Midnight Oil (known informally as "The Oils") are an Australian rock band composed of Peter Garrett (vocals, harmonica), Rob Hirst (drums), Jim Moginie (guitar, keyboard) and Martin Rotsey (guitar). The group was formed in Sydney in 1972 by Hirst, Moginie and original bassist Andrew James as Farm: they enlisted Garrett the following year, changed their name in 1976, and hired Rotsey a year later. Peter Gifford served as bass player from 1980 to 1987, with Bones Hillman then assuming the role until his death in 2020. Midnight Oil have sold over 20 million albums worldwide as of 2021.
The group garnered worldwide attention with 1987 album Diesel and Dust. Its singles "The Dead Heart" and "Beds Are Burning" illuminated the plight of indigenous Australians, with the latter charting at number one in multiple countries. Midnight Oil had continued global success with Blue Sky Mining (1990) and Earth and Sun and Moon (1993) – each buoyed by an international hit single in "Blue Sky Mine" and "Truganini", respectively – and remained a formidable album chart presence in Australia until their 2002 disbandment. The group held concerts sporadically during the remainder of the 2000s and announced a full-scale reformation in 2016. The band released their 15th and final studio album, Resist, on 18 February 2022,[2] and announced an accompanying tour.[3]
The band's music often broaches political subjects, and they have lent their support to multiple causes. They have won eleven ARIA Awards and were inducted into the ARIA Hall of Fame in 2006. Midnight Oil's legacy has grown since the late 1970s, with the outfit being cited as an influence, and their songs covered, by numerous popular artists. Aside from their studio output, the group are celebrated for their energetic live performances, which showcase the frenetic dancing of Garrett. Guardian writer Andrew Street described Midnight Oil as "one of Australia's most beloved bands".
Overview
While studying at Australian National University in Canberra, vocalist Peter Garrett[4] answered an advertisement for a spot in Farm,[5][6] and by 1975 the band had started touring the east coast of Australia.[4] By late 1976 Garrett had moved to Sydney to complete his law degree,[4][6] and Farm changed its name to Midnight Oil by drawing the name out of a hat.[7] The name was coined by Peter Watson, a short-term keyboard player with Farm.[8]
Important to their development was manager Gary Morris, who successfully negotiated favourable contracts with tour promoters and record companies and frustrated rock journalists.[4][6][need quotation to verify] Guitarist Martin Rotsey joined in 1977[9] and Midnight Oil, with Morris, established their own record label, Powderworks,[9] which released their debut eponymous album in November 1978. Their first single "Run by Night" followed in December.[4][6] Founding bass-guitarist James, forced to leave due to illness in 1980, was replaced by Peter Gifford. Gifford was himself replaced by Bones Hillman in 1987.[4][9][6] Through a long and distinguished career, the band became known for its driving hard-rock sound, intense live performances and political activism, particularly in aid of anti-nuclear, environmentalist and indigenous causes.[10]
The following Midnight Oil albums peaked in the Australian Top Ten:[11][12]
Aside from chart success, the Australasian Performing Right Association (APRA) in 2001 listed both "Power and the Passion" and "Beds Are Burning" in the Top 30 best Australian songs of all time,[16]
a chart in which Midnight Oil are the only artists to feature twice. In December 2002 Garrett announced that he would seek to further his political career and Midnight Oil disbanded, but they reformed for two warm-up shows in Canberra leading up to their performance, at one of the "Sound Relief" charity concerts, in honour of the victims of the 2009 "Black Saturday" fires in Victoria and floods in Queensland.
