Parkway Drive's ambitious travelling festival Park Waves featuring The Amity Affliction to debut in Perth
Heavy metal rockers Parkway Drive and The Amity Affliction are teaming up for an Aussie festival. Credit: Supplied
Australian metal juggernauts Parkway Drive are preparing to undertake a monumental music event no other band in Aussie touring history has attempted.
The Byron Bay band has announced its curated travelling festival featuring a lineup including The Amity Affliction, bringing the Queensland rockers with them for the first time on home soil.
The 16+ event will also see bands Northlane, Alpha Wolf and Story Of The Year take to the stage for 11 shows in February and March.
Taking the festival to the next level, a big top with circus performers, carnival rides, sideshow alleys and food offerings is set to provide the ultimate experience for fans.
All the action kicks off in Perth at Langley Park on February 14 and will tour the country, stopping in several cities from Adelaide to Toowoomba.
Parkway Drive frontman Winston McCall said planning for the large-scale event had been years in the making and it was going to be 'mental'.
'This is the first time Parkway and Amity are combining for an Australian tour. I don't know if people realise how massive that actually is, because those are the two biggest Australian bands, like heavy bands literally, in the history of Australia, doing one tour together, it's going to be mental. It's going to be so sick,' he said.
'We can do a festival where it's just two Australian headliners, and when people compute how big they are, you're like, Yeah, we don't have to have an American band at the top for it to be legitimate.
'For 10 years, we've been getting people saying, Why don't you tour with Amity? I'm like, Wow, here it is. You have waited.'
The bands arrive in Perth to perform on what coincidentally will be Valentine's Day, and McCall said he can't wait to be back in WA rocking out to the intense crowd.
'Perth was the last stop for us on the 20-year tour, and that show was absolutely mad,' he said.
'I don't know if other bands say this, but I find there to be a different energy in Perth, in terms of the intensity of the crowd. I think maybe due to the isolation because it's hard to get to, but I know it's going to be chaos.'
With so many Aussie festivals having to pull the plug recently, McCall said the failing festival scene crossed his mind during the planning phase.
But he said they could deliver due to the band's popularity increasing and appealing to all ages and regional cities.
Camera Icon
The Amity Affliction.
Credit: Supplied
After selling out their Sydney Opera House show in just three minutes earlier this year, tickets to the event are sure to be snapped up.
Parkway Drive have spent more than two decades forging a reputation as one of Australia's most successful exports, balancing their metalcore roots with everything from uncompromising ferocity through to raw melodies and traditional heavy metal.
Catapulting from the shores of Byron Bay into global headliner status, Parkway Drive now have eight studio albums under their belt, millions of streams and multiple ARIA Music Awards.
Parkway Drive's fan club will have access to tickets on Tuesday, July 22 at 9am.
General tickets go on sale Thursday, July 24 at 10am.
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There are plenty of consequential decisions to be made in every career, and they tend to become more consequential as time goes on. So it was when Gillian Murphy, one of the most admired American ballerinas for almost three decades, began contemplating not only when, but how to retire from American Ballet Theatre. She knew she wanted to go out on a high note. Murphy, at 46, is in incredible shape; at a rehearsal earlier in July, she was leaping and twirling like colleagues in their 20s. But in what role should she take her final bow, after 29 years with the company? Should it be as Juliet? As Giselle? The first of these ends up stabbing herself to death. The other goes mad. The best (and most athletic) option, it turned out, was to jump off a cliff. That's what swan queen Odette does at the end of the company's version of Swan Lake - followed in this dramatic leap by the prince who loves her, to be joyfully reunited in the afterlife. 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That's what swan queen Odette does at the end of the company's version of Swan Lake - followed in this dramatic leap by the prince who loves her, to be joyfully reunited in the afterlife. (In real life they leap onto a mattress offstage, dust themselves off and clamber back for the finale.) Murphy, who's known for her Odette/Odile - especially those fouettes, Odile's fiendishly hard whiplash turns - retired with Swan Lake on Friday night, ending her career in a blur of bouquets, tears and golden confetti before a sold-out Metropolitan Opera House crowd. Once the ballet finished, Murphy hugged fellow dancers including Misty Copeland, who will retire with fanfare in October. She was also greeted by her husband, former ballet theatre principal dancer Ethan Stiefel, and their six-year-old son, Ax, who'd just watched him mum perform at the opera house for the first time. Murphy was 17 when she joined the ballet theatre. Did she imagine such a long career? 