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Tom Waits  

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The unmistakably gruff voice and signature bowler hat make up the enigmatic persona of the musically divergent Tom Waits. Like a troubled character straight from one of his songs, Waits’ live performances bring to life an eccentric singer/songwriter with music ranging from blues and jazz, to rock and folk.

A career that began with a simple acoustic guitar and a piano has evolved to include a full band laced with saxophones, trombones, accordions and banjos; taking the audience through a career spanning 4 decades. Still, the variety of Tom Waits’ catalogue is unified through his uniquely rough vocal style, a quality that becomes even stronger when he takes the stage.

The crowd revels in this variety and atmosphere, equally as excited hearing the guitar-heavy, almost latin-infused Hoist That Rag from 2004’s Real Gone, as they are with the soulful and reflective Hold On from 1999’s Mule Variations.

Each song interspersed with personal anecdotes that showcase the theatrical side of the sometimes-actor and Hollywood composer. Waits perfectly balances his performances both through his set lists and his interaction with the crowd, commanding attention where attention is due while entertaining grateful fans hanging off his every smoky word in between performances.

His last full length tour in 2008, Glitter and Doom, was critically acclaimed by fans and critics alike, but the rarity of live performances since then means that seeing Tom Waits live has become an experience coveted by many fans. Now more than ever, if you get the chance to see Tom Waits live, take it.

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A Tom Waits tour doesn't happen too often these days so when ,or should I say if he comes back 'round the bend, make sure you close in on your ticket. It will be tough and most likey expensive, but the reward is monumental! You will have a few hours forvever engrained in your memory of unadulterated musical bliss from one of music's most talented, and unusual artists. His famously gravely voice, at times, can seem to summon the dead--rumbling though songs about dying or strange family reunions. Other times it's as soft his debut album.

His Glitter and Doom Tour in 2008 capped an already stellar year in live music I had seen. His band put on just as big as a performance as Mr. Waits himself, catching the audience by the seats of their pants and throwing them into one big dance party and song-a-long. I must say that it was one of my favorite nights on this planet. From the all around atmosphere of the crowd you could feel the electricity. You knew it was a special night. Friendly banter murmured throughout the venue before the lights were dimmed and insanity progressed.

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‘All these bulletproof songs, one after another’: remembering Tom Waits’s extraordinary mid-career trilogy

Forty years on from the magnificent album sequence that began with Swordfishtrombones, collaborators and fans including Jim Jarmusch and Thom Yorke discuss Waits’s journey from bar-room balladeer to conductor of the ultimate junkyard orchestra

O n Tom Waits’s 1983 album, Swordfishtrombones , there is, in among a lot of fabulously unhinged musical experimentation (Tony Bennett described the record as “a guy in an ashcan sending messages”), a 90-second ballad of such tender beauty that it explains all the rest. The song was written for Waits’s wife , Kathleen Brennan – “She’s my only true love/ She’s all that I think of, look here/In my wallet/That’s her” – and named after the town, Johnsburg, Illinois, in which Brennan grew up. The pair had got together on the set of Francis Ford Coppola’s 1981 film One from the Heart , for which Waits was writing the music and Brennan editing the script, and had married a couple of months later at 1am at the 24-hour Always Forever Yours Wedding Chapel in Los Angeles.

The union liberated Waits from what may have appeared his inevitable fate: of the ultimate bar-room balladeer who descends into dissolution and obscurity. The singer had spent the first decade or so of his career toying with that possibility, living partly in the Tropicana motel on Sunset Boulevard, or in his car, a 1955 Buick, writing and singing about dereliction and doomed love, and playing up to a reputation for “wasted and wounded” chaos. For the first time, having met Brennan, he said: “I now believe in happy endings.” The experimentation of Swordfishtrombones was the first expression of that faith. “My life was getting more settled,” Waits recalled. “I was staying out of bars. But my work was becoming more scary.”

