Fremantle singer-songwriter Dave Johnson is set to celebrate the release of his third album INEQUALITY BLVD with a launch show at Freo.Social on Thursday, December 1. Known for his raw emotion and rich storytelling, the album tackles subject matter ranging from the maltreatment and oppression of refugees and immigrants, through to how the ever-increasing socio-economic divide plays out on the streets of our communities. BRAYDEN EDWARDS spoke to Dave Johnson to find out more.
Congrats on the release of your new album! How long has it been in the works for and how does it feel to finally be releasing it?
Over the last 15 years Ive been running a choir/singing session at the local homeless shelter in Freo, St Pat’s Community support Centre and running a music program through the Australian Children’s Music foundation (ACMF) at Banksia Juvenile Detention centre to some of the most troubled and traumatised kids in the state. Through these experiences and over this time, my third album has kind of been writing itself subconsciously, but the songs didn’t arrive till later.
The song Nauru was probably the first one out of the batch to find its way out of my head and on to paper, it came about when the the campaign to get kids out of detention on Nauru was in full swing. Nauru, which was nominated for a WAM Song of the Year, is a critique on the harsh immigration policies held by the governments over the last 20 years, and still has. I feel it manages to find the blend between the issue and the personal story.
You know, I love writing songs and love recording them but ‘Sheeesh’ in this day and age, releasing and marketing an album does my head in! Thank gawd’ for Bandcamp because for a local unsigned song writer, Spotify is worse than useless! There, I said it! So I guess I’m pretty freakin’ thrilled to have that behind me and now I can focus on the good stuff – writing more songs, cleaning the house and getting my bluegrass chops up on the Mando.
It feels as though the title INEQUALITY BLVD represents some of the themes across the record?
Yes, inequality is a theme that threads its way through the album. It’s been on my mind and as a song writer, I wanted have and share that conversation. Throughout the world, our economies seem to be geared towards an ever increasing wealth divide. In our own back yard, you cannot help but see inequality. Just have a walk down Jutland Parade then step into one of our struggling homeless support centres.
Rents are skyrocketing, people are sleeping in cars and shop entrances and it seems our political conversations are about tax cuts that benefit the wealthy there’s but no mention of increasing the social safety net or properly funding the organisations and programs that do support our brothers, sisters, mothers and children who are in crisis. Even our priorities of worth are out of whack! You get a higher hourly rate pouring a beer than caring for our frail and aged in our aged care system.
The song, Paralysis Tango, about the unfolding global warming crisis and a commentary on the policy and political gridlock induced by vested interests and market forces, points a boney finger at those dodgy mechanisms and monopolies in the economy that foster inequality.
As someone who has worked teaching music in juvenile justice centres, have you seen the power of music to drive positive change?
Music is an incredible tool for driving positive change in society in general but especially in this environment. I see first-hand how creative expression, that happens naturally when learning music, can empower and nurture open and honest communication. Mentoring can be a positive conduit for hope, guidance and change.
I see kids becoming more thoughtful, reflective, expressive and respectful as they grow and become more confident in their communication. I see a softening of the harder edges as they connect with music.
Creative expression in the form of music can be a real anchor for some of these kids who are in a difficult environment and are going through the harshest of times. The joy in a young person’s eyes when they find they can play their favourite song or weave a melody around their own words and feelings. It gives them pride, self-worth and resilience.
There are many other benefits like increased mental wellbeing and reducing self harm. I was pretty chuffed when I came across one of my ex-students playing in a goth metal band at the Convenients store in Northbridge. I’ve been teaching music at Banksia Hill through a not for profit NGO, check em out, they manage to get music programs into most juvenile justice centres across Australia.
Apart from the message of the album, how was it musically, or stylistically, different from what you have put your hand to before? Was there are a certain kind of sound you were hoping to create with this release?
When I’m making records I always kinda ask the song what it needs. What instrumentation and sounds are going to most enhance the essence and intent of the song. This is the process I’ve used on my previous studio albums, Clear Day and Leaving Time and makes every record different. The recording process is a great opportunity to explore this.
The second single from the album, Fear And Anxiety, a song about geopolitical instability and changing hegemonic powers, is a great example. Phoebe Corke (string arrangements) came up with the idea of using the bowed saw, that’s the handy persons Bunnings saw, as the main melodic instrument. Luckily there was a saw player living in my suburb of Hami hood – Merle Fyshwick. Fancy that! The same song features a programmed percussion arrangement called The Marching Ants by Jamie David. It really seems to crystallise the feeling of dread. Have a looksie.
You have enlisted some of the state’s top musicians to make it happen on this recording! What was it about these people that made you want to include them on this project?
The album was recorded at Sundown Studios (Eskimo Joe’s old digs) by the wonderful and tireless Elliot Smith, who also drums on the album – two for the price of one! Ben Franz is on double bass and Tony (Tones) Bourke is on piano, who have both played on my previous albums and always manage to find the very essence and intent of the song and amplify that mood. I simply love their work.
The same can be said for Phoebe Corke who has done some beautiful string arrangements and sang backing vocals along with Prita Grealy. On Paralysis Tango which is a bluegrass romp (DOOMSgrass) I couldn’t go past Ian Simpson (Slim Dusty) on banjo. Ive always been a big fan of Simmo’s work with the New Age Sensitive Cowpersons and Paul Kelly and Uncle Bill. Luke Dux’s guitar put the edge in Euphoria and Rage and Jamie David put the dread in Fear And Anxiety. I guess also as the house soundie at Clancy’s Freo, I get to have a unique relationship with all the amazing talent we have here in WA.
You’ve been Fremantle-based for some time now, so it’s only fitting you’ll be launching the record right amongst it at Freo.Social! Would you say the place of Freo, also played a part in shaping this album, and in your music overall?
I love Freo! I moved here from the east back in the 80s and it’s been my home ever since. I felt like I found my people. We vote pretty well too! I started out busking in Freo in the 80s and Freo gave me the confidence to follow a musical pathway. The Perth music scene has always been very encouraging and supportive. Living in Freo over the years, I’ve played in so many different genres of bands, from Irish (The Fling) to dub reggae to Gamelon. It has been a really good musical journey and education.
Who else is on board to support you on the launch night? And what made them a good fit for the occasion?
I’ve got my good mates supporting me on the night. I’m gonna need em, I still get a bit nervous before gigs like this. Lois Olney is one of my oldest friends, a proud Ngarluma woman from Roebourne and her songs tell her story of being a member of the stolen generation and her reconnection to family. With her remarkable but gentle voice she distills the emotions of joy, love, pain and longing into an enduring resilience and a powerful art form.
Helen Townsend and Shannon Smith is the duo version of Helen’s band, The Wayward Hearts, who I’ve been lucky enough to be playing mandolin with over the last few of years. Both Shan and Helen are amazing songwriters and the blend they have together vocally is stunning.
As someone with social and political causes close to your heart, what have you had on your mind recently that might inspire your music in the future?
I would say hands down that our biggest future challenge is global warming and reducing carbon emissions. Songs and music can contribute to the conversation and maybe encourage people to get down off that fence and have a good stare into the future. In fact, I’ve been digging John Butler and Kav Temperley’s new song The Fence about that very topic.
Here in WA we really need to have that conversation cause our state is the only one where emissions are rising and with projects like Scarborough and Browse we are going to cement that in for the next 50-70 years. I’d really like the WA Government to explain why they think this is a good idea, because it seems a little nuts to me – how about you?
