Gauging the next generation of hip-hop in Papua New Guinea with one of its bright up-and-comers, Jay Sint
It's just one of the many questions we had for Jay Sint, an up-and-coming rapper in Papua New Guinea's hip-hop scene.
On the dynamic felt between him and his peers, he told Nesia Daily: "It's competitive but it's healthy competition between brothers… It's very exciting to come together."
Spurred on by the lyricism of local legends such as Sprigga Mek, Jay Sint and his crew of young, like-minded MCs found some national attention through a collaborative single released in late 2024, Block Party Dubplate — a song which found legs well beyond its original purpose as promotional material for a live event they were putting on in the nation's capital.
"So when people started vibing to it and listening to it, I'm like… It wasn't supposed to blow up like this," he said.
Funnily enough, despite having already happened, he still has people asking him for details about the show spotlighted on the track.
Speaking candidly with Nesia Daily, Jay Sint spoke about his family roots, music making, and which language he finds most natural whilst rapping.
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Meg Washington — Gem
Meg Washington has been thinking a lot about her role as a musician. Her new album Gem (which is Meg reversed) is the four-time ARIA winner's first album of original music since 2020's Batflowers , her last for a major label before going independent. In the past five years, she's released a full-length cover of The Killers' debut album Hot Fuss , continued being the voice of Bluey's teacher Calypso, and co-wrote How To Make Gravy , the film inspired by the iconic Paul Kelly song of the same name, directed by her husband, Nick Waterman. Those achievements would frame Washington as the picture of success, but those extra-curricular milestones also prompted her to ponder - as she told Zan Rowe for Take 5: "Why make music in capitalism? Especially when it's no longer your only gig?" The answer? Because it's in her nature. A moving revelation that is the beating heart of Gem . ' I do it because I love it' Washington sings on 'Natural Beauty', the album's sweeping, soul-baring centrepiece. As the piano-led ballad reaches its climax, strings and classical guitar rise around Washington's stirring declaration: 'I just want to live for something more than money / If that's all that there is Then I just want to sing / And I'll do that for free…' Enveloped by the grey grind of domesticity, commercialism, and a bleak 24hr news cycle, music is the essential, expressive constant Washington desires. It's deeply ingrained and it refuses to be silenced. Despite being the album's lyrical manifesto, 'Natural Beauty' is something of a sonic outlier on Gem , which its creator has described as a conceptual 'tropical fantasy beach world' to escape to. Working closely with producer Ben Edgar (whose credits include Dope Lemon, Matt Corby, and Angus & Julia Stone), Washington establishes a balmy, shimmering soundscape right form the opening title track. Running at a quality over quantity length of nine tracks over 34 minutes, these are songs that soothe and swoon. Washington sounds more relaxed than ever, her words typically more poetically abstract than autobiographical, among arrangements that focus more on live instrumentation. 'The Sound of the Feeling' features gentle guitar plucks and percussion, synth washes and resonant tom drums, all gently buzzing with life — like the comforting chatter of insects at night. Steamy stand-out 'Shangri La' evokes an expansive coastal paradise with its gently trotting Spaghetti Western guitars (a la Hermanos Gutiérrez), glazed harp dancing across the sparkling vista as Washington sings sensually about nature. That mood is perfectly captured in the music video (directed, naturally, by Waterman). 'Kidding' picks up on the same vibe, offering a series of optimistic self-affirmations over a bubbling synth-and-beat-driven refrain: ' I believe in the future/I am strong'. Fittingly, 'Starlife' is all spacey guitars and cosmic, swooning melodies, before returning back to earth — and a cosy hammock — for 'Honeysuckle Island'. The track's slow, laidback strumming eventually reaches a dramatic peak of strings and dramatic timpani roll as Washington romantically captures how creativity is her utopia. 'Golden Orb Blues' is a jaunty ode to self-commitment that features a spoken-word decree from US troubadour Kevin Morby on the importance of individual artistic expression. "It is not yours to determine how good it is, or how it compares to other expressions. It is your business to keep the channel open!" he intones like a spiritual guru; the latter phrase repeated like a mantra. The closing track is 'Fine', which was first sung by Brendan Maclean and a prison choir in the How To Make Gravy movie. The Gem version is a calm duet with the Gravy Many himself, Paul Kelly, their voices dovetailing over mellow guitars into an optimistic parting note. 'I'm the reason that I sing / I've been looking at the future and everything's gonna be fine'. Any sense of existential angst Washington might've felt going into making her fifth album is quietly dissolved by its resolution. "[Gem is] about finding something very precious within yourself and refusing to give it up," Washington says. "Insisting on art. Insisting on beauty." It seems simple really. And as long as she keeps singing songs that insist on those principles, Meg Washington should find an attentive audience who desire hearing them.

