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Midnight Oil (known informally as "The Oils") are an Australian rock band composed of Peter Garrett (vocals, harmonica), Rob Hirst (drums), Jim Moginie (guitar, keyboard) and Martin Rotsey (guitar). The group was formed in Sydney in 1972 by Hirst, Moginie and original bassist Andrew James as Farm: they enlisted Garrett the following year, changed their name in 1976, and hired Rotsey a year later. Peter Gifford served as bass player from 1980 to 1987, with Bones Hillman then assuming the role until his death in 2020. Midnight Oil have sold over 20 million albums worldwide as of 2021.

Key Information

Midnight Oil issued their self-titled debut album in 1978 and gained a cult following in their homeland despite a lack of mainstream media acceptance. The band achieved greater popularity throughout Australasia with the release of 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 (1982) – which spawned the singles "Power and the Passion" and "US Forces" – and also began to attract an audience in the United States. They achieved their first Australian number one album in 1984 with Red Sails in the Sunset, and topped their native country's singles chart for six weeks with the EP Species Deceases (1985).

The group garnered worldwide attention with 1987 album Diesel and Dust. Its singles "The Dead Heart" and "Beds Are Burning" illuminated the plight of Indigenous Australians, with the latter charting at number one in multiple countries. Midnight Oil had continued global success with Blue Sky Mining (1990) and Earth and Sun and Moon (1993) – each buoyed by an international hit single in "Blue Sky Mine" and "Truganini", respectively – and remained a formidable album chart presence in Australia until their 2002 disbandment. The group held concerts sporadically during the remainder of the 2000s and announced a full-scale reformation in 2016. The band released their 15th and final studio album, Resist, on 18 February 2022,[2] and announced an accompanying tour.[3]

The band's music often broaches political subjects, and they have lent their support to multiple causes. They have won eleven ARIA Awards and were inducted into the ARIA Hall of Fame in 2006. Midnight Oil's legacy has grown since the late 1970s, with the outfit being cited as an influence, and their songs covered, by numerous popular artists. Aside from their studio output, the group are celebrated for their energetic live performances, which showcase the frenetic dancing of Garrett. Guardian writer Andrew Street described Midnight Oil as "one of Australia's most beloved bands".

Overview

[edit]

While studying at Australian National University in Canberra, vocalist Peter Garrett[4] answered an advertisement for a spot in Farm,[5][6] and by 1975 the band had started touring the east coast of Australia.[4] By late 1976 Garrett had moved to Sydney to complete his law degree,[4][6] and Farm changed its name to Midnight Oil by drawing the name out of a hat.[7] The name was coined by Peter Watson, a short-term keyboard player with Farm.[8]

Important to their development was manager Gary Morris, who successfully negotiated favourable contracts with tour promoters and record companies and frustrated rock journalists.[4][6][need quotation to verify] Guitarist Martin Rotsey joined in 1977[9] and Midnight Oil, with Morris, established their own record label, Powderworks,[9] which released their debut eponymous album in November 1978. Their first single "Run by Night" followed in December.[4][6] Founding bass-guitarist James, forced to leave due to illness in 1980, was replaced by Peter Gifford. Gifford was himself replaced by Bones Hillman in 1987.[4][9][6] Through a long and distinguished career, the band became known for its driving hard-rock sound, intense live performances and political activism, particularly in aid of anti-nuclear, environmentalist and indigenous causes.[10]

The following Midnight Oil albums peaked in the Australian Top Ten:[11][12]

The following Midnight Oil releases peaked in the Top Ten of the Australian singles chart:[11][12]

Aside from chart success, the Australasian Performing Right Association (APRA) in 2001 listed both "Power and the Passion" and "Beds Are Burning" in the Top 30 best Australian songs of all time,[16] a chart in which Midnight Oil are the only artists to feature twice. In December 2002 Garrett announced that he would seek to further his political career and Midnight Oil disbanded, but they reformed for two warm-up shows in Canberra leading up to their performance, at one of the "Sound Relief" charity concerts, in honour of the victims of the 2009 "Black Saturday" fires in Victoria and floods in Queensland.

In 2010 their album Diesel and Dust ranked no. 1 in the book The 100 Best Australian Albums by Toby Creswell, Craig Mathieson and John O'Donnell.[17]

History

[edit]

Farm: 1972–1976

[edit]

In 1971 drummer Rob Hirst, bass guitarist Andrew James, and keyboard player/lead guitarist Jim Moginie were performing together. They adopted the name "Farm" in 1972,[9] and played covers of Cream, Creedence Clearwater Revival and Led Zeppelin songs.[6] They placed an advert for a band member;[5] Peter Garrett (ex-Rock Island Line) became their new vocalist and synthesizer player and began introducing progressive rock elements of Focus, Jethro Tull and Yes, as well as their own material.[4][6] Garrett was studying at the Australian National University in Canberra, so Farm was only a part-time band.[4][6] They played for the northern-Sydney surfing community and, by 1975, were touring the east coast.[4] In late 1976 Garrett moved to Sydney to complete his law degree.[4][6] Farm then became a full-time group and changed its name to "Midnight Oil" by drawing a name out of a hat, leaving behind "Television", "Sparta", and "Southern Cross".[7]

The name "Midnight Oil" was inspired by the Jimi Hendrix song "Burning of the Midnight Lamp",[6] although the word "oil" appears nowhere in the lyrics. The expression "midnight oil" first appeared in a 1635 poem by Francis Quarles (1592-1644):[18]

To heaven's high city I direct my journey,
Whose spangled suburbs entertain mine eye.
We spend our midday sweat, our midnight oil;
We tire the night in thought, the day in toil.

— Emblems, 1635

1976–1981

[edit]
Martin Rotsey, Midnight Oil guitarist, at the Souths Leagues Club in Brisbane, 2007

After changing its name to Midnight Oil, the group began to develop an aggressive, punk-hard rock sound for their pub rock audiences.[6] Guitarist Martin Rotsey joined in 1977[9] and Midnight Oil, with their manager Gary Morris, established their own record label Powderworks.[9] In June 1978 they entered the Alberts Studio in Sydney with producer Keith Walker, from local radio station 2JJ, to record their debut eponymous album, Midnight Oil, which was released by Powderworks in November 1978 and peaked at No. 43 on the Australian albums charts.[11] Midnight Oil's first single "Run by Night" followed in December,[4][6] but had very little chart success, peaking at No. 100 on the singles charts.[11]

The band built a dedicated fan base, initially restricted to Sydney, which was extended to other Australian cities through constant touring – performing some 200 gigs in their first year.[6] They became known for their furious live performances, which featured the two guitarists Moginie and Rotsey, the drumming and vocals of Hirst and the presence of the towering, bald Garrett as lead singer.[4][6][10]

The Midnight Oil LP disappointed some critics as it did not capture their powerful live performances, with undemanding playing and Garrett's vocals sounding stilted.[4] Their second album Head Injuries, released on Powderworks in October 1979, was produced by former Supercharge member Leszek Karski.[9] It mixed solid guitar rock with progressive flourishes and was an improvement by highlighting the group's strengths and growth.[4][6] It peaked at No. 36 and by mid-1980 had achieved gold status.[4][11] In April 1980 founding bass guitarist Andrew James left because of ill-health and was replaced by Peter Gifford (ex-Huntress, Ross Ryan Band).[9]

