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Augie March are an Australian pop and indie rock band formed in 1996 in Shepparton, Victoria. The group currently consists of vocalist and rhythm guitarist Glenn Richards, bass guitarist Edmondo Ammendola, drummer David Williams, and keyboardist Kiernan Box. Box had replaced Robert Dawson, the band's piano player since March 2000, who died in January 2001. Lead guitarist Adam Donovan was a member from the band's inception until 2025.

Key Information

Augie March's first full-length album, Sunset Studies, was released in 2000. It was critically acclaimed and received four ARIA Music Award nominations in 2001, which won Engineer of the Year for Chris Dickie, Chris Thompson, Paul McKercher and Richard Pleasance. Critics, both in Australia and the United States, also lauded its 2002 successor, Strange Bird. The group's third album, Moo, You Bloody Choir (2006), reached number 10 on the ARIA Albums Chart. It provided the lead single, "One Crowded Hour", which attained critical acclaim and provided their highest position on the related singles chart at number 29. The album and single were nominated for six ARIA Music Awards in 2006, while Moo, You Bloody Choir won the Australian Music Prize for that year. Having achieved mainstream success, the band toured Australia and the US through 2006 and 2007.

In 2008 they released their fourth album, Watch Me Disappear, which reached number 4. Although commercially successful it received less favourable critical reception. Augie March disbanded in late 2009 and reformed in mid-2014. They have released three studio albums since their resumption. The band's distinctive musical style is directed by main songwriter, Richards. His lyrics draw critical acclaim for their poetic style. The band's music is variously described as intricate, lush, and dense, acting as a backdrop for Richards' complex vocals.

History

[edit]

Formation and early EPs (1996–1999)

[edit]
Edmondo Ammendola on bass guitar for Augie March, Canberra, November 2007.

Augie March were formed in the Victorian rural city of Shepparton in 1996 with the original line-up of Edmondo Ammendola on bass guitar, Adam Donovan on lead guitar, Glenn Richards on vocals and guitar, and David Williams on drums.[1][2] According to Australian musicologist, Ian McFarlane, "[they] won critical praise for [their] mix of literate, sensitive pop and chamber folk."[1] Donovan, Richards and Williams grew up and attended school in the Shepparton area.[3] Richards began writing songs while studying English literature at University of Melbourne in 1996.[3] He invited Donovan and Williams, who had been studying music at the Northern Melbourne Institute of TAFE (NMIT),[4] to form the band.[1][3] The pair asked fellow NMIT student, Ammendola to join. The band's name references the titular protagonist of the 1953 novel The Adventures of Augie March by Saul Bellow.[3] According to AllMusic's Gregory McIntosh, who cites the novel's "poetic, complex prose" as complementary to Richards' lyrics.[5]

Augie March relocated to Melbourne before their first performance in Brunswick at a friend's visual art exhibition.[6] In 1997 they were signed to Ra Records (rooArt subsidiary distributed by BMG).[3][7] Augie March's first extended play (EP), Thanks for the Memes, was produced by Victor Van Vugt (Beth Orton, Nick Cave).[1][3][8] The five-track EP was released in January 1998.[1][3][8] Despite positive reviews it received little airplay.[7] It was re-released in mid-2003 with an additional track, "300 Nights".[9] Greg Lawrence of Worldwide Home of Australasian Music and More Online (WHAMMO) observed that the six-track version displayed, "dynamic arrangements, an endless lyrical depth and the ability to rock with intensity."[9] In 2007 Williams described his surprise that they had found a producer, due to their obscure music, which at the time they considered, "hip and cool, and intellectual."[10]

Augie March followed with their second EP, Waltz, in August 1999, which was produced by Richard Pleasance (Deborah Conway, Nick Barker#1993-1995: Barker).[1][8] The EP included "Asleep in Perfection", which became the most requested song on Australian Broadcasting Corporation's rage program.[7] The song was nominated for Breakthrough Artist – Single, and Pleasance for Producer of the Year, at the ARIA Music Awards of 2000.[11][12] The band toured Australia, including to Perth,[13] and their popularity increased through word of mouth.[5] BMG offered Augie March a recording contract, which they accepted.[5]

Early albums (2000–2003)

[edit]
Adam Donovan on lead guitar for Augie March, Canberra, November 2007.

Augie March went into the studio in March 2000 to begin work on their first full-length album, Sunset Studies.[1][3][8] Richards' friend, Rob Dawson, officially joined the band on keyboards and piano, after being a studio musician on Thanks for the Memes and Waltz.[1][3][14] Richards returned to Shepparton to write the material for the album.[3] The band worked in nine studios with six different engineers over the course of six months.[15] In July 2000 they released its first single, "Hole in Your Roof".[1][7] In October 2000 Sunset Studies appeared.[1][8] The group attempted to organise launches in Sydney and Melbourne, however, they were thwarted, Donovan explained "it seemed like every band in the country was doing a tour then and we couldn't get any venues."[13] They undertook a tour along Australia's east coast.[13] The album peaked at number 35 on the ARIA Albums Chart.[16]

Sunset Studies' critical reception was generally positive; Noel Mengel of The Courier-Mail said that on the album, "songs of quiet reflection, starkly beautiful melodies and intimate poetry collide on the canvas without a thought to sales graphs or what radio program directors might think,"[17] while AllMusic's Jack Rabid told American readers "it's worth the effort to track down [the album], particularly for those who think there are no more musical craftsmen out there."[18] The album earned the ARIA Award for Engineer of the Year for 2001, and received nominations for Producer of the Year, Breakthrough Artist – Album and Best Cover Art for Sam Hickey's work.[12][19] Of the album's six engineers, Pleasance, Paul McKercher, Chris Thompson and Chris Dickie qualified for the ARIA Award for best engineer. McKercher and Pleasance, as well as the band, were named producers.[15] Of the singles released from this album, "There Is No Such Place" was their most popular, which was listed at number 47 on the Triple J Hottest 100, 2001 listeners poll.[20]

Glenn Richards on lead vocals and guitar for Augie March, Canberra, November 2007.

Preparations for a follow-up to Sunset Studies were disrupted on 2 January 2001 when Robert Dawson died in a two-car collision near Bairnsdale, Victoria, the other driver also died.[1][5][21] Dawson's death had a significant impact on the band, especially on Richards who was writing for their second album, Strange Bird. However, it is not mournful; Richards described it as optimistic and humorous.[22] Melburnian Kiernan Box (ex-the Blackeyed Susans) joined the group on harmonica, organ, piano and piano accordion.[1][3][23] The band produced Strange Bird independently; Donovan said this worked to their advantage as they felt more comfortable in their own studio, and that as a result Strange Bird was a better album than Sunset Studies, though the band's debut album was "probably received better by our fans."[24] In response to previous complaints about misinterpretations of Richards' Sunset Studies wordplay, Augie March included a lyrics booklet with Strange Bird.[22]

Strange Bird was released by BMG as the band's second studio album in October 2002.[1][3] It was also released by spinART Records in the United Kingdom in that month. It was re-released in the United States in September 2004.[25] Strange Bird reached number 34 on the ARIA charts, while its lead single, "The Vineyard", peaked at number 31.[16] Augie March undertook the Strange Bird Tour around Australia.[10] The critical response to Strange Bird was largely positive, and by the following June, Williams was mystified.[26] He explained to Rip It Up!'s Scott McLennan, "I could see a few holes in the album and I'd say, 'how come no one else has picked this up?' I stopped reading our album reviews for a while."[26] Reviewers, however, focused on the positives; Guy Garvey in The Independent said "My favourite of the year is Augie March's Strange Bird",[27] while David Fricke wrote in Rolling Stone of "luxuriant melees of chiming guitars, mountain-stream voices and keyboard grandeur."[28] Donovan told Beat Magazine's Karen Conrad that the band found it hard to take the "flattering" reviews too seriously, "if we did our heads would explode or overinflate."[24]

Mainstream breakthrough (2004–2009)

[edit]
David Williams on drums for Augie March, Canberra, November 2007.

Augie March returned to the studio in 2004 to record their third album, Moo, You Bloody Choir.[1][3] The band worked with two producers, McKercher and Eric Drew Feldman, and recorded in Melbourne, San Francisco, and their own studio in Nagambie, Victoria.[29] Donovan explained this suited the band's style; they co-produced their albums, as they were interested in improving production. It enabled them to work at their own pace.[30] Also during that time BMG merged with Sony Music Australia,[3] hence the gap of three-and-a-half years since Strange Bird.[30]

In the interim they released a DVD, Drones & Vapid Ditties, containing live performances and music videos, in mid-2004.[31] Moo, You Bloody Choir, according to Triple J, was inspired by the streets of Melbourne.[29] Upon completion of the initial recording sessions, there was a six-month delay before release, as Augie March added finishing touches.[10] In March 2006, Moo, You Bloody Choir, appeared and they received critical acclaim and mainstream success.[32] The album spent 21 weeks on the ARIA Albums Chart top 50, peaking at number ten.[16] The album was certified platinum in Australia.[33] Its lead single "One Crowded Hour" reached number 29 on the ARIA Singles Chart.[16]

Work by Augie March was nominated for six more ARIA Music Awards in 2006, including "One Crowded Hour" for Single of the Year.[12][34] Contrary to media speculation, the band did not win any further ARIAs.[12][35] The group were also popular with national youth radio listeners as "One Crowded Hour" topped Triple J Hottest 100, 2006 poll.[36][37] The album was nominated for the 2006 J Award.[29] A 2008 The Australian poll ranked "One Crowded Hour" at No. 10 on their best Australian song of the past 20 years list.[38]

Kiernan Box on keyboards and harmonica for Augie March, Canberra, November 2007.

Augie March's musical abilities were acknowledged when Moo, You Bloody Choir won the second annual Australian Music Prize in 2006 for "the most outstanding and creative Australian album released in the past year."[39][40] Ammendola told Drum Media's Andrew Street that this award was more significant than an ARIA: it is "nominated on the grounds of music, and the art of it – not necessarily record sales."[41] The band used the A$25,000 prize money to fund their second US tour.[42] Richards explained that they had no expectation of a US breakthrough and if this second attempt was not successful, they would not try again.[43]

Augie March played in Los Angeles and New York in May 2007. In August of that year, Moo, You Bloody Choir was released in the US via Jive Zomba. Additional US shows followed, where they were praised by local media.[36] Joe Tangari of Pitchfork Media called it a "crime" that the band had not broken through in North America earlier,[44] though AllMusic's Ben Peterson remarked that Strange Bird was a higher quality album than its follow-up.[45] Despite the Australian success of Moo, You Bloody Choir, much of the group's post-album touring was backing other artists. They played shows supporting the Aliens and Andrew Bird in the US, before returning to Australia to open for Crowded House. Richards said the band's status as an opening act, rather than head-liner, was a challenge—their intention was to win over the main act's fans.[46] He described the Aliens tour as depressing; they played different types of music and attendances were small.[47] Augie March had a prime slot at the 2008 Big Day Out.[48]

Augie March on stage at the Hardly Strictly Bluegrass festival in October 2007

Richards was now expected by Sony BMG's agents to produce a quality follow-up, they persisted with, "Richo, have you got a single? Do you have singles? Please, do you have singles?"[49] Much of the writing for their fourth album, Watch Me Disappear, took place while touring the US, which Richards argued minimised the band's opportunities to be creative.[49] In 2008 they began recording at Neil Finn's Auckland studios; and followed with studios in Melbourne, Sydney and Los Angeles.[50] The band worked primarily in New Zealand to get away from distractions in Melbourne and focussing on recording.[51]

Augie March worked with producer, Joe Chiccarelli,[1][3] who took a significant pay cut after declaring his interest in their music. According to Richards, the production occurred with "a fair bit of friction."[47] Ammendola was critical of Chiccarelli's style and the short time they spent in the studio.[52] The recording process also took its toll on relationships within the band. Ammendola declared, "It tore us to bits. It was really really shit, we're slowly patching up now."[53] After uploading the album's title track on their website for free downloading, Augie March announced their "proper headline tour of their homeland," where they would play music from that album.[50][54] The album was released in October 2008 and its reception was mixed compared with its predecessors. Patrick Donovan of The Age wrote, "[Y]ou get the feeling that [it] will please more than just their mates and old fans,"[55] but Bernard Zuel of The Sydney Morning Herald felt it was "an album that no doubt will polarise fans."[56] Watch Me Disappear entered the ARIA Albums Chart at number four – their highest position.[16]

Augie March played at the Melbourne Cricket Ground on 14 March 2009 for Sound Relief, a multi-venue rock music concert in support of relief for the Victorian Bushfire Crisis.[57][58] The event was held simultaneously with a concert at the Sydney Cricket Ground.[57] All the proceeds from the Melbourne concert went to the Red Cross Victorian Bushfire relief.[57][58] Appearing with Augie March in Melbourne were, Bliss N Eso with Paris Wells, Gabriella Cilmi, Hunters & Collectors, Kasey Chambers and Shane Nicholson with Troy Cassar-Daley, Jack Johnson, Jet, Kings of Leon, Liam Finn, Midnight Oil, Paul Kelly, Split Enz and Wolfmother.[59]

In July 2009, "One Crowded Hour" was voted number 59 by the Australian public in Triple J Hottest 100 of all time.[60] That same month, the band undertook the Watch Me Set My Strange Sun You Bloody Choir tour, where they played every state capital and many regional towns, performing each of their four albums. In December 2009 the band went into hiatus.[1] Richards released his first solo album, Glimjack, in 2010.[1][61]

Reformation after hiatus (2014–present)

[edit]