It was Brennan who gave Waits the courage to retire some of the seductive “piano has been drinking” myths of his own creation and to follow his restless musical intelligence, wherever it might take him. That album came out not long before the arrival of their first child. Two more albums (and two more children) followed in quick succession in the mid-1980s, Rain Dogs and Franks Wild Years . These are records of startling originality and playfulness, of cacophonous discord and sudden heartbreaking melody, in which it seemed the artist was trying to incorporate the whole history of American song into his loose-limbed poetic storytelling. To mark the 40th anniversary of Swordfishtrombones , that trilogy of albums has been remastered and will be rereleased next month.

Over the past week or so I’ve been talking to a few of the people who played on those remarkable records, and a few of the many listeners on whom they had an astonishing effect first time around (what Radiohead’s Thom Yorke calls that sense of having “an entire universe revealed to me for a few minutes only to drop me at the other end of the block [with] no idea how I’d got there”). To find the sounds he was looking for, the singer assembled around him a fearless collection of virtuoso musicians – the guitarists alone included Keith Richards and Marc Ribot. As Waits once told me in an interview, his band were required to do more than just keep up. “It’s like Charlemagne or one of those old guys said,” he noted. “You want soldiers who, when they get to a river after a long march, don’t start rooting for their canteen in their pack, but just dive right in.”

For the second album of his trilogy, Rain Dogs , Waits and Brennan had moved from the west coast to New York, into a loft apartment in Little Spain, not far from Union Square, which Waits furnished with stuff he found on the streets. He was, he said at the time, completely overwhelmed with the immersive noise and talk of the city. “For the most part it’s like an aquarium,” he told one interviewer. “Words are everywhere. You look out of the window and there’s a thousand words.” That clamour of found poetry made its way into his songs, just as the skip-reclaimed furniture found its way into the apartment. He had a sense, he told David Letterman at the time, that living in lower Manhattan was like “being aboard a sinking ship. And the ocean is on fire.” That feeling ran through Rain Dogs (the name is a reference to the city’s rough sleepers, “people who sleep in doorways… who don’t have credit cards… who fly in this whole plane by the seat of their pants”).

Marc Ribot recalled last week the first day of recording. “We were in the old RCA Studios, which harkens back to a time when the labels owned studios,” he said. “This was a historic place, high ceilings, wood panels, a huge room, which could record an orchestra; we set up in a clump in the middle. There was a lot of amazing old equipment and amplifiers from something called the guitar society and a lot of unusual instruments.”

To loosen up his sound, Waits had mostly abandoned his go-to saxophone and double bass, filling the gap with all kinds of percussion and drums, marimbas and harmoniums and squeeze boxes. At the precise moment when music was becoming synthesised and digitised and sampled, he insisted on its traditions of heavy lifting. (“Anyone who has ever played a piano,” he liked to say, “would really like to hear how it sounds when dropped from a 12th-floor window.”)

He became interested in reviving the legacy of Harry Partch , who in the 30s and 40s had lived a hobo life in America, travelling in box cars, picking up ideas for instruments from junkyard materials, even creating his own form of notation. “I use things we hear around us all the time,” Waits said, “…dragging a chair across the floor, or hitting the side of a locker real hard with a two by four, a brake drum with a real imperfection, a police bullhorn… the problem is that most instruments are square and music is always round.” Keith Richards has recalled how when he arrived in the studio he thought: “Hello! He had a Mellotron… which was loaded entirely with train noises.”

“Tom spent the previous couple of years in New York, researching what a lot of downtown composers and avant-whatever musicians were doing,” Ribot recalls. “I think he was working with a really wide palette – but it wasn’t just to be weird. The key to Tom’s music is that he’s dealing not only with a lot of different music of the past, but with our memory of those musicians. We hear the music of the past on old scratchy records. He had this bass marimba because he was interested in a lot of Caribbean sounds, but specifically the way they sounded on 1920s and 1930s recordings rather than on today’s technology. He was interested in the whole history of folk and blues, but also a wider kind of Americana beyond that.”

Waits was writing through the night in an artist’s community building in Greenwich Village (he used to get home at 5am, just in time to feed his baby daughter). “There were tiny little rooms and each one had a piano in it,” he later recalled. “You could hear opera, you could hear jazz guys, you could hear hip-hop guys. And it all filtered through the wall.”

