6.7 Jess Lord on PUSH Magazine Sydney

Transcript

Are you, are you recording it so far already? Oh my God. It’s on Welcome to Hung Up, the podcast, which is based in Sydney. My name is Matt. I’m Aiden. Please welcome to. I was going to do and I’m Jess.

My name is Matt. I’m Aiden. And I’m Jess. Why don’t you introduce yourself for our audience and just talk about like.

Yes. Well, as I’ve said, my name’s Jess. I run a magazine called Push Magazine, which is a print magazine, but we also do some events and some digital stuff. And I also started a project, I would call it called Dogs Run Free last year, which is just putting on gigs. Yeah.

Yeah, I love the the booking bands angle as well. That’s such a good like. Amalgamation. Well, like 2 things. You put your interlace, your fingers. It’s such a like big cross of the Venn diagram. How did that come about? Like why? Why music? Well, it’s actually a funny story, but when I was doing the

magazine with my partner Holly, by the way, we did a few issues without ever having like a proper event. But then my friend who runs gigs, he was like, for your next magazine launch, instead of doing like just a little dinner party with the people who were involved, you should come in to my place and do like a proper event.

Cool. So then we booked some bands and made it like a ticketed thing. Cool. Which I was actually house. Or no, it was the Gladdy. Oh. Awesome. Classic. Yeah, Yeah, Classic. Love the Gladdy. And then when we did the event, I was like, hang on. That was really fun and actually way easier than doing a magazine as well. And it also got out a lot of the things that I wanted the

magazine to be about, which is kind of like spotlighting local artists and bringing people together. Totally. And I started to feel like although I love the magazine, I was like, events is really where it’s at. I loved doing it. I thought it was really easy and fun. Yeah. And kind of played more to my strengths. Cool. So then a couple years ago I started doing heaps of events

with Push magazine and I just got obsessed with it. And I was like, I want to even do more.

And some venues were coming to me, like, do you want to put on events in our venue? But I didn’t want to drown out what the magazine was about. I wanted it to still be like, seen as a print magazine that’s not just about music, but about like art and dance and all kinds of things. So I decided to start Dogs Run Free to kind of separate all of

this like heavy music stuff from the magazine to not drown it out. And funnily enough, I actually wanted it to be a secret side project. Cool. Like not even tell anyone who was like author or like not say that you would. Well technically I’ve been semi anonymous with both projects. I know it doesn’t seem like that now that I’m on this podcast,

no. But yeah, it was kind of. Reveal. Yeah. I think we like had to do a bit of digging to be like our Co founder like. Yeah, yeah. I mean, I I knew. Yeah, I already knew. Secrets I didn’t know, I didn’t know, but I was like, if you’re just looking around. Yeah, but I didn’t actually want it to be like connected to Push because funnily enough these

venues were asking me to book like just little side gigs and stuff and they wanted a name behind it like a promoter. And I didn’t want it to be Push, but I just wanted to be able to do more stuff. So yeah, from the get go I was like, I’m just going to start this like secret other thing that I was thinking of more just as a dumping ground.

Cool. Yeah. But then from the first event, yeah, from the first event I wanted to promote it and like it wasn’t getting that much traction, so I put it together really quickly. And so from the first event I let go of being a secret side project and now I call it the child of push. Yeah, Amazing. Amazing. Yeah, Cool. I mean, it’s really fun running

gigs. Like I did a little gig series like a while ago and it was so much fun. I really enjoyed doing it. Yeah. What was it? It was called Concrete Dreams I’ve heard. Of concrete dreams. I. Remember that. Yeah, it was really fun. Did you ever go? I think I did. Was it ages ago? Yeah, it was like it was just after the lockdown stuff started

opening up and it was at the warehouse in Maryville. Yeah, OK, I remember that. Yeah, it was a really cute project. I had like full creative control and I had a lot of help from the venue. You know, they would basically give me the venue for free like. What was the venue? Mothership. OK, I feel like one of my friends might have played there. Probably, yeah, yeah. Probably, Yeah, Yeah.

Yes, Bliss played there. Bliss. I remember that. I went to that. Yeah. They’re a great. That was iconic. Yeah, yeah, yeah. It was really fun. And it was, you know, like having the control of all the elements, like, you know, ‘cause it’s quite theatrical when you’re in this completely empty box. Yeah. You can just light it. However, like do you like, where

are you at with the like, you know, that level of like theatric out, like, you know, how much do you want to put into that? How much control do you get to have over that? Stuff It’s funny that you mentioned that you can do the lights as you want because lighting is one thing that I really haven’t been a nerd about at all. I say to my sound guy like just chalk up a few lights will be good.

But I think that the thing that I am really passionate about getting right is having like an interesting space each time. Cool. And so, yeah, a lot of times bands are doing just like regular gigs at the pub and no one’s showing up. And they’re like, what’s going on? Why are people not loving this? And I think. The footy’s on, they’re like

they turn the footy off. Like what’s not working here? I once played a show at the Marrickville Bolo with my a very old band of mine and we we got on stage and there’s this huge crowd of people were like what? Like the sound check with all these people here. It was just packed and then like

they do the meat raffle, which is what? Everyone. And then we like gone up and like quickly played while they were there and everyone was like, that’s. Funny, anyway. So we played and then the next time we played to like 5.

So funnily enough though Marrickville Bolo is 1 music venue that I do think is cool and I would do a gig there but most of them I think are boring. Yes. Not to be rude, yes, but I think these days people love like, going something that feels like an event as well, and like having different elements and having like a place that they’ve never been to before. Yeah, cool.

So that’s what I really love. Yeah. What are some of the ones that you’ve really enjoyed, especially on that like space angle? Yeah, I agree. I love to see, like if I’m looking at a little clip on land where someone’s playing, it’s like, well, that’s the room or whatever. Or like, you know, you can just tell straight away that it’s not. I mean, not that there’s anything majorly wrong with just a regular venue. Yeah. But yeah, we’d love to hear about some of them. Well my favorite 1 was my

friend’s backyard in Kingsford, which is a fucking trick away if I’m allowed to swear. But he had this massive backyard and he had a little, it was kind of like a little deck randomly in the middle of the yard that looked like a stage. And when I went to his place, I was like, Juan, we have to get this going. And it could fit like 300

people, I would say. And that was kind of one of our earlier ones. And we started, we did it there actually a few times. But I loved that idea of, like, going into someone’s backyard, which apparently is a normal thing in the inner W Someone said, like, we, you know, we spend our childhood doing this, but it was new to me. Like show backyard gigs. Yeah.