ABC News
a day ago
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Alex Lloyd
Skip to main content Introduced by Australian Story presenter Leigh Sales. For the past year, Australian Story has been filming with the musician lauded as one of the best voices in the business, as he gets his life and career back on track. In a raw and unfiltered account, Alex Lloyd speaks exclusively about overcoming a five-year prescription drug addiction that followed in the wake of a 2009 court case where he was accused of stealing his hit song, Amazing. The case was dropped mid-trial and the court awarded Alex costs, but he lost his marriage and his impetus to write music, which had always been his solace. Now aged 50, and almost three years free of addiction, Alex is preparing to release his first collection of new music in 12 years. Airs Monday 18 August, 8pm on ABC TV and ABC iview

ABC News
a day ago
- ABC News
After years of private turmoil, Alex Lloyd is ready for the spotlight again
Life was so sweet for Alex Lloyd for a while. Amazing, even. The boy from Balmain's hit song had catapulted him to stardom. He'd met and married his great love, started a family and moved to London. But then, to borrow from the lyrics of that song that is so deeply woven into Australia's fabric, every wolf was at his door. "I ended up in a place where no one could really help me," Alex tells Australian Story in an exclusive interview. A legal fight over the authorship of Amazing sparked an unravelling. Resurfaced childhood trauma led to a marriage breakdown, extreme weight gain and ultimately an addiction to oxycodone that saw the four-time ARIA Award winner, including three for Best Male Artist, fade from view. But now, at 50, with his first studio album in 12 years in the works, Alex Lloyd is learning to "be OK with me" and is ready to do some amazing things. "Now, I'm seeing the world differently. And I think I'm ready to share this part of me now and be scrutinised again," he says. He was a chubby kid with a mohawk, an acoustic guitar and a voice that mesmerised the bustling crowd at the Balmain Markets in the mid-1980s. "He would play blues covers with such strength and conviction, people would just stop what they were doing," says friend Sally Gluckstern, who met Alex when he was 10. "He came alive when he sang, but when he wasn't singing, he was incredibly shy," she recalls. "I remember feeling there was something sort of heavy about him. Heavy inside." Music was always Alex's escape from a chaotic childhood of dyslexia, violence, love and loss. By 13, he was gigging at pubs and his bluesy, soulful voice and poignant storytelling would become his ticket out of struggle street. When Amazing hit the airwaves in 2001, it took Alex into rarefied air. "It genuinely is one of the Aussie anthems of the last 25 years," says friend and former triple j announcer Adam Spencer. "It's left an indelible mark on Australian music." They were heady days — travelling the world, partying and making music. "I've had some extreme highs, like highs that hardly anyone gets to experience," says Alex. "I got to sing in a castle and meet kings and queens and princesses, like, it's crazy." He married Amelia Mills, who he'd spotted in the crowd on a tour for his debut album Black the Sun, became a dad and moved to London to work on his first independent album. He was the "happiest guy on the planet". Then, the legal letter arrived. Out of the blue, truck driver and one-time musician Mark O'Keefe alleged Alex had stolen Amazing. O'Keefe claimed he'd co-written the hit with Alex on the back of coasters when they played at the same pub when Alex was a teenager. The "ridiculous" claim challenged Alex's artistic integrity. "I couldn't think of anything worse than stealing somebody's song," he says. But more destructively, in order to rebut the claim, Alex had to cast his mind back to those tough years he thought he'd left behind. Childhood trauma "just comes and bites you in the arse", Alex says. Alex's parents split when he was about six, and he and his brother, Oliver, lived with their mother, Bridget Lloyd. He loved his "crazy in a beautiful way" mum, a struggling artist who'd start painting at midnight, waking Alex up with the smell of oil paint and Ry Cooder on the stereo. Her relationship with a violent binge drinker led to terrifying times, when the