Sarah Blasko

Often referred to as “the quirkiest girl in Australian music,” the super-talented Ms Sarah Blasko will never be accused of being ordinary. Carving herself out a distinct niche as the sultry queen of alternative pop with her debut EP, ‘Prelusive’ (2002), Blasko has since gone on to be one of the most in-demand vocalists and festival performers in the country.

Snatched up by Dew Process (The Grates, The Living End, Bernard Fanning et al) in 2004, after increased support from Triple J, Blasko would release her brooding debut, ‘The Overture and The Underscore’, to popular acclaim in 2004. The album, introduced the Australian (and eventually international) public to Blasko’s distinctive look, her op-shop/classical dress sense and playfulness as an artist.

In the liner notes for ‘The Overture’, Blasko published not only the lyrics, but also chord charts for each of the 11 songs, as if welcoming re-interpretations from fans. She also did a number of covers herself, most notably of Crowded House (‘Don’t Dream It’s Over’) and Cold Chisel (‘Flame Trees’) for various compilations. She was nominated for four ARIA Awards, including album of the year in 2005.

The next year, before releasing her sophomore effort, ‘What The Sea Wants, The Sea Shall Have’, Blasko toured extensively, headlining the first Legs 11 Breast Cancer Benefit in October. Her album was released barely a week later, and spurred on by the underground success of singles ‘xplain’ and ‘Always On This Line.’ This time Blasko’s force was unstoppable; she won the ARIA for Best Pop Release, amid another swag of nominations. Her plugged-in and amped up band became a fixture on the festival circuit, as well as joining the Big Day Out line-up for the first time that year.

But things would start to sour for Blasko, as she split from her long-term song-writing and romantic partner during this period, and ended up writing the bulk of the tunes for her third album, ‘As Day Follows Night’, alone. During this period she also composed the score for the Bell Shakespeare Company’s production of Hamlet. The melancholic tone of the play would rub off on her as Blasko worked simultaneously across both projects.

Never one to sit still, Blasko took her songs and went over to Scandinavia to record ‘As Day…’ with renowned producer, Bjorn Yttling (Peter, Bjorn & John). The result was Blasko’s strongest set of songs to date, and once more she was nominated for a number of ARIAs in 2009, including the prestigious Album of The Year mantle.

Known to dance like an overexcited schoolgirl on stage, as charmingly well spoken and always mesmerising on wax, Sarah Blasko is an anti-pop star for the ages. Australia is wise to have fostered such brilliant, enduring talent.

By Jonno Seidler