Australian folk singer-songwriters Christopher Coleman (Tas) and Zoe Elliot (Syd) will perform together this September on ‘The Rambling Tour’ with shows along the east coast kicking off in Melbourne this weekend before heading to Canberra, Newcastle and Sydney.
We thought it might be fun for Christopher and Zoe to get to know each other a little better before the tour…
Christopher Coleman: Your latest single ‘Black Dog’ is gorgeous. How did the writing process play out for it?
Zoe Elliot: It was nice to reflect on the process. I was sitting in the back of my old campervan on a headland and I was tinkering on my guitar and started playing that opening riff. I started singing out the first line, “broke down, caught on the shoulder…” and wrote the first verse: lyrics, melody and chord progression on the spot. I wrote it down and recorded it on my phone. It was a strange experience where I almost felt I uncovered the song rather than created it. It was a painless writing process and I had it almost complete by the time I had gone home.
You launched in a church. I have performed in a Cathedral as well; do you think there is something more suited to acoustic music being played in churches rather than pubs?
There is something about playing in the church that was simply awesome. Sometimes playing in pubs and clubs I feel as if I am fighting for my space as a musician over all the noise and distraction. But playing at the church there was this warm, expectant feel about the space. And even without the amplifiers the natural acoustics carried every note. I don’t know how I am going to return to the usual venues after that gig. The churches are perfectly suited for acoustic acts.
Is there a pet hate of yours that I should avoid whilst we are touring together?
I have developed a new irritation after visiting the Sydney Opera House: the good old encore. They took it to extremes with multiple returns to stage to bow before playing their double encore. I just feel the encore has been overused and is too expected and predictable. At the Opera House, it took me a long time to realise the “audience” going wild was simply the orchestra stomping their feet and demanding their own encores! Pretty sure as long as you don’t call for your own encores on stage we will get along like strawberries and cream.
How long does it take you to prepare for a show? One hour, day, week, month, year or a lifetime?
All of the above. It has taken me a lifetime to develop my songs and my style, months to set up the gigs, a week to plan the set list… and the fashion/make-up/hair? Ten minutes.
You recently performed with Tim Finn. He is one of my favorites, how did you find him as a person and performer?
I felt so privileged to open the night for Tim Finn. When I have supported acts in the past I have rarely gotten to speak to them as they turn up just in time for their set. But I arrived during his sound check and when he had finished he immediately came off stage to meet me. He knew my name, had checked out my songs and gave me a sizeable amount of his attention and time. It blew me away. He is simply a legend. A great songwriter, musician and man.
It was suggested that we team up for the final song of the night. What song should it be!?
I’m caught between Crowded House in the Tim Finn tribute, or some classic Bob Dylan duet like “It Ain’t Me Babe” or “Don’t Think Twice”. I am so excited to duet with you!
Zoe asking Christopher…
Zoe Elliott: What was inspiration for the first song you ever wrote and how old were you when you wrote it?
Christopher Coleman: I was sixteen so predictably the theme was a deteriorated high school love story, with a title I would not dare share now.
If you could support any artist/band who would it be and what is your dream gig?
Royal Albert Hall in London with just a few of my friends… Jinja Safari, The Beautiful Chains, The Trouble With Templeton, Daniel Champagne, Darren Hanlon. Throw in Leonard Cohen and Paul Kelly and I think we might even break even on venue hire.
You have a beautiful gift for story telling. Who was ‘Go Home’ written for?
I don’t want spoil it by divulging. But an answer that certainly works is you, you, and you as well.
How does it make you feel to sing your Dad’s song ‘Stages of Love’?
It is great, every time I perform it I remember him and it holds genuine sentiment. ‘Stages’ is a masterpiece and it is a pleasure to share with it people.
What is the music scene like in Tasmania and who have you come across that has inspired you, encouraged you or was simply a legend?
For years and years it has produced brilliant artists in all fields but like any place with a smaller population, the challenge is finding a strong enough driver from an industry point of view to get their work off the island, I suppose. That being said there are success stories and the scene artistically is diversifying quickly, and nightly without fail there is a solid show being put on. I think the chemistry between cheap flights, MONA, more industry monsters, and greater focus from the artists is responsible for this. A great supporter for me recently is local author Richard Flanagan, he has very graciously shared tea and wine with me and has encouraged my writing to a point of confidence and endorsement.
When will you know you have made it as an artist?
I already have; I am writing, eating daily and touring and recording at least weekly. I quit my job cleaning cinemas and still have enough body fat to keep me warm. I’ve made it. I just want to do more of the above and put on more weight.
Christopher & Zoe Dates:
Friday September 13 @ Wesley Anne, Melbourne
W/ Marlon Williams
Saturday September 14 @ The Front Gallery, Canberra
W/ Ben Drysdale (Beth n Ben)
Friday September 20 @ House Concert, Newcastle
Saturday September 21 @ Smallest Gig sideshow, Sydney
W/ Trent Williams
Watch Zoe perform ‘Black Dog’:
Watch Christopher Coleman’s ‘Dandelion Flower’:
