barns courtney tour 2024

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Barns Courtney tour dates

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• Concertful ranking: #1577
• Category: Jazz / Blues

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Barns Courtney

Barns courtney tour dates 2024.

• Jul 23, 2024 - Aug 31, 2024
• JAZZ / BLUES

UK-born Barns Courtney is a captivating singer-songwriter who has been making waves in the music industry with his unique blend of blues, rock, and indie pop. Since his breakout hit "Fire" in 2015, Courtney has been a force to be reckoned with, garnering a dedicated following with his soulful vocals and raw, energetic performances. His discography, including two full-length albums "The Attractions of Youth" and "404", is filled with anthems that showcase his gritty, powerful voice and knack for crafting infectious melodies. Courtney's live shows are electrifying, as he pours every ounce of himself into his performances, creating an unforgettable experience for his audience. Whether you're a longtime fan or just discovering his music, Barns Courtney is a must-see act. Stay tuned to ConcertFix for updates on his latest tour dates, album releases, and more.

Barns Courtney Concert Schedule

Barns courtney tour albums and songs.

Barns Courtney: The Attractions of Youth

• Glitter & Gold
• Golden Dandelions
• Hobo Rocket
• Hobo Outside Tesco, ...
• Never Let You Down
• Goodbye John Smith

Barns Courtney: The Dull Drums - EP

Barns Courtney: 404

• London Girls
• Fun Never Ends
• Boy Like Me
• The Kids Are Alright

Barns Courtney: Sinners

Barns Courtney: “99”

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Upcoming concerts (26) See all

House of Blues - Houston

Stubb's Waller Creek Amphitheater (Outdoors)

Marathon Music Works

The Factory

Andrew J. Brady Music Center

The Fillmore Philadelphia

Stone Pony Summer Stage

Citizens House of Blues Boston

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Without a doubt one of the best nights of my life. I'm a high school junior and I went with seven other girls around my age (give or take a year). We would all listen to his music (which is great btw) while painting and making props for stage crew and immediately jumped on the opportunity to go see him live once we heard he was coming through NYC. The concert was on a Tuesday night and we're all super studious so you can imagine how extreme this was for all of us. If the fact that I'm still wearing my wristband from the show (the concert was Nov 14 and it is currently Dec 11) doesn't prove how amazing the show was, I don't know what will. The atmosphere of the venue was phenomenal (especially because it made us feel like we had a life) as was Craig Stickland who opened up the show that night. The concert was incredibly personal which was a big part of why it was so special. He talked with the audience, laughed at the jokes people made, took a video with the audience to commemorate the night, and even had us all sit on the floor and chill out at one point. The performance was so energetic and lively (I mean who doesn't get stoked when they see someone furiously headbanging while playing the harmonica?), but it was also super comfortable. The craziest part of the performance was probably when he ran and jumped off of the stage and grabbed onto a cage on the wall during the last song and was singing his heart out directly above my friends and I. I cannot emphasize enough how amazing he was to see in concert.

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Barns Courtney put on a great show at the Star Theater in Portland, Oregon! His music is fantastic live! He has lots of energy, interacts with the audience and is not only talented, but funny and intelligent too. Not to mention, sexy. The crowd loved him so much they insisted on an encore. He came back on stage without the rest of the band and said they usually ignore the encore, but since we didn't give up he had to come back. Then he said he didnt have any more songs, so he would have to make one up and asked the audience for topics. He then made up a hilarious song about tacos, dicks and Cinco de Mayo! After the encore, he hung out casually with his fans. If you get the chance, don't miss his show! One day he'll be playing large venues and it just wont be the same! Big love to Barns!

Portland, Maine USA

Tonight BARNS COURTNEY rocked the city!

He sounded just a superior LIVE as his LP recordings. A true artist with an undeniable TALENT and love of music and his fans.After his show he was in the crowd mixing in with his fans and giving out love.

He has more energy than the Energizer bunny.The stage could barely contain his movements!I personally held his hand and leg as he balanced on the barrier, rising above the crowd, as he sung "Kicks"I have a video of it! <3

He is a true rocker and I'm now smitten with Mr. Barns Courtney!! He knows how to show a girl a good time at his shows!

ROCK ON FOREVER BARNS!!

The UK is surely lucky to have you as one of their sons!

