Pitchface (arvo) George Xylouris (evening)


1:30 pmSunday, 29 May 2022


Brunswick Ballroom

314 Sydney Rd, Brunswick VIC 3056

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Pitchface delivers a double-denim double-set that is one-part good times, one-part ‘Rona rage. Like a bat out of hell (R.I.P Meatloaf), Pitchface is busting to bring to life songs arranged and rehearsed over Zoom during Melbourne’s Lockdowns. There aren’t many feels better than the feels you get from an IRL sing-song, people.

…From the Ramones, to Blur via Whitney Houston - no problem at all for these ladies.’

Pitchface is a community choir made up (almost entirely) of women from Melbourne's inner west. What started as an idea among four friends over a boozy dinner, has grown to a joyous 'no experience necessary' singing squad of around 50. They belt songs you wouldn't expect from a choir, have a particular love of late-80s ballads and the dance hits of the 90s, and are collectively making a strong case for double-denim to be an acceptable wardrobe choice.


George Xylouris returns to Melbourne for a solo show at The Brunswick Ballroom

One of Crete and Greece’s best-loved artists, Xylouris is a member of a clan long-regarded throughout Greece as musical royalty. 

His father is the Cretan singer and lyra player Psarantonis, a man beloved of everyone from ethnomusicologists to Nick Cave. His late uncle, Nikos Xylouris, a singer and lyra player became a symbol of the protest movement that brought down the Greek military junta in 1973.

Xylouris could not have been anything else but a musician. He was just a kid when he started playing the lute and turned professional at the age of thirteen. Alongside his father Psarantonis they recorded numerous albums and performed at festivals and concert halls around the world. 

Then George Xylouris struck out on his own.

Until then the Cretan lute was usually played as a backing instrument. But with albums such as Antipodes, by Xylouris Ensemble, Embolo with his uncle Psarogiannis and Oso ki an Dernei o Anemos out with All Together Now, Xylouris showcased the laouto’s solo potential with a repertoire of traditional and self-penned material.

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