RESIST Midnight Oil

• 1 Rising Seas 05:50
• 2 The Barka-Darling River 06:49
• 3 Tarkine 04:19
• 4 At the Time of Writing 04:39
• 5 Nobody's Child 04:28
• 6 To the Ends of the Earth 05:00
• 7 Reef 04:17
• 8 We Resist 05:19
• 9 Lost At Sea 04:45
• 10 Undercover 03:15
• 11 We Are Not Afraid 04:27
• 12 Last Frontier 06:53
• Total Runtime 01:00:01

Info for RESIST

In 2017 Midnight Oil returned from a long hiatus with a sweat drenched pub gig at the legendary Sydney venue, Selina’s. In the middle of that special set, frontman Peter Garrett borrowed some famous lines, exhorting “rage, rage, against the dying of the light”. And that’s exactly what they’ve done ever since. They sold out 77 shows in 16 countries on their epic “Great Circle” tour. They toured Europe again, did a memorable gig in the outback, then returned to the studio for the first time in over 18 years and recorded 20 new songs. The first batch of that material, The Makarrata Project, debuted at #1 on the same weekend that longtime bass player Bones Hillman sadly died. Despite that profound blow, and a global pandemic, the band and their First Nations Collaborators still mounted their acclaimed “Makarrata Live” shows early this year – championing the Uluru Statement and highlighting ongoing injustices suffered by First Nations people.

Today Midnight Oil announced that this chapter of their career will come to a memorable close next year with the release of the other 12 new songs they recorded with Bones and a series of big gigs. Both are aptly titled Resist.

The band also announced that this will be their final concert tour while making it clear that this does not mean the end of the Oils. Each of the members will continue their own projects over the years ahead. They remain very open to recording new music together in future and supporting causes in which they believe but this will be their last tour.

Meanwhile Resist will be a fitting, forward looking, statement for a band whose clarion call has always been “it’s better to die on your feet than live on your knees”. The tour will see them performing classic Midnight Oil songs from across their repertoire while also showcasing some urgent new works. As the title makes abundantly clear, Resist engages with the issues of today and tomorrow – like the lead single “Rising Seas” which tackles the climate crisis in typically uncompromising fashion.

Rob Hirst says: “If I look back, I see a blur of familiar names and faces: Jim, Pete, Martin, Bear and me, slamming loud prog-pop in a Chatswood garage; Giffo, magnificent, rocking back and forth at his first Royal Antler gig; Bonesy, headphones on, singing, lounging on the deck learning our catalogue.

I see our managers in their offices – Gary, Zev and John; our tour managers in their cars and buses – Constance, Neil, and Willie Mac; our producers in their studios, Keith, Lez, Glyn, Nick and Warne; and our crew on countless stages, Michael, Oysters, Ozzy, Doc, Nick, Jock, Gerry – and so many more.

I see our folks-in-the-engine-room that the outside world has never seen: Stephanie, Wayne, Diana, Arlene, Jonesy, Craig, Geoff H, Chris P, Peter T, and Mel C.

I see our wives and trusted friends, and the tiny faces of the ‘Baby Oils’, watching us from side of stage, from Sydney to Sao Paulo to Saskatoon.

But mostly, blinded by stage lights, I see the first two rows of a thousand gigs: Midnight Oil fans, pumping, jumping, singing louder than the band.

But I don’t look back.”

Peter Garrett says: “We all know time refuses to stand still for anyone but after many years together the band’s spirit is deep, the music and words are strong, and our ideas and actions as bold as we can make them. We’ve reached people in ways we never could have imagined. Our desire to create and speak out is undimmed. We hope everyone who hears this album and gets to one of the shows will come away charged up about the planet’s future, saying ‘why stop now?’. Having always tackled every tour like it’s the last – this time it actually will be.”

Jim Moginie says “We’ve played intensely physical gigs since our humble beginnings back in 1977 and we never want to take even the slightest risk of compromising that. A lot has happened over the last five years. Much has been achieved and with the passing of Bones much has been lost, so it now feels like we’re at the end of a cycle.

These will be sad and beautiful gigs but luckily we’re still capable of blowing the roof off any stage and that’s what we intend to do. You could call this a farewell tour, but Midnight Oil will still continue in some form or other as we’re brothers, family. We stand as one, dependent on each other and grateful in all the important ways that make great bands great.”

Martin Rotsey says: “A huge thank you to all our fans around the world. We’ve shared so much together from the swelter of Sydney pubs to magical nights under starry skies. Your energy took us further than we could ever have dreamed.

