“I think Australian blues has developed its own voice, shaped by our experiences and environment here in Australia, rather than simply replicating American blues. The Australian landscape lends itself to storytelling, which is such an important part of blues music.”

Pauline Bailey: Blues Portrait

A Profile of the Australian Blues Scene

Pauline Bailey is a distinguished Australian visual artist, painter, and author based in Gippsland, Victoria. Born in Melbourne, she is particularly well-known for her unique ability to bridge the worlds of fine art and the Australian music scene. Her vibrant artwork focuses on urban and rural landscapes, streetscapes, shopfronts, and historic buildings, often capturing the essence of Melbourne’s legendary music venues. Working primarily with acrylics on canvas, she also creates striking stencil and street-art style portraits of iconic musicians like Bon Scott and Billy Thorpe, driven by a desire to visually preserve urban architectural heritage that is gradually being lost. Bailey holds a Diploma of Arts (Visual Arts) from TAFE Gippsland and has been named a finalist in several major national art prizes, including the Paddington, Fleurieu, Hornsby, and Flanagan awards, alongside showcasing her work in numerous solo and group exhibitions.

(Photo: Pauline Bailey, a distinguished Australian visual artist, painter, and author)

Beyond her canvas work, Bailey is deeply dedicated to documenting the music world she loves, culminating in her highly acclaimed six-volume encyclopedic book series titled “Blues Portrait – A Profile of the Australian Blues Scene”. This comprehensive series features historical profiles, photographs, and interviews with over 170 Australian blues musicians and international guests, serving as an invaluable archive for a music scene that is often underrepresented. In recognition of her immense contribution to the genre, she was honored with the prestigious Allan Stafford Award for Services to Blues Music by the Melbourne Blues Appreciation Society in 2024.
 

Interview by Michael Limnios                      Archive: Pauline Bailey, 2019 Interview 

What was it that initially prompted you to capture the Australian blues scene in a six-volume series, and how did your vision evolve from the first to the sixth volume of "Blues Portrait"?

I’ve loved the blues from a very early age. Although I didn’t recognise it as “blues” at the time, I can see now that much of the music I listened to when I was young had strong blues influences. The idea for Blues Portrait began to take shape when I worked with my musician friend Kim Volkman on his autobiography in 2016, and later on his book of short stories. That experience planted the seed for interviewing other musicians. I was particularly drawn to the Australian blues scene because I felt it was under-represented. There was very little written about the scene or the many artists who have been part of it, and I wanted to help preserve their stories.

When I started, I only had one book in mind. I approached an artist about doing an interview, then put together a wish list of people I wanted to speak to. That list quickly grew as others suggested additional names, and before long, the project had taken on a life of its own. Over an 18-month period, I conducted the interviews that led to the first Blues Portrait book, which I self-published in 2019. I certainly never imagined it would eventually grow into six volumes documenting the stories of 254 artists from Australia and beyond!

Another strong motivation for me was the number of musicians whose stories had never been recorded. Pete Wells from Rose Tattoo is one who particularly stayed with me. I met Pete many years ago, and we talked at great length about his life and all sorts of things. Sadly, he never had the opportunity to tell his story in this way. The same is true of other iconic musicians who have passed away, including Billy Thorpe, Lobby Loyde and Ian Rilen. This reinforced for me the importance of recording people’s stories while we still have the opportunity. Since I began the series, five of the musicians I interviewed have passed away, and I’m very grateful I had the chance to speak with them and create a lasting record of their lives and musical achievements.

In many ways, this connects with my painting. I’m interested in capturing buildings and places on canvas before they disappear. With Blues Portrait, I found myself doing something similar with people, documenting their stories, memories and experiences before they are lost. What began as an idea for one book became a much bigger project than I ever expected. More than anything, I wanted to give these musicians a voice and create a lasting record of a part of Australian music history that I felt deserved to be documented.

“I also wanted to feature musicians from other genres — people who aren’t strictly blues artists but have been influenced by the blues and have made their own contribution to Australian music. I think this helps show just how broad and diverse the Australian blues scene really is. Choosing who to feature hasn’t always been easy, simply because there are so many talented musicians.” (Photo: Pauline Bailey’s acclaimed six-volume book series titled “Blues Portrait – A Profile of the Australian Blues Scene”)

As a highly active visual artist, how did your visual perception of Melbourne's music venues influence the way you approached and documented the musicians' stories in your books?

I think it comes from attending so many gigs at these venues and having such great memories of them. Over the years, I’ve photographed and painted many places that have been part of Melbourne’s music scene, and there’s a strong connection between the buildings, the music and the people who performed there. Art and music have always been closely intertwined for me; they go hand in hand, really. Painting a venue is a way of honouring those memories and capturing a little piece of its history. In much the same way, the books document the stories and experiences of the musicians themselves. I’m interested in capturing places and people that have played an important part in our music history, so they’re not forgotten.

What do you feel makes the Australian blues scene stand out from the American or European scenes? Is there a particular "color" or common character you identified among the artists you featured?

I think Australian blues has developed its own voice, shaped by our experiences and environment here in Australia, rather than simply replicating American blues. The Australian landscape lends itself to storytelling, which is such an important part of blues music. There also seems to be a tougher edge to Australian music in general, perhaps influenced by our long association with pub rock. But if there’s one thing I’ve noticed among the artists I’ve interviewed, it’s their commitment to music and their desire to develop their own sound. Everyone brings their own experiences, influences and approach to the music, and I think that individuality is what makes the Australian blues scene so interesting.

Through your meetings with so many creators for "Blues Portrait," is there a specific story or confession from an artist that moved or surprised you the most?