How appropriate to finish with a song called "fire" in a burning hot basement club on a roasting Wednesday night in London. Barns delivered a nine track, 32 minute (by my watch) set that only the truly clinically depressed could have failed to enjoy. The songs rocked, the energy and joy of the artist was tangible. Barns is a young bloke at the start of a career that could, and should, be glittering and his genuine surprise at the level of crowd appreciation was really touching . His repartee with the crowd was natural, unrehearsed and very funny. He smashed it in the tent at Latitude and he smashed it in London.

Une énergie folle (il est arrivé caché dans la foule pour monter...sauter...sur scène), parfois une gestuelle rappelant Mick Jagger.

Le groupe met vraiment une ambiance incroyable, des musiques vraiment blues/rock qui entrainent tout de suite la foule.

Un des meilleurs concerts que j'ai pu voir dans une petite salle (Supersonic Club qui est également un super endroit conviviale), à refaire sans limite!!!

A quand le prochain concert!!!

Barns Courtney in concert was one of the BEST performance I've ever encountered. I will definitely go again and again! His voice sounded EXACTLY as it was in the recordings. This show was not a disappointment. The best part was when he jumped off stage and hopped into the crowd! Overall amazing show, and wish I got to meet him in person! He sounds like a chill and fun guy! I would give his show a 10/10 rating.

Hi my name is Jose Rodriguez and everyone should she Barns Countney

The show was amazing he sang all my favorite songs like kick and glitter and gold.yhe best part of the show is when Barns Countney should the the rail and he fell and the fans got to carry him for like 5 feet before he fall and got to dance with the crowd. I got to help carry him to so it was so much fun. Everyone should see him live .

Amazing performance from Barns. Played with a lot of energy and really rocked the Borderline. In between his songs, he also showed that he's actually a funny guy which is always good to see. The two support acts were brilliant as well.

All in all, thoroughly enjoyed his show and would definitely go to another of his!

Although we were among the older members of the audience we had a really good evening. Barns is an energetic and talented performer who really connected with the crowd. We’ve always loved music , especially live music and this was great.

I’m sure he will go far especially as he writes his own songs.

Very very good gig, no doubt he will build a bigger catalogue of songs. He had everyone in the palm of his hand. He was rocking well on one leg (one in a leg brace), but you'd never know. Belting out the songs and also slower, mellower songs show what a good voice he has. Don't hesitate to see him.

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Barns Courtney tour dates and tickets 2024-2025 near you

Want to see Barns Courtney in concert? Find information on all of Barns Courtney’s upcoming concerts, tour dates and ticket information for 2024-2025.

Barns Courtney is not due to play near your location currently - but they are scheduled to play 26 concerts across 2 countries in 2024-2025. View all concerts.

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• Houston, TX, US
• Austin, TX, US
• Nashville, TN, US

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The struts announce north american tour with barns courtney.

The Struts have announced a headlining North American tour. Barns Courtney will open.

Tour Dates:

07/23 Houston, TX – House of Blues 07/24 Austin, TX – Stubb’s Waller Creek Amphitheater 07/26 Nashville, TN – Marathon Music Works 07/27 St. Louis, MO – The Factory 07/28 Cincinnati, OH – Brady Music Center 07/30 Dewey Beach, DE – Cork & Bottle 08/01 Washington, DC – The Anthem 08/02 Philadelphia, PA – The Fillmore 08/03 Asbury Park, NJ – Stone Pony Summer Stage 08/04 Boston, MA – House of Blues 08/06 Portland, ME – State Theatre 08/07 New Haven, CT – College Street Music Hall 08/09 Royal Oak, MI – Royal Oak Music Theatre 08/11 Pittsburgh, PA – Stage AE 08/13 Milwaukee, WI – The Rave 08/14 Columbus, OH – Kemba Live! 08/16 Indianapolis, IN – Rock the Ruins 08/17 Chicago, IL – Riviera Theater 08/18 Minneapolis, MN – The Fillmore 08/20 Denver, CO – Mission Ballroom 08/21 Salt Lake City, UT – The Complex 08/23 Portland, OR – Roseland Theater 08/24 Seattle, WA – Showbox Sodo 08/25 Vancouver, BC – The Orpheum 08/27 Reno, NV – Grand Sierra Resort & Casino 08/28 Oakland, CA – Fox Theater 08/30 Tempe, AZ – Marquee Theatre 08/31 Anaheim, CA – House of Blues

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The Struts & Barns Courtney at The Stage AE

Stage ae, pittsburgh, pennsylvania, the struts & barns courtney, tickets from $52.