If the departure lounge for this new sound had been Swordfishtrombones , then the real disembarkation was its successor, Rain Dogs. That album opened with a sort of frenzy of dockside rhythm, press-ganging the band and the listener into places they might not have been before. “We sail tonight for Singapore,” Waits rumbled over the cacophony in his most guttural voice, and you didn’t for a moment doubt him. The voyage then took you to all manner of destinations.

Michael Blair, who later played with Lou Reed and Elvis Costello, provided percussion on the album. “For a multi-percussion player, it was like: pinch me, please. You know, how many times in your life would anyone ever get a chance to play with somebody who wrote so well, all these bulletproof songs, one after another. They could all really be pop songs, if you arranged them in a different way. Or if the singer had a different type of voice.”

Waits, he recalls, would never be specific about what he wanted; it would be “play like a Russian barmitzvah, or Alice in Wonderland”. “You didn’t say, ‘What does that mean, Tom?’ – you just went for it. I think when something began to sound like the song he wrote in his mind, that’s where we started.”

Ribot remembers how Waits would often be writing the lyrics moments before he sang them. “The groove was the main thing, which he would keep trying to communicate with the way he was moving his body and guitar.” As Richards recently said in an interview with Uncut : “[Tom] had a lot of rhythms going on in his head and in his body… the groove is another word for the grail. People search for it everywhere, and when you find it you hang on to it.”

“I think what a lot of people trying to sound like Tom Waits didn’t get,” Blair says, “is that for that ‘junkyard’ sound to work, you’ve got to first have a song that will stand up to having an axe taken to it.” Just when his tracks become most alarming, Waits would remind you of their haunting structure, like Picasso reminding you he could still draw like an old master if he wanted to.

Waits mythology has it that the original beat of the opening track of Rain Dogs , Singapore, was provided by Blair, the classically trained percussion maestro, whacking a cupboard with a hammer. Is that true?

Blair laughs. “It is actually. We had this sort of Kurt Weill accordion and oompah sound, and Tom wanted to give a sense that the world is going to fall apart. We had a look around the studio, in the kitchen and the bathroom, wondering what might give that sound, of someone trying to break the door down. There was an old dresser in one of the storage rooms. All the way through it’s me with a real hammer bashing it. We could have sampled it, I suppose, but it would not have been the same.”

The New York Times named Rain Dogs the best album of 1985, and though sales in America were slow, Waits was beginning to find a new audience in Europe. The subsequent tour – which like all of Waits’s sporadic tours ever since have been the hottest ticket in any city – proved that he was sailing in the right direction.

Waits once recalled to the journalist Barney Hoskyns how, before he made Swordfishtrombones , he had a terrible nightmare. He was in a Salvation Army store and flipping through a stack of old vinyl records when he came upon one of his early singer-songwriter efforts. “The sleeve,” Hoskyns related, “stared at him reproachfully and he knew something had to change. He had to create something unique, ‘something you’d want to keep’.” Forty years on, still married to Brennan, living somewhat reclusively on a smallholding farm where they write and create together – “I wash, and she dries” is how he describes it – he is seeing that ambition come true.

Tom Waits’s famous fans on the Frank trilogy

Radiohead singer and musician I think I was 17 when Rain Dogs came out. I bought the cassette and gazed at the weird guy held by his mother [on the cover] wondering what the fuck that was about. That cassette had a magic I couldn’t figure out… and I got more and more sucked in; it crept deep into my subconscious.

I remember falling asleep listening to it on my Walkman, only to wake up in the morning with it still on autorepeat in my head. Every track was a short movie set in a mysterious, circus-like down-at-heel America that I had almost no understanding of, with different characters both in the lyrics and the instruments, an entire universe revealed to me for a few minutes only to drop me at the other end of the block – no idea how I’d got there.

Every lyric was an effortless rhyme you could only dream of ever writing. Falling off the tongue so beautifully, but never giving easily, keeping half the story to itself. Waits was playing a character with a darkness and humour that felt far more genuine than anything trying to be, I dunno, genuine in 1985. But what really got to me more than anything was the feeling, when you listened to each song, that you were literally standing next to Tom Waits as he sang. Something about the way they placed the microphones in the room. You could feel the musicians scratching, blowing and beating this world into existence right next to you (and oh my god those weird guitar lines!) with an energy and spontaneity as if they had only just figured it out.