Further interest in Midnight Oil was generated by the popular Bird Noises EP, also produced by Karski, which peaked at No. 28 on the Australian singles charts.[11] One of its four tracks was the surf-instrumental "Wedding Cake Island" named after the rock outcrop in the ocean off Sydney's Coogee Beach. The band's third LP Place without a Postcard, released by CBS Records in November 1981, was recorded in Sussex with English producer Glyn Johns (The Rolling Stones, The Who).[9][6] Creative tensions between the band and Johns plagued the recording and the group were not totally happy with the outcome. Johns had an arrangement with A&M Records and they asked Midnight Oil to return to the studio to record material suitable for an American single release – they refused and returned to Australia.[6] Place without a Postcard peaked at No. 12 on the albums charts and related singles "Don't Wanna be the One" and "Armistice Day" reached the Top 40 in Australia.[11]

Fans, music industry, media

[edit]

Driven largely by commercial pressures to stay with reliable chart-toppers and teenage pop sensations, the Australian music industry in the mid-1970s cast a dismissive eye toward most bands with an alternative outlook. Although consistently championed by Sydney alternative rock station Double Jay and its FM band successor Triple J, Midnight Oil were almost totally ignored by Australia's mainstream commercial radio stations in their early career. Manager Morris developed a reputation as one of the toughest managers and became notorious for banning critics or journalists, who were usually given free admission to concerts, for writing unfavourable reviews. Writer and critic Bruce Elder, in a mid-1980s newspaper review described their music as "narrow and xenophobic" and declared Midnight Oil were:

"a kind of antipodean pub rock version of Queen [...] life-denying, sexist, secular and bigoted [...] endless touting of Australia and all things Australian"[19]

— Bruce Elder quoted in Crème de la Phlegm: Unforgettable Australian Reviews (2006), ed.:Angela Bennie. ISBN 0-522-85241-6

In retaliation, Morris banned Elder from Oils shows permanently. Elder later recanted, describing them as the only Australian band to have developed a truly Australian sound.[citation needed]

The frostiness of Midnight Oil's relationship with the traditional music media quickly saw the band develop a strong "street cred" and a reputation for making no compromises with the music industry. In the early 1980s the band was scheduled to appear on an episode of the all-powerful Australian Broadcasting Corporation (ABC) TV pop show Countdown but on the day of the show they were "bumped" from the line-up. Countdown required artists to mime their songs during 'live' performances, Midnight Oil and Morris insisted they perform completely live and have their sound engineer supervising – neither side backed down.[20] According to Countdown producer Michael Shrimpton, the band had arrived late for rehearsal and, due to the show's very tight schedule and budget, there was a strict policy that latecomers were not allowed to appear; and, as such, they were told they could not perform that day. In response, the group declared that they would never appear on the show, a promise they faithfully kept.[21] Countdown presenter Molly Meldrum shaved his head bald, imitating Garrett, for its final show on 19 July 1987 and expressed regret that Midnight Oil had never appeared on the show.[7][21][22]

Fans of the group were drawn to the band's "us and them" mindset, and fan loyalty to the Oils' ideas and music was fierce. Two venues at which they built significant fan bases from their early live performances were the Sydney northern beaches pub The Royal Antler at Narrabeen and the Bondi Lifesaver club near Sydney's Bondi Beach. Politically oriented rock of the style produced by the band was something of a new concept for the Australian music scene, and Peter Garrett quickly earned a reputation as one of the most charismatic and outspoken musicians in the country. He recalled that there were dangers in playing the pub scene:

You get booked into a pub or hotel, say in the western suburbs of Sydney. Halfway through your set, two large, drunk truck drivers decide to have a fight. They're beating each other up and careening towards the corner where the band is set up. Meanwhile, everyone else is going, 'Aaah, turn it down, I'm trying to watch TV.' Try to contemplate that as an environment to play music in every night for three years.[23]

— Peter Garrett quoted in The Big Australian Rock Book (1985) published by Rolling Stone Magazine, ed.:Ed St John, ISBN 0-9590615-0-9

Rise to fame: 1982–1985

[edit]

10, 9, 8, 7, 6, 5, 4, 3, 2, 1

[edit]

Their Australian breakthrough and first international recognition came in 1982, with the release of 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, which included the singles "Power and the Passion" and "Read about It". The album peaked at No. 3 and "Power and the Passion" peaked at No. 8.[11] The album also includes their denunciation of American military interference in foreign affairs in "US Forces" and their critique of imperialist repression in "Short Memory". 10 to 1 was recorded in London during September and produced by Englishman Nick Launay,[4][9] who had previously worked with acts including The Jam, XTC, Peter Gabriel, PiL, Gang of Four and The Birthday Party.[4] Launay worked on several other major Australian recordings in this period including INXS' The Swing, Models' The Pleasure of Your Company and The Church's Seance.

The album remained in the Australian charts for 171 weeks.[11] It retained their live energy but was more adventurous and radical than previous work.[4][6] Their ascendancy was signalled by a series of concerts on the release of the album at Sydney's Capitol Theatre, one of which was filmed and recorded and later released on their 2004 Best of Both Worlds DVD. The band also played their first shows outside Australia during this time, with the album being released in the US on Columbia Records, where it charted in 1984 on the Billboard 200;[24] in the UK it was released on CBS.[4]

Red Sails in the Sunset

[edit]

Midnight Oil undertook more politically motivated benefit concerts,[6] including organising the Stop The Drop nuclear disarmament concert in 1983, which received a United Nations Association of Australia Media Peace Prize.[4] 10 to 1 was followed by Red Sails in the Sunset in October 1984, which was recorded in Japan, produced by Launay again.[4][9] It peaked at No. 1 for four weeks on the Australian charts,[11] and charted on the Billboard 200.[24] Singles from the album were released in US and UK but had no chart success.[4] Whilst the album showed an overreliance on technical wizardry, their lyrical stance was positive.[4] The band continued to expand their sound and explore themes of politics, consumerism, militarism, the threat of nuclear war and environmental issues.[6] The album cover by Japanese artist Tsunehisa Kimura featured a photomontage of Sydney – both city and harbour – cratered and devastated after a hypothetical nuclear attack.[25] Live concert footage of "Short Memory" was used in the Australian independent anti-nuclear war movie One Night Stand.[26] A promotional video for "Best of Both Worlds", later on Best of Both Worlds, received airplay worldwide on cable music TV station MTV.[27]

Garrett ran as a Nuclear Disarmament Party (NDP) candidate for a NSW seat in the Australian Senate during the December 1984 federal election, Garrett obtained 9.6% of votes but was unable to obtain the required quota of 12.5%.[28] In April 1985, Garrett, with some 30 other members, walked out of the national conference and resigned from the NDP claiming it had been infiltrated by a Trotskyist group.[29][30] Although unsuccessful in that federal election, Garrett was now a recognised public figure.[4]

Goat Island Triple J concert

[edit]

In January 1985, Midnight Oil performed Oils on the Water, a concert on Goat Island in Sydney Harbour to celebrate Triple J's tenth birthday,[4] before a select audience of fans who had won tickets in a radio competition. The concert was filmed, simulcast on ABC-TV and Triple J, and released on video,[4] which was remastered for their 2004 Best of Both Worlds DVD.

International success and activism: 1985–2002

[edit]

Diesel and Dust

[edit]

In December 1985 the four-track EP Species Deceases produced with Francois Kevorkian was released by CBS/Columbia;[9] it peaked at No. 1 on the Australian singles charts for six weeks.[4][11] Species Deceases, featuring the track "Hercules", featured a return to their pub rock sound with hard hitting firepower.[4] Midnight Oil spent several months in 1986 on the Blackfella/Whitefella tour of outback Australia with indigenous groups Warumpi Band and Gondwanaland, playing to remote Aboriginal communities and seeing first hand the seriousness of the issues in health and living standards.[4] The tour was criticised by some journalists for being a one-off event instead of a long-term attempt to build bridges between communities.[31] The band was galvanised by the experiences and made them the basis of Diesel and Dust, released in 1987 and produced by Warne Livesey.[9] The album focused on the need for recognition by white Australia of past injustices involving the Aboriginal nations and the need for Reconciliation in Australia. Peter Gifford left the band before the album's release due to extensive touring schedules,[6] and was replaced by Bones Hillman, formerly of The Swingers.[9]

Diesel and Dust peaked at No. 1 on the Australian albums charts for six weeks,[11] No. 21 on the Billboard 200 charts in 1988,[24] and No. 19 on the UK albums charts.[32] "Beds Are Burning" was their biggest international hit single, peaking at No. 6 in Australia,[11] and No. 17 on the Billboard Hot 100,[33] No. 6 on the UK singles charts.[32] "The Dead Heart" peaked at No. 6 in Australia,[11] and charted on the Hot 100[33] and in the UK.[32] "Put Down that Weapon" also charted in Australia,[11] while "Dreamworld" charted on Billboard's Mainstream Rock Tracks and at No. 16 on its Modern Rock Tracks.[33]

At the Australian Recording Industry Association (ARIA) 1988 Awards ceremony, Midnight Oil won "Best Cover Art " for Diesel and Dust and both "Best Single" and "Best Song" for "Beds Are Burning".[34] A fracas developed between Morris, accepting awards for Midnight Oil, and former Countdown compere Ian Meldrum who was presenting: Meldrum objected to Morris making political commentary from the podium.[34]

There were concerns about Diesel and Dust and Midnight Oil's attempts to express indigenous issues to white urban audiences – namely, the question "who holds the power to tell whose history?"[31] The lyrics of "The Dead Heart" tell the story of colonisation from an indigenous point of view but some critics felt they reinforced the "primitive" stereotype.[31] Use of the bullroarer was criticised as belonging to sacred rituals and therefore not appropriate for rock songs.[31] "The Dead Heart" had been written in response to a request by organisers of the 1985 ceremony to return control of Uluru to its indigenous caretakers; Midnight Oil had originally resisted, arguing it would be more appropriate for an indigenous band to release the single. However, the organisers insisted, arguing that the band would reach a wider audience within the predominantly Caucasian urban centres.[citation needed] Midnight Oil requested that all royalties from the song go to indigenous communities.[25] In addition, two indigenous groups, Warumpi Band and Gondwanaland, toured with them.

Following the 1988 American tour in support of Diesel and Dust with Australian band Yothu Yindi, Midnight Oil launched the Building Bridges – Australia Has A Black History album with various artists contributing, including Paul Kelly, Scrap Metal, Coloured Stone, Hunters & Collectors, James Reyne, The Saints, Crowded House, INXS and Yothu Yindi.[4] All sales proceeds were donated to the National Coalition of Aboriginal Organisations.[4]

During 1989–1993 and 1998–2002 Garrett was the President of the Australian Conservation Foundation, whilst during 1993–1998 he was on the International Board of Greenpeace.[35] In 1990 Midnight Oil played an impromptu lunchtime set in front of Exxon headquarters in New York with a banner reading, "Midnight Oil Makes You Dance, Exxon Oil Makes Us Sick," protesting the Exxon Valdez oil spill the previous year.[6]

Blue Sky Mining

[edit]

In February 1990, Blue Sky Mining, produced by Livesey, was released by CBS/Columbia.[9] It peaked at No. 1 on the Australian Recording Industry Association (ARIA) albums charts.[12] It stayed at No. 1 for two weeks in Australia and had Top 5 chart success in Sweden, Switzerland and Norway.[36] It peaked at No. 20 on the Billboard 200[24] and No. 28 on the UK charts.[32] The album was more defiant and outspoken;[4] the single "Blue Sky Mine" describes asbestos exposure in the Wittenoom mine tragedy.[4] The single peaked at No. 8 on the ARIA singles charts,[12] top 15 in Norway and Switzerland,[37] No. 47 on Billboard Hot 100 and No. 1 on both their Mainstream and Modern Rock Tracks charts,[33] and appeared on the UK charts.[32] The second single, "Forgotten Years", was more moderately successful, reaching No. 26 on the ARIA singles chart, No. 97 in the UK, No. 11 on the Mainstream Rock Tracks, and No. 1 on the Modern Rock Tracks.

In Sydney in 1990, while Midnight Oil were taking a break, Hirst joined up with guitarist Andrew Dickson, drummer Dorland Bray of Do-Ré-Mi, guitarist Leszek Karski (Midnight Oil producer) and bass guitarist Rick Grossman of Hoodoo Gurus to form a side project called Ghostwriters.[38] The name refers to the practice of ghostwriting, wherein famous writers contribute under assumed names in order to remain anonymous. Ghostwriters' line-ups – both live and in the studio – changed considerably through the years, with only founders Hirst and Grossman being mainstays. Between successive album releases Hirst and Grossman returned to active involvement with Oils and Gurus respectively. Ghostwriters have released Ghostwriters (1991), Second Skin (1996), Fibromoon (1999) and Political Animal (2007).[38]

At the 1991 ARIA Awards ceremony, Midnight Oil won 'Best Group' and an 'Outstanding Achievement Award' and 'Best Cover Artist', 'Best Video' and 'Album of the Year' for Blue Sky Mining.[39] Morris, accepting awards for Midnight Oil, was criticised for a speech lasting 20 minutes.[7][39]

Scream in Blue (Live), their June 1992 live album produced by Keith Walker, contained material from concerts between 1982 and 1990, including "Progress" from their Exxon Valdez protest gig.[4][9] It peaked at No. 3 on the ARIA albums charts;[12] Top 50 in Austria, Sweden and Switzerland;[40] and appeared on the Billboard 200.[24]

Earth and Sun and Moon

[edit]

Midnight Oil's Earth and Sun and Moon album, produced with Nick Launay, was released in April 1993 and also drew critical acclaim and international success, peaking at No. 2 on the ARIA albums charts,[12] top 20 in Sweden and Switzerland,[41] Top 50 on Billboard 200,[24] and top thirty in the UK albums chart.[32] The single "Truganini" referenced multiple issues, including the 'last' Tasmanian Aboriginal person, the treatment of Aboriginal artist Albert Namatjira, the Australian flag debate, and republicanism.[31] Liner notes for the single claimed "Truganini was the sole surviving Tasmanian Aborigine, the last of her race, when she died in 1876."[31] The Tasmanian Aboriginal Centre, representing over 7000 contemporary Tasmanians, called for the single to be boycotted as it perpetuated a 'white' myth about the extinction of Aboriginal Tasmanians.[31] Their Native Title claims hinged upon establishing links with ancestral lands. Morris responded with, "My suggestion to these people is to stop shooting themselves in the foot and let a band like Midnight Oil voice its appeal to White Australia on behalf of Black Australia".[31]

Critics contended that Morris disparaged Indigenous Australians' ability to represent themselves and overestimated Midnight Oil's ambassadorial powers while diminishing their errors, while some indigenous activists saw benefit in Midnight Oil's highlighting of the issues.[31] Nevertheless, "Truganini" released in March peaked at No. 10 on the ARIA singles charts,[12] No. 10 on Billboard Mainstream Rock Tracks and No. 4 on their Modern Rock Tracks charts,[33] and top thirty for the UK charts.[32] Peter Garrett issued an apology for the mistake in the liner notes. The band performed the song along with "My Country" from the album on the American sketch-comedy series Saturday Night Live during the 8 May 1993 episode hosted by Christina Applegate.[42]

In 1993, the band also participated in the Another Roadside Attraction tour in Canada and collaborated with The Tragically Hip, Crash Vegas, Hothouse Flowers and Daniel Lanois on the one-off single "Land" to protest forest clearing in British Columbia.

Breathe to Capricornia

[edit]

Breathe was released in 1996. It was produced by Malcolm Burn and had a loose, raw style with almost a low-key sound.[4] It peaked at No. 3 on the ARIA albums chart,[12] and had Top 40 success in New Zealand and Switzerland.[43] They returned to No. 1 on the ARIA albums charts[12] with the compilation 20,000 Watt R.S.L. in 1997 on Sony Records, which achieved 4×Platinum sales.[44] Later album releases include the electro tinged hard rock Redneck Wonderland in 1998, live album The Real Thing in 2000 and the more stripped back Capricornia in 2002 again renuniting with producer Warne Livesey, all charted into the ARIA Top Ten.[12]

Sydney 2000 Olympic Games performance

[edit]

Midnight Oil again brought the politics of Reconciliation to the fore during their performance at the closing ceremony of the Sydney 2000 Summer Olympics. Then Prime Minister John Howard had triggered controversy that year with his refusal to embrace symbolic reconciliation and apologise to Indigenous Australians and members of the Stolen Generations.[citation needed] But he had also said their reconciliation-themed single "Beds Are Burning" was his favourite Midnight Oil song. Midnight Oil performed the song at the ceremony with the word SORRY conspicuously printed on their clothes as a form of apology to Indigenous people for their suffering under white settlement and to highlight the issue to Howard, who was in the audience at the Olympic stadium as an estimated one billion people watched on television.[31] Midnight Oil had consulted with tour mates Yothu Yindi and other Indigenous activists, so that their performance would bring popular protest to the world arena.[31]

In 2001, when Australasian Performing Right Association (APRA) surveyed 100 music industry people for their Top 10 Best Australian songs of all time, "Beds Are Burning" was voted No. 3 behind The Easybeats' "Friday on My Mind" and Daddy Cool's "Eagle Rock".[45] At the 2001 APRA Awards ceremony "Beds are Burning" was shown on video and introduced by Australian Democrats Senator Aden Ridgeway as an Indigenous spokesperson on Reconciliation.[45] "Power and the Passion" was also listed in APRA's Top 30 best Australian songs.[16]

Dissolution and reunion

[edit]
Midnight Oil at Manly Leagues Club, 2005

Garrett announced his decision to quit Midnight Oil on 2 December 2002, to refocus on his political career.[6] In the 1984 federal election, Garrett had stood for the Australian Senate under the Nuclear Disarmament Party banner and narrowly lost. He won the seat of Kingsford Smith at the 2004 General Election for the Australian Labor Party and was selected as Shadow Minister for Climate Change, Environment, Heritage and the Arts. On Thursday, 29 November 2007, Prime Minister elect Kevin Rudd named Garrett as Minister for the Environment, Heritage and the Arts. The other members of the band continued to work together, but not under the Midnight Oil name.

After a warm up gig the previous evening at the Manly-Warringah Leagues Club, the band, including Garrett, reunited to perform at the WaveAid concert on 29 January 2005 to raise funds for the victims of the 26 December 2004 Indian Ocean tsunami. The concert, which took place at the Sydney Cricket Ground, also included performances by Powderfinger, Silverchair, Nick Cave, John Butler Trio, Finn Brothers, and others.

On 29 October 2006, Midnight Oil was inducted into the ARIA Hall of Fame with ARIA chairman Denis Handlin describing them:

For 30 years, on their journey from inside Sydney's Royal Antler Hotel to outside the Exxon Building in New York, the Oils have always led from the front. They spoke to us – and to the world – in a uniquely Australian way. [...] Their music speaks first – it's powerful, it's uncompromising, it's unique rock music that inspires, entertains and will last forever. [...] My favourite Oils lyric, which summarises it all is: 'It's better to die on your feet than live on your knees.'[7]

— Denis Handlin, 2006

Rob Hirst, in his acceptance speech, thanked his family, bandmates, and support from fellow Australians. He also lamented the fact that unlike the Vietnam war, which had inspired some of the best protest songs ever written, very few had been written in reaction to the invasion of Iraq.[7]

Flat Chat, another compilation album, was released in November 2006 and peaked at No. 21 on the ARIA album charts.[12] Rumours of an appearance by Midnight Oil at the Sydney leg of the Live Earth concert in July 2007[46] were false. However Ghostwriters, founded by drummer Hirst and Hoodoo Gurus bass guitarist Rick Grossman and including former Oils guitarist Martin Rotsey, performed six tracks including the Oils' song "When the Generals Talk", whilst Peter Garrett gave a speech introducing a reformed Crowded House.

Aside from Ghostwriters, Hirst has also been a member of Backsliders, performed with former Olympian Paul Greene, with fellow Backsliders member Dom Turner on The Angry Tradesmen, and, with Rotsey, assisted on Jim Moginie's solo album Alas Folkloric in 2006.

2009 reformation

[edit]

On the evenings of 12 and 13 March 2009 a reformed Midnight Oil, with Garrett, played at the Royal Theatre in Canberra.[47] The following day, 14 March they headlined the Sound Relief concert in Melbourne.[48] This event was held at the Melbourne Cricket Ground (MCG) to raise money for victims of Victoria's February bushfire disaster.[49] The event was held simultaneously with a concert at the Sydney Cricket Ground.[48] All proceeds from the Melbourne Concert went to the Red Cross Victorian Bushfire relief.[48][49] Appearing with Midnight Oil in Melbourne were Augie March, Bliss N Eso with Paris Wells, Gabriella Cilmi, Hunters & Collectors, Jack Johnson, Kasey Chambers & Shane Nicholson with Troy Cassar-Daley, Kings of Leon, Liam Finn, Crowded House, Jet, Paul Kelly, Split Enz and Wolfmother.[50]

Reunion, the Great Circle Tour, Midnight Oil: 1984 and Armistice Day

[edit]

On 4 May 2016 it was announced on the band's website that Midnight Oil intended to reform and embark on a tour in 2017 (their first concerts in Australia since 2002 and their first world tour since 1997).[51] Such plans were confirmed in February 2017, when the band announced The Great Circle Tour, which kicked off in April. After three warm up concerts in their native Australia, the band toured Brazil, the U.S., Canada, Europe, South Africa, Singapore and New Zealand before going back to play a series of concerts around the whole of Australia.[52] The band performed 77 concerts in 16 countries during the tour.

In March 2018, the band announced the release of a new documentary film entitled Midnight Oil: 1984. Directed by Ray Argall, the film primarily consists of previously-unseen footage from the band's tour in support of Red Sails in the Sunset. The film was given an Australian cinematic release in May 2018, an Australian DVD/Blu-ray release the following July and a limited North American and New Zealand cinematic release that August.

One of the Great Circle tour's final concerts was held on Armistice Day at The Domain, in Sydney on 11 November 2017. Both shows at the Domain (the band also performed there on 17 November) were filmed and recorded, being turned into the live album and film Armistice Day: Live at the Domain, Sydney. The film was given a one-night cinematic release on 24 October 2018.[53] On 9 November 2018, Armistice Day was released as a live album, as well as on DVD and Blu-ray.[54]

In December 2018, the band announced a European and UK tour for June and July 2019.[55] The band were also announced as the headlining act of the Big Red Bash festival, taking place in Birdsville, Queensland.[56] In April 2019, the band announced headlining shows in Thirroul and Canberra as warm-up shows for their European tour.[57] With the announcement came news that the band intended to record new material for a projected 2020 release.[58]

2020: The Makarrata Project and "Gadigal Land"

[edit]
Main article: The Makarrata Project

On 7 August 2020, Midnight Oil released their first song in 18 years titled "Gadigal Land", with all earnings going to organisations promoting the Uluru Statement from the Heart.[59] The song featured poetry spoken in the Gadigal language.[60] It is the first song from a mini-album titled The Makarrata Project,[61] whose name is related to one of the elements of the Uluru Statement, a Yolngu word approximating a peace agreement or type of treaty.[62] "Gadigal Land" peaked at number 5 on the Australian digital sales song chart.[63]

The Makarrata Project was released on 30 October 2020[64] and reached Number 1 in the Australian albums chart on 6 November 2020.[14]

Bass guitarist Bones Hillman died on 7 November 2020 of cancer at his home in the United States.[65] The surviving members of Midnight Oil announced Hillman's death in a statement that remembered him as "the bassist with the beautiful voice, the band member with the wicked sense of humour, and our brilliant musical comrade."[65]

2021–present: Resist and final tour

[edit]
Main article: Resist (Midnight Oil album)

On 18 May 2021, Midnight Oil announced on Twitter that their thirteenth album, with the working title Show of Hands, was scheduled for release during their performance at the 2021 Byron Bay Bluesfest. As the event was cancelled in mid-August and the majority of lineup was confirmed for the 2022 edition (set to 14 April), the band's plans to release the album remained undefined for some six months.

On 28 October 2021, the band released on YouTube a video for their first single from the album, "Rising Seas".[66] They announced the single on Twitter: "The uncompromising song, released on the eve of [the United Nations Climate Change Conference] (COP26), adds the band's unique voice to billions of others around the world seeking a safe, habitable, and fair future for our planet." The band featured no bassist in the video, leaving only a bass guitar in a stand in the background beside the drums as a tribute to Hillman.

On 26 November 2021, the band officially announced the album Resist, which was released 18 February 2022. With the announcement of the album came the release of national Australian tour dates for 2022, which the band confirmed would be their last, while simultaneously confirming that the band will continue to make music together in the future.[67] Resist: The Final Tour concluded on 3 October 2022 at the Hordern Pavilion in Sydney with a 40-song, three-and-a-half-hour set from the band.[68]

2024 saw the release of Paul Clarke's documentary on the band Midnight Oil: The Hardest Line.

Legacy

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Midnight Oil initially faced resistance from the mainstream media,[69] but went on to sell over 20 million albums.[70] They were inducted into the ARIA Hall of Fame in 2006, having won 11 ARIA Awards during their career.[71][72] AllMusic noted that the band "brought a new sense of political and social immediacy to pop music", and were "inspirational and successful in their homeland",[73] while critic Bernard Zuel wrote, "It's been said of Midnight Oil that 'this is what Australia sounds like'."[74] Author Tim Winton remarked, "It was almost too much to believe that rock music could be about anything but itself. You know: life on the road and the inconvenience of VD. Dicks and chicks. Faux Americana. Finally someone was playing stuff that was musically idiosyncratic, fresh and strong. And authentic."[74] Spin founder Bob Guccione Jr. said of Midnight Oil, "If they were from New Jersey they'd be bigger than U2."[75] Guardian writer Andrew Street called them "one of Australia's most beloved bands".[76]

The group have influenced international acts such as Green Day,[77] R.E.M.,[78] Pearl Jam,[79] Garbage,[80] The Cranberries,[81] Biffy Clyro,[82] Candlebox,[83] Maná,[84] Hot Water Music[85] and Shades Apart,[86] as well as Australian performers like Crowded House,[87] Powderfinger,[88] The Living End,[89] John Butler,[90] DMA's[91] and Tim Freedman.[92] R.E.M. frontman Michael Stipe described Peter Garrett as a "brilliant" songwriter who is "able to imagine a situation, put [himself] into it and write about it", adding, "That, to me, is incredible".[93] Crowded House singer Neil Finn went on to have multiple collaborations with Jim Moginie, whom he called "a great guy and an amazing guitar player".[94] Biffy Clyro vocalist Simon Neil said of Midnight Oil, "Every night for about three weeks, driving home from the studio I would just put 'Beds Are Burning' on, just on loop... They're a really underrated band."[82] The Living End founder Chris Cheney reported that his ensemble listened to "a lot of [Midnight Oil's] 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 and Red Sails in the Sunset, and were blown away by their fearlessness in not being shackled to a style".[89] The group have also inspired artists outside the realm of popular music, including poet Daniel Nester[95] and painter Nicholas Harding.[96]

Midnight Oil's songs have been covered by performers such as Pearl Jam[97] (and frontman Eddie Vedder solo[79]), U2,[98] Patti Smith,[99] The Killers,[100] Imagine Dragons,[101] Silverchair,[102] Tom Morello (as The Nightwatchman),[103] Billy Bragg[103] and Anti-Flag.[104] U2 singer Bono recorded a speech for Midnight Oil's ARIA Hall of Fame induction, sections of which aired intermittently. He recited the chorus lyrics of their song "Forgotten Years" and hailed the outfit as an "extraordinary" band whose music "brought people's differences together; not to resolve them, just to get them in the same room, up each other's noses".[105] Killers vocalist Brandon Flowers said, "I wish I'd written 'Forgotten Years'... That song touches my heart."[106] Midnight Oil's music is the subject of 2001 tribute album The Power & The Passion, which features covers by several mainstream rock acts from Australia and New Zealand, including Something for Kate, Regurgitator, Grinspoon, Jebediah, Augie March and Shihad.[107] In 2009, a version of "Beds Are Burning" was recorded by numerous musicians – among them Duran Duran, Lily Allen, Bob Geldof, Fergie, Mark Ronson and Scorpions – in protest of global warming and climate change.[108]

Music journalist Kurt Loder once noted that Midnight Oil were "reputed to be Australia's most formidable live act";[109] Tomas Mureika in AllMusic argued they were "the tightest band on the planet for a time".[110] Writer John O'Donnell said that the group's performances "quickly became the stuff of legend and earned the band a large and fiercely loyal following".[111] Cold Chisel singer Jimmy Barnes called them "one of the greatest bands ever and one of my favourite live bands in the world".[112] The Smashing Pumpkins frontman Billy Corgan referred to the 2016 announcement of Midnight Oil's impending reformation as "awesome news", noting that they are "one of the greatest live bands I've ever seen".[113] Corgan had previously likened his dancing to that of Peter Garrett.[114] Garrett's onstage routine – described by critic Richard McGregor as "mesmerising"[115] – incorporates a wild and eccentric dance style;[116][117] Guardian journalist Andrew Stafford wrote that Garrett has a "unique dance step that captivated audiences for over 20 years" prior to the group's 2002 disbandment.[118] His dancing was imitated in Parliament by Australian politicians Peter Costello[119] and John Elferink.[120]

Personnel

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Timeline

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Discography

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Main article: Midnight Oil discography

Studio albums

Awards and nominations

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APRA Awards

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These annual awards were established by Australasian Performing Right Association (APRA) in 1982 to honour the achievements of songwriters and music composers and to recognise their song writing skills, sales and airplay performance, by its members annually.[122] From 1982 to 1990, the best songs were given the Gold Award (also called the Special Award).[122][123]

Year Nominee / work Award Result
1989–90 "Beds Are Burning" (Peter Garrett, Robert Hirst, James Moginie) Gold Award Won
2001 "Beds Are Burning" (Garrett, Hirst, Moginie) APRA Top 10 Australian songs No. 3
"Power and the Passion" (Hirst, Moginie, Garrett) APRA Top 30 Australian songs 11–30
2018 Midnight Oil (Garrett, Hirst, Martin Rotsey, Moginie, Bones Hillman Ted Albert Award for Outstanding Services to Australian Music Won
2021 "Gadigal Land" (Joel Davison, Rob Hirst, Bunna Lawrie) Song of the Year[124] Won
2022 "First Nation" Song of the Year[125] Nominated
2023 "Rising Seas" Song of the Year[126] Shortlisted
Most Performed Rock Work[127] Nominated

ARIA Music Awards

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The ARIA Music Awards are an annual set of awards, commenced in 1987, which recognise excellence, innovation, and achievement across all genres of Australian music. Midnight Oil have received 11 wins from 38 nominations.[128]

Year Nominee / work Award Result
1987 "The Dead Heart" Best Group Nominated
1988 "Beds Are Burning" Single of the Year Won
"Beds Are Burning" (Peter Garrett, Rob Hirst, Jim Moginie) Song of the Year Won
Midnight Oil Best Group Nominated
Diesel and Dust Best Indigenous Release Nominated
Diesel and Dust – Ken Duncan, Creative Type Wart, Gary Morris, Midnight Oil Best Cover Art Won
1989 "Dreamworld" Best Group Nominated
Best Indigenous Release Nominated
"Dreamworld" – Guy Gray Engineer of the Year Nominated
"Dreamworld" – Andrew de Groot Best Video Nominated
1991 Blue Sky Mining Album of the Year Won
Best Group Won
Blue Sky Mining – Livingstone Clarke Best Cover Art Won
"Blue Sky Mine" Single of the Year Nominated
"Blue Sky Mine" (Hirst, Moginie, Garrett, Martin Rotsey, Bones Hillman) Song of the Year Nominated
"Blue Sky Mine" – Claudia Castle Best Video Won
Midnight Oil – David Nicholas Engineer of the Year Won
Midnight Oil Outstanding Achievement Won
1993 Scream in Blue – Midnight Oil, Neo One Design Best Cover Art Nominated
1994 Earth and Sun and Moon Best Group Nominated
Earth and Sun and Moon – Kevin Wilkins, Midnight Oil Best Cover Art Nominated
"Outbreak of Love" – Paul Elliott Best Video Nominated
1998 20,000 Watt R.S.L. Highest Selling Album Nominated
20,000 Watt R.S.L. – Kevin Wilkins Best Cover Art Nominated
"White Skin / Black Heart" – Magoo Engineer of the Year Won
1999 Redneck Wonderland – Magoo Engineer of the Year Nominated
2004 Best of Both Worlds Best Music DVD Won
2006 Midnight Oil Hall of Fame Inducted
2017 The Overflow Tank – Mitchell Storck Best Cover Art Nominated
2019 Armistice Day Best Rock Album Nominated
Midnight Oil Best Australian Live Act Nominated
2021[129] The Makarrata Project Album of the Year Nominated
Best Rock Album Nominated
Best Group Nominated
Robert Hambling for Midnight Oil – "First Nation" Best Video Nominated
Makarrata Live Best Australian Live Act Nominated
2022[130] Resist Best Group Nominated
Resist. The Final Tour 2022 Best Australian Live Act Nominated

Countdown Australian Music Awards

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Countdown was an Australian pop music TV series on national broadcaster ABC-TV from 1974 to 1987; it presented music awards from 1979 to 1987, initially in conjunction with magazine TV Week. The TV Week / Countdown Awards were a combination of popular-voted and peer-voted awards.[131][132]

Year Nominee / work Award Result
1981 Themselves Most Consistent Live Act Nominated
1982 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 Best Australian Album Nominated
1983 "Power and the Passion" Best Australian Single Won
Best Promotional Video Nominated
1984 Red Sails in the Sunset Best Australian Album Nominated
"Read About It" Best Group Performance in a Video Nominated
"Short Memory" – Peter Garrett (Midnight Oil) Best Male Performance in a Video Nominated
Themselves Most Popular Australian Group Nominated
1986 "The Dead Heart" Best Australian Single Nominated

Environmental Music Prize

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The Environmental Music Prize is a quest to find a theme song to inspire action on climate and conservation. It commenced in 2022.[133]

Year Nominee / work Award Result Ref.
2023 "Rising Seas" Environmental Music Prize Nominated [134][135]

Helpmann Awards

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The Helpmann Awards is an awards show, celebrating live entertainment and performing arts in Australia, presented by industry group Live Performance Australia since 2001.[136] Note: 2020 and 2021 were cancelled due to the COVID-19 pandemic.

Year Nominee / work Award Result Ref.
2005 Midnight Oil - WaveAid - the Tsunami Relief Concert Best Performance in an Australian Contemporary Concert Nominated [137]
2018 Midnight Oil - The Great Circle World Tour 2017 Best Australian Contemporary Concert Nominated [138]

J Awards

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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 Ref.
2022 Midnight Oil Double J Artist of the Year Won [139][140]

Mo Awards

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The Australian Entertainment Mo Awards (commonly known informally as the Mo Awards), were annual Australian entertainment industry awards. They recognise achievements in live entertainment in Australia from 1975 to 2016. Midnight Oil won two awards in that time.[141]

Year Nominee / work Award Result (wins only)
1990 Midnight Oil Rock Group of the Year Won
Midnight Oil Rock Performer of the Year Won

References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Midnight Oil

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from Grokipedia
Midnight Oil is an Australian rock band originating from , formed in the mid-1970s by schoolmates and , who were later joined by vocalist and guitarist to establish the band's core lineup. The group developed a distinctive and style characterized by driving rhythms, angular guitars, and Garrett's commanding , often channeling lyrics into critiques of , Indigenous dispossession, and corporate overreach. Breakthrough came with the 1987 album Diesel and Dust, which sold over six million copies worldwide and included the single "Beds Are Burning," a direct advocacy for returning land to the Pintupi people of Australia's Western Desert. Subsequent releases like Blue Sky Mining (1990) solidified their commercial peak, earning multiple ARIA Awards, including induction into the ARIA Hall of Fame in 2006 for their influence on Australian music and public discourse. After Garrett's departure in 2002 to pursue federal politics as an minister, the band sporadically reunited for benefit performances before launching the extensive world tour in 2017 and concluding live activity with the Resist farewell tour in 2022. Their extended beyond music, exemplified by the 1990 New York protest against Exxon following the , where members performed in shirts emblazoned with "Midnight Oil Makes You Dance, Exxon Makes Us Sick."

Origins and Early Development

Formation as Farm and initial lineup (1972–1976)

Midnight Oil originated in Sydney, Australia, where drummer and guitarist-keyboardist , friends from high school at Matraville High, began collaborating musically in 1972. That year, they formed the power trio with bassist Andrew James, adopting the name from a local rural reference amid their early jam sessions and rehearsals. The trio focused on developing a high-energy rock style, drawing from influences like and the emerging scene, though they remained largely amateur and venue-bound without formal recordings during this nascent phase. By 1975, seeking a dedicated frontman, the band advertised for a singer; law student Peter Garrett, then 22 and studying at the Australian National University before returning to Sydney, auditioned and joined as lead vocalist, bringing a commanding stage presence and harmonica skills. This expanded Farm to a four-piece, enabling more structured performances in Sydney's inner-city pubs such as the Sussex Hotel and the Royal Antler, where they built a grassroots following through intense, volume-driven sets typical of the era's Australian rock circuit. Garrett's integration marked a shift toward lyrical themes of social observation, though the band's sound stayed rooted in raw, guitar-driven energy without significant commercial traction yet. The initial lineup as Farm—Peter Garrett on vocals and harmonica, Jim Moginie on guitar and keyboards, Andrew James on bass, and Rob Hirst on drums—remained stable through , performing dozens of local gigs that refined their chemistry amid the competitive rock environment. This period laid the instrumental foundation, with Moginie and Hirst handling songwriting cores, but lacked broader recognition until the subsequent to Midnight Oil in late , prompted by a desire for a more distinctive identity. No major lineup shifts occurred, though the group experimented with occasional guest players for live augmentation.

Name change, early recordings, and musical evolution (1976–1981)

In late 1976, after vocalist relocated to to finish his , the band formerly known as committed to music full-time and selected the name Midnight Oil by drawing it randomly from a . Guitarist joined the lineup that year, solidifying the core formation alongside Garrett, drummer , guitarist/keyboardist , and bassist Andrew James. This transition marked a shift from their origins toward a more aggressive rock style suited to Sydney's energetic live circuit. The band's debut self-titled album, Midnight Oil, was recorded in September 1978 at Alberts Studios in and released on November 1, 1978, by Infinity Records, capturing a raw, enthusiastic live-in-the-studio energy reflective of their pub performances. The record featured high-octane tracks emphasizing fast-paced rhythms and Garrett's commanding vocals, establishing their reputation for intense, no-frills rock. It achieved modest chart success, peaking at number 43 on the , but gained traction through relentless touring in Australian pubs and clubs. Subsequent releases accelerated their musical development. , produced by the band with Les Karski, arrived in October 1979, refining their sound with harder edges influenced by emerging punk attitudes while retaining progressive undertones in extended compositions. The 1980 EP Bird Noises introduced experimental elements, including the track "We Resist," blending rock with subtle atmospheric layers. By in October 1981, recorded in , the band incorporated rhythms and new wave textures, signaling a broader stylistic evolution amid growing domestic recognition, though commercial breakthroughs remained elusive. This period's output, supported by over 200 live shows annually, honed Midnight Oil's signature intensity and thematic focus on urban alienation, fostering a dedicated fanbase despite limited radio play.

Breakthrough and Domestic Success

10, 9, 8, 7, 6, 5, 4, 3, 2, 1 and rising fame (1982)

10, 9, 8, 7, 6, 5, 4, 3, 2, 1 marked Midnight Oil's fourth studio album and their commercial turning point, recorded over five weeks in October 1982 at in , . The sessions, produced by 21-year-old engineer in his first independent production role, incorporated experimental techniques such as cymbal removal, programming, and extensive tape editing to achieve a raw, urgent sound reflective of the band's precarious financial state while living frugally in the UK. To refine material beforehand, the group held a weekly residency at London's Zig Zag Club. The album's lyrical content emphasized political urgency, with tracks critiquing U.S. military influence in "US Forces," media in "Read About It," and colonial legacies in "Short Memory," alongside broader themes of alienation and power dynamics. Key singles included "US Forces" as the lead release, followed by "Power and the Passion," which propelled radio play and public engagement through its anthemic call for action against complacency. Other notable cuts like "Outside World," "Only the Strong," and "Read About It" further showcased the band's evolving songwriting confidence and melodic range. Upon its late 1982 Australian release, the album debuted strongly, peaking at number 3 on the national charts and sustaining long-term sales that exceeded one million units globally—the band's first to do so. This success solidified Midnight Oil's domestic breakthrough, transitioning them from cult favorites to mainstream rock staples amid the era's pub rock scene, with radio stations increasingly programming their politically pointed material. The record's impact extended to early international notice, particularly in the UK and U.S., where it laid groundwork for broader appeal, though primary fame accrued through rigorous Australian touring that capitalized on the album's momentum. Recognition included "Power and the Passion" earning Best Single at the Australian Pop Music Awards, underscoring the band's rising cultural influence.

