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C.W Stoneking and His Primitive Horn Orchestra- 10 Years of Sooki Lounge
November 2, 2023 @ 8:00 pm - 11:00 pm AEDT
10 years of Sooki Lounge presents
C.W Stoneking & his Primitive Horn Orchestra
Thursday November 2
Sooki Lounge, Belgrave
Tickets on sale now
𝑊ℎ𝑜 𝑤𝑜𝑢𝑙𝑑 𝑜𝑓 𝑡ℎ𝑜𝑢𝑔ℎ𝑡? 10 𝑦𝑟𝑠 ℎ𝑒𝑦!
𝑆𝑒𝑒𝑚𝑠 𝑙𝑖𝑘𝑒 𝑜𝑛𝑙𝑦 𝑦𝑒𝑠𝑡𝑒𝑟𝑑𝑎𝑦 𝑤𝑒 𝑙𝑜𝑜𝑘𝑒𝑑 𝑎𝑡 𝑡ℎ𝑖𝑠 𝑑𝑖𝑏𝑖𝑙𝑎𝑙𝑖𝑡𝑎𝑡𝑒𝑑 𝑏𝑢𝑖𝑙𝑑𝑖𝑛𝑔 𝑎𝑛𝑑 𝑡ℎ𝑜𝑢𝑔ℎ𝑡 𝑤𝑒 𝑤𝑒𝑟𝑒 𝑐𝑟𝑎𝑧𝑦 𝑓𝑜𝑟 𝑡𝑎𝑘𝑖𝑛𝑔 𝑖𝑡 𝑜𝑛.
“𝐿𝑒𝑡’𝑠 𝑐𝑟𝑒𝑎𝑡𝑒 𝑎 𝐿𝑖𝑣𝑒 𝑀𝑢𝑠𝑖𝑐 𝑣𝑒𝑛𝑢𝑒 𝑎𝑔𝑎𝑖𝑛, 𝑎𝑛𝑑 𝑙𝑒𝑡𝑠 𝑎𝑑𝑑 𝑎 𝑐𝑙𝑢𝑏, 𝑟𝑒𝑠𝑡𝑎𝑢𝑟𝑎𝑛𝑡 𝑎𝑛𝑑 𝑐𝑜𝑐𝑘𝑡𝑎𝑖𝑙 𝑏𝑎𝑟 𝐼 ℎ𝑒𝑎𝑟𝑑 𝑆𝑢𝑒 𝑠𝑎𝑦, 𝑦𝑒𝑝 𝑛𝑜 𝑑𝑟𝑎𝑚𝑎𝑠 𝑏𝑎𝑏𝑦, 𝑒𝑎𝑠𝑦”.
𝑁𝑜𝑡 𝑔𝑜𝑖𝑛𝑔 𝑡𝑜 𝑙𝑖𝑒, 𝑖𝑡’𝑠 𝑏𝑒𝑒𝑛 𝑡𝑜𝑢𝑔ℎ 𝑎𝑡 𝑡𝑖𝑚𝑒𝑠 𝑏𝑢𝑡 𝑡ℎ𝑒 𝑗𝑜𝑢𝑟𝑛𝑒𝑦 ℎ𝑎𝑠 𝑏𝑒𝑒𝑛 𝑤𝑒𝑙𝑙 𝑤𝑜𝑟𝑡ℎ 𝑖𝑡 𝑠𝑝𝑒𝑐𝑖𝑎𝑙𝑙𝑦 𝑤ℎ𝑒𝑛 𝑡ℎ𝑒 𝑟𝑜𝑜𝑚 𝑖𝑠 𝑟𝑜𝑐𝑘𝑖𝑛𝑔!
𝑀𝑎𝑛𝑦 𝑔𝑟𝑒𝑎𝑡 𝑝𝑒𝑜𝑝𝑙𝑒 ℎ𝑎𝑣𝑒 𝑚𝑎𝑑𝑒 𝑡ℎ𝑖𝑠 𝑗𝑜𝑢𝑟𝑛𝑒𝑦 𝑝𝑜𝑠𝑠𝑖𝑏𝑙𝑒 𝑜𝑣𝑒𝑟 𝑡ℎ𝑒 𝑦𝑒𝑎𝑟𝑠 𝑏𝑢𝑡 𝑡ℎ𝑒 𝑚𝑎𝑖𝑛 𝑐𝑜𝑛𝑡𝑟𝑖𝑏𝑢𝑡𝑜𝑟 ℎ𝑎𝑠 𝑏𝑒𝑒𝑛 𝑦𝑜𝑢, 𝑡ℎ𝑒 𝑝𝑢𝑛𝑡𝑒𝑟𝑠. 𝑆𝑜 𝑤𝑒 𝑡ℎ𝑎𝑛𝑘 𝑦𝑜𝑢 𝑓𝑜𝑟 𝑔𝑒𝑡𝑡𝑖𝑛𝑔 𝑢𝑠 𝑡ℎ𝑖𝑠 𝑓𝑎𝑟.