This record has never got tired for me, though I have played it over and over throughout my life, as did my kids growing up. This new mastering has brought all those feelings back to me, back to now, as if it had just been released.

Jeff Bridges

I’ve always loved Tom, and he and I acted together in The Fisher King , and in a movie called Cold Feet, which my wife produced. It was remarkable for me – as an actor – to witness these kinds of personas that he created; you think of musicians like David Bowie who could create these characters, and Tom could do all that, and just move in and out of them. He was so committed to performance all the time. You went to a Tom Waits concert and it was like nothing else you ever saw. Just after this period, in 1992, I made a movie called American Heart and we needed a theme song, and Tom gave us a wonderful tune called Never Let Go . When I was out playing with my band the Abiders one night some years later, we played that song, and – I’m glad I didn’t know – but Tom was in the audience. I saw him afterwards, and he was so generous and open and warm and hilarious. That’s all there in the songs.

I already knew Tom Waits’s music, those soulful communications from the louche underbelly of the American dream, but nothing had prepared me for Swordfishtrombones . I first heard it on a friend’s stereo system, the pair of us transfixed by what was happening in front of our ears. It felt to me as if a vaudeville show was taking place in a scrapyard, the music whirling and clanging, Waits presiding over it all like a bruised but keen-eyed master of ceremonies. Rain Dogs added extra textures and refinements, laying its (marked) cards on the table with its opening track, Singapore, a novel contained within two and a half minutes of controlled musical mayhem. By the time of its release I had left university and was trying to shape myself into a writer. I admired Waits’s lyrical vision and concision – the man was a born storyteller, stopping travellers who had wandered into the wrong part of town and compelling them with his words.

Jim Jarmusch

Film director

I met Tom in 1984 just after Swordfishtrombones came along and everything opened up. He was invigorated by New York, and obviously his wife Kathleen was a big part of that change. When I cast him in Down By Law , there was no trepidation. Some musicians are just very good at translating into character and Tom is one of the best of those.

He knows about a lot of different things in the world, but songs are his religion. On those records he is a blender and bender of genres: R&B and blues and ballads and spoken word and Stockhausen and jazz, Kurt Weill, Louis Armstrong, Serge Gainsbourg and death metal. He has a very experimental side. He showed me this instrument that he made that runs tape loops using bicycle chains. He subscribes to a newsletter of people who make their own one-off instruments and corresponds under one pseudonym or another. I heard him doing his voice exercises once, which was kind of hilarious. I have always seen Kathleen as a reliable kind of navigator, but she is always taking the ship further out into space. What they have is not going to get broken, not in this lifetime at least.

Jim Sclavunos

Musician (Sonic Youth; Nick Cave & the Bad Seeds) and producer

For the better part of a year after its release, Franks Wild Years was the nightly go-to pump-up album for me and my roommate. Gussying ourselves up to war-song strains of Temptation, Straight to the Top etc was an essential part of our ritual of getting ourselves “in the mood” before emerging from the squalor of our Lower East Side tenement, ready to take on the world and however many bottles of Rolling Rock beer we could get down our necks. Swordfishtrombones was a bombshell to say the least. That an artist with a gift for writing tunes so evocative of memories real and imagined would decisively rend the fabric of his well-established image, and trade in coolly louche atmospherics for neon-lit junkyard sonic grotesquery was a perverse strategy that I couldn’t help admiring. These no-holds-barred albums set the stage for the years of innovation upon innovation that followed.

Island Records/Universal Music will release remastered versions of Swordfishtrombones , Rain Dogs and Frank s Wild Years on 1 September, with Bone Machine and The Black Rider to follow on 6 October

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Tom Waits Announces Extended Tour

by Brittney McKenna May 23, 2008, 5:38 pm 1 Comment

Videos by American Songwriter

Renowned singer/songwriter Tom Waits recently announced an international tour slated to start in June. The “Glitter and Doom” Tour was announced on Waits’ website with a fake press conference video, a move characteristic of Waits’ sarcasm and cleverness. The tour initially included shows only in the  United States , but yesterday Waits and company announced a string of fifteen European dates taking the tour through August.