In 1971 drummer Rob Hirst, bass guitarist Andrew James, and keyboard player/lead guitarist Jim Moginie were performing together. They adopted the name "Farm" in 1972,[9] and played covers of Cream, Creedence Clearwater Revival and Led Zeppelin songs.[6] They placed an advert for a band member;[5]Peter Garrett (ex-Rock Island Line) became their new vocalist and synthesizer player and began introducing progressive rock elements of Focus, Jethro Tull and Yes, as well as their own material.[4][6] Garrett was studying at the Australian National University in Canberra, so Farm was only a part-time band.[4][6] They played for the northern-Sydney surfing community and, by 1975, were touring the east coast.[4] In late 1976 Garrett moved to Sydney to complete his law degree.[4][6] Farm then became a full-time group and changed its name to "Midnight Oil" by drawing a name out of a hat, leaving behind "Television", "Sparta", and "Southern Cross".[7] The phrase "midnight oil" came from the Jimi Hendrix song "Burning of the Midnight Lamp".[6]
1976–1981
Martin Rotsey, Midnight Oil guitarist, at the Souths Leagues Club in Brisbane, 2007
After changing its name to Midnight Oil, the group began to develop an aggressive, punk-hard rock sound for their pub rock audiences.[6] Guitarist Martin Rotsey joined in 1977[9] and Midnight Oil, with their manager Gary Morris, established their own record label Powderworks.[9] In June 1978 they entered the Alberts Studio in Sydney with producer Keith Walker, from local radio station 2JJ, to record their debut eponymous album, Midnight Oil, which was released by Powderworks in November 1978 and peaked at No. 43 on the Australian albums charts.[11] Midnight Oil's first single "Run by Night" followed in December,[4][6] but had very little chart success, peaking at No. 100 on the singles charts.[11] The band built a dedicated fan base, initially restricted to Sydney, which was extended to other Australian cities through constant touring – performing some 200 gigs in their first year.[6] They became known for their furious live performances, which featured the two guitarists Moginie and Rotsey, the drumming and vocals of Hirst and the presence of the towering, bald Garrett as lead singer.[4][6][10]
The Midnight OilLP disappointed some critics as it did not capture their powerful live performances, with undemanding playing and Garrett's vocals sounding stilted.[4] Their second album Head Injuries, released on Powderworks in October 1979, was produced by former Supercharge member Leszek Karski.[9] It mixed solid guitar rock with progressive flourishes and was an improvement by highlighting the group's strengths and growth.[4][6] It peaked at No. 36 and by mid-1980 had achieved gold status.[4][11] In April 1980 founding bass guitarist Andrew James left because of ill-health and was replaced by Peter Gifford (ex-Huntress, Ross Ryan Band).[9] Further interest in Midnight Oil was generated by the popular Bird NoisesEP, also produced by Karski, which peaked at No. 28 on the Australian singles charts.[11] One of its four tracks was the surf-instrumental "Wedding Cake Island" named after the rock outcrop in the ocean off Sydney's Coogee Beach. The band's third LP Place without a Postcard, released by CBS Records in November 1981, was recorded in Sussex with English producer Glyn Johns (The Rolling Stones, The Who).[9][6] Creative tensions between the band and Johns plagued the recording and the group were not totally happy with the outcome. Johns had an arrangement with A&M Records and they asked Midnight Oil to return to the studio to record material suitable for an American single release – they refused and returned to Australia.[6]Place without a Postcard peaked at No. 12 on the albums charts and related singles "Don't Wanna be the One" and "Armistice Day" reached the Top 40 in Australia.[11]
Fans, music industry, media
Driven largely by commercial pressures to stay with reliable chart-toppers and teenage pop sensations, the Australian music industry in the mid-1970s cast a dismissive eye toward most bands with an alternative outlook. Although consistently championed by Sydney alternative rock station Double Jay and its FM band successor Triple J, Midnight Oil was almost totally ignored by Australia's mainstream commercial radio stations in their early career. Manager Morris developed a reputation as one of the toughest managers and became notorious for banning critics or journalists, who were usually given free admission to concerts, for writing unfavourable reviews. Writer and critic Bruce Elder, in a mid-1980s newspaper review described their music as "narrow and xenophobic" and declared Midnight Oil were:
"a kind of antipodean pub rock version of Queen [...] life-denying, sexist, secular and bigoted [...] endless touting of Australia and all things Australian"[18]
— Bruce Elder quoted in Crème de la Phlegm: Unforgettable Australian Reviews (2006), ed.:Angela Bennie. ISBN0-522-85241-6
In retaliation, Morris banned Elder from Oils shows permanently. Elder later recanted, describing them as the only Australian band to have developed a truly Australian sound.[citation needed]
