Kid James (James Schembri) is the new kid on the block in the Melbourne rockabilly scene and now the young star is looking to go global. Words By Craig Brackenridge
There’s no shortage of rockin’ talent in Australia and singers such as Pat Capocci, Ezra Lee and Scotty Baker are just a few of the artists who have emerged from the country to great acclaim. Kid James looks likely to follow in their footsteps soon as his four-track EP Where Can My Baby Be? continues to draw attention to his authentic rockabilly sound.
Focusing mostly on his own compositions, James has a rich vocal style that can switch from stirring crooning to raucous power on a dime and, combined with his lively guitar playing, he certainly deserves exposure to a much larger audience. Now on the cusp of wider acclaim, Kid James is looking forward to a busy year in the studio and onstage, not just in his hometown of Melbourne but much further afield.
Has rock’n’roll always been in the background as you were growing up?
Rock’n’roll and rockabilly music was always part of my childhood. My dad would have Charlie Feathers, Warren Smith and The Roadsters, a 1980s Melbourne rockabilly band, playing on repeat in the house and car. I started to get guitar lessons at the age of six in primary school. However, I soon became bored – they were teaching me Mary Had A Little Lamb. Although my Dad didn’t play the guitar, he taught me the intro to Folsom Prison Blues, and this is where my desire to play the guitar began. I would often go to see bands as a kid and some modern rockabilly artists like Rusty Pinto, Pat Capocci and Kieron McDonald also influenced me.
Were there any other artists that provided inspiration?
I dug deeper into the history of authentic rockabilly at the age of 13, where I began collecting records and finding new artists. I remember buying a few white label records, one being Benny Joy which really grabbed my attention and motivated me to dig deeper. Finding these rockabilly artists also led me to early R&B, where I began listening to people like Harold Burrage and Young Jessie.
What is the rockin’ scene currently like in Melbourne and Australia more generally?
Currently the rockin’ scene in Melbourne has died down and I would say that there is a following for more mainstream rock’n’roll rather than authentic primitive rockabilly and rock’n’roll. In saying that, though, there are still a few authentic rockabilly bands who regularly play at bars and pubs in Melbourne and throughout Australia. In terms of festivals, there is one called GreazeFest which I would say is the best one to go to in Australia. It has a great turnout every year as custom cars and traditional hot rods are definitely part of the rockin’ scene in Australia.
How has your musical career progressed?
The Tennessee Two was my first band, which I formed with Shane Magro at the age of 14 and we played together for around two years. During that time, I also played as a lead guitarist in the Shane Magro Combo and then shortly after I played as Kid James with Til Vex, Andrew Lindsay and Dave Cantrell. The Kid James Trio, which was myself, Robin Sharrock on double bass and drummer Frank D’Abaco, began in 2019 but during the four years of playing together, Robin and I would sometimes perform as a two-piece.
When did you record the Where Can My Baby Be? EP and were you happy with the results?
Where Can My Baby Be? was recorded at Ignition Studios in February 2023 and released on the Strato-Star record label in July of the same year. I was happy with the results and feel Dave Attana at Ignition captured the authentic sound with a modern touch! There aren’t too many of these left on vinyl.
What is the current line-up of your band?
The current line-up is me, Til Vex on double bass and Andrew Lindsay on drums. We have been in action for a year-and-a-half, although I’ve been playing with them on and off for a few years. I met them through the rockin’ scene as I used to go and watch bands which they played in (Hank’s Jalopy Demons and The Kieron McDonald Combo – who they still play with). They have both been in the scene and playing in bands since the late 70s to early 80s so they have had a lot of exposure to rockabilly music. One of the bands that they were both in at different times in was The Roadsters.
How did you first get involved with Wild Records and when can we hear your first recordings for the label?
I first came into contact with label boss Reb Kennedy on Facebook, where he messaged me. Then we began speaking to each other over the phone. I will be recording brand new original material on a forthcoming visit to the US, and my first recordings on Wild will be available early next year. Initially, I hope to cut a few tracks and select two to put on a 45, then later a full album will be recorded. I’ll be using a band from the studio for my recording and hope to pick up a few gigs in L.A. while I’m over there. I’m really looking forward to the trip and working with the label. I’ve always loved that Wild Records sound and appreciate the dedication they put into new and upcoming talent. I’m also really looking forward to working with the other Wild musicians…
Has your life growing up in the rockabilly scene been massively different to friends of a similar age and do you feel that your singing and guitar-playing has progressed greatly through this period?
I would say life on the rockabilly scene is different. Most of my mates from school would go out clubbing, while I would go out to pubs every weekend to watch live rockabilly music. I do feel that my singing and guitar-playing greatly improved throughout my teenage years. I began experimenting and gaining more confidence with my voice and guitar-playing, which allowed me to come up with ideas for new songs as well as playing live gigs.
Do you play quite regularly these days?
I do play quite regularly at the moment, two to three times a month. There are plenty of rockin’ pubs and bars nearby which I regularly play at like The Oak Tree Tavern and The Barn Live.
In the rockabilly world there are certain bands who only record original compositions while others rely heavily on cover versions. What is your personal opinion on this and what sort of mix does your own live set contain?
At the moment I play a mix of authentic covers and original compositions. However, I really appreciate artists who write and compose their own music as it’s great to hear new tunes.
For more on Kid James click here
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