What can fans expect on this tour? As if “glitter” and “doom” weren’t enough of a draw, Waits promises to play songs he’s “never attempted outside the studio.” And who knows, maybe Scarlett Johansson herself will make an appearance in support of her new album of Tom Waits covers. For all of you true Waits fans out there, we’ll be crossing our fingers that she doesn’t.

06-17 Phoenix, AZ – Orpheum 06-18 Phoenix, AZ – Orpheum 06-20 El Paso, TX – Plaza Theatre 06-22 Houston, TX – Jones Hall 06-23 Dallas, TX – Palladium 06-25 Tulsa, OK – Brady Theatre 06-26 St. Louis, MO – Fox Theatre 06-28 Columbus, OH – Ohio Theatre 06-29 Knoxville, TN – Civic Theatre 07-01 Jacksonville, FL – Moran Theatre 07-02 Mobile, AL – Saenger Theatre 07-03 Birmingham, AL – Alabama Theatre 07-05 Atlanta, GA – Fox Theatre 07-12 San Sebastián, Spain – Auditorium Kursaal 07-14 Barcelona, Spain – Auditorium Forum 07-15 Barcelona, Spain – Auditorium Forum 07-17 Milan, Italy – Teatro Degli Arcimboldi 07-18 Milan, Italy – Teatro Degli Arcimboldi 07-19 Milan, Italy – Teatro Degli Arcimboldi 07-21 Prague, Czech Republic – KCP 07-22 Prague, Czech Republic – KCP 07-24 Paris, France – Grand Rex 07-25 Paris, France – Grand Rex 07-27 Edinburgh, Scotland – Playhouse 07-28 Edinburgh, Scotland – Playhouse 07-30 Dublin, Ireland – The Ratcellar at Phoenix Park 07-31 Dublin, Ireland – The Ratcellar at Phoenix Park 08-01 Dublin, Ireland – The Ratcellar at Phoenix Park 

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Lou Pearlman Gets 25 Years

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Rain Dogs (2023 Remaster)

If you’re reading this, you likely know that this 1985 masterpiece is regarded by many Tom Waits fans and critics as one of his very best albums. Thankfully, this reissue does the album justice. It is released a year after ANTI-’s fantastic reissues of 2002’s Blood Money and Alice (both also released on the same day originally) and is part of a series of his five 1983-1993 albums from his back catalog that are being reissued simultaneously. Even with 53 minutes of music, both sides sound fine and you don’t even have to turn it up that much to fully hear everything that’s going on. My copy is perfect as well, free of the occasional pops and clicks that can afflict even brand new reissues.

And what a sound it is. Following up on the template set by his complete reinvention on 1983’s Swordfishtrombones from a piano balladeer at a bar on the edge of the world into something resembling Louis Armstrong singing Jack Kerouac while a Dixieland band on acid provides the soundtrack, Rain Dogs hits even harder, as more memorable songwriting and the addition of ace guitarist Marc Ribot make it one of Waits’ most enduring works.

“Downtown Train,” memorably covered by Rod Stewart in 1989, is this album’s most well-known song, but other songs on this album have endured and been covered by other renowned artists. “Hang Down Your Head” was covered by Lucinda Williams, Tori Amos did a version of “Time,” and “Jockey Full of Bourbon” has been covered by at least half a dozen musicians.

Ostensibly an album about “the urban dispossessed of New York City” and made after Waits lived in Chelsea for years, the album travels around geographically, starting in “Singapore” and even landing in Minneapolis for “9th and Hennepin.” Take the manic ride! ( www.tomwaits.com )

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Apr 19, 2024 Issue #72 - The ‘90s Issue with The Cardigans and Thurston Moore

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Tom Waits, David Bowie, Sinéad O'Connor, the Breeders, The Coral, Warren Zevon and much more

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Tom Waits , David Bowie , Sinéad O’Connor , Neil Young , The Breeders , The Coral , Warren Zevon , Margo Cilker and more all feature in the new Uncut, dated October 2023 and in UK shops from August 10 or available to buy online now.

