General $22.70 --Ticket sales closed--
** Includes Sticky Tickets booking fee.


$20 pre, $25 Door | 7pm doors, 8pm show
Table bookings for groups of 8 or more only – email us for table reservations AFTER you have prebooked…
Delicious food (including pizza!) available. Fully licensed – NO BYO
Please book carefully – as no refunds, credits or exchanges on tix!All ages welcome (but under 18′s must be accompanied by an adult) 

Chris Abrahams is best known as the pianist in the instrumental trio The Necks – a group that has firmly established itself both in Australia and internationally.

Chris has also been active as a solo performer, with performances in Australia, the UK. Germany, Switzerland and the USA. Recently he performed at the Issue Project Room in Brooklyn as well as at the University of Chicago as part of the LAMPO season of concerts. He also played at The Big Ears festival in Knoxville. Late last year, Chris released his tenth solo album Climb.

Apart from his solo work, Chris has had a diverse career working with such groups as The Triffids, The Laughing Clowns, Crow, The Apartments and Love Me. His most enduring collaboration has been with the singer/songwriter Melanie Oxley with whom he released five cds. He has also been active as a soundtrack composer for both film and television and has two feature film credits to his name; with the Necks he composed the score to the film The Boys; as a solo composer he produced the sound track to the film The Tenderhook.

Chris uses the sustain pedal of the piano to create orchestral sounding clouds of sympathetic resonation; he uses the una corda pedal to produce subtractive filtering effects; he uses rapid hammering techniques to "overload" string resonance and create distortion-like outcomes; and with the use of extremely fast rhythmic phrasing, often played by all five fingers of both hands, he conjures mysterious harmonics and melodies. He uses the complexities of the piano's mechanics and resonances to transcend the initial sounding of the vibrating string. In some ways, it can be seen that Chris tries to get the piano to make sounds that, over the centuries, piano makers have tried to eliminate.

This is not to say that Chris' music is lacking in expressive or aesthetic beauty. His performances can contain elements of both melodic and textural beauty juxtaposed with industrial sounding patterning contained within a mesmeric and slowly evolving sound world.

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