UK Glam rock flame keepers, livin' it up like is not even the 80s yet, nope, for this band, It's still the f***'n 70s, and they are rockin' it as hard as they can!!! The Struts, in all their glittery glory, come to Stage AE on Sunday, August 11th 2024 along with special guest Barns Courtney! Get your tickets today for the biggest Glam rock-out since Queen's Freddy discovered cocaine, or Boy George, discovered cocaine... or ah s***, its frills, its glitter and yeah, friggen pink cocaine... it's that kinda party, the Pretty Vicious Tour comes to the USA!!!

"The Struts’ fourth studio album, “Pretty Vicious,” is a glittering triumph that authentically captures the highs and pitfalls of rock ‘n’ roll, earning a stellar 9/10 rating." - MNPR Magazine

"We’re very excited and honoured to be playing so many great places this summer!" say the band. "It’s not too late to meet us at a show, so be sure to grab your tickets!" Tickets are on sale now!

The Struts & Barns Courtney Tickets from $52

The Struts kick off their high heel boots on the road with Queens Of The Stone Age, cruisin' round Canada until mid-April, then they head south for a pair of dates with Staind, followed by leg 1 of their Pretty Vicious Tour 2024, before winding up at Welcome to Rockville. They then head home to the U.K. for Download Festival and a quick hop across the river to France for God Save The Kouing Festival, in June. They then turn around and head back to North America for leg 2 of the Pretty Vicious Tour, kicking off at the House of Blues in Houston, TX, in July. Making a stop here in Pittsburgh, PA at Stage AE on August 11th 2024, before wrapping it all up back at the House of Blues, but this time in Anaheim, CA for August. All North American headline shows will feature support from English singer-songwriter Barns Courtney.

Pretty Vicious is The Struts fourth studio album, and first through Big Machine. It was released back in November 2023, peaking at number 20 on the UK Albums chart, and number 26 in Scotland. The first single off the album, “Too Good to Raise Hell,” is available to watch down below.

"The Struts latest offering, Pretty Vicious, is a musical masterpiece, there isn’t a bad track on this album, a perfectly crafted album that reminds us why British Rock is still as relevant as ever." - Rockn'LoadMag

Since the bands' formation in 2012, there has never been anything quite like them, with a seriously flamboyant style, mixed with an epic musical ability, they have made U.K. live concerts worth watching again! Flying the flag of old-school Glam rock and bringing back a certain sense of style lost since Queen, David Bowie and Marc Bolan.

The Struts with special guest, Barns Courtney for the Pretty Vicious Tour 2024 at Stage AE in Pittsburgh, Pennsylvania, this Sunday, August 11th 2024. Hit that "Get Tickets" button, right now!!!

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Barns Courtney - BUS INVADERS Ep. 1861 [VIDEO]

Join us as Barns Courtney gives you a tour of his tour bus.

Joshua Weidling

On this episode of DTB’s “Bus Invaders”, we take you inside the touring vehicle of the alternative rock artist, Barns Courtney, while on the "Supernatural Tour." Barns Courtney is currently supporting his newest single, Young In America. You can check watch the video below:

VIDEO INFO: Film Date - November 1, 2023 Location - Metro in Chicago, IL

Keep up with Barns Courtney on Facebook , Instagram , and Twitter .

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Northampton v Bath: Our recipe for the perfect Premiership final

Telegraph Sport breaks down the components of what makes a great final

The Gallagher Premiership final between Bath and Northampton Saints has all the makings of a classic.

As my colleague Charlie Morgan notes, it is a match-up riven with more subplots than Game of Thrones from the battle of Fin(n)s (Russell v Smith) to the young pretender Ted Hill taking on the old warrior Courtney Lawes in his last stand and the attacking brain trusts of Lee Blackett and Sam Vesty in the coaching box. Yum, yum. In the stands at Twickenham, a capacity crowd is guaranteed and should provide an electric atmosphere in a clash of two of the biggest but most success-starved of English rugby fanbases (with apologies to Gloucester).

In sport in general, I think there’s an unwritten law stating the greater the sense of anticipation the greater the level of anticlimax, particularly with reference to World Cup finals. So here, Telegraph Sport will attempt to break down the components of what makes a great final.

The Peak-End rule

Our mind is a wholly unreliable witness to past events. As the cognitive scientist Daniel Kahneman proved, we tend to base our memory on the peak and the end of an experience. Whisper it quietly, but the 2003 World Cup final is nowhere near as thrilling on rewatch because the sight and commentary of Jonny Wilkinson’s drop goal – both the peak and the end – is seared into the brains of every English supporter who will automatically consider it a classic. Similarly, the Freddie Burns’ drop goal for Leicester saved what had been a tepid 2022 Premiership final against Saracens. Endings matter.