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INSIDE THIS MONTH’S UNCUT

TOM WAITS : Step right up for a Tom Waits extravaganza! First up, Keith Richards, shares memories of his close friend and occasional partner-in-crime – “When Tom and I met it was like falling off a log…” Then, we dig deep into Swordfishtrombones, Rain Dogs and Frank’s Wild Years – a groundbreaking trio of albums, full of devilled blues, crepuscular weirdness and moonstruck laments – in the company of Waits’ closest collaborators to discover the untold stories behind this audacious artistic year zero.

DAVID BOWIE : When David Bowie took the Ziggy Stardust tour to Hammersmith Odeon for the final time on July 3 1973, the fans came in their thousands. Fifty years after the gig, and with a new version of DA Pennebaker’s film in cinemas, we speak to fans, Spiders, Bowie’s friends and future punks about one of rock’n’roll’s most famous shows.

THE BREEDERS : The Ohio originals are celebrating 30 years of the still-thrilling Last Splash with a top-spec vinyl reissue and American tour. Here, the band and their peers establish why “Cannonball” and “Divine Hammer” remain such potent weapons – and why, despite Kim Deal’s upcoming solo album, the ‘classic’ Breeders line-up that made them are stronger than ever.

THE CORAL : Poised to release their 12th and 13th albums on the same day, the Mersey maverick explain how Cillian Murphy, John Simm and a 1948 Fender tweed amplifier joined the cast of their latest double feature. As frontman James Skelly observes, “you can go anywhere, in your mind…”

WARREN ZEVON : In this unpublished interview from 1990, Zevon talks frankly about the mingling of chaos in art and life, to writing rock ‘n’ roll, and the attraction of songs about mercenaries – however select the audience for that may be. “When people say to me, ‘Don’t you wish you were popular with more people?’”, says Zevon, “I say no.”

MARGO CILKER : At 30, Margo Cilker has already lived several lives, documenting them engagingly in her crisp country-rock songs. From her childhood home in Santa Clara, California – the of her new album title – via Cornwall, Bilbao and Carolina, she seems to have found some semblance of stability on a horse farm in the Pacific Northwest. But for how long?

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Ticketmaster Goes Paperless For Waits’ Tour

Ticketmaster is introducing its new paperless ticketing service in conjunction with the May 16 on-sale for Tom Waits' 13-date "Glitter And Doom" tour.

By Mitchell Peters

Mitchell Peters

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Ticketmaster is introducing its new paperless ticketing service in conjunction with the May 16 on-sale for Tom Waits ‘ 13-date “Glitter And Doom” tour, which begins June 17 at the Orpheum Theatre in Phoenix. Fans who order concert tickets for Waits summer outing through ticketmaster.com and by telephone will only need the credit card they purchased tickets with, along with a valid photo ID at the entrance of the venue. Facility staffers will swipe the credit card and concertgoers will be given a receipt. The new paperless service aims to eliminate lines at will call and conserve trees. Ticketmaster is testing its new paperless technology on Waits’ upcoming summer jaunt. For the majority of Waits’ upcoming U.S. concerts, fans who wish to attend must buy tickets via the company’s paperless ticketing option, according to a statement . A statement on the blog for Anti Records (Waits’ label) says that the alignment with Ticketmaster is a strategy to avoid scalpers from re-selling tickets for upcoming shows. At deadline, Ticketmaster was not offering paperless tickets for any other concerts or tours. But David Marcus, VP of music at Ticketmaster, says the company will be installing paperless ticketing capabilities across major venues in North America and other non-U.S. territories over the next 12-18 months. Here are Tom Waits tour dates: June 17-18: Phoenix, Ariz. (Orpheum) June 20: El Paso, Texas (Plaza Theatre) June 22: Houston (Jones Hall) June 23: Dallas (Palladium) June 25: Tulsa, Ok. (Brady Theatre) June 26: St. Louis (Fox Theatre) June 28: Columbus, Ohio (Ohio Theatre) June 29: Knoxville, Tenn. (Civic Theatre) July 1: Jacksonville, Fla. (Moran Theatre) July 2: Mobile, Ala. (Saenger Theatre) July 3: Birmingham, Ala. (Alabama Theatre) July 5: Atlanta (Fox Theatre)

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Tom Waits Announces Upcoming Tour, Plays Dallas on June 23

Word came down from the mountain this A.M. that the world’s greatest carnival barker and balladeer, Tom Waits, will grace the stage of the Palladium Ballroom on June 23 , his first Dallas appearance since, oh, 1979 or so . (If you’re interested in a road trip, he’ll also be playing El Paso, Houston and Tulsa, among others.)