It’s hard to pick one specific story, as they’re all special in their own way. I think what has surprised me most is that even the most well-known and established artists have people they look up to. No matter how accomplished they are, they still admire other musicians and often underestimate their own abilities. I’ve had people say things like, “I’m not a very good guitarist,” which always amazes me. It’s a reminder that no matter how experienced or successful someone is, there’s often a real humility behind the talent, and they never stop learning.

“I hope future generations can explore the books, discover the people who have helped shape the Australian blues scene, and learn more about its history. I’ve learnt so much through this project myself, not just about the music, but about the people behind it. Most of all, I hope the books help keep these stories and memories alive.“ (Photos: Pauline Bailey at the launch party for her book, Victoria Australia, 2026 | Pauline Bailey with Australian blues legend Phil Manning, The Rainbow Hotel, Fitzroy 2019)

How do you see the dynamics of blues music outside of major urban centers? Is there a difference in culture and audience reception between the vibrant live scenes of Sydney and Melbourne, and regional areas like Gippsland and beyond?

There are certainly more venues and more people attending gigs in the major cities, but I’ve found that regional areas have a really strong and enthusiastic audience for blues as well. Living in Gippsland, I’ve seen this firsthand. There are regular blues jams here that are very well attended, showing that people in regional areas are just as keen to get out and hear live music. I think there’s a lovely sense of community around the music, particularly in regional areas. The audiences are enthusiastic, the musicians often know each other, and there’s a real connection between the people performing and those coming along to listen. There may not be as many venues or opportunities to see live bands as there are in the cities, but when gigs are on, there’s always plenty of support. The blues scenes in major cities like Melbourne and Sydney have that same sense of connection. While the scale may be different, I don’t think the enthusiasm for the blues is any less, and wherever you are, it’s great to see musicians and audiences keeping live music going. That same sense of community has extended to me personally through my books, with so many people involved in the blues scene offering support and encouragement along the way. It’s been wonderful to experience this firsthand and to feel connected to a scene that means so much to so many people.

What do you hope the legacy of the "Blues Portrait" series will be for future generations of Australian musicians and blues fans?

I hope the Blues Portrait series shows what a vibrant and diverse blues scene we have here in Australia.There are so many talented musicians, with such different backgrounds, influences and approaches to the music, and I wanted to create a record of that. I hope future generations can explore the books, discover the people who have helped shape the Australian blues scene, and learn more about its history. I’ve learnt so much through this project myself, not just about the music, but about the people behind it. Most of all, I hope the books help keep these stories and memories alive.

“I’ve loved the blues from a very early age. Although I didn’t recognise it as “blues” at the time, I can see now that much of the music I listened to when I was young had strong blues influences. The idea for Blues Portraitbegan to take shape when I worked with my musician friend Kim Volkman on his autobiography in 2016, and later on his book of short stories.“ (Photo: Pauline Bailey)

With such a rich and vibrant blues scene in Australia, what criteria did you use to select the artists featured in the six volumes of "Blues Portrait"? Were there creators you felt "had" to be included to properly convey the history of the scene?

I wanted to document the stories of people who, in different ways, have helped shape Australian blues. I chose people who I felt had made a significant contribution to the scene, as well as musicians I’d seen perform and who had really moved me. I was also drawn to people I simply found interesting, whose stories I wanted to hear, and those I felt had perhaps been forgotten or overlooked. I wanted a mix of well-known musicians and lesser-known artists, because I think they all have an important part to play in the history of the music. Chris Wilson and Dutch Tilderswere particularly important. They were hugely influential and had such an impact on Australian blues. I also wanted to feature musicians from other genres — people who aren’t strictly blues artists but have been influenced by the blues and have made their own contribution to Australian music. I think this helps show just how broad and diverse the Australian blues scene really is. Choosing who to feature hasn’t always been easy, simply because there are so many talented musicians. There are still people on my list I haven’t been able to include, and that doesn’t reflect on anyone’s talent, contribution or standing in the Australian blues scene. Even after six volumes, there are still plenty of musicians whose stories I’d like to tell, so the series could easily continue beyond this point. Volume 6 may not be the last! 

During your research and the writing of this series, what were the biggest changes you noticed within the Australian blues community? Do you see a new generation of musicians coming to the forefront and evolving the sound?

Yes, there are so many younger players coming through the scene, which is really encouraging to see. Sadly, we’re also losing many of the older musicians who helped establish and shape Australian blues. One thing I’ve noticed through writing the books is the mutual respect between generations. Younger musicians are bringing their own influences and ideas to the music, while also drawing inspiration from those who came before them. There seems to be a real appreciation for that history, while the younger generation continues to develop its own sound and take the music in new directions. I think that’s how the blues continues to evolve while maintaining a connection to its roots. I hope younger musicians continue to carry the music forward in their own way.

Many of the iconic music venues in Melbourne that you have captured either in your books or your paintings have closed down or changed form. How important were these physical spaces in shaping the Australian blues identity, and how does this culture survive today?

Very important. Essential, really. These places were such a vital part of the Australian music scene. They gave musicians somewhere to play, develop their music and connect with audiences. For many musicians, they were an important part of their musical journey. A lot of these venues have now closed or changed beyond recognition, which is one of the reasons I’ve been so interested in documenting them through my paintings. They’re part of our music history, and once they’re gone, it can be easy to forget the role they played. I think the culture survives through the musicians, the audiences and the memories of those places. New venues come along and the music continues, but there’s something special about the old places and the way they brought people together. The buildings, the music and the people who brought those places to life are all worth remembering and preserving.

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(Photos: All original artworks designed and painted by © Pauline Bailey)