"It's the greatest moment in Freddie Burns' life!" Relive @FreddieBurns ' drop-goal winner 😍 #GallagherPremFinal | @LeicesterTigers pic.twitter.com/cVNf34ibsE — Premiership Rugby (@premrugby) June 19, 2022

Competitive balance

In order for the ending to matter, the final needs to go down to the wire between two well-matched teams. See the recent Champions Cup final where Toulouse and Leinster slugged it out for 100 minutes at the Tottenham Hotspur Stadium. Last year’s Premiership final was the first in six years that had been decided by seven or fewer points and even then, Saracens only pulled clear in the final quarter against Sale Sharks thanks to tries from Elliot Daly and Ivan van Zyl. Blowout finals like Leicester’s 2007 Premiership spanking of Gloucester will be remembered fondly by their fanbase alone. Ideally, you would like the teams to offer different tactical templates. As boxing promoters well know, styles make fights. Again, Toulouse’s Champions Cup victory. Or Harlequins’ 40-38 defeat of Exeter in the 2021 Premiership final.

Guilty confession: journalists are drawn to a narrative like bees to a honeypot. We binge on fairytales like Hans Christian Andersen. Stories provide meaning and context that last long after scorelines and statistics fade from the memory. Witness Exeter’s rise from the depths of the national leagues to becoming English champions in 2017. Or Harlequins shedding their coach midseason and going on an extraordinary tear that resulted in their 2021 title after the most exhilarating of all semi-finals against Bristol Bears. 

Or Leicester under Steve Borthwick beating his old club Saracens, two years after the Tigers had only escaped relegation by virtue of their opponents’ salary cap breaches. This is not necessarily about good vs evil (although most rugby supporters would probably put Saracens in that latter category), but a champion side who has an added back story is that bit more powerful.

‘The Moment’

Often, but not always, the same as ‘The End’. It is ‘The Moment’ that remains indelibly imprinted in your brain from the final. This is sometimes subjective. I could not stop thinking about Antoine Dupont’s 50-22 (the first one) the whole week after Toulouse’s victory over Leinster, a snapshot that summed up the French scrum-half’s genius which was ultimately the difference between the sides. Similarly, Leicester’s 2007 demolition of Gloucester was symbolised by Alesana Tuilagi sending Ryan Lamb flying like a tailender’s middle stump, footage of which would only appear to exist on the dark web. 

Of course, sometimes the narrative entwines with the moment so that Dupont or Wilkinson will always be associated with that particular final. But it is even better when the hero comes from an unlikely source, such as Alex Waller’s winning try for Northampton in 2014 or Burns, Leicester’s back-up fly-half, slotting the decisive drop goal against Saracens.

No red cards

There are a host of statistics that suggest a red card makes a negligible impact on a match’s outcome. Pah. Any final that has a red card will always have an asterisk in my mind as to what might have happened if it had finished 15-a-side. A case in point is last year’s World Cup final. Watching it at the time, I thought it was one of the most epic and intense matches I have ever covered. Now it appears somewhat tarnished by Sam Cane’s red card with the All Blacks falling just one point short. Similarly, the 2013 Premiership final between Leicester and Northampton, the only case of a derby being contested at Twickenham, was marred by Dylan Hartley’s sending off for swearing at Wayne Barnes. In both cases, Barnes was the man in the middle and made the correct decision and this is not a plea for referees to keep their cards in their pocket, merely an observation that a sending off will put a stain on a final like an overflowing cup of tea placed on a piece of mahogany furniture.

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From banned on radio to sacred anthems, how Cold Chisel worked their way into our hearts.

Sweat's flying, the crowd's pulsating and the raw, unfettered power of Cold Chisel is skidding towards a squealing, screeching halt.

It's December 1983, and Jimmy Barnes, the wild frontman of one of Australia's most loved rock groups, prowls the stage as the band goes hell for leather, fingers flying over keyboards, guitars and drums.

"Hold me mama, don't let go," Barnes sings, feverishly heading towards the crescendo. He flings his microphone away, the band hits the final notes and that's it, Cold Chisel has finished its Last Stand, the final concert of their final tour, ever.

Except, it wasn't. The fans would not let Chisel go.

Because for a huge cohort of Australian music lovers, Cold Chisel was more than a band. It was our voice, our confidante, our story. They were the bad-boy poets who reached deep into our ordinary life and shone it back at us, with all its grit and muted glory.

As Barnes tells Australian Story: "These songs have become a part of people's lives. People come up to me and say, 'I played your songs at my son's 21st. I danced my first dance with my wife to your songs. I buried my father to your songs'."

Chisel's legendary concerts grew the fanbase in the 1970s and early 1980s, at a time when radio wouldn't play them and record companies were wary.

But 51 years since Chisel formed (and reformed and split and reformed), multiple generations of Australians can blast out the words to Khe Sanh, Cheap Wine and Flame Trees.

Not all those fans were there in the early days, when fisticuffs and flying vodka bottles were part of the frisson of a Chisel concert. Many weren't even born. But they'll all have a favourite Chisel song, one that speaks directly to them.

And that, says lead guitarist Ian Moss — the perfect foil for Barnes, with his velvet vocals and low-key style — is the reason for Chisel's longevity. The songs.

"When we split up, I thought within two years it would be 'Cold who?' All gone," says Moss, as the band prepares to go on tour again.

"But it's just a great legacy to the songs. It's the songs. It all comes down to the songs."

Barnes' recklessness was 'part of the band's success'

Moss smiles as he recalls that day in 1973 when a 16-year-old Barnes walked into the Adelaide apartment of keyboard player Don Walker, the mastermind of Chisel's success.

Walker, Moss and some mates were forming a band and looking for a singer. Their first choice, John "Swanee" Swan, was busy but he suggested his little brother, James Barnes, who sang in a band in the gritty outer suburb of Elizabeth when he wasn't hanging out with his gang.

As Moss went to shake Barnes's hand, "Jim kind of just held back and eyed me kind of suspiciously … I wondered, 'What've we got here?'."

The makings of an Aussie rock legend. Volatile and insecure, Barnes admits he went into that room defensive, fearful of being insulted, and thinking if "worse came to worse, I could always swing at them". In later years, he would address his childhood filled with alcohol and violence but right then, the migrant boy from Scotland was swamped by a jumble of emotions.

But he could sing. Barnes pumped out a song by the British rock band Free and got the gig. Soon to follow was drummer Steve Prestwich, a quick-fisted Liverpudlian, and Phil Small, the even-tempered bass player. Cold Chisel was formed.

They hit the pub scene, playing in rough venues such as Adelaide's Largs Pier Hotel and found an audience that revelled in the cheeky wildness of the band — especially Barnes who was "out of control on booze and uppers", jumping off PA systems and picking fights.

"I started in Cold Chisel, troubled and became more troubled as we went on," Barnes says.

"In a way, my recklessness was part of what made the band successful, because there's other people out in the audience who were going through the same shit as what I did.

"They wanted to just lash out and have a big time. We gave them that opportunity. Anything could happen on stage. We were volatile. We were on the edge. It could go anywhere."

Often to fisticuffs. Chisel started to build staunch crowds but couldn't get a record deal. Industry reps would turn up to see Barnes and Prestwich – good mates and quick brawlers – going toe-to-toe.

"Steve and I would be at each other," Barnes says, "because I wanted to push him to play faster [and] he wanted me to bloody sing better and he'd throw things at me and I'd, you know, belt him." Barnes admits he "constantly argued with everybody" and left the band in a huff countless times.

"All that tension and all that friction was all created because we were so into the band," Barnes says. "If anybody didn't do their best on the night, the other ones would turn on him."

By 1977, they were living in Sydney and travelling in beat-up cars to far-flung gigs, doing mostly covers with a smattering of originals by Walker. The burden of drumming up gigs and money fell on Walker who was a few years older than the others, a bright bloke who'd ditched a career in quantum mechanics for life on the road with a rock band. Barnes was the showman but Walker was the methodical schemer, always planning the next move.

Says Small: "It was quite a chore for Don. All he wanted to do was just play and devote his time to reading and writing more songs and just enjoying himself like the rest of us."

They needed a manager — and Rod Willis needed a band to manage. Willis had worked overseas as a tour manager and went along to Chequers in Sydney's Chinatown to watch Cold Chisel play.

Says Willis: "The piano player started, he did this sort of Jerry Lee Lewis rolling thing. Then this good rhythm section kicked in and I was just going, 'Wow, this band can actually play'.

"Then suddenly this vocalist, this kid, started singing and I was going, 'Wow'. It was a unique voice."

Willis was on board. His advice: get some original songs. He booked a studio, despite Walker's protestations they couldn't afford it.

Walker came along with a song he thought might work: Khe Sanh.

The song 'not suitable for airplay'

To lifelong Chisel fan and music writer Mark Mordue, Khe Sanh rates right up there with Waltzing Matilda, a song that tapped into the Australian psyche and wouldn't let go.