After four-and-a-half years, on 16 June 2014, Augie March announced—via their official Facebook page—that they are off hiatus. A week later the band posted that they have been working on a full-length album, Havens Dumb, for the last two-and-a-half years. It was released on 3 October 2014 and was rated at 3.5 out-of 5 stars by Zuel, who find, "Australia's complex/troubled relationships between mateship v exclusion, honour v greed, and history v mythology has become more pronounced."[62] On 23 February 2018, Augie March released their sixth album, Bootikins.[63] According to the band's website, it was written and recorded in Melbourne and Hobart and was produced by Australian producer Tony Cohen shortly before he died.[64] In December 2021, the band released its seventh album, Bloodsport & Porn.[65] Three years later, their eighth album Malagrotta was released, composed from "notes made on a mobile phone while in the grip of a species of long Covid and a brutal high European Summer".[66]

In November 2023, Augie March collaborated with Romy Vager and released a cover of Nick Cave and the Bad Seeds' "Henry Lee".[67]

Musical style

[edit]
Asleep in Perfection
Augie March's first hit, "Asleep in Perfection", topped request charts on rage, though some critics considered the music on Sunset Studies which it exemplified to be too complex for a mainstream audience.[68]
Problems playing this file? See media help.
This Train Will Be Taking No Passengers
"The Vineyard" and "This Train Will Be Taking No Passengers" were praised as the opening duo to Strange Bird. This song was described as "a wailing rockabilly psych raver".[69]
Problems playing this file? See media help.
One Crowded Hour
The chorus of "One Crowded Hour" showcased Richard's complex lyrics, and the more subdued approach the band took on Moo, You Bloody Choir. Richards took special pride in the song's chorus, which he considered "damn good".[70]
Problems playing this file? See media help.

While Augie March generally fall into an indie/pop rock genre, their ability to mix other genres into their style at times makes classifying their musical style difficult. A common thread that runs through the band's sound is Richards' literate and often verbose lyrics, which have set the band apart from much of the rest of the Australian music scene.[5] Even early on in their career, Richards' unique lyrical style, largely influenced by poets A.D. Hope and Kenneth Slessor,[71] attracted attention and critical acclaim, with one reviewer describing him as "unique", "refreshing", and "intellectual".[72] AllMusic's Jack Rabid said Richards "exhibits a honey voice" on Sunset Studies,[18] but Grok pointed out that the album was rendered too complex or intricate for a mainstream audience.[68]

Richards' passion for poetry and literary studies again stood out on Strange Bird. John D. Luerssen of Rolling Stone said "poetry aficionado Richards puts his own literary stamp" on the album,[73] and James Christopher Monger of AllMusic said the album contained "pastoral beauty, labyrinthine arrangements, and breathtaking prose".[74] Pitchfork Media's Joe Tangari described the album as "so stuffed with ideas and instruments that it's wont to rupture from time to time". This was both a positive and negative criticism; Tangari complained that at times "there is a surplus of sound", but also said that the combination of the first two tracks—"The Vineyard" ("slow beauty") and "This Train Will Be Taking No Passengers" ("a wailing rockabilly psych raver")—was an excellent set-up.[69] Derek Miller of Stylus Magazine called the opening trio—the third song being the "simple acoustic guitar and arcing piano" of "Little Wonder"—bewildering, and that the album remained consistently as such throughout.[75] PopMatters' Zeth Lundy described Richards' wordplay as frenzied, and said the "refined, worldly wit" on Strange Bird was striking.[25]

Where Strange Bird was brimming with musical content, on Moo, You Bloody Choir Augie March were more simplified, while still maintaining some of the critically acclaimed aspects of their music. Ammendola considered their third album, led by "One Crowded Hour", to be significantly different from their previous releases.[76] Chad Grischow of IGN wrote of "lush, mesmerizing music meld with gorgeous melodies brought to life by Richards' rich vocals that wrap themselves around each instrument".[77] In The Sydney Morning Herald, Bernard Zuel argued the album was more subdued; "the tempos and the arrangements are a little quieter and simpler". Richards' lyrics, however, still drew praise; "he writes with a 19th-century novelist's ear and a Dylanesque tongue".[78] Miller of Stylus also touched on the fact that "Moo is as direct a shot as you'll ever get at Augie March", but that it was nonetheless a "refining and continuation" of the band's work thus far.[79] Shirley Halperin, writing for Entertainment Weekly, said the album featured "smooth, emotive vocals mingle with soaring melodies that'd make Paul McCartney proud".[80] Dan Raper of PopMatters said the lyrics to "One Crowded Hour" were poetic, citing the lines "Well put me in a cage full of lions / I'll learn to speak lion / In fact I know the language well",[81] as well as the "full and glorious" chorus;

And for one crowded hour, you were the only one in the room
And I sailed around all those bumps in the night to your beacon in the gloom
I thought I had found my golden September in the middle of that purple June
But one crowded hour would lead to my wreck and ruin[81]

Watch Me Disappear was Augie March's most mainstream pop work to date, described as a further distillation of the band's earlier, even more complex, music.[56] Richards considered it to be more streamlined than their early work, despite their attempts to maintain a sense of spontaneity.[82] Zuel also noted a removal of much of the backing instrumentation which had acted as "clutter" around Richards' vocals on earlier work.[56] Scott Podmore wrote in the Herald Sun that the album did not have a standout song or an instant appeal but that it was "a slow burner that takes time to get to know you, but once it does, it's a friend for good".[83] Triple J reviewer Jenny Valentish argued that multiple songs from the album could take the place of "One Crowded Hour" as "likely to become wailed for and misquoted at festivals". She noted a "commercial potential" for the album, despite its more disconcerting and confrontational content.[84]

Glenn Richards thinks of language like a patient high on nitrous oxide thinks of laughing. He delights in its possibilities, its connotations, its kaleidoscopic permutations, its violent convulsions.

—Zeth Lundy, PopMatters
In a review of Strange Bird.[25]

Songwriting

[edit]

Songwriting for Augie March is primarily initiated by Richards; he delivers demos to the rest of the band members who then collaborate with him to develop the music.[10] Kathy McCabe of The Daily Telegraph suggests "almost every songwriter in Australia has name-checked [Richards] as one of the finest tunesmiths of his generation"[70] and that "Richards is a storyteller who is spoken of in reverential terms by peers".[49] Richards simply states that he enjoys "dabbling with words", and that people often appreciate him doing so.[70] Despite this, Richards rejects the "literary" reputation he believes the band have gained.[22] At the 2006 ARIA Awards, Midnight Oil's Rob Hirst called for more political songs; Richards told Simon Collins of The West Australian he saw great risk in writing political music, and would rather write music that rung true, so that "I can sing the song a thousand times after it's been written".[85] Richards asserts he preferred to draw on everyday experiences than on literary influences. He also says that some of the music he writes is intentionally confusing.[43]

The band, and especially Richards, are noted for their perfectionism. In a post-Sunset Studies interview with Grok magazine in 2000, Williams criticised the song "The Good Gardener (On How He Fell)", to which the interviewer noted "the Augie March perfectionism ... a slavish, romantic, almost passionate pursuit".[68] This meme continued throughout Augie March's career; following the release of Moo, You Bloody Choir, Richards said he was not truly happy with anything he had produced so far.[39] Ammendola agreed, and added that the band considered Moo, You Bloody Choir the weakest of their first three albums, and Sunset Studies the best.[48] Richards later stated that he considered Watch Me Disappear his best album yet.[51] Andrew Murfett wrote in The Age that for Augie March, "creative tension, adverse circumstances and perfectionism seem to go hand in hand".[42]

Live concerts

[edit]
Richards, Meredith Music Festival December 2006
Courtesy Mandy Hall

While early live performances were criticised, performances post-Moo, You Bloody Choir have earned great and consistent praise. David Fricke of Rolling Stone lauded an Augie March concert he saw in New York, which assisted the band in making inroads in the United States.[86]

Over the years, the band have built up a loyal audience, who enjoy frequent and repeated attendance at Augie March shows. Glenn Richards has stated that this has been a great asset to the band.[87] "We have a pretty great fan base" Richards said "they get it".[88]

Discography

[edit]
Main article: Augie March discography

Awards and nominations

[edit]

APRA Awards

[edit]

The APRA Awards are presented annually from 1982 by the Australasian Performing Right Association (APRA), "honouring composers and songwriters". They commenced in 1982.[89]

Year Nominee / work Award Result Ref.
2015 "A Dog Starved" (Glenn Richards) Song of the Year Shortlisted [90]

ARIA Music Awards

[edit]

The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation, and achievement across all genres of Australian music. Augie March has won one award from thirteen nominations.[91]

Year Nominee / work Award Result
2000 Augie March & Richard Pleasance for Asleep in Perfection Producer of the Year Nominated
"Asleep in Perfection (Waltz)" Breakthrough Artist - Single Nominated
2001 Sunset Studies Best Cover Art Nominated
Breakthrough Artist - Album Nominated
Producer of the Year Nominated
Engineer of the Year Won
2006 Moo, You Bloody Choir Album of the Year Nominated
Best Group Nominated
Best Rock Album Nominated
Paul McKercher and Augie March Producer of the Year Nominated
Engineer of the Year Nominated
"One Crowded Hour" Single of the Year Nominated
2007 "The Cold Acre" (director Ben Saunders and Germain McMicking) Best Video Nominated

Australian Music Prize

[edit]

The Australian Music Prize (the AMP) is an annual award of $30,000 given to an Australian band or solo artist in recognition of the merit of an album released during the year of award. The commenced in 2005.

Year Nominee / work Award Result
2006[92] Moo, You Bloody Choir Australian Music Prize Won

EG Awards / Music Victoria Awards

[edit]

The EG Awards (known as Music Victoria Awards since 2013) are an annual awards night celebrating Victorian music. They commenced in 2006.

Year Nominee / work Award Result
2007[93] Augie March Best Band Won

J Awards

[edit]

The J Awards are an annual series of Australian music awards that were established by the Australian Broadcasting Corporation's youth-focused radio station Triple J. They commenced in 2005.

Year Nominee / work Award Result
2014[94] themselves Double J Artist of the Year Nominated

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Augie March

View on Grokipedia
from Grokipedia
Augie March are an Australian indie rock band formed in late 1995 in Collingwood, , Victoria. The group consists of vocalist and rhythm guitarist Glenn Richards, lead guitarist Adam Donovan, bassist Edmondo Ammendola, drummer David Williams, and keyboardist Kiernan Box. Led by Richards, the band's music blends with orchestral and elements, featuring literate and melancholic lyrics. Since their debut album Sunset Studies (2000), which achieved gold certification, Augie March have released eight studio albums, including the platinum-certified Moo, You Bloody Choir (2006) and their most recent Malagrotta (2024). Their single "One Crowded Hour" topped Triple J's Hottest 100 in 2007 and won APRA Song of the Year in 2008. The band won the Australian Music Prize for Moo, You Bloody Choir in 2006 and have received multiple Award nominations. After a hiatus in the early , they reformed and continue to tour internationally as of 2024.

Band members

Current members

The current lineup of Augie March, stable since 2002 and active through the band's 2024 album Malagrotta, consists of Glenn Richards on vocals and , Adam Donovan on , Edmondo Ammendola on , David Williams on , and Kiernan Box on keyboards. This configuration has supported consistent touring and recording efforts following the band's reformation in 2014 after a period of hiatus. Glenn Richards, who founded the band in late 1995 alongside Adam Donovan and David Williams, remains the primary songwriter and frontman, known for his literate lyrics and multi-instrumental contributions. In addition to band activities, Richards announced a nationwide solo tour in September 2025, marking his first such outing in over a decade and featuring new material alongside Augie March selections. Adam Donovan, an original member from the band's Shepparton roots, provides lead guitar work that has defined Augie March's intricate sound across multiple albums. Edmondo Ammendola joined around the time of formation to handle bass duties, contributing to the section's foundational stability. David Williams, another founding drummer from Shepparton, has anchored the percussion since the band's inception in 1996. Kiernan replaced keyboardist Rob Dawson in 2002, adding orchestral depth to the group's arrangements that persists in their post-reformation output.

Former members

The only former member of Augie March was keyboardist Rob Dawson, also known as Awesome Bobby Dawson, who joined the band in early 2000 after contributing to their debut EP Thanks for the Memes (1998). Dawson provided and backing vocals on the band's first full-length album, Sunset Studies (2000), helping to shape their early sound with his multifaceted keyboard arrangements. Dawson's tenure ended tragically on January 2, 2001, when he was killed in a head-on car collision near , Victoria, at age 27. His death deeply affected the band, infusing subsequent works like the EP There Is No Such Place (2001) and the album Strange Bird (2002) with themes of loss and melancholy, though he did not perform on those releases. Following Dawson's passing, Augie March stabilized their lineup in 2001 around the core of vocalist/guitarist Glenn Richards, guitarist Adam Donovan, bassist Edmondo Ammendola, and drummer David Williams, a configuration that persisted through their mainstream success period. This shift allowed the band to focus on orchestral elements without a dedicated until the addition of Kiernan Box in 2002. The 2010 hiatus prompted no further departures, with all original surviving members reuniting for the band's reformation in 2014.

