We’ve teamed up again with Dual Plover to present the second round of Up close and personal, a series of physically distanced contemporary sound events like you’ve never seen before.
Each three hour program will feature two musical acts, each playing for one and a half hours with a collaborative segue at the midway point. Entry will be staggered with a rotating audience experiencing a unique 20-minute experience only 1.5 metres away from some of Australia’s most innovative musicians. Performers include Eric Avery, Graham King, Shoeb Ahmad, Nicola Morton, Matt Earle, Loose-y Crunché, Papaphilia, Jim Denley, Monica Brooks, Laura Altman, Garry Bradbury and Phantom Chips.
Whip out your phone to livestream the event and share it on your socials using the hashtag #mcaupcloseandpersonal. The content captured will be compiled for an online audience.
Tickets
Free, booking required – maximum of 2 tickets per person.
All ages welcome.
Each ticket gives you access to an intimate 20-minute experience. Due to capacity and the rotating nature of the audience, there may be wait times when you arrive.
Your confirmed ticket time slot can not be swapped.
If you are no longer able to attend the performance, please get in touch with us by emailing reception@mca.com.au, so that we can offer your spot to someone else.
Tickets for each event will be released one week prior.
About the performers
Loose-y Crunché: 30 April, 5.30–7pm
Loose-y Crunché is the spin-off experimental multiplication of her better-known techno alter-ego, ‘Lucy Cliché’. The sounds she produces under the Loose-y Crunché pseudonym know no bounds, pushing an irritatingly raw and irrational agenda of pure emotion, humour and fluctuating mental states. Think abstracted synthetic machine rhythms next to reflective softness and space. This project is very responsive and reactive to how Lucy feels, the room, space, and the audience in a live context.
Papaphilia: 30 April, 6.45–8.30pm
Papaphilia is the solo sound and dance-performance project of Fjorn Butler that aurally and physically interrogates the aesthetics of political representation in the contemporary colonial context. She uses collage and sampling techniques to morph vocal expressions from this dystopian ecology into an experimental electronic dance music palette. Writhing vocalisations of exaltation, sorrow and sensuality drawn from RnB, Pop, Disco, Folk are folded into motifs from free jazz to industrial noise music, martial arts to anime films.