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"I have so many favourite roles, but Swan Lake includes two of my most favourite, Odette and Odile. "It's always been incredibly challenging, but also so fulfilling. When I was a kid, my dream role was the Black Swan (Odile), actually. So just in a full-circle moment, it feels special to finish with this ballet that I dreamed of doing as a kid, and first did as a young soloist with ABT 24 years ago." Murphy is known for Odile's fouettes (32 whiplash turns on one leg that the Black Swan performs) and throwing in double turns. "I used to throw in triples, triple pirouettes in the middle of the fouettes," she says. "But I think I just want to finish strong ... and take risks elsewhere." The decision to retire is a tough call in any career, and no less so for Murphy. "It's never an easy decision for any dancer. It's a calling from a very early age ... but I've always wanted to finish strong and with my own sense of agency," she says. "I really relish when that sense of imagination and life experience and artistry is integrated with the physicality, the athleticism, the technique. And I feel like I'm still in that place where I can do that. So I want to finish with that sense of fullness." Thankfully, Murphy has largely avoided any major injuries or setbacks along her way. "I've been pretty fortunate about bouncing back from muscle strains and things like that," she says. "You know, dancers are not robots. Like an athlete, we can have an off day and (we should) not let that be too discouraging. That's par for the course. "I'd say coming back from pregnancy and an emergency c-section was not easy ... but I was able to get onstage and do a full-length Giselle when my son was eight months old. And then, a couple of weeks after that, the pandemic hit. I had just gotten everything back together." Murphy plans to lean into coaching and staging once she hangs up her pointe shoes, especially choreography. "I also want to take some time to process this huge transition and consider options and think about what I really want to do," she says. "I would be really surprised if it doesn't involve giving back or working in some way in the dance world, because it's so meaningful to me. Clearly, this is a lifetime pursuit." There are plenty of consequential decisions to be made in every career, and they tend to become more consequential as time goes on. So it was when Gillian Murphy, one of the most admired American ballerinas for almost three decades, began contemplating not only when, but how to retire from American Ballet Theatre. She knew she wanted to go out on a high note. Murphy, at 46, is in incredible shape; at a rehearsal earlier in July, she was leaping and twirling like colleagues in their 20s. But in what role should she take her final bow, after 29 years with the company? Should it be as Juliet? As Giselle? The first of these ends up stabbing herself to death. The other goes mad. The best (and most athletic) option, it turned out, was to jump off a cliff. That's what swan queen Odette does at the end of the company's version of Swan Lake - followed in this dramatic leap by the prince who loves her, to be joyfully reunited in the afterlife. (In real life they leap onto a mattress offstage, dust themselves off and clamber back for the finale.) Murphy, who's known for her Odette/Odile - especially those fouettes, Odile's fiendishly hard whiplash turns - retired with Swan Lake on Friday night, ending her career in a blur of bouquets, tears and golden confetti before a sold-out Metropolitan Opera House crowd. Once the ballet finished, Murphy hugged fellow dancers including Misty Copeland, who will retire with fanfare in October. She was also greeted by her husband, former ballet theatre principal dancer Ethan Stiefel, and their six-year-old son, Ax, who'd just watched him mum perform at the opera house for the first time. Murphy was 17 when she joined the ballet theatre. Did she imagine such a long career? "I would have never expected to be dancing this long, honestly," she said. "I think in my mind I always had 40 years old as a time frame. But I didn't expect to feel this good at this point. "I've truly loved my career at ABT, and it's given me the opportunity to dance all over the world. So I'm happy I'm still here." Ballet takes a huge amount of athletic ability - dancers need to be actors, too - and Murphy has developed her abilities as she has aged. "I do feel that life experience really does come out in performances," she says. "And when we're telling these stories about true love and forgiveness and loss, all the dramatic sort of themes that come out in these ballets, it does make a difference when you've experienced those things in your life." While some of the company's dancers have chosen Juliet for their retirement performance, Murphy settled on a much more physically demanding role with Swan Lake. "It doesn't get any easier, yeah," she says, laughing. "I have so many favourite roles, but Swan Lake includes two of my most favourite, Odette and Odile. "It's always been incredibly challenging, but also so fulfilling. When I was a kid, my dream role was the Black Swan (Odile), actually. So just in a full-circle moment, it feels special to finish with this ballet that I dreamed of doing as a kid, and first did as a young soloist with ABT 24 years ago." Murphy is known for Odile's fouettes (32 whiplash turns on one leg that the Black Swan performs) and throwing in double turns. "I used to throw in triples, triple pirouettes in the middle of the fouettes," she says. "But I think I just want to finish strong ... and take risks elsewhere." The decision to retire is a tough call in any career, and no less so for Murphy. "It's never an easy decision for any dancer. It's a calling from a very early age ... but I've always wanted to finish strong and with my own sense of agency," she says. "I really relish when that sense of imagination and life experience and artistry is integrated with the physicality, the athleticism, the technique. And I feel like I'm still in that place where I can do that. So I want to finish with that sense of fullness." Thankfully, Murphy has largely avoided any major injuries or setbacks along her way. "I've been pretty fortunate about bouncing back from