"We love a song filled with defiant tragedy," Mordue says. "Waltzing Matilda is a swagman who drowns himself, who refuses to be arrested. Khe Sanh is the veteran who's psychologically damaged from his experiences in Vietnam and meandering around the country. But there's something heroic in that; the vet hasn't given up, he's still searching.

"It's all there in Khe Sanh. It's in a lot of Cold Chisel songs. This sort of feeling of damage — and of possibility."

It was Cold Chisel's first single, released in May 1978 — and soon rated "not suitable for airplay". The censors took umbrage at references to speed and Novocaine, and the lyrics, "And their legs were often open but their minds were always closed".

The fans loved it. They knew that those words and the searing lines that followed — "and their hearts were held in fast suburban chains" – evoked the Australia they were living in.

Publicity about the radio ban piqued interest and Chisel's live performances took off. "Literally things made a quantum leap," Barnes says. "Our crowds immediately doubled."

Says Walker: "It wasn't getting any airplay, but that was in 'radio world', we were in 'live world'. That's where our band was."

They were "the people's band", says Mordue, who recalls the dripping sweat, swirling smoke and full body impact of Chisel's thundering gigs. That only intensified when the band started playing its own songs from the 1978 debut album, Cold Chisel, and Breakfast at Sweethearts the following year.

"Young people [saw] themselves in the band and they liked the energy and the intelligence of the songwriting," Mordue says. "Barnes in the band brought the energy and Don Walker brought that lyrical intelligence."

Says Barnes: "Don would write songs for me to sing, which were about destroying the place, about kicking up. He must have known what I was going through, and he was writing songs about me and for me to sing and because he's a great songwriter, every single person in our audience thought that song was about them."

Then, in 1980, came their third album, East – and radio could ignore them no longer. "When East came out," Walker says, "it just blew from clubland out into the general population."

A big part of the success was Walker's commercially crafted songs such as Choirgirl, Cheap Wine and Standing on the Outside. "I saw how having songs on the radio can transform your life and I wanted a bit of that," he says. "I was trying to figure out how to write commercially successful melodies. In the end, it worked."

Plus, with Walker's urging, other members tried their hand at songwriting. Small brought the classic My Baby, Barnes poured his love for his future wife, Jane, into Rising Sun, Prestwich gave us Best Kept Lies and Moss wrote Never Before.

"It just seemed to be this … period of we were in love, that kind of feeling," Moss says. "Everything we were doing felt like gold."

And Australians basked in their reflected glory. Author Trent Dalton, a Chisel "super fan", believes the band continues its hold on Australians because "they took the time to speak to us".

"They're talking about working class Australia … most of us can recognise that," Dalton says. "The characters that they've noticed are all the people we know in our lives — it's so easy to transplant yourself into any number of those situations that they're singing about.

"What happens is the songs start out as hits and then they become anthems. And then with time, they become sacred."

East, with an album cover featuring Barnes passed out in a bath wearing an upside-down Japanese bandana, was the biggest selling album that year. That meant music industry recognition – and a spot at the 1980 TV Week Rock Music Awards presented by Countdown.

After all the years of being shunned, of struggling on the road and in the pubs, now the industry wanted to celebrate them. Cold Chisel had their own ideas. "We thought, f**k them, they did nothing for us," Small says.

As they appear on stage, Barnes takes a swig from a vodka bottle, Moss starts the riff to My Turn to Cry and the drums kick in. It's a fairly loyal rendition – until the lyrics change into an admonishment of all those who snubbed Cold Chisel on their rise to stardom.

"I never saw you at the Largs Hotel, I never saw you at Fitzroy Street, and now you're trying to use my face to sell TV Week," screams Barnes.

He hurls his microphone stand, yells "Eat this" on repeat and heads off with his vodka while Moss bashes his guitar against the amp.

It's wildly rock and roll — except the cheap guitar Moss bought for the occasion won't break.

He'd even taken a saw to it beforehand to make the job easier but "try as I may, and I gave it a good, good shot, I couldn't break it".

Within a year, they'd be on their way to the US – and find that was tough to crack, too.

'They just didn't get us': The US tour

Five different people, five complex personalities, all pumped up by their raging success at home but back on the road, trying to make it in the US. The Holy Grail, says Moss.

Their crusade didn't start well. Says Walker: "We went there into the teeth of a record company that actively hated us for one reason or another." The feeling became mutual quickly, the band objecting to being squeezed into a marketing style that was not them.

