What’s My Scene: Street Legal drop the needle between critique and catharsis
In our regular Q&A column, InReview speaks to emerging and established local artists to get their take on the South Australian creative scene and their place within it. This week, Street Legal’s Matthew Hayward takes us back to the old Jade Monkey, and the surrealism of the pandemic that informed his current group.
Where was your first gig, and how did it go?
My first-ever gig was at the old Jade Monkey on Twin Street in 2004 with my previous band, Central Deli Band. It was our first show in the city after transplanting ourselves from Whyalla. We supported Matt’s Little Brother and the notorious Home for the Def. Ever the enigmatic figure, Nigel Koop appeared on stage dressed as Jesus Christ, guitar in hand. He then spent ten minutes tuning it badly before launching into fifty of the filthiest limericks anybody had ever heard.
Our first gig with Street Legal was with Coldwave and Junk Harmony at the Grace Emily Hotel in May 2024. It wasn’t long after COVID restrictions had been relaxed a little, so it felt like people were equally relieved but also didn’t quite know what to do with their hands.
What is your artist origin story?
We were all connected through the local music scene in different ways and had known each other for a long time before starting the band. I had returned from backpacking overseas and got caught up by the pandemic before I had a chance to leave again. I knew Max Tulysewski through his band Superdose Gangway and Libby Verrall from playing in The Vains. From the beginning, we wanted to make music inspired by our love of new wave – something melodic, energetic, and hook-driven but paired with a clear social conscience.
In the very early days, we would rehearse at Pat Lockwood’s sadly now defunct Electric Ant Records down on Flinders Street. I lived in the city and still remember how surreal it felt during that period – everyone had escaped from their offices to the suburbs, so the CBD was empty. There was a woman who wrote this maniacal poetry scrawl on all the buildings, so many people were left isolated and adrift. Those circumstances ended up informing a lot of the early songs brought to the band.
I like the tension in the art now, writing songs that sit somewhere between critique and catharsis.
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What was your impression of the Adelaide creative scene when you first started, and how has that changed?
I started playing in bands and seeing live music in the early 2000s, so the shift really has been monumental. I went from scurrying around Hindley Street late at night clandestinely pasting up gig posters and cold calling venues to getting involved in major international events coming to town. My main takeaway is that the creativity, ingenuity and artistic quality of Adelaide artists really is on par with any major music city in the world.
What’s changed is the scale of opportunity. What hasn’t changed is the need for meaningful support. I think artists sometimes mistake industry for community. While growth is important, a thriving arts sector can’t be measured solely by major events, visitor numbers or export success. Local musicians still need far more sustained investment from government that isn’t performative or reactive to narrow ideas of what success looks like.
How has your own work evolved since you first started?
Originally there were designs for me to play this obnoxious Tony Clifton type lounge act, however I quickly realised that punters might not entirely be in on the joke, so being self-conscious got the better of me!
The band started out leaning more theatrical in our performances – we originally had two drummers for a time. Playing as a five piece with the inclusion of Sam Morris and Nate Wall has definitely made the songs leaner and more muscular. The new material we’re currently working on with Anton Hagop (engineer on Silverchair’s Diorama) has also given us a clearer musical direction than we’ve ever had before.
What is it about your next release/project/body of work that you’re most excited to share with the world?
Our new single is called ‘The Barassi Line’, but it’s not really about footy. It’s a song that questions our relationship with those who control our natural resources, public spaces and shape the cities we live in. It’s about the stories we’re sold – that infinite growth is always good and wealth equals virtue.
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We worked with a French artist Azaazelus to create a surrealist artwork inspired by a dystopic Australia ravaged by open cut mining and monstrous anthropomorphic billionaires.
Who are the artists around you that inspire or challenge you?
We all have a broad range of tastes spanning punk, indie and rock and everything in between – I know lately we’ve been inspired by Chat Pile, Spirit of the Beehive and Arthur Russell.
There’s also no shortage of great bands on the scene – personally I love groups that are willing to push the boundaries of what traditional song structure can provide. The Genevieves and Grace Vandals are exciting acts to watch.
Favourite venue to play?
If I had a time machine and could travel back to exclusively play shows from my youth, I’d love to be back treading the boards at the old Jade Monkey. Science fiction aside, our favourite venue to play and second home in the CBD has to be the Grace Emily.
Sym and the crew have always been supportive of the band from day one and the pub has a great warm atmosphere. I love a bit of banter and back and forth during our shows; it feels like the equivalent of playing in somebody’s living room.
Dream artist to perform alongside?
I will pester anyone for long enough about my undying love for the greatest band in the world, iconic kiwis Split Enz. Watching them play again last month after seeing them 20 years ago was a dream. I once stalked Tim Finn in Adelaide Airport for an autograph and he ducked into the Qantas lounge to avoid me! Probably would’ve done the same to be honest.
Favourite artist to collaborate with?
One of our favourite experiences was working on the music video to our song ‘Modern Ruins’ with filmmakers Conor Mercury and Bryce Kraehenbuehl. Bringing that song to life through the film clip in Port Adelaide was really something special.
Also, if I ever got the chance, I’d love to write with William Crighton. He writes songs that are earnest and passionate and they remind me of the late Rob Hirst and Jim Moginie. His new album Colonial Drift is excellent.
Where is your next performance, and how do you hope it will go?
We’ll be heading out for a quick interstate tour for ‘The Barassi Line’ to regional South Australia and Melbourne, with our next gig in Adelaide launching the single at the Ed Castle in July. We’re really looking forward to playing some new songs, as well as being joined by The Genevieves and Dropsink for the evening.
Street Legal play The Ed Castle on Friday July 17. ‘The Barassi Line’ is out now.
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