Cover Image: Bill Blaine and the Dynamics, 1960. Colin Nicholls Collection, State Library of Western Australia

Perth has long wrestled with its reputation as the world’s most isolated capital city. For some, that distance is a hurdle; for the local music scene, it has historically been a pressure cooker for creativity. This April, a new series of panel discussions at the City of Perth Library, titled Music in the City, seeks to unpack that isolation and the vibrant, loud, and often rebellious subcultures it produced. 

From the rock’n’roll fads of the 1950s to the neon-lit emergence of 90s dance culture, the series offers a deep dive into the sonic architecture of Western Australia. I sat down with Adam Trainer – a WA music historian, panel organiser and the MC for the series – to discuss how bringing the stories of “sweaty beer barns” into the hallowed halls of a library changes our understanding of local heritage. 

The series is divided into four distinct eras, each representing a pivot point in Perth’s social history. According to Adam, the goal wasn’t just to list famous bands, but to highlight “significant shifts in the way music was thought about, performed, and enjoyed”. 

The timeline begins with the early days of rock’n’roll, documenting its transition from a misunderstood youth fad into the city’s burgeoning nightclub scene. From there, the series moves into the “booming pub rock era,” characterised by heavier sounds and the rise of alternative music, before concluding with the distinctive culture of 90s dance music. 

“Each brought about big cultural change,” Adam explains, noting that the evolution of the music industry went hand-in-hand with how music fit into physical venues and how Perth’s collective cultural identity grew as a result. These aren’t just nostalgia sessions; they’re an exploration of how a city finds its voice. 

Hosting these discussions at the City of Perth Library rather than a traditional music venue is a deliberate choice. While there won’t be live performances, the library setting provides a “magical space” for generating knowledge and exploring the circumstances surrounding the music. 

“We’ll be thinking and talking about the intersections between music and fashion, technology, geography, the law, and cultural identity,” says Adam. By stripping away the amplifiers, the series focuses on music as a way of articulating ideas central to the community. It is an act of preservation – taking the ephemeral energy of a “darkened dancefloor” and documenting it as legitimate history. 

Perhaps the most intriguing session focuses on the punk and indie scene, which specifically addresses Perth’s isolation. It is a topic Adam finds central to the city’s mythos.

“A lot is made of Perth’s isolation, and rightly so – it’s become one of the defining aspects of our identity.”

In the pre-internet era, this isolation meant cultural trends took longer to reach the West. Being “ignored or forgotten” by the east coast meant fewer opportunities for Perth artists to break out initially. However, this invisibility acted as a shield. “Many Perth artists have been able to hone their craft away from the spotlight so that when they do finally make it out of the city, they’re at the peak of their creative powers,” Adam explains. This unique environment is what allows Perth to consistently “punch above its weight” in musical output. 

The panels boast a diverse roster of “veterans,” ranging from iconic musicians like Jill Birt and John Mills to nightclub managers and poster experts. Adam’s selection process was focused on balancing the “lived experience” of the music with the business and logistics that made it happen. 

“We’ve looked for people who can tell a good story, and who have a few to tell,” he says. By pairing performers with those who worked behind the scenes, the series promises a 360-degree view of how particular sounds evolved over decades. 

The final session on dance music bridges the gap between sound and urban development, specifically looking at the “nighttime economy” of Northbridge. For Adam, music and geography are inseparable. “You can’t think about your favourite pub, bar or dancefloor without considering how it fits into the broader landscape of Perth,” he argues. 

By highlighting the venues themselves, the series illustrates how music fits into – and often defines – urban spaces. It’s a story of how a city grows, shifts, and occasionally dances its way through modernisation. 

When asked if there is a “grand narrative” for those attending all four sessions, Adam remains characteristically cautious of oversimplification. While modernisation and global connectivity have decreased Perth’s isolation and increased opportunity, the core of the story remains the people. 

“Circumstances might have changed but there has always been great music being made, and passionate and talented people both making it and making sure we hear it,” he concludes. 

The Music in the City series runs throughout April at the City of Perth Library. Whether you’re a student of history, a former “pub rock” regular, or a fan of the current local scene, these panels offer a rare chance to hear the stories behind the songs that built Perth. 

Music in the City is happening at City of Perth Library as part of the Lotterywest Boorloo Heritage Festival. Follow the links below to book.

• Wednesday April 8: Early Rock ‘n’ Roll in Perth Book here  

• Wednesday April 15: Pub Rock in Perth Book here  

• Wednesday April 22: Punk and Indie in Perth Book here  

• Wednesday April 29: Dance Music in Perth Book here