History

Formation and early releases (1996–1999)

Augie March was founded in 1996 in by childhood friends Glenn Richards (vocals and guitar), Adam Donovan (lead guitar), and Dave Williams (drums), who had grown up together in the regional town of , Victoria. The trio, having reconnected after high school, recruited bassist Edmondo Ammendola, a fellow music student, and pianist Rob Dawson to form the initial lineup. Rehearsals began in a makeshift shopfront space, reflecting the band's grassroots origins amid the scene of regional Victoria. Their debut performance occurred in 1996 at a friend's in a Collingwood gallery, marking the start of local gigs in pubs. As a fledgling act, Augie March navigated challenges including limited resources and the demands of transitioning from informal high school collaborations to structured rehearsals and in a competitive urban environment. After just a handful of local shows, the band secured a deal with independent label Ra Records, distributed by BMG , allowing them to focus on recording. These early years were shaped by the DIY ethos of Victoria's regional indie scene, where access to professional facilities was scarce, yet the group's chemistry from shared upbringing fueled their determination. The band's first release, the EP Thanks for the Memes, arrived in January 1998, self-recorded in part but polished by producer Victor Van Vugt and issued on Ra Records. It garnered favorable reviews for its raw energy and introduced tracks like "Century Son," helping establish a modest following through airplay on Australian radio. Building on this momentum, Augie March issued their second EP, , in August 1999, produced by Richard Pleasance; the standout single "Asleep in Perfection" received notable rotation, solidifying their presence in the indie circuit before transitioning to full-length albums.

Early albums and growing recognition (2000–2003)

In 2000, Augie March released their debut studio album, Sunset Studies, through Ra Records, a subsidiary of BMG Australia. The album, co-produced by the band alongside Paul McKercher and Richard Pleasance, featured 15 tracks showcasing Glenn Richards' intricate songwriting and the band's evolving chamber pop sound, recorded primarily in Melbourne. It received significant airplay on Triple J, Australia's national youth radio station, where listeners voted it into high rotation, helping to build a dedicated following despite its experimental length of over 70 minutes. The band's lineup solidified in 2001 following the tragic death of keyboardist Rob Dawson, with Kiernan Box joining on keyboards to complete the core quintet of Richards (vocals and ), Adam Donovan (), Edmondo Ammendola (bass), David Williams (), and Box. This period saw Augie March undertake their first extensive national tours across , supporting Sunset Studies and performing at festivals like the and Meredith Music Festival, which further expanded their live presence and fanbase. The album's modest commercial success—it peaked at number 35 on the ARIA Albums Chart and spent approximately 26 weeks on the chart—belied its critical acclaim, with reviewers praising Richards' poetic and the album's lush as a fresh take on . Building on this momentum, Augie March released their follow-up album, Strange Bird, in 2002 on BMG . Co-produced by Paul McKercher and Chris Thompson, the record refined the band's ambitious style with tracks like "The Vineyard" and "Little Wonder," emphasizing narrative depth and orchestral flourishes. It achieved similar modest chart performance, peaking at number 34 on the Albums Chart, while earning praise for its emotional lyricism and melodic complexity from outlets like , which described it as a " pop opus" bursting with ideas. The album's release was accompanied by additional national tours, solidifying the band's reputation in the indie scene. This era marked Augie March's first ARIA Music Awards recognition in 2001 for Sunset Studies, with nominations for Album of the Year, Best Rock Album, Best Group, and Producer of the Year (shared with McKercher and Pleasance), alongside a win for Engineer of the Year for Chris Dickie, Chris Thompson, and Paul McKercher. These accolades highlighted the band's growing artistic credibility and lyrical sophistication, setting the stage for broader recognition without yet achieving mainstream commercial breakthroughs.

Mainstream success (2004–2009)

In 2004, Augie March transitioned from BMG to , marking a pivotal shift that facilitated their entry into broader commercial markets. This change preceded the recording of their third studio album, Moo, You Bloody Choir, released in March 2006, which achieved platinum certification and peaked at number 10 on the Albums Chart, establishing the band's mainstream breakthrough. The album's lead single, "One Crowded Hour," became a defining hit, topping the in 2006 and earning APRA Song of the Year honors, while also propelling the band to multiple Award nominations, including Album of the Year, Best Group, Best Rock Album, and Single of the Year. Moo, You Bloody Choir further secured the Australian Music Prize for its creative excellence, underscoring Augie March's rising prominence within the Australian landscape. The album's success fueled extensive touring, including national Australian headline shows and international support slots for acts like , Gomez, and across the , , and , expanding their audience beyond indie circles. "One Crowded Hour" solidified their cultural footprint as a radio staple, resonating with themes of that aligned with the era's Australian indie scene, alongside contemporaries like The Sleepy Jackson and Youth Group. Nominated for the J Award for Australian Album of the Year, Moo, You Bloody Choir exemplified the band's evolution toward polished, orchestral , blending Glenn Richards' intricate songwriting with lush arrangements. By 2008, Augie March released their fourth album, Watch Me Disappear, under , which debuted at number 4 on the Albums Chart and received a J Award nomination for Australian Album of the Year. This eclectic follow-up, featuring tracks like "The Hole in Your Roof," maintained their top-10 charting streak while exploring experimental edges, though it leaned more toward appreciation than the widespread acclaim of its predecessor. The period cemented Augie March's role in elevating Australian indie rock's visibility, with their sophisticated sound influencing subsequent acts in the genre.

Hiatus and reformation (2010–present)

Following the release of their 2008 album Watch Me Disappear and a demanding period of touring and promotion, Augie March entered an indefinite hiatus in late 2009, citing exhaustion from a sustained schedule of commercial activity and relentless work. The break allowed band members, particularly frontman and songwriter Glenn Richards, to pursue individual paths; Richards relocated to and released his debut solo Glimjack in 2010, which received positive reviews for its folk-rock style. During this five-year period, the band maintained no formal activity, stepping away from the music industry treadmill to recharge creatively and personally. The band reformed in mid-2014, announcing their return with the single "AWOL" and the subsequent album , released independently on , 2014, which peaked at number 14 on the ARIA Albums Chart. This reunion marked a shift to a more part-time operation, with members prioritizing sustainability over exhaustive touring, as articulated by drummer David Williams, who emphasized avoiding from prolonged road commitments. The album's production, handled largely by Richards, reflected a matured sound blending with orchestral elements, signaling the band's re-emergence as a creative force without major label backing. Subsequent releases maintained this independent trajectory. In 2018, Augie March issued Bootikins via Caroline Australia, an imprint allowing greater artistic control, followed by Bloodsport & Porn in 2021, both self-managed efforts that explored themes of time, loss, and resilience. Their eighth studio album, Malagrotta, arrived on October 4, 2024, self-released through the band's platform and Bandcamp; composed via mobile phone notes amid Richards' battle with long COVID and recorded during a sweltering European summer, it features tracks like "German Beer" and "Hill of Muses," emphasizing raw, location-inspired introspection. These works highlight challenges including lineup stability—maintained since 2001 with core members Glenn Richards, Adam Donovan, Edmondo Ammendola, David Williams, and Kiernan Box—and navigating independence after parting with major labels like BMG, which enabled creative freedom but limited promotional reach. As of 2025, Augie March sustains sporadic activity centered on selective live performances, with no extensive tours to preserve band health and cohesion. Richards has embarked on a solo tour throughout 2025, performing acoustic sets of Augie March material and new compositions in venues across , such as the Archie Creek Hotel on October 31. He has indicated ongoing work on a new solo album in , alongside potential plans for an Augie March release in 2026, underscoring the band's enduring, albeit intermittent, evolution.

Artistry

Musical style

Augie March's music is primarily characterized as and chamber folk, blending intricate pop structures with folk-inflected arrangements that emphasize melodic sophistication and emotional depth. Their sound often incorporates lush, multi-layered instrumentation, drawing from traditions to create a sense of grandeur within intimate settings. Critics have noted the band's ability to fuse these elements into a distinctive Australian indie aesthetic, marked by literate songcraft and a balance of accessibility and complexity. A hallmark of their style is the rich, orchestral arrangements featuring strings, horns, and diverse textures such as harmonium, , and , which enable dynamic shifts from subdued ballads to explosive crescendos. These elements contribute to a cinematic quality, with booming intros and symphonic swells evoking a influence, while country-tinged accents and English whimsy add eclectic flair. The result is a sound that alternates between delicate melancholy and impassioned , often veering into territory without losing melodic cohesion. Influences on Augie March include artists like , , , and , whose folk-rock introspection informs the band's early poetic leanings, alongside more contemporary parallels to , , and Belle & Sebastian for their shared emphasis on narrative-driven . This mix positions them uniquely within the Australian music scene, where their orchestral stands out for its blend of raw emotionality and polished experimentation. The band's musical evolution traces from the raw, indie roots of their 2000 debut Sunset Studies, recorded in rag-tag studios with a focus on guitar-driven intimacy, to the more refined, cinematic polish of mid-2000s albums like Strange Bird (2002) and Moo, You Bloody Choir (2006), which expanded into opuses with symphonic depth. By the 2010s and into their 2024 release Malagrotta, their sound has matured into a more experimental vein, embracing strange imagination and perspectives while retaining core melodic warmth.

Songwriting

Glenn Richards serves as the primary songwriter for Augie March, crafting that form the core of the band's output since its formation. His typically begins with personal introspection, often drawing from lived experiences such as European travels, childhood memories, and periods of personal struggle, including battles with alcohol, which inform songs like "St. Helena." Richards frequently incorporates literary influences, reading poetry daily—figures like , , , and shape his narrative depth—transforming these elements into songs before collaborating with bandmates to develop the musical arrangements. This collaborative phase involves selecting from a large pool of material, as seen in the recording of Havens Dumb, where 14 tracks were chosen from around 30 demos, emphasizing ensemble interplay to complement the lyrics. Thematically, Richards' work explores , , and the Australian landscape, often weaving in critiques of such as isolation and . Love appears in tender, reflective forms, as in "Hobart Obit," which nods to the classic "Sea of Love" amid themes of separation and renewal. Existential motifs recur through characters grappling with absurdity and regret, exemplified by the "nightmare self" in Bootikins, an exaggerated persona confronting inner negativity and human frailty. Australian settings, from 's windswept coasts to broader natural imagery like birdlife and plagues, ground these ideas, evoking a sense of weary reassessment in tracks like the title song from Sunset Studies. His poetic, narrative style prioritizes impressionistic storytelling over direct confession, creating multi-layered vignettes that invite listener interpretation. Richards employs intricate schemes and metaphor-heavy to achieve a literary density, blending whimsy with menace—such as allusions to in "Bootikins" to depict absurd tyranny. These techniques foster a rhythmic, almost novelistic flow, where words' sounds drive the sentiment, as he has described prioritizing phonetic texture in early writing. Metaphors often layer personal and historical elements, like in "Definitive ," which interrogates colonial myths through regretful . While Richards handles the bulk of lyrical composition, band input refines the music, ensuring the arrangements amplify the words' emotional weight without overwhelming them, as in the sparse and guitar of "There Is No Such Place." A standout example is "One Crowded Hour," with its structure building from folk introspection to ambient swell, using vivid imagery like "a circle of witches" to meditate on fleeting connection and the passage of time in past love. This song's narrative arc—subtle unfolding into emotional crescendo—highlights Richards' ability to compress profound themes into accessible yet enigmatic form. Later works show toward greater , as in "Malagrotta" from Malagrotta (2024), where unfiltered, stream-like narratives explore menace and self-exaggeration, departing from the more concrete vignettes of debut Sunset Studies. This shift reflects a maturing , yielding prouder, conceptually cohesive albums. Critically, Richards' songwriting has been lauded for its literary quality, with reviewers hailing him as Australia's finest for the delicate ferocity and wit in his words. Comparisons to arise from shared poetic gravitas and impressionistic depth, evident in influences like chamber folk elements on Strange Bird and the philosophical undertones akin to Cohen's introspective ballads. Despite occasional critiques of wordiness complicating live delivery, his lyrics are celebrated for their enduring charm and interpretive richness, sustaining Augie March's niche as literary rock innovators.

Live performances

Early tours

Augie March's origins trace back to , Victoria, where core members Glenn Richards, Adam Donovan, and David Williams grew up and attended high school before relocating to . The band formed in late 1995 or early 1996 in Collingwood, with the addition of bassist Edmondo Ammendola to complete the initial lineup. Their first performance took place in March 1996 at The Arthouse in Melbourne, supporting a friend's , where they played original songs by Richards alongside possible covers. From there, the group immersed themselves in Melbourne's vibrant pub and live music scene, performing at small, unsigned-band venues to hone their sound and build local buzz. After just a few such gigs, they attracted the attention of Ra Records and signed their first deal. The release of early EPs Thanks for the Memes in January 1998 and in August 1999 marked the start of broader touring activity, with the band supporting established acts and playing regional shows across Victoria. By 2000, following the debut album Sunset Studies, Augie March expanded to east coast dates, including festival appearances at Livid in and support slots in , often traveling by van to reach modest audiences in pubs and small halls. Key milestones included their national festival debut at in January 2001, performing at the Gold Coast and legs, which exposed them to larger crowds and solidified their rising profile. Triple J's early airplay of tracks from Sunset Studies played a crucial role in cultivating a dedicated fanbase through radio rotation and Unearthed features. These formative years were marked by challenges typical of emerging indie acts, including frequent lineup tweaks to stabilize the group—such as Ammendola's integration—and the rigors of low-budget van travel between small, underlit venues that tested endurance and camaraderie. Performances were raw and energetic, emphasizing unpolished rock energy with Richards' ragged, emotive vocals and commanding stage presence evoking the raw spirit of Australia's early scene.

