Debaser: Three Years Deep
For almost three years, Debaser has been platforming criminally underrated bands and artists out of the Lord Gladstone in Chippendale and the Oxford Art Factory in Darlinghurst.
Guided by a love for live music, the team has built a community of punters who value grassroots energy and quality sounds. On November 15th, they’re celebrating three years of doing just that, launching their third publication (think: a time capsule of the last year), throwing a full-band lineup, DJs, and an art show upstairs in the gallery. 3pm - 3am, no excuse not to stop by this Saturday.
We caught up with Oscar Byrne and Jack Moran of Debaser to talk DIY scenes, Sydney’s evolution, and what it takes to run parties from the ground up.
What made you want to start this whole thing?
OB: My parents took me to almost every show they went to as a kid, so I’ve always had this obsession with live music. The idea for Debaser came about when the Lord Gladstone put a callout for new promoters post-lockdown. I had zero experience, but they took a chance on me. I was incredibly green - still am.
JM: We met at uni, I was studying design. I loved the work of John Witzig and Carol Jerrems; they balanced photographing subcultures with being a part of them. I started shooting the events, and it all grew from there.
Was there a moment you realised Sydney needed something like Debaser?
OB: Not really a single moment, but post-lockdown, there was this huge hunger for DIY, independent events again. Everyone was desperate for connection, immediacy and live music that felt real.
JM: My parents talk pretty fondly of their time in the Aussie pub rock scene and Oscar’s dad is full of stories about seeing gigs in Dublin. We’ve definitely emulated the foundations of those eras and borrowed some elements. At the end of the day neither of us wanted to spend their 20s in empty pubs haha.
How did it go from an idea to actually happening?
JM: Our first event had maybe 20 people in the room, which honestly felt like a win at the time. It’s been building ever since. Sydney’s full of great artists; you just need to do the backend work so people can show up and enjoy it.
OB : We’re still learning, but that’s half the fun. No one studies this stuff; you just figure it out as you go. Everyone’s here because they love music.
How do you find running a DIY party in Sydney these days?
JM: It’s a rollercoaster. After the death of the Cross and the silence of COVID, we figured: bugger it. Let’s put something on that makes art accessible again. You can’t wait for a scene to come back. You have to build it.
OB: It’s the small victories that keep us inspired and seeing more people turn up to events is the best feeling in the world, I’d say that sense of community is really what drives us.
Tell us about the three-year party. What’s the plan?
JM: We like to cram as much as possible into a single night. We’ll be launching our third book, 64 pages of interviews, photos and editorials outlining how our extended circle has viewed Sydney in the last 12 months.
OB : We’ve got a lineup of some of our favourite acts from the year, I’m super keen for Beryl. They had one of the best sets at SXSW this year and their record Body Break will break your heart into tiny pieces. Also excited for a band that have been in the scene for a while, Twelve Point Buck, the fuzzed up sonic treats they serve on a platter are unmatched.
We’ll also have spoken word upstairs which is always interesting. It takes a lot of guts to get up in front of a group of people and share some personal words you’ve written. The book was a blast because we got to interview some of our heroes in the scene like Johann from IOHYOU and Ben Marshal from the Opera House. And as Jack said it’s just a cool snap shot of the year. Honestly, we’d still be making these even if no one was buying them, we’re both super sentimental which is nice.
How do you go with designing the book? Do you work with certain people, come up with the layouts yourself?
JM: It’s nothing groundbreaking in terms of design. My photographs form the basic layout and we figure out who we are going to interview from there. Whilst it needs to be pretty, we like to cram as much text in as possible. In an increasingly online world it’s pretty special to put peoples words into print.
How do you usually find new artists?
OB: Gut instinct and word of mouth. My background is in community radio, so I’ll always shout out 2SER, FBi, and all the local stations giving artists their first spins. Jack and I are gig nerds, so we’re always out - that’s the best research.
JM: Normally just stalk Oscar’s newest Spotify and play it on my commutes.
How would you describe the Sydney scene right now?
OB: Resurrecting and reinventing. It feels like a really exciting time for both emerging artists. People are carving out new spaces and doing it their own way.
Any venues, collectives or artists that deserve more love?
OB: All the independent spots, honestly. But especially Lazy Thinking, Goodspace Gallery, and The Red Rattler. Local collectives like Prop Records, Push Mag / Dogs Run Free are doing great stuff too. Artists? emjaysoul, Jerome Blaze, and Meow Meow and the Smackouts - all deserve even more love than they’re already getting.
JM : Tough question, there’s so much good stuff going on, very excited to hear Chuck Sics new music, Betty’s got some stuff coming out with the Slims, been loving Hannah Brewer's new single ‘Small town rockstar”
What’s changed most since you started?
OB: People are buying tickets later, like, day-of, late, and shows feel way less exclusive than they used to. It’s more open now, more accessible, which is awesome. (And a little stressful)
What’s the best bit of feedback you’ve ever gotten?
OB: Someone once came up after a gig and said, “I really liked the second band - I’m going to see them again.” That’s it. That’s the whole point.
Last gig that floored you?
OB: A Melbourne band called Champ Ruby who played their first Sydney show at the Gladdy last week. They did a Black Lips cover and absolutely killed it. Think Jonathan Richman, Wet Kiss, Spike Fuck energy.
JM: I caught Drifting Clouds at the Loft on Broadway as part of SXSW. It’s the solo project of Yolngu musician Terry Guyula, very special sounds and always a privilege to listen to songs in language.
What keeps you showing up week after week?
OB: Booking someone’s first gig and watching what happens from there. That’s the best part.
JM: I get a big kick out of documenting artists in their initial stages. It’s pretty special to give someone a photo you know they will treasure in 10 years.
Biggest “we actually pulled it off” moment?
OB: Definitely our SXSW showcase this year. It was a real privilege to program 18 of our favourite local acts across 10 hours at our home venue the Lord Gladdy.
Where do you want to take Debaser next?
OB: Everywhere. More venues across Sydney, maybe one day our own. We’d love to run a festival. For now, more collaborations, more shows, more interviews.
JM: We’re doing a stage at King Street Crawl at the start of 2026. We’ll keep documenting everything - that’s half the reason we do it.
Get tickets, here