The frostiness of Midnight Oil's relationship with the traditional music media quickly saw the band develop a strong "street cred" and a reputation for making no compromises with the music industry. In the early 1980s the band was scheduled to appear on an episode of the all-powerful Australian Broadcasting Corporation (ABC) TV pop show Countdown but on the day of the show they were "bumped" from the line-up. Countdown required artists to mime their songs during 'live' performances, Midnight Oil and Morris insisted they perform completely live and have their sound engineer supervising – neither side backed down.[19] According to Countdown producer Michael Shrimpton, the band had arrived late for rehearsal and, due to the show's very tight schedule and budget, there was a strict policy that latecomers were not allowed to appear; and, as such, they were told they could not perform that day. In response, the group declared that they would never appear on the show, a promise they faithfully kept.[20]Countdown presenter Molly Meldrum shaved his head bald, imitating Garrett, for its final show on 19 July 1987 and expressed regret that Midnight Oil had never appeared on the show.[7][20][21]
Fans of the group were drawn to the band's "us and them" mindset, and fan loyalty to the Oils' ideas and music was fierce. Two venues at which they built significant fan bases from their early live performances were the Sydney northern beaches pub The Royal Antler at Narrabeen and the Bondi Lifesaver club near Sydney's Bondi Beach. Politically oriented rock of the style produced by the band was something of a new concept for the Australian music scene, and Peter Garrett quickly earned a reputation as one of the most charismatic and outspoken musicians in the country. He recalled that there were dangers in playing the pub scene:
You get booked into a pub or hotel, say in the western suburbs of Sydney. Halfway through your set, two large, drunk truck drivers decide to have a fight. They're beating each other up and careening towards the corner where the band is set up. Meanwhile, everyone else is going, 'Aaah, turn it down, I'm trying to watch TV.' Try to contemplate that as an environment to play music in every night for three years.[22]
— Peter Garrett quoted in The Big Australian Rock Book (1985) published by Rolling Stone Magazine, ed.:Ed St John, ISBN0-9590615-0-9
Rise to fame: 1982–1985
10, 9, 8, 7, 6, 5, 4, 3, 2, 1
Their Australian breakthrough and first international recognition came in 1982, with the release of 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, which included the singles "Power and the Passion" and "Read about It". The album peaked at No. 3 and "Power and the Passion" peaked at No. 8.[11] The album also includes their denunciation of American military interference in foreign affairs in "US Forces" and their critique of imperialist repression in "Short Memory". 10 to 1 was recorded in London during September and produced by Englishman Nick Launay,[4][9] who had previously worked with acts including The Jam, XTC, Peter Gabriel, PiL, Gang of Four and The Birthday Party.[4] Launay worked on several other major Australian recordings in this period including INXS' The Swing, Models' The Pleasure of Your Company and The Church's Seance.
The album remained in the Australian charts for 171 weeks.[11] It retained their live energy but was more adventurous and radical than previous work.[4][6] Their ascendancy was signalled by a series of concerts on the release of the album at Sydney's Capitol Theatre, one of which was filmed and recorded and later released on their 2004 Best of Both Worlds DVD. The band also played their first shows outside Australia during this time, with the album being released in the US on Columbia Records, where it charted in 1984 on the Billboard 200;[23] in the UK it was released on CBS.[4]
Red Sails in the Sunset
Midnight Oil undertook more politically motivated benefit concerts,[6] including organising the Stop The Drop nuclear disarmament concert in 1983, which received a United Nations Association of Australia Media Peace Prize.[4]10 to 1 was followed by Red Sails in the Sunset in October 1984, which was recorded in Japan, produced by Launay again.[4][9] It peaked at No. 1 for four weeks on the Australian charts,[11] and charted on the Billboard 200.[23] Singles from the album were released in US and UK but had no chart success.[4] Whilst the album showed an overreliance on technical wizardry, their lyrical stance was positive.[4] The band continued to expand their sound and explore themes of politics, consumerism, militarism, the threat of nuclear war and environmental issues.[6] The album cover by Japanese artist Tsunehisa Kimura featured a photomontage of Sydney – both city and harbour – cratered and devastated after a hypothetical nuclear attack.[24] Live concert footage of "Short Memory" was used in the Australian independent anti-nuclear war movie One Night Stand.[25] A promotional video for "Best of Both Worlds", later on Best of Both Worlds, received airplay worldwide on cable music TV station MTV.[26]
Garrett ran as a Nuclear Disarmament Party (NDP) candidate for a NSW seat in the Australian Senate during the December 1984 federal election, Garrett obtained 9.6% of votes but was unable to obtain the required quota of 12.5%.[27] In April 1985, Garrett, with some 30 other members, walked out of the national conference and resigned from the NDP claiming it had been infiltrated by a Trotskyist group.[28][29] Although unsuccessful in that federal election, Garrett was now a recognised public figure.[4]
Goat Island Triple J concert
In January 1985, Midnight Oil performed Oils on the Water, a concert on Goat Island in Sydney Harbour to celebrate Triple J's tenth birthday,[4] before a select audience of fans who had won tickets in a radio competition. The concert was filmed, simulcast on ABC-TV and Triple J, and released on video,[4] which was remastered for their 2004 Best of Both Worlds DVD.
In December 1985 the four-track EP Species Deceases produced with Francois Kevorkian was released by CBS/Columbia;[9] it peaked at No. 1 on the Australian singles charts for six weeks.[4][11]Species Deceases, featuring the track "Hercules", featured a return to their pub rock sound with hard hitting firepower.[4] Midnight Oil spent several months in 1986 on the Blackfella/Whitefella tour of outback Australia with indigenous groups Warumpi Band and Gondwanaland, playing to remote Aboriginal communities and seeing first hand the seriousness of the issues in health and living standards.[4] The tour was criticised by some journalists for being a one-off event instead of a long-term attempt to build bridges between communities.[30] The band was galvanised by the experiences and made them the basis of Diesel and Dust, released in 1987 and produced by Warne Livesey.[9] The album focused on the need for recognition by white Australia of past injustices involving the Aboriginal nations and the need for Reconciliation in Australia. Peter Gifford left the band before the album's release due to extensive touring schedules,[6] and was replaced by Bones Hillman, formerly of The Swingers.[9]
Diesel and Dust peaked at No. 1 on the Australian albums charts for six weeks,[11] No. 21 on the Billboard 200 charts in 1988,[23] and No. 19 on the UK albums charts.[31] "Beds Are Burning" was their biggest international hit single, peaking at No. 6 in Australia,[11] and No. 17 on the Billboard Hot 100,[32] No. 6 on the UK singles charts.[31] "The Dead Heart" peaked at No. 6 in Australia,[11] and charted on the Hot 100[32] and in the UK.[31] "Put Down that Weapon" also charted in Australia,[11] while "Dreamworld" charted on Billboard's Mainstream Rock Tracks and at No. 16 on its Modern Rock Tracks.[32]
There were concerns about Diesel and Dust and Midnight Oil's attempts to express indigenous issues to white urban audiences – namely, the question "who holds the power to tell whose history?"[30] The lyrics of "The Dead Heart" tell the story of colonisation from an indigenous point of view but some critics felt they reinforced the "primitive" stereotype.[30] Use of the bullroarer was criticised as belonging to sacred rituals and therefore not appropriate for rock songs.[30] "The Dead Heart" had been written in response to a request by organisers of the 1985 ceremony to return control of Uluru to its indigenous caretakers; Midnight Oil had originally resisted, arguing it would be more appropriate for an indigenous band to release the single. However, the organisers insisted, arguing that the band would reach a wider audience within the predominantly Caucasian urban centres.[citation needed] Midnight Oil requested that all royalties from the song go to indigenous communities.[24] In addition, two indigenous groups, Warumpi Band and Gondwanaland, toured with them.
During 1989–1993 and 1998–2002 Garrett was the President of the Australian Conservation Foundation, whilst during 1993–1998 he was on the International Board of Greenpeace.[34] In 1990 Midnight Oil played an impromptu lunchtime set in front of Exxon headquarters in New York with a banner reading, "Midnight Oil Makes You Dance, Exxon Oil Makes Us Sick," protesting the Exxon Valdez oil spill the previous year.[6]
Blue Sky Mining
In February 1990, Blue Sky Mining, produced by Livesey, was released by CBS/Columbia.[9] It peaked at No. 1 on the Australian Recording Industry Association (ARIA) albums charts.[12] It stayed at No. 1 for two weeks in Australia and had Top 5 chart success in Sweden, Switzerland and Norway.[35] It peaked at No. 20 on the Billboard 200[23] and No. 28 on the UK charts.[31] The album was more defiant and outspoken;[4] the single "Blue Sky Mine" describes asbestos exposure in the Wittenoom mine tragedy.[4] The single peaked at No. 8 on the ARIA singles charts,[12] top 15 in Norway and Switzerland,[36] No. 47 on Billboard Hot 100 and No. 1 on both their Mainstream and Modern Rock Tracks charts,[32] and appeared on the UK charts.[31] The second single, "Forgotten Years", was more moderately successful, reaching No. 26 on the ARIA singles chart, No. 97 in the UK, No. 11 on the Mainstream Rock Tracks, and No. 1 on the Modern Rock Tracks.
In Sydney in 1990, while Midnight Oil were taking a break, Hirst joined up with guitarist Andrew Dickson, drummer Dorland Bray of Do-Ré-Mi, guitarist Leszek Karski (Midnight Oil producer) and bass guitarist Rick Grossman of Hoodoo Gurus to form a side project called Ghostwriters.[37] The name refers to the practice of ghostwriting, wherein famous writers contribute under assumed names in order to remain anonymous. Ghostwriters' line-ups – both live and in the studio – changed considerably through the years, with only founders Hirst and Grossman being mainstays. Between successive album releases Hirst and Grossman returned to active involvement with Oils and Gurus respectively. Ghostwriters have released Ghostwriters (1991), Second Skin (1996), Fibromoon (1999) and Political Animal (2007).[37]
At the 1991 ARIA Awards ceremony, Midnight Oil won 'Best Group' and an 'Outstanding Achievement Award' and 'Best Cover Artist', 'Best Video' and 'Album of the Year' for Blue Sky Mining.[38] Morris, accepting awards for Midnight Oil, was criticised for a speech lasting 20 minutes.[7][38]
Scream in Blue (Live), their June 1992 live album produced by Keith Walker, contained material from concerts between 1982 and 1990, including "Progress" from their Exxon Valdez protest gig.[4][9] It peaked at No. 3 on the ARIA albums charts;[12] Top 50 in Austria, Sweden and Switzerland;[39] and appeared on the Billboard 200.[23]