The band's US release, My Baby (the wrong choice, they thought), was sent to radio stations wrapped in diapers. "They didn't get us," Barnes says.

They had some good gigs, says Moss, but had left their run too late. After so long on the road in Australia, adds Walker, "we had neither the stamina nor the focus to go back to tours and do the hard stuff that you have to do in a new territory such as America".

Small also ponders if the Australianness of their sound was a barrier to US success. "They couldn't really understand the Australian culture in the lyric."

The pressures built. Some of them had girlfriends back home and missed them badly. Some didn't and wanted to cut loose. "There were some funny tensions on the road the whole time," Moss says.

Less than six weeks in, they bailed. It's a deep regret for the band but as Barnes says, he got a great song out of it. "You Got Nothing I Want," from the 1982 album Circus Animals, was one giant "up yours" to the record company executives.

Frictions followed Cold Chisel's next bid for international stardom in Europe, especially a second tour in Germany in 1983. Their music was gaining traction there but the band was falling apart.

Walker remembers Prestwich saying "we shouldn't f**king be here" the moment the plane landed. It set the tone. Says Moss: "We weren't knitting, weren't gelling."

Barnes and Prestwich were at each other. "I was trying to make him play too fast,"  Barnes says. "The songs were losing the groove and all that pushing and pulling … it was just becoming manic."

Then, one night, Walker had enough. He stood up, tipped his piano over and walked off stage.

Barnes knew the band had fractured. "[Walker] put everything, every waking minute of his day into making that band get to where it was and it was out of his control."

Cold Chisel came home, sacked Prestwich, started work on what was planned to be their fifth and final studio album, 20th Century, and began planning the Last Stand.

The Last Stand ... that wasn't

Sporting a very 1980s perm, 16-year-old Annette English is being interviewed as she waits with friends for the Last Stand concert to start. She's upset Cold Chisel is breaking up. "You can sort of really feel Australia through their songs," she says, "and really identify with it because you know what they're talking about."

Forty-one years on, through a call-out on Cold Chisel's social media, Australian Story tracked down English and one of her mates with her that day, Margie Brown — and found Chisel fandom doesn't die.

"The authenticity, that's what's lasting," says English as the two catch-up over a drink, joking about cheap wine. "It's not just the music, it's the authenticity of the language."

They remember how bad their seats were — right up the back, barely able to see the band, which had recalled Prestwich for the tour. But surging through the venue was a "freight train of energy".

Says Brown: "I remember going for it, I'm loving it, but deep down in my heart, I'm thinking, 'There's no way this beautiful band is going to stop here'."

Her intuition was spot on. In a wonderfully ironic twist, radio kept Chisel alive in the years after they split. "Every time we switched on the radio," Moss says, "there was a Cold Chisel song".

"I was 16 years old and had to be there ... I didn't want to miss out."

Rex Morris of Triple M says FM radio was all about albums, and Chisel had some great ones, demanded by listeners. "For a lot of Australians, Cold Chisel was the soundtrack to the best years of their lives," Morris says. Their manager, Rod Willis, capitalised on the nostalgia, releasing Last Stand's live recordings and compilation albums, gaining huge sales.

As the rest of the band adjusted to life beyond Chisel – Walker was happy to move on, Moss accepting, Small played with a range of bands and Prestwich toured with the Little River Band – Barnes moved quickly into a solo career. By September 1984, he'd released the album Bodyswerve, which topped the charts, followed by his signature song, Working Class Man.

Then, in 1989, Moss released Tucker's Daughter, written with Walker, and it went to number one.

"When you have two people that were the most visible members of the band having hits 10 years later, that has to be a factor in the long running interest in the band," Walker says.

Time moved on. Wounds healed. Momentum built. Come the mid-90s, all five Cold Chisel members were back together.

They kept their reunion secret for as long as they could, an impressive feat given they were rehearsing in such a prominent building: the Sydney Opera House.

Says Willis: "All those Chisel fans are out there wondering whether the band's ever going to get back together again and there they are, down in the bowels of the Sydney Opera House."

It wasn't always pretty. Barnes says band members were wary about getting back together, afraid ghosts would be disturbed.

"And those ghosts were evident … it was chaotic," Barnes says.

Walker remembers a lunch overlooking the harbour when the band was choosing which songs would go on the album, Last Wave of Summer. "That created a bit of tension," Walker says now, a more diplomatic response than in a 2007 interview when he said the choices were made through "psychological manipulation, sullen looks, petulance, tantrums, insane rages both faked and real, sexual coquettishness and pathological violence".

