Folk punk trio Tyre Swans may not consider themselves a real band, but they’re sure behaving like one, writes TIM SCOTT.

“To me, sharing and inclusion is the basis of folk music. I read about old folk musicians doing each others songs and playing the same shows and it always seemed very supportive. That’s the reason behind Tyre Swans,” says singer/guitarist Jamie Hay (A Death in the Family, Fear Like Us) on the genesis of his new outfit.

What began as a semi-drunken conversation about a year ago has developed into a project that sees some of the country’s finer exponents of heartfelt and honest melodic rock – Hay, Donnie Dureau (Blueline Medic) and Darren Gibson (Lead Sketch Union) – unplug. But don’t go calling it “folk punk” just yet. Jamie, Donnie and Darren certainly ain’t no Peter, Paul and Mary.

Collectively known as Tyre Swans, they are about to hit the road in support of their self-titled LP (out this month on Poison City Records), a collection of songs that showcase their folksy and introspective side.

“We are not a band, but we’re treating this tour like a band,” explains Gibson in the front bar of Melbourne’s Arthouse. “The idea for Tyre Swans actually started here – I think it was after a Lead Sketch Union show. Jamie and I were pretty drunk and we got to talking about doing solo acoustic stuff and then the conversation turned to us doing a split. Then we got Donnie involved, so it was going to be a three-way split. But rather than call it ‘Jamie, Donnie and Darren’, we decided on Tyre Swans.”

Hay and Gibson (Dureau is in the studio) are back where it all began on a sunny Sunday afternoon. Later, they will fine-tune their songs to a lively audience enjoying cold refreshments and a free veggie barbecue in the beer garden.

“All the songs were recorded at different places as it’s a three-way split,” explains Hay, “but each person dabbles on each recording so just to make it a little more interesting. So when we go on tour, we’re going to try to play more on each other’s songs.”

Despite the acoustic nature of the songs, the punk DIY spirit of touring continues with performances in pubs, cafes, record stores – even on a beach.

“We are not going to treat it like a write-off, wasted-every-night thing,” says Hay. “We hope to get up early and busk some places for fuel money just to have some fun. The whole point of it was to play out of the usual places, trying to create a more relaxing environment for this kind of stuff.”

Whereas Hay and Dureau have some previous experience stepping out solo, for Gibson, being alone on stage can still be a little intimidating at times.

“I was asking Jamie how he started playing acoustic and then out of nowhere I was offered to play a show at the Arthouse birthday gig and I was totally shitting myself,” he laughs. “I feel more comfortable and I think I'm playing better but I still get nervous. I was playing the other night and I went to get a glass of water and my hands were shaking. But Donnie and Jamie have been very supportive. They are kind of like mentors for me.”

“We are not going to treat it like a write-off, wasted-every-night thing. We hope to get up early and busk some places for fuel money just to have some fun.”

Today, the difference in experience and styles is evident, epitomised by the pair’s distinct vocal delivery. Gibson sings close to the mic with dark shades covering his eyes, his voice grows stronger and more confident with each song. Hay, in thongs and ripped jeans, stands back and belts out the words, spittle flying. He mixes up solo material and is then joined by Fear Like Us bassist Babs to play some older material as well as a few covers. He’s not afraid to mix up Prince (by way of Cyndi Lauper’s) ‘When You Were Mine’ with Phil Och’s classic protest song ‘I Ain’t Marching Anymore’.

“Phil Ochs is one of my heroes,” he explains. “Everything the man said was spot on. I loved his melodies and even though he didn’t have a great voice I’ve always admired his songwriting – he stood behind everything he said. He realised that music was a very direct form of communication. He was quoted as saying that a song will stick in people’s mind more than a pamphlet handed out at a protest”

While Hay’s past musical projects, particularly Conation and Fear Like Us, were unafraid to sing openly political songs, he says the solo material provides an opportunity to be a little bit more personal.

“I like that it is chance to step away from that other stuff – whether it’s the expectations of what others think I am supposed to be singing about. I like the changed genres and trying something new just to shed the skin of what is expected of me. That’s what I like about the solo stuff, it’s a little broader. I can have a song that is totally political, or I can have a song that is totally personal.

“I’ve enjoyed being the wanker songwriter,” he jokes. “I’ve been getting into a more narrative style, writing songs that are like stories. It’s just to help keep yourself interested in what you are doing.”

A good example of Hay’s newfound personal style is ‘Newcastle’, a homage/break-up song to his hometown. “I wrote that before I moved to Melbourne. The city was a huge part of my life and as much as I was excited about leaving, I was also hesitant to leave a town that held so many memories. So the song is almost about leaving someone rather than somewhere”.

Both Hay and Gibson agree that their stripped-back approach – just guitar and voice – leaves little room for error.

“You can hear every single whisper in the room,” says Gibson. “I don’t know about you, Jamie, but performing solo I find myself concentrating so hard on the song that I take in every little thing. I really enjoy it. It’s way different as it makes you hone your craft a bit more as you can’t get away with a mistake.

“Yeah, totally,” agrees Hay. “I think lyrics are always important anyways, but especially with the solo stuff I try to make it that every line is clear because it’s so stripped back. It’s just a guitar and your voice you want to make it count.”

And make it count, he does. When Hay sings/screams “I won’t even blink/ I’d rather go blind” in the chorus of ‘Fireworks in the Distance’, all eyes and ears are on him, his guitar and his words.

TYRE SWANS “SUMMER BUSKERS” TOUR

Friday, January 9
Step Inn, Brisbane, QLD

Saturday, January 10
Cafe Checocho, Brisbane, QLD


Sunday, January 11
TBA, Lismore, QLD

Tuesday, January 13
Tom’s Shed, Port Macquarie, NSW

Wednesday, January 14
Lass O’Gowrie, Newcastle, NSW

Thursday, January 15
Beatdisc Records, Sydney, NSW

Friday, January 16
The Front Bar, Canberra, ACT

Saturday, January 17
The Old Bar, Melbourne, VIC

Sunday, January 18
Poison City Records, Melbourne, VIC

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