Watch Tasman Keith Go In On Outkast's ‘B.O.B.' For NAIDOC Week ‘Like A Version'
The performance also, notably, saw percussionist and fellow Gumbaynggirr man River Langford wearing a t-shirt expressing Indigenous solidarity with the people of Palestine. Earlier this week, former ABC journalist Antoinette Latouf won her unfair dismissal case against the broadcaster, following her contract being terminated last year on account of supporting Palestinian liberation.
'I grew up always loving this song,' said Keith in a post-performance interview. 'It was always on the list for if I ever did Like A Version. For me, with a lot going on right now here and everywhere, it just felt like what I needed and what I wanted to say. Also, to be able to pen a verse after an Andre 3000 verse is a challenge, and so I wanted to take that on.' The cover can be viewed below.
Keith's appearance on the segment comes ahead of this year's NAIDOC Week, which commences on July 6th. 2025 sees the week-long celebration of Indigenous people within Australia celebrate its 50th anniversary. This year's theme is 'The Next Generation: Strength, Vision And Legacy'. More information on NAIDOC Week for 2025, including events and award finalists, can be found here. Previous performers for Like A Version around NAIDOC Week include Gumbaynggirr Bundjalung singer-songwriter Jem Cassar-Daley, who covered Gwen Stefani's 'The Sweet Escape', as well as the late Archie Roach, who performed a Bob Marley medley in one of his final performances.
In addition to performing the cover, Keith also performed his recently released single '70 Somethin'. Released on Wednesday (June 25th), the introspective ballad sees Keith reflect on the lives of his uncle and father, and openly ponders whether he would have met a different fate were he born in the same generation as them. Keith's stripped-back performance of the song can be viewed below.
'B.O.B. (Bombs Over Baghdad)' was originally released in September 2000, when Keith was four years old. It served as the lead single to the Atlanta duo's fourth studio album Stankonia, which also featured the group's mainstream breakthrough hit 'Ms. Jackson'. Although the song was not a major commercial success upon its initial release, the ensuing 25 years have seen it develop a reputation as one of the era's most culturally significant songs. Both Rolling Stone and Pitchfork featured the song in their respective lists of the best songs of the 2000s, with the latter ranking it number one.
Tasman Keith Releases New Single 'LEFT RIGHT' – 'I Just Feel this Country is Ready to Hear It'
triple j Announces 'Hottest 100 Of Australian Songs' For 50th Anniversary
Watch The Amity Affliction Take On Turnstile For Their First Ever 'Like A Version'
The post Watch Tasman Keith Go In On Outkast's 'B.O.B.' For NAIDOC Week 'Like A Version' appeared first on Music Feeds.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


CNET
8 hours ago
- CNET
Samsung Takes on Supersized Rivals With 115-Inch Micro-LED Backlit TV
Ty Pendlebury Editor TV and home video editor Ty Pendlebury joined CNET Australia in 2006, and moved to New York City to be a part of CNET in 2011. He tests, reviews and writes about the latest TVs and audio equipment. When he's not playing Call of Duty he's eating whatever cuisine he can get his hands on. He has a cat named after one of the best TVs ever made.


CNET
9 hours ago
- CNET
Hisense 100UX TV Brings 100-inch Mini-LED for $20,000
Ty Pendlebury Editor TV and home video editor Ty Pendlebury joined CNET Australia in 2006, and moved to New York City to be a part of CNET in 2011. He tests, reviews and writes about the latest TVs and audio equipment. When he's not playing Call of Duty he's eating whatever cuisine he can get his hands on. He has a cat named after one of the best TVs ever made.


New York Times
13 hours ago
- New York Times
A Mysterious Box Arrives. Inside? The Dead Body of a Child Saint.
LITTLE WORLD, by Josephine Rowe 'Little World' is a swoony, atmospheric, blink-and-you'll-miss-it short novel told through three interwoven stories. The Australian writer Josephine Rowe binds her disparate characters through a shared psychic connection to a very physical entity: the body of a child, incorruptible in death — 'a maybe-saint, a novitiate, a fledgling?' — who becomes a holy figure to those who encounter her. Though the novel is only 100 pages long, there is so much strange potential in its conceit that from the start it feels primed to deliver a massive world instead of a little one. The first section follows an aging man named Orrin across the well-worn grooves of his solitary life in rural Western Australia in the years after World War II. He inherits an antique canoe-timber box containing the corpse of the supposed child saint, from Kaspar, a Norwegian ex-lover whom he worked for in Micronesia 25 years earlier. The box is accompanied by an official letter listing the body's 'saintly characteristics': its 'heady, floral aroma, believed to be the odor of sanctity,' and 'the weeping of pink-tinged tears.' Orrin is not a believer, but he keeps the girl's miraculous body in his kitchen ('Catholic or not. You don't turn away a saint'), passing the time quietly between 'the brief colorless edges of the day,' worrying termites might get inside the wooden box and reflecting upon Kaspar, Orrin's parents and sister. Meanwhile, the saint's own vague memories stir, of her hard, short life, where sweetness was only ever found in the in-between moments, in playing with dogs, in 'the tug of her sister's fingers combing her hair.' These early passages shine with the promise of a delicately entwined story to come. But as soon as it finds its tempo, this first section ends, and the novel picks up with Mathilde, a listless 36-year-old insomniac who discovers Orrin's long-abandoned cottage — and inside it the body of the child saint — on a haphazard road trip to the west coast of Australia in the 1970s. Though she's accompanied on the trip by two well-heeled young lesbians, Mathilde's back story is as lonely as Orrin's and the saint's, lit only with tiny, radiant moments of real joy. Revisiting her past over and over into the night, she is haunted by the son she gave up for adoption as a teenager, as well as by her brief, bright romance with Sally, another unwed mother at the Catholic home where she spent her pregnancy. 'One grief rousts another,' Rowe writes, 'restless siblings turning over in a too-small bed.' After an abrupt, somewhat pat third section, which feels like an epilogue, or an extended universe for the characters we've come to know, the whole novel is done. If the end feels disappointing — and it does — it's because it doesn't quite live up to the vast possibilities Rowe has conjured through her affecting, sensual, otherworldly prose. Want all of The Times? Subscribe.