What’s that anyway? I mean, I, yeah, I’ve been to a bunch of them and I I’ve, I’ve held a few of them. Yeah, it’s, it happens. It happens. There you go. Yeah, well, now I know, I guess. But I was like, that would be a cool childhood. Yes, but I thought. I didn’t have that childhood, yeah. I didn’t grow up here. OK, there you go. Sweet there, Yeah. I got like the long end of it. That was that one house in in

Moore Park that I got a taste of when I moved to when I was like 17. They always used to have parties and gigs and it was like in the park. Newtown in Camperdown Park. Oh, love that. Famous famous in bad. Love that. Yeah, love that. Yeah, that was cool. Yeah, so, and we had a little beach party at Yarra Bay, which

was like a beach that I hadn’t been to before. And it had a lot of like concrete industrial elements with spray paint and everything. And I loved that one. The idea of, I guess, taking people to a place that they hadn’t been before and doing a random party, that’s just, that’s my favorite. Thing that’s so cool, yeah. I feel like you really get a lot out of it because like, yeah, in

the pub it’s like, I mean, bands do play there a lot, but yeah, I feel like, you know, like even musicians can be pretty jaded sometimes, but like at, you know, some beautiful beach, it’s like you really kind of have to. I feel like you would play better if you’re at the beach. You would play better. That one was actually DJs though. Oh yeah. Yeah, shops same. Thing. Like still kind of like.

Sand in between the toes. Yeah, Yeah, that sounds great. Yeah, you can like scrunch your toes in the Yeah. Do you know what I love about the beach parties? Well, everyone gets hyped on Sydney. They’re like, Oh my God, Sydney’s the best. Like Melbourne would never do this. Yeah. Let’s do it their beaches. Suck, sorry. But it’s true. Are you Melbourne? No, no, I’m Gold Coast.

So oh, that’s pretty good, but. When I was on the Gold Coast, I didn’t like the beach. I liked like skateboarding. And now you do. Yeah, now I do. I couldn’t appreciate it when I was a kid. You. Know, yeah. Damn Reformed. Yeah, exactly. You’re saying like you find the gigs like easier quote UN quote,

yes, but yeah. And like more to your like strengths and stuff. 100%. Yeah. Could I hear a little bit about that and maybe the challenges too, of like writing the magazine? Yeah, it’s funny because sometimes people ask me for advice on how to put on an event and it’s literally, in my opinion, so easy. Like people have house parties

and they basically do the same thing as putting on an event. They just don’t stress about it because it’s like such a common thing to do. Maybe they stress a tiny bit, but not really to put together an event. You just get a poster, like announce it, organise some bands. That’s it. Yeah, honestly, it’s crazy. They will come sort of shit.

Exactly. Whereas with the print magazine, I feel like there’s a lot of work that goes into it. And when we designed the magazine, I purposely designed it so that it would be like as easy as possible to keep myself going with it. So it’s just a collection of interviews and all of the interviews are just in question

and answer format. So like the whole process is literally as simple as it could be with photos as well. And still even as simple as that, I don’t know what it is. It takes so long. I guess it’s like there’s a lot more people who are involved, so you’ve got to coordinate with

everyone the. Photographers or the writers, it’s. Honestly, not even that much coordination, but it, it takes a minute. Yeah. Pull it together. There’s the printing process. Yeah. Graphic design. We have a graphic designer who does it, But even just that. Yeah. Feels a lot. Yeah, Yeah. And then I think at the same time, kind of the feedback that

you get from doing the magazine, I mean, it’s really nice to see something in print. And yeah, it’s great to have a physical product, but you don’t get as much feedback as when you’re at an event and you can see everyone’s there, like enjoying themselves, you know? And I think there’s also not as

much demand for it. So I didn’t want to do ticketed events to begin with because I was like, we’re just trying to sell $210.00 magazines. Why would we? Yeah, yeah, yeah. Why would we try and sell $10 tickets to the same people? Yeah, to the same people. I was like, we’re already struggling with that. But then it’s no problem. Everyone wants to go to an

event. You know what I mean? It’s. So fun. Yeah. And I’m not saying that I did it for the demand of it, but it did just feel like you can get that like immediate feedback to know that you’ve completed something and it. Certainly helps, like when you’re doing any of these things that are difficult and artistic and whatever, there’s not a bunch of money in it.

It’s not a job. It certainly helps to get some like, you know, someone’s pushing you a lot, like some momentum, like, you know, I don’t think anyone can blame you for that. And it creates a thing. It’s like, you know, you got to have some, you’ve got to have some wins with your creative. Projects exactly you can play a win. In Darkness, being like the best artist ever for a while, but not forever, you know what I mean?

And I also think that, as I said earlier, but all of the reasons that we created the magazine, like helping people to connect with the community and to show their work, are done easier with an event. Yes, you know, yes, yeah. I think print magazine is great, but there’s space for both. Yes, I mean like, you know, these days, like, I mean, I

guess we’ll get you to tell us, but like, you know, back in the 90s, like there was just so much money in sponsorships in and like ad space in magazines. That’s like basically, I mean like, what do you guys have sponsors like? We actually do have one major sponsor, which might blow your mind. Talk to me about.

It wait, it’s it’s, let me guess, it’s Honda. No. OK, then it’s sorry. Oh, sick. I I versed your level. Yeah, yeah, yeah. It is a neo bank guys. I think we’re both. Actually. You’re both up. There you go. I feel like when you say bank, it’s like, oh God. But guys up is actually really cool.

I mean, yeah. I kind of. They did sort of trick us a bit, but they are cool. They’re still just. Bendigo Bank with. Like they don’t like, they don’t like being called up bank. They only like being referred to as UP because we’re so about genius, not being a bank. This is like when the Bureau of

Meteorology was like, you have to call us the Bureau. Exactly, exactly. But no, no shade. Love up if you’re listening. Yeah, that’s. Cool. Cool, so did that. Is that a recent thing or was that all the way through from the beginning? No. So at the beginning, for the first few years, it was really just like a side project and a passion project.

And we didn’t really have any like proper sponsors, but we would have a few pages in the magazine that was like a local jeweler or whatever. And then I thought about ending push because I was like, OK, well, it’s time to get serious about my life. Like that was just a side project. Yeah.

I feel like that’s when I met you. Yeah, probably. Yeah, I was like. Kinda like I’m yeah, you’re like, I’m thinking about like passing this on or something. It’s funny you say that because I guess I’ve just always said that. Then there you go. Yeah. Anyways, cause for the listeners at home, that was probably two

years ago. Anyways, where was I? Oh, yes. So I thought about, OK, what’s my, what am I doing here? And I spoke to someone, a good friend of mine, Connor Sprague, shout out, who worked in advertising. And he was like, I think you could make a job out of this if you wanted to.

And my partner, Holly, she also works in partnerships for, like, future women. If I’m allowed to say that, sure. Are you asking her permission or? Yeah, I’m asking hers out there. Holly, any who’s? So we formed this idea. I was like, OK, never mind this idea about not doing

sponsorships and stuff. I was like, I’m willing to go hard if it means that we can actually do this like as a job. So we kind of, we were fussy about like which brands we reached out to, but up was one of them. And they were like, do you know what? We’ve been active in Melbourne. They do all of this stuff with

like local musicians and publications in Melbourne. We’ve just moved to Sydney and we’re looking for a magazine to work with. I know. And we’re like, what the hell, It’s amazing. So that was last year that we started working with them and. How has that changed your operations? Like what, what what, what? What’s changed?

Now I think what’s changed is that last year I started to take it more seriously because I really was like, OK, this isn’t just a passion project anymore. And they were kind of like, to us like dream big guys. And I was like an event. And they’re like, you can dream bigger, which I honestly haven’t

dreamed too big, but they were like, they were like, come on, Jess. I can’t picture something crazy. Which is how the YouTube series actually came about. I see. Cool. But then at the same time, what I also learnt is that like sponsorships are great for keeping things going, but at the

same time I learnt that like you’re never really, or maybe you’re going to be far away from actually making like a full time job out of something like this. So I think that that was also a wake up call that it was like, OK, at first I didn’t take it seriously. Then I did take it seriously with all of this like sponsorship.

And then I came back around to being like, you’ve got to find some kind of happy medium, you know what I mean? Because even then, we’re still in print media in 2026. Exactly. Exactly. Hyper niche. Even with a bank behind us, it’s still. Exactly. Your bank and. Your bank. Sorry to that and that we’ve. Got some suited figures at the

end of the hallway here. Who are they? You’re you’re. Handlers.

But yeah, I guess one thing that’s been really interesting is I’ve spoken to all of these different magazines that I saw as being like super professional and everyone, everyone I’ve spoken to has just said that they break even. Like no one has a full time career. And that’s been the craziest thing that I’ve just learnt

along this journey. Yeah, I mean, just physical print stuff has just been so like, I work in photography and we shoot a lot. Of you. Know print stuff and you know, I won’t like like name names, but like all of them are really struggling with the that sense of like authorship and editorial control because they actually do

have so much, you know, sponsorship from like companies like they’re companies that need to make money. So the kind of role of the magazine has shifted and everyone knows it, you know, like in fashion, where it’s like less of a like leading voice in something. And like, there just has to be this like, you have to kind of

make allowances for like the reality of the day that we live in, which is like, yeah, you know, magazines don’t like sell as. Much and like even people like us who love print, I still I’m not paying for any print subscriptions at the moment. I try and do all my like righteous streaming and blah, blah, blah, blah, blah, and I make an effort and I’m on the extreme end and even I I’m not

buying a bunch of even, you know, but I still feel like print has some cultural heavyweight. Oh. Absolutely. Which is like, I think part of the reason maybe up would be interested. Yeah, especially in you. It’s like, oh, it’s in print. Like, yeah, exactly. It still has that. Like, yeah, it’s kind of not as real as it was, ‘cause like I’m sure the real money is like on

Instagram for sure. Sure. Just in terms of like marketing, yeah, yeah. That was what what was once physical editorials is now like a reels campaign or a wrap around socials campaign. Yes, maybe with a billboard or something, I don’t know. But it’s you still have the like someone’s taking you more seriously than for now than they’ll ever admit to taking

like a reel seriously, even if the reel is like way out performs, I don’t know. Well, that’s what. I’m saying yeah. Definitely what I find really interesting. I feel like younger people love seeing stuff in physical print or in physical media with vinyl sales like skyrocketing because the further we are from those

times, the more kind of funny and nostalgic and vintage it is. Like probably back in the day people bought magazines not because they thought it was like cool or like indie, but just because they were needed some entertainment. And now we’re like, wow, this fucking cultural item and it’s like a timepiece, you know? Or not a timepiece.

What’s it called when you put it in the ground? Time Capsule. Time capsule, it’s a time. Capsule and it’s fucking cool. It’s kind of like Matt showed me like a print he got done recently, like a really high quality print. Just a photo he took. I was looking at this thing and I was like. Wow, wow. Like it just looks so beautiful. And I think one thing that a lot of people are enjoying as well

or one thing that people like is just taking it out of the context of the feed or whatever. Like it’s nice to see like your interview or whatever and your main feed post and it’s not like, you know, sandwiched in between whatever the fuck. Else exactly. Happens to be served to me like an ad for a sleep mask, which is what I get it. Is something. Like I can just have the

magazine in its own context or like the context of my house or something. It is a thing that when you’re on the Internet, your brain is literally overwhelmed by the endlessness of it. You’re constantly. Yeah, that’s. Me and it’s relaxing to have something that you finish. We never have that. Finishing so true. I go to the.

I know it’s it’s. So nice. Good. Someone picking like you’ve just got it on the table and your friend comes over and, yeah, picks it up and leaps through it. Very nice. Exactly. It’s a very nice thing. Exactly. Totally. And final point on that which I thought was really funny, when we did the first issue, my friend again con other photographer, he was like, this

is my first time seeing my photos in print in real life. And I was like, you’re a legit photographer and you have never seen your photo in print. Funny. Yeah, I know. I’ve been taking photos for years and I only just properly started printing them. And I I was, yeah, I said to Aiden. I was like, this was amazing. Yeah, I’m going to do this all the time. I haven’t done it since I did.

I keep going. I’ve been trying to get to the darkroom for like a year. I was thinking about, I think about it like every 3rd day I come to the I’m like a new photographer. But I’ve shot a few rolls of film. Yeah. And I keeping like I’ve got the negatives. I’m like, I’m going to go print this. I’m going to print this. Yes, I’m a terrible, terrible photographer, but I have a Kmart photo photo album, like a really cheesy, like early 2000s one, and I get my photos printed and

put them in there very nice. And I love it. I like, and I show it to people when they come over. So nice. Yeah. I always do that. I like albums and albums. Exactly do that. Like friend’s house, like their parents album. Yeah, who’s? This. What’s this beautiful? At first I thought it was overkill because we do look at photos so much on Instagram and photo albums and everything. But I love photos, no? Way.

No way. Yeah. Can you imagine? Yeah. They work so much better as physical objects. Yes. And there’s also so many times that we lose our photos, like, Oh yeah, yeah, I was talking to some other people. We all took photos in high school on Snapchat and we’re all locked out of our Snapchat accounts. So I’ve lost my. High school days I. Did to get locked out of Snapchat? Don’t know you.

Look at that. No. Problem no. Any other questions about? Yeah, my lawyer. Is completely unrelated. Yeah, I don’t know. There’s some weird shit with like my iCloud backup. Yes, exactly. Whenever I get a new phone like my life begins again at this one point. So it’s. Just. Like I keep going, there’s nothing before or after like 2020.

It’s really pissing me off. But so instead of like stiltedness of digital stuff, like like I, I had digital cameras and like lots of film cameras and took heaps of photos in high school from the ages of like 12 to, you know, 18 or whatever. And the hard drive that they were all on. It’s just, I don’t know where it is. It’s gone.

Exactly. It’s. Fucking gone. And so now I have thousands and thousands of photos that I probably will never see again. Exactly. Wow, should have been a photo album. Printed them, so easy to look for. A print or like have a box full of prints. It’s so easy to. It’s so much easier to lose a digital photo. That’s true. That’s true. Print. Not to mention and I go back

through our old hard drives and stuff. I mean I. Do I mean this guy? He’s a strange guy. I never did. He’s a photographer. He doesn’t count.

I now have a very tidy archive of my photos, which is wow. Really nice. Yeah, sorry. To show off on it. But it’s really good. It all sorted by date not by location. But they all have a little description tag so I can like find stuff you could. Sell that as a service, not to be capitalist mindset right now. I know I I. Love money. Actually.