To those down the front in the maelstrom, those at the back of the room singing their hearts out, and all of those onstage, backstage, and back home who helped make everything possible, we send our thanks.”

Resist will be Midnight Oil’s 15th studio release since the band exploded out of the post-punk scene back in 1978, blazing a singular trail of blistering gigs through Australia’s pubs and clubs. In the four decades since they have created an unparalleled string of classic tracks including “I Don’t Wanna Be The One”, “Power & The Passion”, “US Forces”, “Best Of Both Worlds”, “The Dead Heart”, “Blue Sky Mine”, “Forgotten Years”, “Truganini”, “Redneck Wonderland”, “Say Your Prayers” and the 2020 APRA song of the year “Gadigal Land (feat. Dan Sultan, Joel Davison, Kaleena Briggs & Bunna Lawrie)”. Their Diesel & Dust LP topped the critics’ “100 Best Australian Albums Of All Time” and its worldwide hit “Beds Are Burning” is one of the “500 Songs That Shaped Rock’n’roll” according to the U.S. Rock’n’roll Hall Of Fame. The band’s performance of that song at the Sydney Olympics is etched in the memory of billions.

From the northern beaches of Sydney to the streets of Manhattan, they have stopped traffic, inflamed passions, inspired fans, challenged the concepts of “business as usual” and broken much new ground. Seeing Midnight Oil in full flight is to experience the kinetic power of live rock’n’roll. They leave you inspired to live life more passionately and to Resist.

Midnight Oil calls for governments to urgently take serious actions that reduce carbon pollution. This tour will embrace best practices for emission reductions and offsetting. A portion of proceeds will be set aside for organizations seeking to elevate the existential threat posed by the climate crisis.

Midnight Oil

Midnight Oil
are more than just a rock ‘n’ roll band. From the northern beaches of Sydney to the streets of Manhattan, they have stopped traffic, inflamed passions, inspired fans, challenged the concepts of “business as usual” and broken new ground.

Seeing Midnight Oil in full flight is to experience the transcendent, kinetic power of live rock ‘n’ roll. They leave you inspired to live life more passionately and to Get Involved.

Everything about the band is uncompromising, but their greatest achievement is that they are, night after night and album after album, a great rock ‘n’ roll band. For all of the incredible growth, ambition and experimentation that Midnight Oil have evidenced, the sound and the fury and the spirit of their earliest recordings are still there 40 years later, on tracks like “White Skin Black Heart” and “Say Your Prayers”.

Rob Hirst (drums, vocals) and Jim Moginie (guitars, keys & vocals) started making music together at school in 1972. They gradually evolved into Midnight Oil, with singer Peter Garrett joining in 1975 and Martin Rotsey (guitar), coming on board in the following year. Founding bass player, Andrew “Bear” James, was replaced by Peter “Giffo” Gifford from 1980 until 1987 when Bones Hillman joined the band.

Before they took it global, Midnight Oil’s early spiritual home was the Royal Antler Hotel, Narrabeen on Sydney’s northern beaches. It was there that ‘the Oils’ fan base swelled from a handful to a thousand – in a space intended for half that number. Between 1976 and the very early 80’s, these five young men played out this blistering ritual almost 1000 times. At all of these shows the distance and the difference between audience and band was indistinguishable. From their earliest days, Midnight Oil was writing songs about who and what they saw around them.

The eponymous debut album, smartly nicknamed “The Blue Meanie” (equal parts a reference to the Beatles and the snarl of the sound), was released in 1978 and was a collection of primal, spiky rock ‘n’ roll. Like so many great debut albums it spoke directly about the milieu in which it was born (Sydney surf/suburbs culture) and was an in-studio approximation of their live set. The song “Run By Night” became an instant classic and despite receiving next to no commercial radio support, the album cracked the Australian Top 50. Midnight Oil was on its way.

A second album, “Head Injuries”, followed the next year featuring the singles “Cold Cold Change” and “Back on the Borderline” – the geography was a little broader, the subject matter a little more universal and the sound a little closer to their live energy.

Shortly after Head Injuries Andrew “Bear” James retired and the bass was picked up by Peter “Giffo” Gifford. Recalibrating their sound as they would do many times, the band’s new line-up released the 12″ “Bird Noises” EP (featuring “No Time For Games” and the sublime surf instrumental “Wedding Cake Island”).