Major concerts and festivals

Augie March's breakthrough into major live events began in the mid-2000s, marked by their appearance at the festival in , , in July 2004, where they shared the lineup with acts like Franz Ferdinand and . This performance helped solidify their growing domestic profile following the release of Strange Birds earlier that year. In 2007, the band expanded internationally with a set at the festival in San Francisco's on October 5, performing alongside artists such as and in front of thousands of attendees. That same year, they delivered a notable orchestral collaboration with the West Australian Symphony Orchestra (WASO) at Kings Park in Perth on February 25, featuring arrangements of tracks like "Lady Time" and "One Crowded Hour," broadcast on radio and praised for its lush, cinematic sound. The band's peak mainstream period saw high-profile festival slots, including a prime-time performance at the in on January 25, 2008, where they played hits like "One Crowded Hour" to large crowds across multiple Australian cities that summer. In 2009, Augie March toured major venues, culminating in shows at the in on August 29 and the Metro Theatre in on July 17, blending retrospective sets with full band energy that reviewers described as dynamically layered and emotionally resonant. They also appeared at the Laneway Festival in on February 1, 2009, showcasing their sound amid a diverse bill. These events highlighted their reputation for immersive, orchestration-heavy live sets, often featuring intricate arrangements that elevated their poetic songwriting. Following a hiatus, Augie March reformed in for a series of reunion gigs, starting with five sold-out shows at Howler's in from October 29 to November 2, driven by demand for their return and featuring sets drawn from their catalog. They also performed at the Meredith on December 13–14, , closing the event's Sunset Studies slot as repeat performers celebrated for their enduring appeal. In 2024, the band released their album Malgrotta on October 4. Looking ahead, 2025 includes festival appearances such as Live At The Gardens in 's Royal Botanic Gardens on March 14, alongside and , and a performance at Northcote Social Club on July 25, tying into frontman Glenn Richards' solo activities while reaffirming the band's orchestral live legacy.

Discography

Studio albums

Augie March has released eight studio albums since their formation in 1996, with their output reflecting a progression from intricate, orchestral indie rock to more introspective and varied sonic explorations. The band's debut, Sunset Studies (2000), marked their emergence with a sprawling 15-track collection produced by Paul McKercher and Richard Pleasance, released on Ra Records and BMG Australia, earning critical acclaim and four ARIA Award nominations despite not charting highly. Their follow-up, Strange Bird (2002), also on Ra Records and produced by McKercher and Chris Thompson, featured 11 tracks and peaked at number 34 on the ARIA Albums Chart, solidifying their reputation for literate, chamber-folk arrangements. The band's commercial breakthrough came with Moo, You Bloody Choir (2006), a 11-track album produced by McKercher, Eric Drew Feldman, and the band itself, issued by Ra Records and Music Entertainment. It debuted at number 10 on the Albums and achieved certification for sales exceeding 70,000 units in , driven by the hit single "One Crowded Hour." Watch Me Disappear (2008), produced by Joe Chiccarelli and the band, contained 12 tracks and was released on Ra Records and , reaching number 4 on the Albums —their highest peak to date—though it received mixed reviews for its more polished, pop-oriented sound. Following a hiatus from 2009 to 2014, Augie March reformed and issued Havens Dumb (2014), a 14-track effort self-recorded across and Victoria, released on Caroline , which debuted at number 14 on the ARIA Albums Chart and was praised for its cohesive, vintage aesthetic. Bootikins (2018), featuring 11 tracks produced by and Glenn Richards on Caroline , delved into darker, philosophical themes and peaked at number 20 on the ARIA Albums Chart. Bloodsport & Porn (2021), a 10-track self-released produced by Glenn Richards, explored introspective themes but did not chart on the ARIA Albums Chart. Their most recent , Malagrotta (2024), a self-released 12-track collection produced by Glenn Richards at Dark Satanic Mill Studio in , explores themes of decay and renewal, receiving positive early reception though specific sales figures remain unavailable as of November 2025.
AlbumRelease DateLabelProducer(s)TracksPeak ARIA PositionCertifications
Sunset StudiesOctober 2000Ra Records / BMG AustraliaPaul McKercher, Richard Pleasance1535-
Strange BirdOctober 14, 2002Ra Records / BMG AustraliaPaul McKercher, Chris Thompson1134-
Moo, You Bloody ChoirMarch 11, 2006Ra Records / Paul McKercher, Eric Drew Feldman, Augie March1110 (70,000+)
Watch Me DisappearOctober 10, 2008Ra Records / Joe Chiccarelli, Augie March124-
Havens DumbOctober 3, 2014Caroline Augie March1414-
BootikinsFebruary 23, 2018Caroline , Glenn Richards1120-
Bloodsport & PornDecember 15, 2021Self-releasedGlenn Richards10--
MalagrottaOctober 4, 2024Self-releasedGlenn Richards12--
Overall, Augie March's studio albums have sold modestly outside their platinum success with Moo, You Bloody Choir, with total catalog sales estimated in the hundreds of thousands primarily in , bolstered by strong critical regard and nominations across multiple releases. The six-year gap between Watch Me Disappear and stemmed from the band's hiatus, during which core members pursued solo projects, allowing for refreshed creativity upon reformation.

Extended plays and singles

Augie March's extended plays and singles span their career, beginning with independent releases in the late and evolving into major-label outputs with notable chart success. Their early EPs, released on small labels, helped establish their reputation in the Australian indie scene. The band's debut EP, Thanks for the Memes, arrived in 1998 and was reissued in 2003 with an additional track; it featured raw, experimental tracks like "Century Son" and "Stop Breathing," distributed primarily in physical format through limited runs. This was followed by the EP in 1999, which included the breakout track "Asleep in Perfection" and earned nominations for Breakthrough Artist Single and Producer of the Year; it was released on and marked their shift toward more polished songcraft. The band also released the live EP Live at the Playroom on September 4, 2007, via BMG , featuring 5 tracks recorded live. In the early 2000s, Augie March transitioned to singles that often served as previews, blending physical CD releases with B-sides and live recordings. Key examples include "The Hole in Your Roof" (2000), a four-track single with demos like "Tasman Awakens," and "Heartbeat and Sails" (2000), featuring alternate mixes and covers such as "." Later singles like "There Is No Such Place" (2001) and "Little Wonder" (2003) incorporated acoustic versions and live cuts as B-sides, reflecting the band's growing emphasis on digital and physical hybrid formats post their BMG signing. The 2006 single "One Crowded Hour" from Moo, You Bloody Choir peaked at number 29 on the ARIA Singles Chart and topped the poll, receiving over 1.5 million votes and cementing its status as a cultural milestone; the CD release included acoustic renditions and outtakes like "Passed Out in Clarkefield." Subsequent singles such as "Pennywhistle" (2008) and "Farmer's Son" (2009) featured demo versions and alternates, maintaining the tradition of enriched physical editions before the band's hiatus. Post-reformation in 2014, Augie March focused on digital-first singles, often precursors to albums, with minimal physical runs. Releases like "After the Crack Up" and "A " (both 2014) introduced their renewed sound, while "BOOTIKINS" (2017) and "When I Am Old" (2018) explored introspective themes via streaming platforms. More recent digital singles include "Clay" (2021) and a cover of "Henry Lee" with Romy Vager (2023), emphasizing collaborative and reimagined formats. From the 2024 album Malagrotta, tracks like "O Desejado" and "German Beer" were issued as promotional singles, highlighting the band's evolution toward online distribution without traditional B-sides. The band has also appeared on various compilation albums, contributing covers and originals to tribute and label samplers. Notable inclusions are "Minister for Planets" on Corroboration (2001) with and , "Beds Are Burning" on Power and the Passion: A Tribute to Midnight Oil (2001), and "Droving Woman" on Cannot Buy My Soul: The Songs of Kev Carmody (2007) alongside Paul Kelly and . These appearances, often in physical CD compilations, underscored their versatility in collaborative contexts.

Awards and nominations

APRA Awards

Augie March achieved significant recognition at the 2007 APRA Music Awards through lead songwriter and frontman Glenn Richards. The band's single "One Crowded Hour," written by Richards, won Song of the Year, an accolade voted on by over 47,000 APRA members and celebrating artistic excellence in songwriting. This victory highlighted the track's lyrical depth and melodic impact, which had already topped Triple J's Hottest 100 poll earlier that year. In the same ceremony, Richards was awarded the Breakthrough Songwriter Award, marking his emergence as a prominent figure in Australian music composition. This dual success underscored Augie March's growing influence in the scene, with the awards emphasizing the band's contributions to contemporary songwriting. No further APRA wins or nominations for the band have been documented in subsequent years.

ARIA Music Awards

Augie March first gained recognition at the with their debut EP Waltz, which earned two nominations in 2000: Breakthrough Artist – Single for "Asleep in Perfection" and Producer of the Year for the same track (credited to Augie March and Richard Pleasance). The band's debut album Sunset Studies (2000) built on this momentum, receiving four nominations at the 2001 : Breakthrough Artist – Album, Best Cover Art (Sam Hickey), Producer of the Year (Augie March, Paul McKercher, Richard Pleasance), and Engineer of the Year. The latter category marked their first win, awarded to engineers Paul McKercher, Chris Thompson, Richard Pleasance, and Chris Dickie for their work on the album. This artisan award highlighted the technical excellence behind the record's lush, orchestral sound, which blended with literary lyricism. Augie March's breakthrough into mainstream acclaim came with their third album Moo, You Bloody Choir (2006) and its lead single "One Crowded Hour," which collectively secured six nominations at the 2006 . These included Album of the Year, Best Group, Best Rock Album (both for Moo, You Bloody Choir), Single of the Year (for "One Crowded Hour"), Producer of the Year (Paul McKercher), and Engineer of the Year (Paul McKercher). The nominations underscored the album's critical and commercial impact, with "One Crowded Hour" becoming a signature track that propelled the band to wider audiences through its poignant exploration of fleeting connections. Despite the strong showing, the band did not secure additional wins that year. The following year, Augie March received one further nomination at the 2007 for Best Video, for "The Cold Acre" directed by Ben Saunders and Germain McMicking. This recognized the song's introspective visuals from their Moo, You Bloody Choir era. Over their career, Augie March amassed more than a dozen nominations between 2000 and 2007, primarily in major and artisan categories, reflecting their evolution from indie darlings to established Australian artists. Their sole win in the Engineer of the Year category remains a testament to the meticulous craftsmanship that defines their discography. The band performed at select ARIA ceremonies, including a notable rendition of "One Crowded Hour" during the 2006 event, amplifying their presence in the Australian music scene.

Other awards

Augie March won the Australian Music Prize in 2006 for their album Moo, You Bloody Choir, which was selected by a panel of judges as the most outstanding and creative Australian album of the year, earning the band A$25,000. The band's album Moo, You Bloody Choir was nominated for the J Award for Australian Album of the Year in 2006, as presented by radio. At the 2007 EG Awards, organized by the music industry body now known as Music Victoria, Augie March received the Best Band award, recognizing their contributions to Victorian music. In the countdown of 2006, Augie March's single "One Crowded Hour" topped the poll, voted by listeners as the best Australian song of the year and marking a significant milestone in the band's recognition within the indie and alternative music scene.

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  58. https://www.setlist.fm/setlist/augie-march/2009/forum-theatre-melbourne-australia-3d7a17f.html
  59. https://doubtfulsounds.net/2009/08/04/review-augie-march-metro-theatre-sydney-170709/
  60. https://www.setlist.fm/setlist/augie-march/2009/caledonian-lane-melbourne-australia-2bce30c2.html
  61. https://tonedeaf.thebrag.com/live-review-augie-march-howler-2019/
  62. https://musicfeeds.com.au/news/augie-march-announce-first-show-back-after-five-years/
  63. https://2014.mmf.com.au/whos-playing/augie-march/
  64. https://www.setlist.fm/setlist/augie-march/2025/royal-botanic-gardens-melbourne-australia-35d1907.html
  65. https://www.setlist.fm/setlist/augie-march/2025/northcote-social-club-melbourne-australia-7b42bea0.html
  66. https://www.discogs.com/release/669159-Augie-March-Moo-You-Bloody-Choir
  67. https://www.discogs.com/release/16089864-Augie-March-Watch-Me-Disappear
  68. https://augie-march.squarespace.com/watch-me-disappear-2008
  69. https://augiemarch.com/havens-dumb
  70. https://themusic.com.au/news/augie-march-snag-top-15-aria-albums-chart-debut/d0Roa2ptbG8/11-10-14
  71. https://www.discogs.com/release/11625970-Augie-March-Bootikins
  72. https://www.discogs.com/release/31859651-Augie-March-Malagrotta
  73. https://open.spotify.com/album/5N55SYb1zpldXhQnhRniXr
  74. https://www.top100singles.net/2011/10/every-aria-top-100-single-in-2006.html
  75. https://www.abc.net.au/triplej/hottest100/archive/search/?year=2006
  76. https://www.abc.net.au/news/2007-06-06/augie-march-claim-top-apra-prize/59960
  77. https://www.apraamcos.com.au/about/supporting-the-industry/awards/apra-music-awards-2007
  78. https://www.billboard.com/music/music-news/apra-wins-for-augie-march-wolfmother-1322818/
  79. https://www.aria.com.au/awards/past-winners/2000
  80. https://www.aria.com.au/awards/past-winners/2006
  81. https://www.aria.com.au/awards/past-winners/2007
  82. https://www.smh.com.au/entertainment/music/augies-long-march-to-arias-20060914-gdodu8.html
  83. https://www.abc.net.au/news/2007-03-08/augie-march-wins-amp-award/2211772
  84. https://www.theage.com.au/entertainment/music/music-talent-honoured-at-the-eg-awards-20071201-ge6fho.html
  85. https://www.smh.com.au/entertainment/music/triple-js-hottest-100-20070127-gdpc4n.html
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