Artemus Events & Dust Temple
Karl S Williams
& M.E. BAIRD [ TIME ] Tour
Karl S Williams | solo set
M.E. Baird | with band, featuring:
Hannah Jane - violin and vocals | Karl S Williams - piano/organ | Julian Smith - bass | 'Leroy’ - drums
FRIDAY JUNE 28 | 2019
PERFORMANCE 8.00pm | Doors Open 7.00pm
A double-bill of two of the most starting musicians in the country and an intoxicating journey through all the layers of human emotion and experience… Karl S Williams and M.E. BAIRD.
In November 2018, M.E. Baird released his 5th album entitled ’TIME’ worldwide on all digital platforms, to glowing reviews and global recognition. The physical version of the album was released in Australia on the first day of Winter, June 1st 2019. On JUNE 28th, M.E. Baird brings his [TIME ] Tour and his full band to the Gold Coast, for this intimate and exclusive performance at the Dust Temple.
Deeply evocative, M.E. Baird is driven by emotion. Whether in the carefully crafted lyrics or the music itself, emotion drips from everywhere, it trickles down walls and pools on the floor. It aches and hurts...and it’s beautiful. ★★★★ Samuel J Fell, Rhythms Magazine, Australia.
So good it might even save your life. Noel Mengel, review of Karl S Williams’s debut album Heartwood .
KARL S WILLIAMS | karlswilliams.com
The way music comes through Karl S Williams, is a deeply personal experience for anyone. On our behalf, Williams dives through experiences that shape us, mirroring our own love and anguish, inviting us to stand in his music’s solace with him. As Williams plucks that thread – whether with a feather touch or anguished grasp of desperation – he lays the sounds on the stage and delivers us all an opportunity to transcend. Be reassured. Know the feeling. You are not the only one.
At a time when a straight edge razor drawn across the cheek of Karl S. Williams would have collected no follicle, the young musician heard music that sounded like where he came from. The gently undulating fields of Australian sugar cane, tea tree-logged river banks of his childhood and the dark lush rows of coffee plants stood before him as a working man seemed reminiscent within The Song.
Can one feel nostalgic for a place they’ve never seen? What was it about this music that recognised a fresh-faced loner on the other side of world, so new to the pursuit of The Song that he hadn’t taught himself to play guitar yet? Music like this – that embodies Karl S. Williams – is evoked at the mention of a certain place and time. It was born there, like hope. Crushed from human experience. Distilled with universal soul; shone with the essential human spirit to where it is at once unadorned and yet staggeringly beautiful. Karl’s voice is made from that music. He is a conduit that freely bellows, whispers and soars across many octaves, and intones around and in-between the stories and experiences you have survived.
We say we will “go and see” a performance. “Have you seen him?” we say. But your eyes can’t be trusted, here. Your ears alone, might better appreciate the situation, as did venerated music critic Noel Mengel, who called Karl’s debut album Heartwood , “so good it might even save your life.”
What an artist like Karl S. Williams proves is that despite birthplace or position, colour or intention, music affirms the notion of universal soul. There is a common thread that binds us and Karl sees it; feels it looped around his wrist, rubbing at his back, spun lightly between his fingers. In the dark and by sunlight he follows it: into people’s ecstasy, across their despair, underwater with their fear, and across the long, dry, plains of their heartbreak.
I love discovering artists who have that special it – the Zeitgeist – watch out for Karl! — Peter Noble, Festival Director, Bluesfest 2015
He’s a wrecking ball, a loaded gun. He’s an unmerciful magistrate. He’s “a daisy-cutting, motherfucking judgment day.” — The Guardian
He can channel the pain of life and warp it into beauty.— Beat
For all the visual dichotomy Williams’ aesthetic might provide, it is absolutely superfluous once he begins to play. I don’t take any notes. I have no words. — Blank GC
M.E. BAIRD | mebairdmusic.com
"There is a haunting quality to M.E. Baird’s music, a type of gothic blues noir that permeates the songs" - Chris Familton.
M.E. Baird (Matthew Ede Baird) is an acclaimed Australian singer/songwriter
M.E. Baird's songwriting is visually rich and possesses a novelistic quality where each song becomes a cinematic vignette full of drama, humility and emotion. His lyrical approach is part observational and part 'Romanticism,' while, sonically he revels in lush minimalism. His live performances have been described as nothing short of compelling with his lamenting vocal style and singular stage presence.
Since beginning his musical career in Melbourne in the early 90s M.E. Baird, under various musical monikers and under his own name [albeit just his initials] has released five albums and several Eps. His most recent offering entitled TIME has already received 4-star reviews and global recognition. Over his long career, M.E. Baird has toured nationally and internationally and has garnered critical acclaim and international recognition yet remains relatively unknown to Australian audiences. M.E. Baird has also been fortunate to have shared the stage with some of his most admired musicians that include, Roland S Howard, Spencer P Jones, Ed Kuepper, Kim Salmon, Brian Hooper, Conway Savage, Ian Rilen, Tim Rogers, Sarah Caroll, and Chris Wilson. However, it is a bittersweet list for many of these great musicians have prematurely passed on. M.E. Baird has also contributed tracks to film and television productions and has composed original music for various film and screen-based projects.
"Dark folk music can often be overly morose and wallow in drama but Baird knows how to successfully balance the beauty and the despair on Time and as a result, this is an album that should fit nicely in the record collections of fans of songwriters such as Nick Cave, Leonard Cohen and Will Oldham." ★★★★ The Music (Australia).
"Baird speaks of lost loves and scarred hearts, and while he paints life in a harsh light, he still finds something to hold onto, be it a memory or a dream not yet faded. This is folk; sad, bitter and beautiful.” ★★★★ Chris Martin, The Brag Magazine, Sydney.