Earth and Sun and Moon
Midnight Oil's Earth and Sun and Moon album, produced with Nick Launay, was released in April 1993 and also drew critical acclaim and international success, peaking at No. 2 on the ARIA albums charts,[12] top 20 in Sweden and Switzerland,[40] Top 50 on Billboard 200,[23] and top thirty in the UK albums chart.[31] The single "Truganini" referenced multiple issues, including the 'last' Tasmanian Aboriginal person, the treatment of Aboriginal artist Albert Namatjira, the Australian flag debate, and republicanism.[30] Liner notes for the single claimed "Truganini was the sole surviving Tasmanian Aborigine, the last of her race, when she died in 1876."[30] The Tasmanian Aboriginal Centre, representing over 7000 contemporary Tasmanians, called for the single to be boycotted as it perpetuated a 'white' myth about the extinction of Aboriginal Tasmanians.[30] Their Native Title claims hinged upon establishing links with ancestral lands. Morris responded with, "My suggestion to these people is to stop shooting themselves in the foot and let a band like Midnight Oil voice its appeal to White Australia on behalf of Black Australia".[30]
Critics contended that Morris disparaged Indigenous Australians' ability to represent themselves and overestimated Midnight Oil's ambassadorial powers while diminishing their errors, while some indigenous activists saw benefit in Midnight Oil's highlighting of the issues.[30] Nevertheless, "Truganini" released in March peaked at No. 10 on the ARIA singles charts,[12] No. 10 on Billboard Mainstream Rock Tracks and No. 4 on their Modern Rock Tracks charts,[32] and top thirty for the UK charts.[31] Peter Garrett issued an apology for the mistake in the liner notes. The band performed the song along with "My Country" from the album on the American sketch-comedy series Saturday Night Live during the 8 May 1993 episode hosted by Christina Applegate.[41]
Breathe was released in 1996. It was produced by Malcolm Burn and had a loose, raw style with almost a low-key sound.[4] It peaked at No. 3 on the ARIA albums chart,[12] and had Top 40 success in New Zealand and Switzerland.[42] They returned to No. 1 on the ARIA albums charts[12] with the compilation20,000 Watt R.S.L. in 1997 on Sony Records, which achieved 4×Platinum sales.[43] Later album releases include the electro tinged hard rock Redneck Wonderland in 1998, live album The Real Thing in 2000 and the more stripped back Capricornia in 2002 again renuniting with producer Warne Livesey, all charted into the ARIA Top Ten.[12]
Sydney 2000 Olympic Games performance
Midnight Oil again brought the politics of Reconciliation to the fore during their performance at the closing ceremony of the Sydney 2000 Summer Olympics. Then Prime Minister John Howard had triggered controversy that year with his refusal to embrace symbolic reconciliation and apologise to Indigenous Australians and members of the Stolen Generations.[citation needed] But he had also said their reconciliation-themed single "Beds Are Burning" was his favourite Midnight Oil song. Midnight Oil performed the song at the ceremony with the word SORRY conspicuously printed on their clothes as a form of apology to Indigenous people for their suffering under white settlement and to highlight the issue to Howard, who was in the audience at the Olympic stadium as an estimated one billion people watched on television.[30] Midnight Oil had consulted with tour mates Yothu Yindi and other Indigenous activists, so that their performance would bring popular protest to the world arena.[30]
Garrett announced his decision to quit Midnight Oil on 2 December 2002, to refocus on his political career.[6] In the 1984 federal election, Garrett had stood for the Australian Senate under the Nuclear Disarmament Party banner and narrowly lost. He won the seat of Kingsford Smith at the 2004 General Election for the Australian Labor Party and was selected as Shadow Minister for Climate Change, Environment, Heritage and the Arts. On Thursday, 29 November 2007, Prime Minister elect Kevin Rudd named Garrett as Minister for the Environment, Heritage and the Arts. The other members of the band continued to work together, but not under the Midnight Oil name.
On 29 October 2006 Midnight Oil was inducted into the ARIA Hall of Fame with ARIA chairman Denis Handlin describing them:
For 30 years, on their journey from inside Sydney's Royal Antler Hotel to outside the Exxon Building in New York, the Oils have always led from the front. They spoke to us – and to the world – in a uniquely Australian way. [...] Their music speaks first – it's powerful, it's uncompromising, it's unique rock music that inspires, entertains and will last forever. [...] My favourite Oils lyric, which summarises it all is: 'It's better to die on your feet than live on your knees.'[7]
Rob Hirst in his acceptance speech thanked his family, bandmates, and support from fellow Australians. He also lamented the fact that unlike the Vietnam war which had inspired some of the best protest songs ever written, very few had been written in reaction to the invasion of Iraq.[7]Flat Chat, another compilation album, was released in November and peaked at No. 21 on the ARIA album charts.[12]
Rumours of an appearance by Midnight Oil at the Sydney leg of the Live Earth concert in July 2007[45] were false. However Ghostwriters, founded by drummer Hirst and Hoodoo Gurus bass guitarist Rick Grossman and including former Oils guitarist Martin Rotsey, performed six tracks including the Oils' song "When the Generals Talk", whilst Peter Garrett gave a speech introducing a reformed Crowded House.
Aside from Ghostwriters, Hirst has also been a member of Backsliders, performed with former Olympian Paul Greene, with fellow Backsliders member Dom Turner on The Angry Tradesmen and with Rotsey assisted on Jim Moginie's solo album Alas Folkloric in 2006.
Reunion, the Great Circle Tour, Midnight Oil: 1984 and Armistice Day
On 4 May 2016 it was announced on the band's website that Midnight Oil intended to reform and embark on a tour in 2017 (their first concerts in Australia since 2002 and their first world tour since 1997).[50] Such plans were confirmed in February 2017, when the band announced The Great Circle Tour, which kicked off in April. After three warm up concerts in their native Australia, the band toured Brazil, the U.S., Canada, Europe, South Africa, Singapore and New Zealand before going back to play a series of concerts around the whole of Australia.[51] The band performed 77 concerts in 16 countries during the tour.
In March 2018, the band announced the release of a new documentary film entitled Midnight Oil: 1984. Directed by Ray Argall, the film primarily consists of previously-unseen footage from the band's tour in support of Red Sails in the Sunset. The film was given an Australian cinematic release in May 2018, an Australian DVD/Blu-ray release the following July and a limited North American and New Zealand cinematic release that August.
One of the Great Circle tour's final concerts was held on Armistice Day at The Domain, in Sydney on 11 November 2017. Both shows at the Domain (the band also performed there on 17 November) were filmed and recorded, being turned into the live album and film Armistice Day: Live at the Domain, Sydney. The film was given a one-night cinematic release on 24 October 2018.[52] On 9 November 2018, Armistice Day was released as a live album, as well as on DVD and Blu-ray.[53]
In December 2018, the band announced a European and UK tour for June and July 2019.[54] The band were also announced as the headlining act of the Big Red Bash festival, taking place in Birdsville, Queensland.[55] In April 2019, the band announced headlining shows in Thirroul and Canberra as warm-up shows for their European tour.[56] With the announcement came news that the band intended to record new material for a projected 2020 release.[57]
On 7 August 2020, Midnight Oil released their first song in 18 years titled "Gadigal Land", with all earnings going to organisations promoting the Uluru Statement from the Heart.[58] The song featured poetry spoken in the Gadigal language.[59] It is the first song from a mini-album titled The Makarrata Project,[60] whose name is related to one of the elements of the Uluru Statement, a Yolngu word approximating a peace agreement or type of treaty.[61] "Gadigal Land" peaked at number 5 on the Australian digital sales song chart.[62]
The Makarrata Project was released on 30 October 2020[63] and reached Number 1 in the Australian albums chart on 6 November 2020.[14]
Bass guitarist Bones Hillman died on 7 November 2020 of cancer at his home in the United States.[64] The surviving members of Midnight Oil announced Hillman's death in a statement which remembered him as "the bassist with the beautiful voice, the band member with the wicked sense of humour, and our brilliant musical comrade."[64]
On 18 May 2021, Midnight Oil announced on Twitter their thirteenth album, with the working title Show of Hands, was scheduled for release during their performance at the 2021 Byron Bay Bluesfest. As the event was cancelled on mid-August, and the majority of lineup was confirmed for the 2022 edition (set to 14 April), the band's plans to release the album remained undefined for some six months.
On 28 October 2021, the band released on YouTube a video for their first single from the album, "Rising Seas".[65] They announced the single on Twitter: "The uncompromising song, released on the eve of [...] (COP26), adds the band's unique voice to billions of others around the world seeking a safe, habitable, and fair future for our planet." The band featured no bassist in the video, leaving only a bass guitar in a stand on the background beside the drums as a tribute to Hillman.