So yeah. It was a. Huge bombshell for the party, I thought. He was a fucking communist. Yeah, we got. Some business people on the pod right now. We could talk. Yeah, Alright, let’s this is now a business. Podcast. A business podcast? Yeah. Honestly, I think I’d go well. On one, yeah, yeah, I can. You sort of business, Yeah. You seem like you gotta be my

friends always. Laugh at me because whenever they do any hobby I’m like I’ll buy it. It’s a. Good idea, we need more. In exchange for. 20% of the profits. We do need more people or who are not allergic to business in like Speaking of our audience, I’d say if I had to guess most people would be like keep that money shit away from me, yes.

Yes. Well, do you know what? Just circling back to the sponsorships conversation for a moment. I was talking to someone about putting on an event the other day and I said to them like kind of nervously because it was going to be quite DIY. I was like, how would you feel if there was a sponsor? Because we it was going to be a free event. So I was like, how would we pay for this, blah, blah, blah.

And this guy was like, do not be nervous to say that, Jess. Creatives need to get better at asking for money and finding ways to get money. And the only way to do it and also keep it free and accessible in a way is to have the big brands paying for it. And they’re like, we need. We’re shooting ourselves in the foot by being awkward and shy

and ashamed of getting sponsors. But that’s literally the key to how this thing will run. As long as you do it tastefully and don’t lose your values and everything. Yeah, or. Just marginally compromise them to a degree that you’re comfortable with. Yeah, that’s. Fine. Yeah, that’s like work. Yeah, for me to. Do that right you. Want to work?

Obviously I have. My like silly little like art practices that can never be touched by corporate whatever. But like I’m. Also, like I want to live like a creative job kind of lifestyle. Like I’m I’ve had to reckon with the fact that, you know, my Moody like obtuse photos, like will never sell any clothes. So like I’m interested in shooting commercial stuff that’s.

Interesting to look. That like for me, but also like we’ll get the job done exactly and I will. Say this, I think that we should have an underground culture and a DIY culture that’s separate to sponsorships and everything. But I just also think that there’s a space and this is kind of the thing that I’ve just been thinking over the past year that I’ve come around to. There’s a space for figuring out

how to work with some sponsors. I feel like a lot of. Like I mean I’ve known nothing really about this but I feel like I’ve seen a lot of like booze. Exactly peeps. Normal love. It for a while, right, yes yeah, like. Yeah, I’ve always been sort of doing some of this stuff. Definitely, definitely. Yeah, yeah. Shout out filter. Yeah, they give out a lot of

free beers. Cool. Yeah. Yeah, we. Need free beer. Such a such a sweet. Like, I mean, they make heaps of beer. Yeah, they must make so much beer every week. All I do is make beer when I first started. Finding out about drink sponsors who just give you free drinks, I was like, that’s a fucking bad deal, Why are they doing that? Yeah, but now when I go to the bottle shop, I love going for a filter or like a young Henry’s because I feel like, yeah,

they’re my friends. They.

Would love to hear this they’re. Like, yeah, yeah. Yeah, make sure you forward. This episode to all your sponsors. Yeah. The next episode will be sponsored by Up, Heaps, Normal Filter and Young Henry’s. Hey, we’re open to it. We’re up. To we’re very. Open to it. Free. Free beers for them. Yeah, yeah.

Everyone’s. Cracking open a cold one. Yeah, that’s cool though have. There been any like genuine moments where you were like, fuck this, like I wanted like where you really wanted to quit or where you the magazine.

There’s never been a moment where I’m like, fuck this, like I’m outraged or whatever, but I’m pretty much always on the edge of quitting clip. That. Let’s clip that not in. A weird way, it’s just I’m kind of always thinking about how it wasn’t meant to be my whole

life, but it kind of is in terms of my like mental capacity. And I feel like it’s hard. It’s almost like a toxic relationship. Like it’s hard to move on and commit to something else when I love thinking about it, talking about it. It really is kind of my whole life. And so, yeah, I’ve just always

wrestled with, like, when is the time to let this go? And then another big thing that I’ve been thinking about is that it was supposed to be for really young people who are just finishing high school or maybe they’re in university and they’re thinking about being a creative and they’re like, not sure what the scene is or where it is and trying to find those

people. And when we started the magazine, because I was in university, we literally said, OK, we won’t have anyone older than 25. And I didn’t know anyone that was 25. So it felt like that was like really old. I was just like, that’s like with some wiggle room.

And now? I’m 26. And. As I’ve gotten older, naturally I’ve brought the magazine to be a bit older as well, in terms of the creatives that I feature and everything, but I still try and remind myself to look to that audience that it’s meant to be designed for. So that’s why I would have said

two years ago that we were going to pass it on to young people. And I literally still have those conversations today. So that’s kind of where my head’s up. Interesting. But yeah, it’s definitely a topical conversation for me right now. Yeah. I mean. Like really cool to. I mean, like my equivalent of

that is like, and I don’t know how I’m going to do this, but like because I’m not a multi millionaire, but I love the idea of being able to like host artist residencies, you know, I think that’s such. A cool thing. To like give to a community. I really want to do that one day, but I need to make millions of dollars first to buy the property to be able to blah blah blah. Are you doing it for a little less than millions of dollars?

No, it’d be a. Lot of money, I mean if you wanted to do it in. Stanmore I would be. I can’t do it in. Stanmore, you know, depending on sure. They could sleep on the couch. They could do it in orange. They could not sleep on the. Couch that would be cool. I don’t want you. They can sleep on the. Couch all. Young artists, you could send an e-mail to me. And Jess from Push. Back will approve it.

Only if Jess. Approves it, yeah. I love it. I’m. Down anyone? Yeah. But I mean. Yeah, it’s cool. Like I think like how do you do that? Like it’s, it’s like, I mean, you know, keeping it relevant for like someone, I’m 19, I just did my HSC like 6 months ago.

Like I played in a band in high school. But like, like where is everything or whatever. I mean, I guess like, you know, they do get a lot more exposure to it online now, but so cool to be able to pick up like a copy of Push and like see, you know, exactly what’s going on. Like in these people’s heads, these creatives, like, how are you going to, how do you do that? Like how, what do you, what would you like to do that you’re

saying a younger person can do? Like, yeah. I feel like when I was younger, I was able to see someone who was like a friend of a friend who had only maybe created like a few pieces if they were a fashion designer. But I knew that they had it and that they were going to be great. And even if you couldn’t tell from like looking at them online or anything, you could just tell

because you’re part of that scene that they would be great. So for example, we had like a, our graphic designer, Asha, he was, he’s much younger. Literally, it makes me feel so old now. ANYWAYS. And I was like to him, like, who do you think is cool? And then he gave me a bunch of names and I was like, OK, I see

this now. Like, I wouldn’t have been part of that scene to pick up on that, but having a mix, you know, and I met up with some other girls who were like still in university and asked them. I put out a form as well where people can like nominate who they think should be in the magazine. And I’m always asking, basically I just ask around, get the youngins in, see what’s up.

And I think part of my dream is to pass on as I have said, but like to pass it on to the younger people and keep it going so that they can take ownership whilst still being involved in some way. But recognising that like, I’m not always going to be involved in all of those scenes where I’m naturally aged out. But I think at the same time I

am mixing it with my own taste as well. Obviously it’s like literally all what I reckon. But I do still have like some older people now and I’ve definitely relaxed on the under 25 criteria. Yeah, yeah. Yeah, extremely cool. And like extremely like it’s just amazing of you to be like,

like, like of recognising that it’s like it’s, it’s, it’s reliant on this thing that just like if we’re talking about like youth culture, it’s like, yeah, you know, it’s reliant on you also just being a young person. And like, I mean, I’m speaking as someone who is going to be turning 33 years old this year. And I’ve had, I’ve had all of those feelings of like my old and whatever, but yeah, it’s really, it’s very beautiful and

cool of you to just go back like. To. Actually have that mission and like stick to it and be like, I’m like, I’m not interested in doing this just because it’s mine. Like this is the project and it should stay like the project. That’s very cool. So well done for that. Thank you. I’ve never had someone say it’s beautiful. They’re all just like Oh my God, Jess, you’re so stressed and ageist.

I get it because I have the same. Impulse, that was my idea with Concrete Dreams was like, I want it to be like fans who were not necessarily like fully up there yeah, exactly because. That is a space that can. Support a really like high class production experience, you know, if you want to go there. But I think it’s so cool to do the like, like what they’re doing at Phoenix Central Park.

That’s so cool with the like, you know, this thing of like really looking for interesting things that may not necessarily be, you know, highlighted. It’s so funny. We have this like really connected culture in terms of online, but there’s not that much of it in like the physical world where like, you know, people like you and like Phoenix Central Park and like us. We have to like go like

constantly digging and like showing these people like off is I guess what we, what we do, you know, ‘cause you know, we do the same thing. We like we find artists to be. Younger we. Talk to them like, you know, like that’s, that’s, that’s like what we’re passionate about on this show. And like, yes, it’s, it’s an interesting environment to do within.

I was just listening. To FBI radio today I love FBI and I found so many like deep dived random Sydney based artists that I hadn’t heard of and I pride myself on being good on the Sydney music scene and I was just like damn FBI I really love for doing that kind of thing true they’re another

great. Big like organization in that world. Maybe you’re like one of the bigger ones in Sydney in terms of like supporting the like culture #1. Number one. FBI #1. Well, I like Phoenix as well. I actually work there. Yeah, absolutely. You guys. Venue. Yeah, love it. Yeah, that’s cool. Yeah, we should. I think they should give us a

show on FBI. No music, no ads. One hour about this. Can we talk? About this I think you can do. It No, I don’t want to. Let’s talk about this it. Might just be at 5:00 AM, no? I’m joking, they already. Have an arts? Podcast yeah thing they. Do anyway anyway. Well, I’ve hit a soft. I’ve hit a note, I’m sorry.

Talk about this after the show. I’m in trouble now. I am both in trouble. I would listen. To this I would listen. To this I love Lindsay. Kimbo it’s my favorite sick. I’ve gotten to it all. The time movies, movies, movies, they’re really funny. I just worked with Priya recently and I also love reel to

reel. Shout out Jasby. Nice. Yeah. That’s our FBI. Let’s put a little bow on that. It’s sealed up. Yeah. Beautiful, yeah. So yeah, booking. Bands like what? What are your like? Like I know you said it’s easier than doing a 100% magazine.

So much easier. What are the? So much. What are? What is? The hard part about booking bands like why? And why are people freaking out about like, by the way, run a party? It’s impossible. Well. There is a risk involved because you have to, you know, say that you’re gonna pay the band this much.

Yeah. And you can not make that. Yeah. And then you have to lose all of that money. Yes. So that’s definitely what gets people worried. And I guess when I first started and still today.

OK, let me think. I don’t. OK Can we? It’s so easy. I kind of it. I. Know, I know I. Know that’s a good answer like if. It’s. Easy. It’s easy. Cut out that part, no? That’s a good answer. It is a risk, I guess. What I. Was gonna say sorry is that you start small and I started small and you have to take as little of a risk as possible.

And I think we had already built up a bit of a community because we had had events before, like we had had launch parties where it was just made at this art gallery. We’ve got beers. So I knew that we had built up enough of a platform that we would be able to sell enough tickets pretty much. And I think because I had done

it with debates for events, who run events every week, that kind of anxiety was alleviated. He was like, don’t worry. Like we wouldn’t lose this money. He really just coached me into it. So yeah, I think that the the thing that gets people worried is paying for all of this stuff and the risk of it all.

But I don’t know. As long as you’ve got like 100 people coming, yeah, that’s probably what I would say. If you can bring 100 people, yeah. And then you. Budget. The artist, less than that. Yeah. You’ll be OK. Yeah. Yeah. Nice. That’s good to start small. Have a bit of an audience. Yeah. Take a risk that’s not, you know, Yeah. Nice. Measured, calculated risk. Honestly.

Like that, huh? For our fans, it really helps.

It really helps having. Some supportive friends. I feel like that’s often what it comes down to. Shout outs. Yeah. And. Then you. Book some bands and hopefully they have support. What if friends as well? Yeah. And that’s how it all starts. There you go. You know, we’re like halfway there to 100. People. OK. And then few randoms. Yeah, few randoms. Hopefully. Maybe your mum?

Yeah, Yeah, exactly, everyone. ‘S mum 199 or and. Yeah, OK, I have a few more tips. Yeah. Go, go, go. Yeah. Announce the. Event one month before, OK. That way if it’s looking like it’s going badly, you know to go harder. Yes. Don’t don’t announce it two weeks before and then you’re like stressing the whole time.

Yeah. My final. Tip that’s come to my mind is if. You’re going to book some. Bands. You book three different bands. OK, I’ve been saying this for years. Because they don’t have the same. Audience, exactly, and then you. Introduce people to each other so they can be friends and fam

for the people at home we’ve just shook hands on.

But it’s interesting. That way also if you have 3 completely different bands then people can come without knowing what the vibe is and they might like one thing but you definitely want a different cross section. Yes, that’s so funny. That’s. Exactly what my MO was for. There you go, and I. I don’t want to. Go to a show where it’s three of the same punk band and all of their friends.

Like I don’t I don’t like shows like that. I think there is a space for that if. You’re punk heads. But of course, I think I like it. Different. Yeah, yeah, yeah. Totally. Great tips, really good tips. Yeah. Have you got any to add to that? Yeah, like just. Know your stuff in terms of like the tech world, I guess, you know, it’s like I’ll find someone who does find someone

who does that’s. Right. Yeah, well, I, I saved. A lot of money by doing all that myself and not having to pay people, you know, like I saved hundreds and hundreds of dollars. That is pretty good if you can do. It yourself, Yeah, yeah. Especially in the early days, just like just knowing like the odd thing about it, it just gives you a lot more like the, the control over the situation

and it, it enables you to like articulate what you want, like from the lighting person, the sound person, the venue, blah, blah, blah. Yeah, it’s just, it’s cool. And then, you know, like it’s obviously like, you know, you and I are booking shows that are like what? Like, you know, up to 500 people are coming, maybe like less. OK. But that’s, that’s not huge stakes. So like, you know, it’s not like

you’re not you were at the Opera House and there’s a 10,000 person like out the front thing. But it’s just cool to to like, be able to have that kind of say on stuff. Yeah. Do you know what I’ve got? One tip off the back of that boom, go. I don’t know my gear and I’m not doing the sound. So I think for the people at home, my tip is to know what you are good at and then to know what you need someone else to

help with. True. Like the graphic design. I’m bad at that and I know that’s important. So I’ll get someone else. Yeah, I’ve got a guy Spencer does my sound, sorts it all out. He’s really passionate, Spencer. It’s a tough job, Spencer. It’s a tough job. So I think, yeah, the point is figuring out what you can do and then figuring out when you need

to bring in a buddy and how do you. Know who was the right Spencer to choose well to. Begin with, I didn’t. I’ve never had a bad experience with anyone, but I remember that I was doing, or maybe I went to one show that Spencer was doing. And then everyone.