muscle strains and things like that," she says. "You know, dancers are not robots. Like an athlete, we can have an off day and (we should) not let that be too discouraging. That's par for the course. "I'd say coming back from pregnancy and an emergency c-section was not easy ... but I was able to get onstage and do a full-length Giselle when my son was eight months old. And then, a couple of weeks after that, the pandemic hit. I had just gotten everything back together." Murphy plans to lean into coaching and staging once she hangs up her pointe shoes, especially choreography. "I also want to take some time to process this huge transition and consider options and think about what I really want to do," she says. "I would be really surprised if it doesn't involve giving back or working in some way in the dance world, because it's so meaningful to me. Clearly, this is a lifetime pursuit." There are plenty of consequential decisions to be made in every career, and they tend to become more consequential as time goes on. So it was when Gillian Murphy, one of the most admired American ballerinas for almost three decades, began contemplating not only when, but how to retire from American Ballet Theatre. She knew she wanted to go out on a high note. Murphy, at 46, is in incredible shape; at a rehearsal earlier in July, she was leaping and twirling like colleagues in their 20s. But in what role should she take her final bow, after 29 years with the company? Should it be as Juliet? As Giselle? The first of these ends up stabbing herself to death. The other goes mad. The best (and most athletic) option, it turned out, was to jump off a cliff. That's what swan queen Odette does at the end of the company's version of Swan Lake - followed in this dramatic leap by the prince who loves her, to be joyfully reunited in the afterlife. (In real life they leap onto a mattress offstage, dust themselves off and clamber back for the finale.) Murphy, who's known for her Odette/Odile - especially those fouettes, Odile's fiendishly hard whiplash turns - retired with Swan Lake on Friday night, ending her career in a blur of bouquets, tears and golden confetti before a sold-out Metropolitan Opera House crowd. Once the ballet finished, Murphy hugged fellow dancers including Misty Copeland, who will retire with fanfare in October. She was also greeted by her husband, former ballet theatre principal dancer Ethan Stiefel, and their six-year-old son, Ax, who'd just watched him mum perform at the opera house for the first time. Murphy was 17 when she joined the ballet theatre. Did she imagine such a long career? "I would have never expected to be dancing this long, honestly," she said. "I think in my mind I always had 40 years old as a time frame. But I didn't expect to feel this good at this point. "I've truly loved my career at ABT, and it's given me the opportunity to dance all over the world. So I'm happy I'm still here." Ballet takes a huge amount of athletic ability - dancers need to be actors, too - and Murphy has developed her abilities as she has aged. "I do feel that life experience really does come out in performances," she says. "And when we're telling these stories about true love and forgiveness and loss, all the dramatic sort of themes that come out in these ballets, it does make a difference when you've experienced those things in your life." While some of the company's dancers have chosen Juliet for their retirement performance, Murphy settled on a much more physically demanding role with Swan Lake. "It doesn't get any easier, yeah," she says, laughing. "I have so many favourite roles, but Swan Lake includes two of my most favourite, Odette and Odile. "It's always been incredibly challenging, but also so fulfilling. When I was a kid, my dream role was the Black Swan (Odile), actually. So just in a full-circle moment, it feels special to finish with this ballet that I dreamed of doing as a kid, and first did as a young soloist with ABT 24 years ago." Murphy is known for Odile's fouettes (32 whiplash turns on one leg that the Black Swan performs) and throwing in double turns. "I used to throw in triples, triple pirouettes in the middle of the fouettes," she says. "But I think I just want to finish strong ... and take risks elsewhere." The decision to retire is a tough call in any career, and no less so for Murphy. "It's never an easy decision for any dancer. It's a calling from a very early age ... but I've always wanted to finish strong and with my own sense of agency," she says. "I really relish when that sense of imagination and life experience and artistry is integrated with the physicality, the athleticism, the technique. And I feel like I'm still in that place where I can do that. So I want to finish with that sense of fullness." Thankfully, Murphy has largely avoided any major injuries or setbacks along her way. "I've been pretty fortunate about bouncing back from muscle strains and things like that," she says. "You know, dancers are not robots. Like an athlete, we can have an off day and (we should) not let that be too discouraging. That's par for the course. "I'd say coming back from pregnancy and an emergency c-section was not easy ... but I was able to get onstage and do a full-length Giselle when my son was eight months old. And then, a couple of weeks after that, the pandemic hit. I had just gotten everything back together." Murphy plans to lean into coaching and staging once she hangs up her pointe shoes, especially choreography. "I also want to take some time to process this huge transition and consider options and think about what I really want to do," she says. "I would be really surprised if it doesn't involve giving back or working in some way in the dance world, because it's so meaningful to me. Clearly, this is a lifetime pursuit."