There were problems with engineers and producers, niggles and slights but, "there was great joy the moment we first lit something up and realised, 'Yeah, we can play together'," Walker says. "It's a bit rough, needs a bit of work, but it sounds pretty good."

The album hit number one and the band hit the road on tour. "It just felt like the old days," Small says, "and it was good to see the crowds turn up in the numbers they did."

Just like the old days, though, the tensions returned. "And the band imploded again," Willis says.

That's been the rhythm of Cold Chisel. Get back together, do great work, get on each other's nerves, split. Do it again. Says Barnes: "As we got older, it's not that Cold Chisel kept breaking up, it was just we had to lay it to rest, because we could only take so much of the intensity of it at one time."

And now, to paraphrase Khe Sanh, "they're drifting back to check things out again".

History repeats itself

One by one, they file into Barnes' home and into his studio. He turns on a track and Cold Chisel is in the groove, their heads nodding. In unison.

They've always loved each other, says Barnes. Sometimes they haven't liked each other but the bond is strong.

Says Walker: "There's good mutual history, there's bad mutual history. The bad mutual history tends to fade and get lost in the sepia until next time we try and do something."

Now's the time.

From October, under giant circus tents, Cold Chisel will reform for a national tour. There's some trepidation, says Moss, mostly because each muso believes he's still to deliver his best.

Says Barnes: "Our behaviour has mellowed, but our approach to music hasn't. I still want the same thing from that band that I've always wanted. And that's to be the best rock and roll band in the world."

Someone will be missing. Steve Prestwich, the irascible contrarian who kept the beat for most of Cold Chisel's career, died with a brain tumour in 2011. "It was like the world had fallen apart," Barnes says.

His music remains. Prestwich penned some of Cold Chisel's best-known songs: When the War is Over, Forever Now, and Walker put the words to Prestwich's music to create the crowd favourite, Flame Trees. US drummer, Charley Drayton, now plays with Chisel.

"Whenever we play [those songs]," says Barnes, "I still get misty, I get teary, thinking about Steve."

Barnes had his own brush with death late last year, when bacterial pneumonia spread to his heart, requiring open-heart surgery. "I could have died, and came close to it."

The scrappy bloke who walked into a suburban apartment in the 1970s and became a rockstar is 68 now. Moss and Small are 69 and Walker is 72. The musician Tex Perkins, who Walker collaborates with now, says Cold Chisel is Australia's Rolling Stones. "Our home example of, 'How long can you keep this going?'."

Whatever that timeframe, Cold Chisel's music lives on. Its timeless lyrics and fervent delivery, coupled with a romanticism for a time that looks rosier in the rear view mirror, continues to seduce new fans.

Trent Dalton, 45, says there are three generations of Chisel fans: the "lucky ones" who grew up with them, his own generation which found Chisel through parents and compilation records, and teenagers like his daughters who came to Chisel via modern-day versions, such as Sarah Blasko's rendition of Flame Trees.

"What a gift," Dalton says "This music that's just connected all these different generations of Australians."

Like the Vietnam veteran, listening to Khe Sanh and reminiscing about those nights in Saigon. Or the party crowd, getting ready to hit the town, with Saturday Night on repeat in their heads, or the middle-aged woman, visiting her hometown, Flame Trees blaring on the car radio.

It's the songs. It all comes down to the songs.

Producer: Ben Cheshire

Feature writer: Leisa Scott

Digital producer: Megan Mackander

Graphics: Nina Maile Gordon

Photos: Australian Story: Tom Hancock, ABC Archives, Bob King, Getty Images, Cold Chisel

Watch Australian Story's Cold Chisel: On the Outside Looking In documentary on ABC iview and YouTube .

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15 men brought to military enlistment office after mass brawl in Moscow Oblast

Local security forces brought 15 men to a military enlistment office after a mass brawl at a warehouse of the Russian Wildberries company in Elektrostal, Moscow Oblast on Feb. 8, Russian Telegram channel Shot reported .

29 people were also taken to police stations. Among the arrested were citizens of Kyrgyzstan.

A mass brawl involving over 100 employees and security personnel broke out at the Wildberries warehouse in Elektrostal on Dec. 8.

Read also: Moscow recruits ‘construction brigades’ from Russian students, Ukraine says

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Read the original article on The New Voice of Ukraine

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You can spend time exploring the galleries in Electrostal History and Art Museum in Elektrostal. Take in the museums while you're in the area.

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• Noginsk Museum and Exhibition Center
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