(( folkYEAH! presents ))
A ringing 12-string guitar introduction. A dreamlike lyric that seems to hold the cosmos in its hands. It’s still the most recognisable, covered and widely beloved song in the catalogue of a band that’s released a remarkable 26 albums.
And it’s 30 years old this year.
The song is Under The Milky Way, from The Church’s most successful album, the undisputed classic Starfish.
In 2018, the Australian paisley underground pioneers are enjoying a year of unique celebrations, which started with a sold-out appearance at the Meltdown Festival in London on the personal invitation of curator, The Cure’s Robert Smith, on 15 June.
Followed by a string of dates in the UK – including a sold-out fan convention in Shepherds Bush which saw the band perform their second album The Blurred Crusade in its entirety for the first time in that country – The Church arrive in the US on 30 September for a month’s worth of shows, with a return early in 2019 planned to complete the US circuit.
Starfish 30th Anniversary Tour USA 2018- 2019
For these shows, Starfish will likewise be performed in its entirety, along with a selection of other gems from the band’s career, which now spans an incredible 38 years.
The band will return briefly to the UK in late October as very special guests of Fields of the Nephilim, a band whose music displays similar spectral soundscapes and whose leader, Carl McCoy, remains a big fan of the band.
From there a flight home to a fast selling Starfish 30th Anniversary National Tour of homeland theaters in Australia awaits to conclude the year.
Starfish remains best known for its iconic singles Under The Milky Way and Reptile. But like all classic albums, it’s a journey – and it starts with Destination, the six-minute epic that opens the album. In between it takes you to all point of the compass: North, South, East and West.
The sound of Starfish is open and uncluttered. That was a change for the band after the dense orchestrations of the previous album, Heyday. All 10 songs are individually memorable, yet speak to one other, making for an entirely cohesive, satisfying listening experience.
From there, the list of hits, band and fan favourites is long. Myrhh, which leader Steve Kilbey described in his memoir Something Quite Peculiar as the definitive Church song. Ripple, from the masterful Priest=Aura. Almost anything from 1982’s The Blurred Crusade.
Expect songs from Hologram of Baal, itself celebrating its 20th anniversary. And, of course, there’s The Unguarded Moment, the single that launched the band onto world stages on its release on its release in 1981.
But this is not just a nostalgia trip. The Church have been revitalised since 2014 with the addition of guitarist Ian Haug, formerly of another iconic Australian band, Powderfinger. Haug’s first outing with the band was on the acclaimed Further/Deeper, which yielded a new dynamic set-closer, the infinitely pyschedelic and earth shaking Miami.
Last year’s Man Woman Life Death Infinity strengthened the bond, cementing Haug’s place with long-time fans, as well as with the rest of the band: singer, bass player and songwriter Kilbey, fellow guitarist Peter Koppes and longtime drummer Tim Powles. “Ian is a big part of the band now,” Koppes says. “He’s a consummate, intuitive musician with fantastic tones.”
Koppes goes on to sum up the band. “Music is like inner space and we’re astronauts,” he says. It’s a spellbinding thing, it’s hypnotising. That’s why people like it. It takes them into another world and we’re here to open those doors.”
The Church’s strange journey remains an endless sea of possibilities. In 2018, it’s time for the band to celebrate one of their crowning glories, but always with an eye to the future. Further. Deeper. The Church truly are a rock band for the ages.
About this venue:
The Rio Theater History: In 1946, the statewide chain of 110 Golden State/T&D Theaters wanted a state-of-the-art Cycloramic screen in Santa Cruz. It created a three dimensional illusion of depth (independent of any 3-D film processes which had yet to be developed), and gave added clarity to the picture, with no distortion from close-up seats. But its curving shape couldn't be raised and lowered like the flat screens at their two local theaters--the Del Mar and New Santa Cruz--which would render their stages unusable. This was unacceptable for the pair of combined cinema/stage/convention theaters called "the king and queen of Santa Cruz movie palaces."
So Golden State built the Rio Cycloramic Theatre, and located it in the booming East Santa Cruz business district, also called "downtown Branciforte." Some think the theater was dubbed "Rio"("river") for the Spanish town named after Branciforte Creek, or as "the theater beyond the [San Lorenzo] river." But it's just as likely its ocean liner-inspired architecture suggests a steamship cruise to Rio de Janeiro, a tropical destination reminiscent of Santa Cruz.
Construction ran from 1947 to 1949. The Rio was built of Davenport-area cement and Hebbron-Nigh Lumber; with the ticket booth, aluminum doors and poster cases crafted by Modern Industries of Oakland; the chairs, carpets, drapes and projector from National Theater Supply; and lighting fixtures from Peerless Electric of San Francisco. The 938 seat Rio opened June 12, 1949, with a live radio broadcast on KSCO of the 15-minute dedication ceremony. Then theater patrons enjoyed a double feature of "Song of India" and "Law of the Barbary Coast."