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US ballerina on pointe to farewell celebrated career
There are plenty of consequential decisions to be made in every career, and they tend to become more consequential as time goes on. So it was when Gillian Murphy, one of the most admired American ballerinas for almost three decades, began contemplating not only when, but how to retire from American Ballet Theatre. She knew she wanted to go out on a high note. Murphy, at 46, is in incredible shape; at a rehearsal earlier in July, she was leaping and twirling like colleagues in their 20s. But in what role should she take her final bow, after 29 years with the company? Should it be as Juliet? As Giselle? The first of these ends up stabbing herself to death. The other goes mad. The best (and most athletic) option, it turned out, was to jump off a cliff. That's what swan queen Odette does at the end of the company's version of Swan Lake - followed in this dramatic leap by the prince who loves her, to be joyfully reunited in the afterlife. (In real life they leap onto a mattress offstage, dust themselves off and clamber back for the finale.) Murphy, who's known for her Odette/Odile - especially those fouettes, Odile's fiendishly hard whiplash turns - retired with Swan Lake on Friday night, ending her career in a blur of bouquets, tears and golden confetti before a sold-out Metropolitan Opera House crowd. Once the ballet finished, Murphy hugged fellow dancers including Misty Copeland, who will retire with fanfare in October. She was also greeted by her husband, former ballet theatre principal dancer Ethan Stiefel, and their six-year-old son, Ax, who'd just watched him mum perform at the opera house for the first time. Murphy was 17 when she joined the ballet theatre. Did she imagine such a long career? "I would have never expected to be dancing this long, honestly," she said. "I think in my mind I always had 40 years old as a time frame. But I didn't expect to feel this good at this point. "I've truly loved my career at ABT, and it's given me the opportunity to dance all over the world. So I'm happy I'm still here." Ballet takes a huge amount of athletic ability - dancers need to be actors, too - and Murphy has developed her abilities as she has aged. "I do feel that life experience really does come out in performances," she says. "And when we're telling these stories about true love and forgiveness and loss, all the dramatic sort of themes that come out in these ballets, it does make a difference when you've experienced those things in your life." While some of the company's dancers have chosen Juliet for their retirement performance, Murphy settled on a much more physically demanding role with Swan Lake. "It doesn't get any easier, yeah," she says, laughing. "I have so many favourite roles, but Swan Lake includes two of my most favourite, Odette and Odile. "It's always been incredibly challenging, but also so fulfilling. When I was a kid, my dream role was the Black Swan (Odile), actually. So just in a full-circle moment, it feels special to finish with this ballet that I dreamed of doing as a kid, and first did as a young soloist with ABT 24 years ago." Murphy is known for Odile's fouettes (32 whiplash turns on one leg that the Black Swan performs) and throwing in double turns. "I used to throw in triples, triple pirouettes in the middle of the fouettes," she says. "But I think I just want to finish strong ... and take risks elsewhere." The decision to retire is a tough call in any career, and no less so for Murphy. "It's never an easy decision for any dancer. It's a calling from a very early age ... but I've always wanted to finish strong and with my own sense of agency," she says. "I really relish when that sense of imagination and life experience and artistry is integrated with the physicality, the athleticism, the technique. And I feel like I'm still in that place where I can do that. So I want to finish with that sense of fullness." Thankfully, Murphy has largely avoided any major injuries or setbacks along her way. "I've been pretty fortunate about bouncing back from muscle strains and things like that," she says. "You know, dancers are not robots. Like an athlete, we can have an off day and (we should) not let that be too discouraging. That's par for the course. "I'd say coming back from pregnancy and an emergency c-section was not easy ... but I was able to get onstage and do a full-length Giselle when my son was eight months old. And then, a couple of weeks after that, the pandemic hit. I had just gotten everything back together." Murphy plans to lean into coaching and staging once she hangs up her pointe shoes, especially choreography. "I also want to take some time to process this huge transition and consider options and think about what I really want to do," she says. "I would be really surprised if it doesn't involve giving back or working in some way in the dance world, because it's so meaningful to me. Clearly, this is a lifetime pursuit."