Was saying this is the fucking best guy ever and he was so passionate about it as well which I really liked ‘cause there are some soundies who are just like hate their hate being there, just not the energy I. Love. And I went to a show that he did, which was in an apartment,

I think, and everyone was like, this just sounds so good. It was one of my favorite gigs I’ve ever been to. And so from then on, I always used him. And whenever I used him, everyone would say this guy’s the best. And that’s how I really knew he was the best. Great, great. Yeah. Yeah, yeah, I mean, getting to see an example of someone’s work is imperative. It’s you got, you got to get a little look at the at the resume

or to see them work. Yeah, yeah. And it seems like it’s like. Early days, first dating. You don’t have to stick with the first person. You Yeah, try them out. Bring it with me. Really. We went to see them have to stick. With them. Try them. Shake hands, move along onto the next one until you find someone that you enjoy working with. Yeah. Yeah. And I’ve literally. I’ve literally never had a bad

experience with anyone. Yeah, it’s nice. Cool, just bet. Good. Better and then amazing. Best tier. That’s why they. Call it. That’s some of our first. Backyard gigs. I just had a friend who wasn’t even a sound person and he was just on an iPad and he was like sweet. And honestly, I don’t think it sounded bad.

Surprisingly. You might disagree if you were there. I mean, look, it doesn’t take much. Like, you know, like we were building like we’re helping Jake build a house for the like show. Jake star like previous guest of the pod for their show, like syrup, like a solo show that’s on right now. And you know, I, I was like, I’m, I’m, I’m not a chippy, but

like, I know how houses are built in actually quite great detail. And like they were all standing around because I was just at a documentary and they were like standing around being like, is it painful to watch all these fools with drills like not know how to build a house? And I was like, no, no, it’s not because like everything, like all the timber had been cut to the right length. They were going in like right angles.

Like I just knew it. It’s just going to have to go up into the shape of a house because that’s what you’re doing like, And so like when gigs and stuff are on, it’s like these microphones are designed for the live thing and it’s going to work. And like a drum kit’s really loud. So it’s just going to sound like the, like, it’s just going to sound like rock’n’roll if you’re a rock’n’roll band. So it’s really not that much.

Like, I guess the reason I brought it up is that having a little bit of that stuff going into running Concrete Dreams gave me a really cool control over the sort of theatrical element of it. Like, you know, I had this like curated playlist that people would walk into this like darkly lit space and it immediately set this like tone of the whole

thing. And for the people that came regularly, it became like really like the best part of it was that that’s what’s in common in between all the things. It’s like kind of like walking into this odd. Like it’s sort of theatrical in the sense that you’re not in the pub, you’re in this kind of experimental movie. So. It was, it was cool for me. To be able to express some of that stuff in the in the medium

of yeah, like lighting a room and like picking a playlist and yeah. And it was all. Just like stuff. That I really wanted to see like cool weird lights, not just like the usual pub lights like boom front of the band like you know it was. The playlist. Of all my like onk fucking like what would. It be like my bloody. Valentine, Sonic Youth bullshit. Like I was like, no one plays

that at the pub. Like I’ve actually only heard those two bands at one pub in Newtown. And I’m not even going to say it on the part because no, I will say it’s the Queen’s Hotel in Newtown, one of my new favorite spots. It’s like such a, it’s such a, it’s like Solar Tale or something. I never went. There no one ever goes, and I hadn’t. Gone in there for years and then

I randomly went in and I was like, this playlist fucking rocks or something. Sucks. It does, yeah. Yeah. What about like my general rule that if you have to choose between like just pure vibes versus like, like if you’re throwing a dinner party right, you would prefer that the food is a little bit worse, but the host is not stressed out and can

be with the guest? So does that it’s like. The sound quality has to be the sound quality has to be not shit like the food has to be edible. Yeah. But if you have to choose between like better food and better vibe, that’s sort of. Does that apply here? 100%, yeah. Absolutely I. Always think about having. Crowd pleasers, which is like

two people who are at the front who are dancing like crazy. And often this will just be me and a friend who I drag into it, but I feel like if you just have two people enjoying themselves, it’s always going to set a good mood to it. I never would have thought. Of that as a genius it honestly. Changes the whole. Vibe. No. I’m. In like I’m in the. And I think slightly to your.

Point about the lights as well. What I think is really important about doing events is putting together an event that you would want to be at, because then if no one comes, you’re just happy that you were there. So I will always book bands. That I just love and I just want to see them. They’re like my favorite bands and I think it’s cool. And then it takes the pressure off it being successful in other

people’s eyes because you’re like, this is really cool for me that I did it. It worked so well. I. Mean I feel like that’s such a common feeling among like so many autism. I made the. Thing. That I that didn’t exist and like it’s so fucking true like even when we. Think about like. Guests for this, we don’t have a super codified thing. It’s often just like, oh, we like, there’s just some sort of

thing around this person that we like or like, we would just like to talk to them like, you know what I mean? And we never have to like, argue. We never have to argue about like this person or that person or like, you know, they’re big enough or small enough. It’s just like, would I like to talk to that person for an hour? Like yeah, I’m sure it’s the same. Because I know you guys usually have visual artists. It’s the same with artists when they’re creating art.

Yes, they do. It might not sell. That’s not what it’s supposed to be about. It’s just that they wanted to create it anyway. They would have made it anyway. Maybe. Yeah. Exactly. Well. Enters me, it does some. Degree. It’s like a big They will make art in general, of course. Yeah, sometimes you got to make it. For the show, quite quite right, quite right. Yeah, yeah, yeah. It’s complicated sometimes. You.

Got to deadline it and work in deadlines. And nothing’s good life. This fucking guys listening. Life is crazy. You’re pretty good right now. I’m going to get that tattooed. Across my butt. You do need a new tattoo. I’m due, I want. That I don’t have any you. Don’t have any? I don’t I. Don’t really know if I want any. OK, you can have life is. Crazy I will have the skull and

crossbones. Classic. I’ve gone classic. Yeah. It’ll come back into fashion by the time we’re all kind of on the elbow Cobwebs, am I? Allowed the elbow cobwebs. I like the elbow cobwebs. I really like it actually. Classic 1. I feel like that. Used to have. I didn’t know until like recently that was. Like a whole a massive trend. Oh. No that like those.