Until we hear more on ticket info, we’ll whet your appetites with Waits’ hilarious explanation of the Glitter and Doom tour itinerary. -- Noah W. Bailey

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Tom Waits has been recording songs for over 30 years; his first album, Closing Time, was released in 1973. As well as albums, Waits has released more...

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New Zealand’s ‘World Of Wearable Art’ 2023 Showcase

• September 23, 2023

The 2023 World of WearableArt (WOW) Preview Show took place at the TSB Bank Arena in Wellington, New Zealand, on September 20, 2023, giving audiences a glimpse into the extraordinary world of wearable art. This annual event, known for pushing the boundaries of fashion and creativity, featured stunning and thought-provoking designs from artists worldwide. The highly anticipated WOW Award winners will be announced on Friday, September 22, 2023. Let’s delve into some of the standout pieces from this year’s showcase.

Grate Mates: A Bizarre Bra Extravaganza

Designers: Kelsey Roderick and Rhys Richards, New Zealand

Grate Mates, a creation by Kelsey Roderick and Rhys Richards, was a captivating entry in the Bizarre Bra Section. The piece, resembling a sculptural masterpiece, graced the runway, leaving the audience in awe of the intricate craftsmanship and artistic expression.

Waste Mountain: A Sustainable Statement

Designer: jessie curry, london college of fashion, united kingdom.

Waste Mountain, designed by Jessie Curry, was featured in the Open Section. This thought-provoking piece drew attention to issues of waste and sustainability, making a powerful statement about the environment through wearable art.

Touch of Anger: A Powerful Expression

Designer: sarvenaz omidi, iran.

Touch of Anger, created by Sarvenaz Omidi, was another striking piece in the Open Section. The design conveyed a powerful message, reflecting emotions and experiences through wearable art.

Once Upon a Time: A Dutch Fairytale

Designer: marianne van heeswijk, netherlands.

Marianne van Heeswijk’s creation, titled Once Upon a Time, transported the audience into a Dutch fairytale. This entrancing piece captured the essence of storytelling through fashion.

Shukra Navagraha: Croatian Inspiration

Designer: nera gržin, croatia.

Nera Gržin’s Shukra Navagraha design showcased Croatian inspiration in the Open Section. The piece exuded cultural richness and creativity, celebrating diversity in the world of wearable art.

Oizys – Goddess of Emotion: Indian Elegance

Designer: abhishek chauhan, india.

Oizys – Goddess of Emotion, designed by Abhishek Chauhan, was a breathtaking entry in the Gold Section. This Indian-inspired creation beautifully embodied the theme of emotion and artistry.

Child·Hood: A Kiwi Tribute

Designer: craig mcmillan, new zealand.

Child·Hood, a creation by Craig McMillan, paid tribute to New Zealand in the Aotearoa Section. This piece evoked nostalgia and celebrated the essence of childhood in Kiwi culture.

Freehand: Unconventional Creativity

Designer: sacha mail, new zealand.

Sacha Mail’s Freehand showcased unconventional creativity in the Bizarre Bra Section. The design pushed the boundaries of artistry and imagination in wearable fashion.

Black Pearl: Indian Elegance Takes Center Stage

Designers: akhilesh gupta and dimple gandhi, india.

Akhilesh Gupta and Dimple Gandhi’s Black Pearl mesmerized the audience in the Open Section. This Indian-inspired creation combined elegance and innovation, making it a standout piece.

Earthling: New Zealand’s Environmental Message

Designer: gill saunders, new zealand.

Earthling, designed by Gill Saunders, conveyed an important environmental message in the Open Section. The piece encouraged reflection on our relationship with the planet.

Iteration: A Creative Journey

Designer: celia ledon, united states.

Celia Ledon’s Iteration took the audience on a creative journey in the Open Section. This design embodied the spirit of artistic exploration and innovation.

Rimurimu – Lungs of the Ocean: Aotearoa’s Natural Beauty

Designers: lyndal linton, brett linton, and harvey linton, new zealand.