On 26 November 2021, the band officially announced the album Resist, which was released 18 February 2022. With the announcement of the album came the release of national Australian tour dates for 2022, which the band confirmed would be their last – while simultaneously confirming that the band will continue to make music together in the future.[66]Resist: The Final Tour concluded on 3 October 2022, at the Hordern Pavilion in Sydney with a 40-song, three-and-a-half-hour set from the band.[67]
Legacy
Midnight Oil initially faced resistance from the mainstream media,[68] but went on to sell over 20 million albums.[69] They were inducted into the ARIA Hall of Fame in 2006, having won 11 ARIA Awards during their career.[70][71]AllMusic noted that the band "brought a new sense of political and social immediacy to pop music", and were "inspirational and successful in their homeland",[72] while critic Bernard Zuel wrote, "It's been said of Midnight Oil that 'this is what Australia sounds like'."[73] Author Tim Winton remarked, "It was almost too much to believe that rock music could be about anything but itself. You know: life on the road and the inconvenience of VD. Dicks and chicks. Faux Americana. Finally someone was playing stuff that was musically idiosyncratic, fresh and strong. And authentic."[73]Spin founder Bob Guccione Jr. said of Midnight Oil, "If they were from New Jersey they'd be bigger than U2."[74]Guardian writer Andrew Street called them "one of Australia's most beloved bands".[75]
Music journalist Kurt Loder once noted that Midnight Oil were "reputed to be Australia's most formidable live act";[108] Tomas Mureika in AllMusic argued they were "the tightest band on the planet for a time".[109] Writer John O'Donnell said that the group's performances "quickly became the stuff of legend and earned the band a large and fiercely loyal following".[110]Cold Chisel singer Jimmy Barnes called them "one of the greatest bands ever and one of my favourite live bands in the world".[111]The Smashing Pumpkins frontman Billy Corgan referred to the 2016 announcement of Midnight Oil's impending reformation as "awesome news", noting that they are "one of the greatest live bands I've ever seen".[112] Corgan had previously likened his dancing to that of Peter Garrett.[113] Garrett's onstage routine – described by critic Richard McGregor as "mesmerising"[114] – incorporates a wild and eccentric dance style;[115][116]Guardian journalist Andrew Stafford wrote that Garrett has a "unique dance step that captivated audiences for over 20 years" prior to the group's 2002 disbandment.[117] His dancing was imitated in Parliament by Australian politicians Peter Costello[118] and John Elferink.[119]
Personnel
Current members
Peter Garrett – lead vocals, harmonica (1976–2002, 2005, 2009, 2016–present)
Rob Hirst – drums, backing and occasional lead vocals (1976–2002, 2005, 2009, 2016–present)
These annual awards were established by Australasian Performing Right Association (APRA) in 1982 to honour the achievements of songwriters and music composers and to recognise their song writing skills, sales and airplay performance, by its members annually.[121] From 1982 to 1990, the best songs were given the Gold Award (also called the Special Award).[121][122]
The ARIA Music Awards are an annual set of awards, commenced in 1987, which recognise excellence, innovation, and achievement across all genres of Australian music. Midnight Oil have received 11 wins from 38 nominations.[127]
Countdown was an Australian pop music TV series on national broadcaster ABC-TV from 1974 to 1987; it presented music awards from 1979 to 1987, initially in conjunction with magazine TV Week. The TV Week / Countdown Awards were a combination of popular-voted and peer-voted awards.[130][131]
Year
Nominee / work
Award
Result
1981
Themselves
Most Consistent Live Act
Nominated
1982
10, 9, 8, 7, 6, 5, 4, 3, 2, 1
Best Australian Album
Nominated
1983
"Power and the Passion"
Best Australian Single
Won
Best Promotional Video
Nominated
1984
Red Sails in the Sunset
Best Australian Album
Nominated
"Read About It"
Best Group Performance in a Video
Nominated
"Short Memory" – Peter Garrett (Midnight Oil)
Best Male Performance in a Video
Nominated
Themselves
Most Popular Australian Group
Nominated
1986
"The Dead Heart"
Best Australian Single
Nominated
Environmental Music Prize
The Environmental Music Prize is a quest to find a theme song to inspire action on climate and conservation. It commenced in 2022.[132]
The Helpmann Awards is an awards show, celebrating live entertainment and performing arts in Australia, presented by industry group Live Performance Australia since 2001.[135] Note: 2020 and 2021 were cancelled due to the COVID-19 pandemic.
The Australian Entertainment Mo Awards (commonly known informally as the Mo Awards), were annual Australian entertainment industry awards. They recognise achievements in live entertainment in Australia from 1975 to 2016. Midnight Oil won two awards in that time.[140]
^Merline, Michael (1 May 2013)."Midnight Oil: Essential Oils". Archived from the original on 13 July 2013. Retrieved 27 September 2015.((cite web)): CS1 maint: bot: original URL status unknown (link). Spectrum Culture.
^ abcdefJenkins, Jeff; Meldrum, Ian (2007). Molly Meldrum presents 50 years of rock in Australia. Melbourne: Wilkinson Publishing. pp. 21, 82, 237–241. ISBN978-1-921332-11-1.
^Zuel, Bernard (1 November 2012). "Midnight memories". The Sydney Morning Herald. Retrieved 10 December 2023.
^"The 100 Best Australian Albums | Triple J". Australian Broadcasting Corporation. 28 October 2010. Archived from the original on 29 October 2010. Retrieved 9 July 2011.((cite web)): CS1 maint: bot: original URL status unknown (link)
^Verrender, Ian (14 September 1996). "Is anyone listening?". Sydney Morning Herald. Archived from the original on 19 October 2003. Retrieved 22 October 2008.((cite news)): CS1 maint: bot: original URL status unknown (link)
^"Long Way to the Top Peter Garrett entry". Australian Broadcasting Corporation (ABC). 2001. Archived from the original on 14 September 2001. Retrieved 24 October 2008.((cite web)): CS1 maint: bot: original URL status unknown (link)
^ abHolmgren, Magnus. "Ghostwriters". Australian Rock Database. Passagen.se (Magnus Holmgren). Archived from the original on 29 March 2012. Retrieved 12 February 2014.
^Sutherland, Donnie (6 December 1980). "Peter Garrett". Sounds. Seven Network. There's not a great deal of press outside of the rock magazines, and radio have been reluctant to play [Midnight Oil] records.
^"REM: Really Excellent Music". Rip It Up. Hark Entertainment Ltd. January 1996. Our early stuff was definitely informed by groups like... Midnight Oil.
^"M-One Rock Fest, 7 October". Inpress. Street Press Australia. 16 October 2002. [Shirley] Manson spoke effusively about The Oils' influence on her band's work.
^Scatena, Dino; Powderfinger (2011). Powderfinger: Footprints. Hachette Australia. p. 240. ISBN978-0-7336-2882-5. Midnight Oil invited the Fingers to join them on the bill of the Woodford Folk Festival. It was a show that had a profound effect on the band... they watched Midnight Oil perform. The whole experience reinforced the concept of blending social consciousness with musicianship of the highest calibre.
^"Support acts tell why Midnight Oil matters". Herald Sun. 25 February 2017. Retrieved 16 January 2018. John Butler cited The Oils... as the inspiration for him to make music which would 'contribute to a better world and for it to shine light into the shadows'... he said The Oils 'will always be a group that musicians and individuals to look up to'.(subscription required)
^Weldon, Jason (21 November 2006). "U2 still showing young pretenders how it's done". Drum Media. Treweek. The 19 November Melbourne audience was treated to a short cover of The Oils' 'Beds Are Burning'.
1989–90 winners: "1989–1990 APRA Music Award Winners". Australasian Performing Right Association (APRA) | Australasian Mechanical Copyright Owners Society (AMCOS). Archived from the original on 30 October 2020. Retrieved 3 December 2019. Note: APRA-AMCOS changed the timing of their awards ceremony from May to the previous November and hence a special presentation for 1989/90 recipients was made at the May 1991 ceremony.
2008 winners: "Songwriter of the Year". Australasian Performing Right Association (APRA) | Australasian Mechanical Copyright Owners Society (AMCOS). 2018. Archived from the original on 3 December 2019. Retrieved 3 December 2019.
1987 winners and nominees: "ARIA Awards 1987.mov". YouTube. ARIA Official YouTube Account. 13 November 2011. Retrieved 1 December 2019.
1988 winners: "Winners by Year 1988". Australian Recording Industry Association (ARIA). Archived from the original on 26 September 2007. Retrieved 1 December 2019.
1989 winners and nominees: "[ARIA AWARDS] : [1989, 3RD, SYDNEY]". Australian Record Industry Association. Video recording of 3rd ARIA Awards (available from the National Film and Sound Archive, title no. 1241401). 6 March 1989.
1991 winners and nominees: "Winners by Year 1991". Australian Recording Industry Association (ARIA). Archived from the original on 8 June 2009. Retrieved 1 December 2019.
1993 winners and nominees: "Winners by Year 1993". Australian Recording Industry Association (ARIA). Archived from the original on 14 December 2007. Retrieved 4 December 2013.
1994 winners and nominees: "Winners by Year 1994". Australian Recording Industry Association (ARIA). Retrieved 3 December 2013.
1998 winners and nominees: "Winners by Year 1998". Australian Recording Industry Association (ARIA). Archived from the original on 29 September 2007. Retrieved 4 December 2013.
1999 winners and nominees: "Winners by Year 1999". Australian Recording Industry Association (ARIA). Archived from the original on 3 October 2008. Retrieved 4 December 2013.
2004 winners and nominees: "Winners by Year 2004". Australian Recording Industry Association (ARIA). Archived from the original on 4 March 2008. Retrieved 3 December 2013.
2006 winners and nominees: "Winners by Year 2006". Australian Recording Industry Association (ARIA). Archived from the original on 12 December 2007. Retrieved 25 April 2015.
2017 winners and nominees: "And the ARIA Award Goes To..." Australian Recording Industry Association (ARIA). 28 November 2017. Retrieved 2 December 2019.
2019 winners and nominees: "2019 ARIA Award Winners Announced". Australian Recording Industry Association (ARIA). 27 November 2019. Retrieved 29 November 2019.