Their ambitions growing, the band decamped to England to record the “Place Without A Postcard” album with legendary producer Glyn Johns (The Faces, The Who, The Rolling Stones). A dense, claustrophobic gem, “Place Without A Postcard” is arguably Midnight Oil’s first great album – defiantly articulating a broader Australian world view on tracks like “Armistice Day”, “Don’t Wanna Be The One” and the epic “Lucky Country”.

By the time “Place Without A Postcard” was released in 1981, the Australian pub rock scene was at its zenith. Suburban beer barns held 2,000 punters and the Oils were filling them nightly, creating rock ‘n’ roll chaos. Being an Oils fan wasn’t a part-time or passive experience.

Throughout all this the band wrote their own rules; refusing to appear on popular TV shows like Countdown and shunning all the ‘music biz’ norms. At the same time, Midnight Oil was becoming known for their support of environmental and social justice causes. The singular trail that they blazed set the tone for everything that followed.

In 1982, their fourth album “10, 9, 8, 7, 6, 5, 4, 3, 2, 1” turned everything on its head. Recorded as the band lived on the breadline in London in the shadow of the nuclear arms race and produced by an enthusiastic, irreverent 21 year old Nick Launay, (PIL, Gang of 4), 10-1 is rock ‘n’ roll paranoia at its finest. They deconstructed their sound and reassembled it into complex agitrock anthems like “Power And The Passion” where drums play against drum machines while thick warm waves of acoustic guitar lay a bed for the immensely unsettling “US Forces”. The lyrics captured a band who would not be boxed in by geography, precedent, corporations, government or the expectations of anyone. As Midnight Oil expanded their creative ambitions they also expanded their audience. The album was a monster success in Australia, staying in the Australians charts in excess of 200 weeks. It was also popular on US college radio and across pockets of Europe – as the band expanded its ambitions it also expanded its reach.

“Red Sails in the Sunset” came next. Recorded in Japan it took sonic experimentation and polemics to new and extreme levels. It was released in 1983 and loomed large on the charts through 1984 against the backdrop of singer Peter Garrett making a run for the Australian Senate on a Nuclear Disarmament platform. While Garrett focused on ‘real’ politics, Red Sails saw drummer Rob Hirst coming to the fore, assuming lead vocal duties on “When The Generals Talk” and “Kosciusko”.

In 1985, Midnight Oil performed an unforgettable live set on Sydney’s Me-mel (Goat Island) to celebrate the 10th birthday of music station 2JJ before reacting to the experimental extremes of their two previous albums with the fierce, streamlined EP “Species Deceases”, featuring enduring fan favourites like “Hercules” and “Progress”. This was a reset that suggested a new beginning.

That new beginning happened in 1986 when Midnight Oil was invited to tour through some of Australia’s most remote communities with legendary Aboriginal group, the Warumpi Band. The ‘Blackfella/Whitefella’ tour was a transformative experience that exposed the band to the austere beauty of the desert landscape, the inspiring creativity of the indigenous people and the deplorable conditions in which so many of those people existed.

The band returned to Sydney and began work on their global breakthrough “Diesel and Dust”. The singles lifted from that album like “The Dead Heart”, “Put Down That Weapon”, “Dreamworld” and, of course, “Beds Are Burning” brought Midnight Oil to new audiences around the globe. The band toured internationally through ‘87 and ’88 driving the album to huge critical and commercial success. It ultimately sold more than 6 million copies and earned them a Grammy nomination although the band declined to attend the ceremony in order to honour their commitment to a political event at home.

Among numerous other honours, “Beds Are Burning” is included in the U.S. Rock ’n’ Roll Hall of Fame as one of the “500 Songs That Shaped Rock ’n’ Roll”. “Diesel & Dust” was recently listed at #1 in the definitive book “100 Best Australian Albums”.

1990’s “Blue Sky Mining” saw tracks like “One Country,” “Blue Sky Mine,” and “Forgotten Years” bring an international orientation to the band’s song writing without losing any of their characteristically Australian voice. While touring the US after the album’s release, the band drew attention to the environmental disaster caused by an Exxon oil tanker that ran aground in Alaska. They hired a flatbed truck and played a blistering guerrilla set outside the Exxon offices in New York, stopping traffic and putting the issue on front pages worldwide. “Blue Sky Mining” was another globally successful album, charting top 5 in many parts of Europe and top 20 in the U.S.. Back home it won the band five ARIA Awards and was certified five times platinum.

