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First, in May, was the news that New Zealand’s longest running artist run space None Gallery had been sold to a property developer who had no interest in supporting the local arts community. The building’s fate, as it turned out, was to become a jiu jitsu gym, and thus ended 16 years of artistic exploration.
As the year went on, this trend seemed to continue: we also lost The Attic, and then, just last month, we got news that the basement at Dee’s Cafe and Venue had been declared unsafe by the council and no more events were to be held there until new consent was sought. The cafe remains.
But that was just the bad stuff.
Dunedin’s rich broth of wonderful music makers continued to churn, froth, boil and simmer like a bad analogy. We got to hear excellent releases such as Repulsive Woman’s debut album Relief, Night Lunch’s blistering debut Double Trouble and loads of great music which remained unrecorded, only heard by those in the room, rooms like Port Chalmers’ Pioneer Hall, where long-running festival Lines of Flight hosted an array of mind-expanding/mind-crushing performances, and cafe RdC, where A Quiet Noise flipped noise on its head.
And we also had a few gems from the ’80s resurfacing, such as Sticky Filth and Beat Rhythm Fashion.
It’ll be really interesting to see which bands considered important in the ’10s or ’20s continue to be remembered in the ’50s and ’60s.
Each year increasingly more good music is created by people in bedrooms and garages and attics. If the corporations we invest in to distribute it continue to do so, future generations will have an overwhelming catalogue at their fingertips. If not, I guess they’ll just have to walk to their local music store and flick through the racks of CDs, which will probably have come back into fashion by then.
I look forward to seeing what 2020 brings us.
Meri Kirihemete everyone.
- Fraser Thompson