Tattoos are their own like fucking class of tattoos. Like, what do you mean? Yeah, they’re like a. Trad like. I didn’t, I don’t. I still don’t fully understand, but it’s not just like, let me get the elbow cobwebs. It’s like give me a bit of a code about. It like also.

Like tattooing? Like. I don’t really. Know like tattooing is like, it’s funny. I listen to a lot of ancient history podcasts. I’m just going to bring it up for the second time today. And a lot of like for a lot of the history of like modern, like archaeology and history, people have thought of tattoos as very taboo because this was like

kicking off in the 1800s and blah, blah, blah. And like, you know, when in the Western sense of the word, like tattoo was like kicking off, It was pretty much like, you know, sailors and like criminals and the, you know, who were like getting them done and like a lot more women than people realized. Like because, you know, it was like, it was quite taboo, but

people would go and do it because tattooists were traditionally very discreet and stuff. But anyway, there’s like in a lot of the different, like in every tattooing culture, like really deep symbolism kind of sprung up just out of like in some cases it’s like, you know, religious like significance in like South America or Indonesia

or like, you know, New Zealand or like in the naval thing, it was like, I don’t know, this ship signifies blah, blah, blah. The anchor signifies blah, blah, blah. Like, but yeah, the cobwebs I’m reading was like they attributed the meaning of the web to signify getting caught as of like, you know, in terms of like getting.

Wow. Yeah, it’s like. Some of them were like a tear. For everyone that you care. Like exactly I know about that one, no? One had those when I worked in prison. No one had the. I never saw a tear or It’s an American. Yeah. Yeah, I’m sure we. Must have some Aussie ones. Do you guys think people with the. Cobweb know what it’s meant to mean. Some of them do. Some.

Of them. Certainly do not if not necessarily what it means, they know what it like means in like a representational. Yeah, OK. I don’t know. Interesting. Yeah. Never knew that you don’t have any tattoos. I don’t. Have any tattoos? Cool, that’s now. That’s the hardcore thing. Exactly. That’s what I’ve been. Thinking, that’s what I’ve been

thinking, all that people get it. The more alternative, alternative it is to not have them. It is funny how much it’s. Changed since even when I was a kid, like I just had this, we just had this building inspected for like the council inspection today. Like, you know, lady in her like 40s or 50s, she had like a full like script hand tattoo.

Yeah, I was like. Like you work for the. Government, huh? Like, and it’s like when I got this like cute little one of a flower, my guy was like, you know, we call these job stoppers in the industry in. My industry, I think. It’s actually going to help. Do you know what I think? Tell me I feel like my personality changes all the time and I don’t know how I’m going

to turn out, and I have no idea what tattoo I would get that would remain consistent with my personality. And then someone with tattoos told me that I’m being silly because once you get a tattoo it just becomes part of who you are and you don’t think of it that way. But regardless, that’s what I’ve heard for.

Right now, yeah. I don’t know how I’m in a turn out to say yes, too soon to say maybe when I’m 45 I’ll be like, this is probably me now interested. Yeah, that’s true. I’m interested in. Hearing because sometimes some people might level their accusation at me that I my personality changes a lot but you know, so I. Like. Let’s look at me some. People do, you know?

I have. Yeah, do. You really? How do you do? You really feel like you’re. I mean, you feel like you’re as my first time meeting you. Yeah, You have quite a strong sense of self. And I guess I do have a. Stable personality. Thank God. Yeah, that’s good. But the way that I present myself might change, you know, as you get older. And like, I don’t know if I would end up being a government

person or a gangster. You know it could go either way if that’s gonna close the door. Either yeah, no, never close the door exactly 20. Six There was one tattoo that I thought about getting, and then when I shared it with people, they said that was a terrible idea. So I was like, I’m never doing this again. I’m never even thinking about. I have to say what it is I

wanted. To get a goanna. On my butt cheek. OK, yeah. Why? Not that’s insensible. Does that seem right? That wouldn’t Yeah, if you. Told me you had that. I would have been like, yeah, that’s fair, 100%. And then I couldn’t figure out how to make a go out and look cool, so I just gave up on it. Inherently cool. I would have. Thought do you reckon I mean they kind? Of look like a. Dragon.

No like exactly. Dragons are pretty cool. Exactly. Famously, I wanted a. Tiny. Little one? Yeah, no, Yeah, that sounds great. Yeah. Thanks guys. Sure. You’re a very supportive podcast, some of the most story. We are very. Supportive going on in this room right now, always, at least when it’s on record. Afterwards we’re.

Like, listen, I know we’re going to talk some real soon. Like the FBI thing? This is a. Question, This is like more sort of this is something I guess for me, but how I feel about like art making and platforming people. But maybe you relate to this, maybe not. I’ll ask you either way.

Tell me, I think. For a long. Time I was like not making enough of my own art. I’m not sure if you like play music or make art or whatever, but I felt like I guess in this world that we are in, like interviewing other people, platforming other people, putting other people in the spotlight. For me at least, it’s been, I’ve been been able to enjoy it more

whilst I’ve been making my own stuff. Whereas I think there was a while there where I was struggling. I was like, hey, I want to be an artist too. I don’t just want to hear about other people’s. So yeah, I don’t know. So do you mean that when you? Were interviewing people for the podcast. It made you feel like you were alienated from your own creative art forms. Yeah, I suppose in a. Sense or like yeah like I was

like, oh, I want to be the one who made a painting yeah, just only. Talking about like how? Did you make a painting? And how did you make a painting? Do you know what I mean? So I. Feel like it’s been I 100% get. Where you’re coming from. But I have the completely opposite experience. Yeah, interesting. Because I feel like when you’re in this position that you’re in right now, well, not with me

right now, but in general, you have to be fangirling other people and you have to be talking about other people. And probably you do want to just tell me about your own arts right now. Actually, I used to play music and I realised that I loved playing music because I loved being around it and I loved hanging out with my friends and being involved. But I didn’t actually care that

much about playing guitar, weirdly. And then when I started being involved in it from the music industry because I was working in the music industry, I was like, hang on, this is actually perfect for me. I don’t have to be on stage and I can still be involved and actually caters a lot more to my interests.

So then I loved being able to do the magazine and put on events because I was like, I actually am more of a fan girl than a creative myself. And that’s a funny position to be in because it’s like, where’s the credibility? I’m not even a creative, but yeah, I’m not actually cool, so I’m just. Happy to be. Here, Yeah, OK, I. Mean, I feel like there are a

lot of like. Creative decisions and so on. And yeah, yeah, if you will. But yeah, no, that’s cool. Yeah. No, I didn’t think everyone would feel like I Sure. Yeah, I don’t think. Everyone feels like. That. But yeah, I think that they do though. You think a lot of people do, I feel. Like people that have their own music. Careers, for example, Yeah, musicians really struggle to work in the music industry, yeah.