𝑇𝑜 𝑐𝑒𝑙𝑒𝑏𝑟𝑎𝑡𝑒 10𝑦𝑟𝑠 𝑤𝑒’𝑟𝑒 𝑡ℎ𝑟𝑜𝑤𝑖𝑛𝑔 𝑜𝑛𝑒 𝑎𝑙𝑙 𝑚𝑖𝑔ℎ𝑡𝑦 𝑝𝑎𝑟𝑡𝑦 𝑎𝑛𝑑 𝑤𝑒 𝑤𝑜𝑢𝑙𝑑 𝑙𝑜𝑣𝑒 𝑡𝑜 𝑠𝑒𝑒 𝑦𝑜𝑢𝑟 𝑓𝑎𝑐𝑒 𝑜𝑛 𝑡ℎ𝑒 𝑜𝑡ℎ𝑒𝑟 𝑠𝑖𝑑𝑒 𝑜𝑓 𝑡ℎ𝑒 𝑏𝑎𝑟, 𝑠𝑜 𝑚𝑎𝑟𝑘 𝑖𝑡 𝑑𝑜𝑤𝑛 𝑖𝑛 𝑦𝑜𝑢𝑟 𝑐𝑎𝑙𝑒𝑛𝑑𝑎𝑟.
𝑇ℎ𝑖𝑠 𝑜𝑛𝑒𝑠 𝑓𝑜𝑟 𝑦𝑜𝑢
𝑆𝑢𝑧𝑎𝑛𝑎, 𝑆𝑡𝑒𝑣𝑒 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑆𝑜𝑜𝑘𝑖 𝐶𝑟𝑒𝑤, 𝑝𝑎𝑠𝑡 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡
For full program of our birthday weekend from November 2 through to November 6, please visit
Grab a bite to eat
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Kitchen open from 4pm till 9pm
C.W. Stoneking is an artist for whom ‘unexpected’ is probably the default setting. How else to describe such a fine purveyor of American roots music who also happens to be a towering, youthful-faced white Australian man? He surprises first-time listeners, throws curveballs at long-time fans, and everything he does contains at least some background level of bafflement for all involved.
There are multitudes in Stoneking’s music. It’s probably easiest to describe him as a ‘blues artist,’ but the term disguises what makes his music special. There’s so much in there. A 1920s pre-war blues sound is key, but there’s almost equal helpings of New Orleans jazz, jug band music, hokum, country and calypso, and he’s lately brought in elements of jump jive, early rock’n’roll and gospel. His gift is that he brings them all together without anything sounding out of place. He finds the strands that connect all of these different styles and gently braids them together. It’s what he values more than anything: “It’s getting everything to unify really. The music, the flow of it, keeping it moving, with no dead spots. Then I guess having the lyrics and the meaning that flows in that too, you know? Getting it all to knit together in a way that, if you didn’t speak English maybe, you’d still be able to feel the melody, or the sounds of the words. If you did, then the meaning would also flow. That’s sort of what I’m trying to do, I guess.” When so many on the blues scene are trying to sound ‘authentic’ – whatever that is – it’s that unity of sound that allows Stoneking to actually achieve it, and with apparent ease, too. Back in the day, no-one was ‘just’ a blues musician, or a jazz or country musician, and so neither is he.
Stoneking’s work can never really be second-guessed; you never know what you’re going to get. After charming his audiences with acoustic parlour guitars, National resonators, tenor banjos and a band laden with brass on his first two albums, he dropped all of that to go electric with his latest, 2014’s Gon’ Boogaloo, which was all about his Fender Jazzmaster and doo-wop backing vocals. While acoustic is still in his plans (his most recent tour was a solo affair: just him and a gorgeous 1937 Epiphone Deluxe), it seems like he’s ditched the banjo for good; he’s been known to go on the occasional but vicious anti-banjo tirade. When I try to ask him about it, he suffices with “I have to be careful with what I say. People get angry about that sort of stuff.” Maybe he’s been advised by his lawyers. Maybe it’s just part of his own epic, enigmatic legend.
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