man would beat Bridget, "banging her head against the hard wood floor". Alex would try to intervene but was too young and powerless — and had his own battles with his volatile brother. "I had to go back in time and discover all this shit that I hadn't dealt with," Alex says. "The beatings on my mother, the beatings from my brother, being called a fat shit all the time." When Bridget died suddenly, when Alex was 16, he "cried for six months". The legal action took him back there, with O'Keefe initially claiming Amazing was written in 1989 soon after Bridget's death. But Bridget died in 1991. O'Keefe withdrew his claim soon after the case reached court, but the damage was done. Depression set in, his weight ballooned and the songs wouldn't flow. "I fell apart," Alex says. "I was scared to write songs on my own because I thought, 'If I write this song on my own, anyone can say they wrote it.''" By 2012, Alex and the family returned to Australia but the marriage didn't survive. Losing Amelia and not living with his four children sent Alex into a spiral. On the weekends, when he had the kids, he'd cook up a storm and "pull out all stops". But when they left, he'd walk up the street to the bottle shop. "I'd buy really expensive champagne … and a pack of Twisties," Alex says. "Then the next three days, I'd eat KFC and Pizza Hut and Domino's. And I'd lie in bed." He was frittering money away, "trying to doubly be destructive to my bank balance", which had already taken a $300,000 hit in legal fees from the court case. Performing had always been a joy but this period was different. "I was 168kg and I was going out and doing shows in front of 10,000 people with my face on a massive screen," Alex says. Photographs of him online attracted a flood of fat-shaming comments. "I didn't feel very good about myself," he says. "[I was] in a lot of pain all the time, emotionally and physically." He was suffering crippling nerve pain caused by the complete wearing away of the cartilage between vertebrae in his neck. Nothing he was prescribed worked. One day, someone offered him the painkilling opioid oxycodone. It is, Alex says, "an evil drug". None of Alex's rock star partying prepared him for the insidious assault of oxycodone. At first, he thought: "This is the answer to everything." His pain was managed, his depression eased and he was motivated, pulling back his drinking and running long distances. But, he says: "I had no idea what I was getting into with that drug … I didn't know how addictive it was." He took more and more — but it wasn't enough. He tried to get off it but couldn't. "Eventually, it's a very empty, lonely sense of impending doom," Alex says. It was in this state that Alex headed to Brisbane to do some gigs with multi-instrumentalist Salliana Seven. She describes Alex as an open soul and says he never tried to hide his addiction from her. His failed attempts to break free of oxycodone were heartbreaking. "I saw him at his lowest of the lowest of low," she says. "You know, suicidal." "As cooked as he was when I met him … he opens his mouth and I'm just blown away." Relief came with Suboxone, a medication to treat opioid dependence. It was a gruelling transition as his body adjusted, but his children, and his renewed joy for music, gave him the impetus to push through. "I think he's finally let go of the broken fairytale of his marriage," Salliana says. "I really feel that losing that just destroyed him on top of all the other trauma that he's had … He's moving through that, which is massive." As he works through his own long-buried trauma, Alex is hoping to help today's kids navigate tough times by working with the KIDS Foundation. "I really believe in and want to be an advocate for childhood trauma and giving kids skills at an early age to deal with it later because it hit me and I didn't even know what it was," he says. At a recent musical workshop, as Alex sits in a field with a guitar on his lap, a couple of teens share their fear of being judged, or trolled, for their music. Alex tells them that every artist must face those fears, and every artist falls on their face at some time. Getting back up is where the success lies. "You can't beat yourself up over everything," Alex says, as much to himself as the kids. "Otherwise, you'd just be stuck there forever. There is no such thing as mistakes, only lessons."