any kind, Jarboe leading the direction and imparting the subtleties and power of the material. It was kind of disorienting to play the set through a huge sound system in sound check, so I really put a lot of mental energy into meditating on the character of the sound of the space and the feeling of finally seeing the banners I painted for this performance hoisted and looming as they were created to do for the first time.
Many thanks to Tom, the stage manager at the Odeon Theatre. It was quite an experience to be sure. We got there at quarter to four to the gamma wave blast of Chelsea Wolfe doing her sound check. The evening was promising to be an expansive triptych of a sonic journey, and this promise was truly delivered. I spent some time with the Tom getting the banners situated and the lights right.
I have to admit that I was a hit by a wave of adrenaline and nerves at the start of the set.The moment of truth after crafting and refining shades and subtleties of the performance meets the sheer energy of the attention of 1500 people and it takes some discipline to channel it.
I walked out on my own to start out the set with an instrumental piece I had written specifically for this DARK MOFO performance and my hands were shaking like maracas. My heart was beating out of my chest, but I played it as I wanted and got a big applause. I breathed out, Jarboe joined me on stage and the set proceeded and moved like the living entity it had become.
A huge thanks to Jarboe, JG Thirlwell, DARK MOFO and MONA for all the kindness and inspiration. There is much to come and this experience has fed me with vision and energy.
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The show at Dark MOFO is sold out, but there is a waitinglist should there be cancellations. We have the set list formed into a living, breathing entity. Here are its elements:
