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The PBC Committee has decided to change the line-up of our regular Tuesday Night sessions for the winter months. This means a change to the start and finish times and the performances. 

As from Tuesday 11 July, the doors will open at 7.00pm and the first act will start at 7.30pm. After a short break, the second act will perform two sets starting at 9.00pm and finishing at 11.00pm instead of midnight. This means you will get home earlier. This also means that both acts will get extended performances. 

This change has been made to reflect the fact that patrons tend to leave earlier on winter nights, so by bringing the whole night forward, you will be able to enjoy more of the night's entertainment.

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Many people have asked Bob Patient when his "Playing with my Friends" will do the middle set. Well the answer is Tuesday 20 June. However, the band will play both the middle and final sets as a way of saying "Bye - for now".

The night is the last of Playing With My Friends for a while (it will probably continue later in the year) so it was decided to make it a big night. The lineup of the main band is Bob Patient (keys), Roy Daniel (bass), Gary Howard (drums), Dave Brewer (guitar) and Trevor Jalla (guitar), with special guests Rick Steele, Pete Romano, Sue Bluck, Cathy Earl and more. 

This is party time, so come on down and be prepared for a great night of live music - and don't forget your dancing shoes.

Opening the night will be Rcadia - a fresh young blues band playing new and classic blues songs with very soulful female vocalist. You loved these guys so much last time that we invited them back for more, but this time it’ll be a five‐piece band !

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Dear Friends,
I am often asked why people in music need a charity such as Support Act. The painful reality is that a career in music is very risky. The creative rewards may be high, but income, for most, is not: with 80% of Australian musicians earning less than the minimum wage, saving for a rainy day is out of the question and making provision for ill health or old age is impossible.
Support Act uniquely understands this. We know what it means to work in music and what kind of help people need to get back to it. We deliver assistance in many forms, tailored to meet each person's needs, and within seven days of being asked. The relationships we develop with service users can last for a year or more as we guide each person back onto their feet. We are very proud of our success rate: last year, 69% of our service users returned to working in music.

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By Mikal Gilmore - Rolling Stone

In 2006, the Beatles coaxed producer George Martin out of retirement to remix and rearrange several of their iconic songs for Cirque du Soleil's Las Vegas stage production Love. Martin, though, had a worry: At age 80 his hearing had turned difficult, and so he brought in a collaborator: his son Giles. The younger Martin had produced classical music, as well as recordings by Kula Shaker, Jeff Beck, Elvis Costello and Kate Bush. "He's my ears," George Martin said. What ears they turned out to be: Giles recombined parts of many of the Beatles' songs into a mash-up of the band's audio history, sometimes encapsulating much of it in a single song. "Get Back" opened with George Harrison's memorable thrum from "A Hard Day's Night" and Ringo Starr's drum prologue from "The End," caught sight of an overpassing jet from "Back in the U.S.S.R.," pulled in part of the audience's expectant murmur from "Sgt. Pepper's Lonely Hearts Club Band" and borrowed a bit of the orchestral swell from "A Day in the Life," landing on John Lennon's "Glass Onion."

The results proved radical and revelatory and conveyed how resilient and exciting the band's music remains – and how beautifully and imaginatively George Martin had produced it all in the first place, working with four-track recorders and inventing new sounds and technology. With Love, Giles Martin did what nobody had ever done successfully before: He reconfigured the Beatles' sounds into an alternate soundmap, making it plain these decades old songs still had revelations and delights for contemporary ears. When Love was over, you didn't want it to be – much like many viewed the Beatles themselves.

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Hailing from Perth, Western Australia, Diamond Dave and the Doodaddies are a four-piece Chicago-style blues band featuring the red-hot guitar chops of Dave Brewer and the sensational harmonica playing of 'Diamond' Dave Billing, propelled by the shufflemaster himself Yugon Chobanoff and the driving bass of John Wilson.

'Diamond' Dave masterfully demonstrates a full understanding of the many styles of the harmonica - from the expressive acoustic approach to the 'driving' amplified style. Using the chromatic harmonica, Dave has developed one of the most distinctive styles heard in Australia - such a great tone with ideas to match!

The Doodaddies cover a solid selection of uplifting grooves including swinging shuffles, soul, boogaloo, 'cry in your beer' blues and more. With a number of live shows and CD releases, the Doodaddies prove that the roots of the blues are not only strong and far-reaching, but that the future of the blues is bright! If you love gutsy, emotive, dance-able music, played with originality and virtuosity - check them out.

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