Midnight Oil’s creative evolution continued with 1993’s “Earth and Sun and Moon” with its emphasis on melody, textures and storytelling. They toured the world on the WOMAD festival and were one of the first international artists to play in South Africa after Nelson Mandela came to power. These new experiences influenced 1996’s atmospheric album, “Breathe” which they recorded in Sydney and New Orleans. Then, in typically perverse fashion, the band veered away from these warm, dark, ambient textures to create arguably their most angry and confronting release – 1998’s “Redneck Wonderland”. In Australia, anti-migrant and anti-Aboriginal sentiment was being inflamed for political gain and Midnight Oil’s visceral response pulled no punches.

In 2000 the band performed to an audience of over a billion people at the closing ceremony of the Sydney Olympic Games revealing clothing emblazoned with the word, ‘SORRY’; thereby provoking global discussion about the apology due to stolen generations of Aboriginal children forcibly removed from their families between the 1890’s and 1970’s. That year they also recorded the excellent “Say Your Prayers”, an anthem for the East Timorese, which appeared on a benefit release and was stripped onto their 11th and final studio album, “Capricornia”. Aptly enough, this swag of songs drew heavily from their deep affection and appreciation of their Australian homeland.

In December 2002 Peter Garrett left the band to pursue a full time political career. He was elected in 2004 as a federal Member of Parliament where he would eventually serve as a cabinet Minister in various portfolios including School Education and Environment. Nonetheless in 2005 the Oils regrouped to headline the “Waveaid” tsunami benefit concert for over 50,000 people at the Sydney Cricket Ground. In 2009 the band topped a massive bill at “Sound Relief” at the Melbourne Cricket Ground where over 80,000 fans joined them in raising millions of dollars for victims of Australian fires and floods. Apart from these two iconic stadium appearances for charity (and a handful of intimate ‘warmup’ gigs immediately prior to each of them) the members played together in The Break and separately in other bands for over a decade. Then in May 2016 they made headlines with a surprise announcement via Facebook that they would be “getting back together for some gigs next year“.

On February 17, 2017 the band held a press conference on Sydney Harbour to announce that they would be playing shows around the world from April through November of that year. “The Great Circle” tour was accompanied by the release of three new box sets; one containing all their existing LP’s and EP’s, another containing all their existing CD’s and videos, plus a new 4 CD/8 DVD treasure trove of previously unreleased and rare material called “The Overflow Tank”.

As the tour name implied, “The Great Circle 2017” officially began with a surfside pub gig in Sydney and then looped around Brazil, North America, Europe and New Zealand before climaxing with a lap of Australia starting in the outback then heading around the coast . Over the course of those 7 months Midnight Oil played 77 gigs in 16 countries to over half a million fans. The shows shunned showbiz norms with the band rotating over 106 songs through their sets dropping apt cover versions and some surprise performances of whole albums to ensure every gig was truly unique.

Of course as “The Great Circle 2017” circumnavigated the globe it also drew attention to various issues affecting the planet. From a gig aboard Greenpeace flagship “Rainbow Warrior” in Rio De Janeiro’s harbour to an eco-friendly festival in the Czech Republic and Great Barrier Reef benefit shows in Cairns and Perth the tour saw Midnight Oil combining militance and music in their trademark manner.

The circle finally came to a close back where it all began – in their hometown where they played two epic shows. The venue? The Domain – Australia’s traditional home of political debate. The first date? November 11, known to some as Armistice Day.

Those who were there will never forget these climactic gigs. Thankfully they were recorded and filmed – and exactly a year later they were released as a movie and album called “Armistice Day: Live At The Domain, Sydney”, which debuted at #1 on the ARIA DVD Charts, and top 5 on the ARIA Album Charts.

In 2019, Midnight Oil headlined the world’s most remote music festival, the Big Red Bash – marking their first major Australian music festival appearance in 22 years. The band also performed a string of European shows for Summer in the Northern Hemisphere.

2020 saw the band announce their first new works in nearly 20 years. First up is a mini-album called The Makarrata Project on which all the songs share a strong focus on Indigenous reconciliation, and each features collaborations with the band’s First Nations friends. The late-October release seeks to elevate public awareness of ulurustatement.org/the-statement. The first single ‘Gadigal Land’ (feat. Dan Sultan, Joel Davison, Kaleena Briggs & Bunna Lawrie) went straight to #1 on the iTunes chart within hours of its release, with the video premiering the following night at the 2020 National Indigenous Music Awards.

The band has also announced that 2021 will see a new Midnight Oil album.

Midnight Oil is still more than just a rock ’n’ roll band. Their powerful and passionate story can best be heard in their music; but it has also been told in various books and films. It is a story that remains inextricably interwoven with the story of Australia and our place in the modern world.

This album contains no booklet.