Say why? Yeah. And same. Actually, I don’t know about artists, but I assume it would be the same, you know? I don’t know, actually. Oh, I see. Yeah, you’re. You’re saying like work a sort of support role in the music industry as opposed to having your job be the artist. Is that what you’re saying? Like they struggle to do that? I’m saying that. People who play music and then go to an office job where

they’re working in like, music companies, it’s terrible. Yeah, I’ve seen it happen. Right they. Struggle. It’d almost be better. Just to get out of there to keep it. Separate, yeah, it’s good to learn how learn the ropes of how the other side lives, but it’s like it’s definitely a struggle, but I’m just pure pure fangirl and like.

So do you have any bands that you’ve seen recently that you’re thinking like, whoa, that was awesome. Like, who are you fangirling about right now? OK. I went to do you know the powerhouse don’t do these like sunset sessions. I didn’t know that it’s. Beautiful. It’s the best thing in Sydney but you’ve just missed it because it’s only during summer. OK bummer.

Wait till. Next year, the. Theme of the. Podcast maybe you release? This one next summer. Anyways. It’s on Observatory Hill, they set it up in the round similar to Phoenix Central Park and they have really great curation. I recently found out it’s the girl behind Softstir magazine

who curates the events. Yeah, yeah, Chloe. There probably is more anyway, but I saw set one there about a month ago and I loved him so much. I’ve been a fan of him for ages, but that was amazing. And he had different guests come up and sing, and one of them was

Pookie, who I’ve been obsessed with forever, and she’s playing at my event next week. So it’s a full circle. Moment and actually. I interviewed set one last week as well. Oh, amazing. I love that. Yeah, I’m. Definitely. Usually going out and like, try to like see if I can get involved with people. I’m big on Instagram DMS so got a lot of DMS out of that one.

Yeah, nice. You’ll go home and send the message after the. Show like, hey, that was great. Can we talk? Literally I’m Australia. We kind of do that for us as well. Yeah, exactly. Because I think. I mean I. Genuinely went to the show because I loved them, Yeah. And I genuinely loved it and want to work with them. So it’s like a good way to be like, hey, I saw this and I confirmed that you were great.

Yeah. Sick and there’s. Another artist. Ruby Jackson that I’ve been loving since forever. Cool. She was in the magazine ages ago. She’s really good. I mean, there’s heaps of artists that I love. Do you want me to go on? Go on. Yeah. I mean, if you’ve got MJ. Sol He has a little crew,

literally. All of these people have been in push, but they always get my name.

That’s. How you? I’ll try. And think of someone. Oh I could think of some non Sydney artists if you’re interested. Go on. Way dynamic I. Absolutely love. That was a sick record. Yeah, absolutely. Can you just put out a new one? He’s re. Releasing that record, he. Got signed to some really cool label, which I can’t remember. Yeah. And he’s just like developed so much since then that they’re

releasing massive shoe. Awesome. Yeah. So that’s a cool one. Mouse and Tilly. Really cool. From Melbourne as well. Yeah, yeah, yeah. I have been more focused. On the Sydney scene though. Good, yeah, I’ll leave it at that. Cool. I. Mean. Yeah, great. Stay. Tuned of. Talent. Yeah, it’s it’s. A really fun. City for music like, you know, we were just in Paris recently and I, you know, I noticed that

like rock music isn’t really a big thing there. Like really. Yeah, Like not in the same way that like, not in the same way that they do it in Sydney. Like, yeah, I mean, if you’re like, if you’re like Olympia or The Strokes or like someone like obviously you have to play Paris. But they didn’t really seem to have like the quite the same kind of saturation of like

rock’n’roll little. What is Paris into like? Taking cocaine and dancing in the club. Yeah, do you know what? And hip hop, not to doubt you, but I do wonder, I do wonder if potentially those other scenes. Exist. Maybe they’re just harder. To find, because I feel like if you came to Sydney, a lot of

people would think that about Sydney, yeah, People would be like, the only thing to do here is go. On the pokies exactly. No, but it’s it’s, yeah. You, you trust. That you would be able to find it, you’re definitely right. But like, you know, like. I know a lot of people who. Like Tour? Stuff in Europe and there’s a lot of cities where it’s like it’s quite hard to do it because there’s just not that many

biggish venues or like venues that like kind of make sense to bother stopping in. So you sort of wind up in these like, funny tiny little rooms with a bunch of like, yeah, hardcore, like rock’n’roll fans. But it’s, it’s, yeah, it’s funny. Like Sydney. It is a bit more like, it’s on the High Street all the time. Like you walk down King Street for example, it’s like 3 or 4 like rock bands playing on Saturday night, like whereas

like. I didn’t see. Look, I wasn’t. Like, desperately looking for it. We were just there to like, eat cheese and get really drunk. So we did that and it was awesome. But yeah, I mean, I just, I think I’m, I will die on this hill. Sydney’s a great, one of the great rock cities in the world, fantastic rock city. And it’s so cool that it’s not

America because they they did kind of invent it, but we affected it 100%. Yeah. This is speaking as someone who’s like a kind. Of die Hard Rock guy. So do you know what? I’m actually not a die hard. Rock girl. Because when you’re like, I love the rock scene in Sydney. Yeah, I think I do like it. But it’s not.

No, I do like it. But I’m definitely not like. A I’m definitely not like a rock head. And actually in some ways I feel like in my events, I’ve kind of steered away from doing rock because I feel like it’s so well covered. Yes, in Sydney as well. Yeah, yeah. Like they have so many different opportunities. They might not agree with that, but there’s definitely a lot of venues that cater to the rock

music. And I like doing like a mix of like folk and hip hop and things like that. Yeah, yeah, yeah. Great. But usually there’s. A bit of rock in. There, Yeah, you gotta. You gotta. You gotta stop the rock to quote. That famous song from FIFA? Which might I? Might actually use. As the outdoor music.

Which you’ll probably be hearing now because it’s time to wrap this interview up. Wait, can I add one more Australian artist? Absolutely Jack Davies if you’re. Out there I love. You. Yeah. Thank you so much for joining us. Is there any other like plugs you want to do? Like there’s a new issue coming out when? Don’t know, probably the end of the year.

OK, no pressure, No pressure. Cool and dogs. Run free. Check it out on Instagram. Check it out. I’m assuming that this isn’t. Coming out this week, but we have an event this weekend, right? Yep. You just missed it, I’m afraid, if you listen. To this. Yeah, just missed it. Anyway, I’m sure it was awesome, yeah. Come to the next one. I don’t know when that will be

cool, thank. You so much, Jess. It’s been a pleasure. Thanks guys. I’ve loved this. Yeah, great. Thanks so much. So nice to meet you you. Too. OK, bye bye everyone.

If you enjoyed. This episode of. Hung up. Please, please, please leave us a review on your podcast platform of choice. It would help us very much. Thank you so much for listening. OK, bye.

Show notes

We chat with Jess Lord, founder of PUSH magazine and the event series Dogs Run Free. We natter and chatter about the realities of running a print magazine, Jess gives her rousing advice on how to run good events and playing to your strengths, how to win and keep sponsors, going full time with your project and not being scared to ask for money.  Jess @jesslorddd PUSH Magazine @pushmagsydney Dogs Run Free @dogsrunfreegigs  Wordcloud:  Sponsorships print magazines events sound guys sydney neobanks it’s okay to sell out playing to your strengths marketing your events seeing your work in print for the first time tattoos