Rimurimu – Lungs of the Ocean celebrated Aotearoa’s natural beauty in the Aotearoa Section. This piece paid homage to the ocean and its vital role in New Zealand’s identity.

These extraordinary creations from the 2023 World of WearableArt Preview Show in Wellington, New Zealand, exemplify the boundless possibilities of wearable art. Stay tuned for the announcement of the WOW Award winners on September 22, 2023, as the world continues to be inspired by the intersection of fashion and artistic expression.

Global Snapshot: Diverse Images from Around the World

Chilean military parade, location: parque o’higgins, santiago, chile.

Date: September 19, 2023

Chileans celebrated the ‘Day of the Glories of the Army’ with a military parade at Parque O’Higgins in Santiago, Chile. The event showcased the dedication and discipline of the Chilean Army, with K9 units and paratroopers taking center stage.

Seismic Drill in Mexico

Location: mexico city, mexico.

Members of the Mexican Red Cross and the canine unit of the Navy participated in a national seismic drill in Mexico City. The exercise aimed to ensure preparedness for earthquake-related emergencies.

Protests in Jakarta, Indonesia

Location: jakarta, indonesia.

Date: September 20, 2023

Residents in Jakarta, Indonesia, protested against a government plan to evict 7,500 residents from Rempang island for an economic zone development project. The demonstration expressed concerns about the impact of the project on local communities.

Tragedy in Moscow, Russia

Location: balashikha, moscow region, russia.

A domestic gas explosion in a nine-story building in Balashikha, Moscow region, resulted in a building collapse, claiming three lives and injuring several others. The incident highlighted the importance of safety measures and disaster response.

Unrest in the West Bank and Gaza Strip

Location: west bank and gaza strip.

The West Bank and Gaza Strip witnessed overnight Israeli military operations, resulting in casualties. Palestinian officials reported that at least six Palestinians were killed during the unrest, emphasizing the ongoing tensions in the region.

Advocacy in Caracas, Venezuela

Location: caracas, venezuela.

NGOs, human rights activists, and opposition politicians in Venezuela rallied for the closure of alleged ‘torture centers’ in the country. The advocates demanded action during the opening of the 78th session of the UN, raising concerns about human rights violations.

Snoop Dogg’s European Tour

Location: rotterdam, the netherlands.

US rapper Snoop Dogg entertained fans during his performance at the Ahoy arena in Rotterdam as part of his European tour, bringing his signature style and music to the stage.

Rock Home Town Festival in China

Location: shijiazhuang, china.

Date: September 4, 2023

The Rock Home Town Festival in Shijiazhuang, China, celebrated the country’s love for rock music. The event brought together music enthusiasts, showcasing the cultural significance of music in the region.

F1 Grand Prix Preview in Tokyo, Japan

Location: tokyo, japan.

Max Verstappen of the Netherlands and Oracle Red Bull Racing participated in a sumo wrestling match during previews ahead of the F1 Grand Prix of Japan. The event combined the excitement of motorsports with traditional Japanese culture.

Wrestling World Championships in Belgrade, Serbia

Location: belgrade, serbia.

The Wrestling World Championships in Belgrade, Serbia, featured intense competition. Givi Matcharashvili of Georgia faced off against Ibrahim Ciftci of Turkey in the men’s freestyle 97kg gold medal match, showcasing the dedication of athletes in the sport.

Berlin’s Evening Sky

Location: berlin, germany.

Date: September 18, 2023

The setting sun created a dramatic illumination of the clouds in Berlin’s evening sky. The mesmerizing view highlighted the beauty of natural phenomena, providing a moment of serenity in the bustling city.

Prince’s Day in the Netherlands

Location: the hague, the netherlands.

Staphorst women in traditional costumes arrived in The Hague for Prince’s Day, also known as Budget Day or Prinsjesdag. The Dutch monarch delivered a Speech from the Throne, marking the official commencement of the parliamentary year and revealing the government’s plans.

As our world continues to witness a diverse range of events and moments, these snapshots capture the essence of our planet’s rich tapestry of experiences. Stay informed about the latest global developments with Daily Maverick.

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