Red Sails in the Sunset and experimental phase (1984)

Red Sails in the Sunset, Midnight Oil's fifth studio album, was recorded and produced in , Japan, by and released on October 1, 1984, through CBS Records. The album's cover featured a photograph by Japanese artist Tsunehisa Kimura depicting an imagined post-apocalyptic Harbour filled with debris-strewn boats under a nuclear sunset, reflecting Cold War-era anxieties about potential atomic devastation. Comprising 12 tracks with a total runtime of approximately 50 minutes, it included songs such as "When the Generals Talk," "Best of Both Worlds," "," "Minutes to Midnight," and the extended "Jimmy Sharman's Boxers," which critiqued Australian and social underclasses. The album marked an experimental shift for the band, incorporating diverse stylistic explorations beyond their established post-punk rock foundation, including psychedelic elements, slower atmospheric passages, and more complex arrangements that some observers described as ambitious yet coherent. Influences from the Tokyo recording environment contributed to this evolution, blending the band's wiry, guitar-driven energy with subtle Eastern sonic textures and a willingness to deviate from formulaic structures, as evident in the album's second half, which adopted a more low-key and introspective approach. Keyboardist Jim Moginie later reflected on the record as "psychedelic [and] unfocused," highlighting the band's deliberate push into uncharted musical territory amid their growing international ambitions. This phase contrasted with prior works like the high-energy 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 (1982), emphasizing thematic depth on militarism, environmental peril, and urban decay over relentless propulsion. Commercially, Red Sails in the Sunset achieved Midnight Oil's first Australian number-one position, holding the top spot for four weeks and earning quadruple for over 280,000 units shipped domestically. It debuted at number 197 on the , signaling modest overseas traction amid the band's rising profile. Critical reception praised its accessibility compared to earlier, harsher outputs, yet noted inconsistencies, with some tracks dragging due to extended durations and production choices that prioritized experimentation over cohesion. Fans remain divided, with the album often cited as an outlier—polarizing for its departure from the band's anthemic strengths but valued for encapsulating their mid-1980s creative risks.

Key live performances and industry relations (1982–1985)

Midnight Oil's live performances during this period solidified their reputation for high-energy, politically charged shows that prioritized authenticity over commercial spectacle. On November 27, 1982, the band delivered a landmark set at Sydney's Capitol Theatre, broadcast via Triple J's Live at the Wireless series, featuring tracks like "Only the Strong," "Brave Faces," and "Knife's Edge," which captured their raw intensity and contributed to growing domestic acclaim following the 10, 9, 8... album release. Earlier that year, they supported The Who at the in Birmingham, , on September 10–11, exposing them to international audiences while maintaining their uncompromising style. In 1983, Midnight Oil organized and headlined the Stop the Drop benefit concert on February 13 at Melbourne's Music Bowl, drawing over 10,000 attendees to nuclear waste dumping in and aligning with their anti-nuclear activism; the event featured collaborations with other acts and underscored their role in mobilizing public opposition to government policies. Later that year, on May 31, they performed at a (CND) benefit at London's Lyceum Theatre, extending their activism abroad amid the tensions. These shows exemplified the band's fusion of music and , often prioritizing causes like over mainstream venues. The Red Sails in the Sunset tour, launched after the album's October 1984 release, encompassed over 50 dates across , the , and Europe, with notable stops including in on March 30–31, 1984, and raw, energetic performances that emphasized experimental tracks amid the band's evolving sound. In 1985, highlights included the Oils on the Water event on January 13 at Goat Island in Harbour for Triple J's 10th birthday, featuring harbor-based staging and selections from Red Sails, and appearances at on June 22 in the UK and Pier 84 in New York on July 26, marking early US inroads. Regarding industry relations, Midnight Oil navigated the period through their independent Powderworks label, established earlier with manager , which handled domestic releases while securing distribution deals with CBS Records (Columbia internationally) for albums like 10, 9, 8... (December 1982) and Red Sails in the Sunset (October 1984), enabling global reach without full corporate control. This structure allowed them to book their own tours, including benefits, and insist on live performances rather than mimed TV appearances, resisting industry norms that favored polished, apolitical presentations; their occasionally strained relations with labels wary of controversy but bolstered long-term credibility among fans valuing substance over hype.

International Acclaim and Core Albums

Diesel and Dust: Commercial peak and thematic focus (1987–1988)

, the sixth studio album by Midnight Oil, was released on 21 August 1987 through Sprint Music under . Produced by the band alongside Warne Livesey, the recording drew from experiences during the band's 1986 /Whitefella Tour across remote Indigenous communities in , undertaken with the and Gondwanaland. This journey informed the album's raw, urgent sound, blending energy with expansive arrangements to evoke the Australian outback's vastness. Commercially, marked Midnight Oil's breakthrough, peaking at number one on the Australian Albums Chart for six weeks and remaining in the top charts for 50 weeks. It also topped charts in and , reached number five in , and entered the at number 21, selling over one million copies there. Globally, the album achieved sales exceeding two million units, with verified figures totaling 3.23 million across ten countries including strong performance in at 600,000 copies. The lead single "" amplified this success, becoming an international hit that highlighted the album's crossover appeal. Thematically, Diesel and Dust centered on Indigenous Australian land rights and cultural marginalization, confronting the historical dispossession of Aboriginal peoples with unflinching realism. Tracks like "Beds Are Burning" specifically referenced the return of land to the Pintupi people of the Western Desert, urging restitution for territories seized for agriculture and mining. Other songs, such as "The Dead Heart," addressed incarceration and systemic exclusion of Indigenous figures, drawing from direct encounters during the tour that exposed poverty, environmental degradation, and unaddressed grievances. This focus elevated the album beyond typical rock fare, positioning Midnight Oil as advocates for causal accountability in Australia's colonial legacy, though some critiques noted the band's outsider perspective on these issues.

Blue Sky Mining to Earth and Sun and Moon (1990–1993)

Blue Sky Mining, Midnight Oil's seventh studio album, was recorded over three months in 1989 at Studios in and produced by Warne Livesey alongside the band. Released on 9 1990, it featured lyrics confronting corporate exploitation of workers, most prominently in the title track critiquing the blue mining operations at , where miners suffered lethal health effects including after decades of exposure without adequate safeguards. The lead single "Blue Sky Mine," issued in January 1990, addressed these issues through imagery of promised prosperity versus deadly realities, reaching number one on Australian charts and charting internationally, including number 47 on the Hot 100. The album debuted at number one on the Australian charts and received certifications reflecting strong sales, bolstered by tracks like "Forgotten Years" and "King of Mountain." Midnight Oil supported the release with an extensive Tour, performing 122 concerts across , , , and other regions in 1990, emphasizing high-energy live renditions that amplified the album's urgent . Shifting toward a more acoustic and introspective sound, the band's eighth studio album, , was recorded in 1993 at Megaphon Studios in and produced by . Released on 20 1993, it explored global interconnectedness and resilience amid environmental and human challenges, with singles like "Truganini" highlighting Australian indigenous history and "My Country" offering optimistic reflections on . The album peaked at number two on the ARIA Albums Chart and garnered praise for its tuneful progression from prior works, blending restraint with dynamic peaks while maintaining the band's commitment to thematic depth over commercial polish. In 1993, Midnight Oil undertook a worldwide tour for Earth and Sun and Moon, delivering 134 performances that included European dates and reinforced their reputation for politically charged live shows, though the period marked a transitional phase before further lineup stability challenges.

Later studio efforts: Breathe to Capricornia (1996–2002)

Breathe, released on 15 October 1996, marked Midnight Oil's ninth studio and adopted a more relaxed, atmospheric style compared to prior works, with portions recorded in New Orleans. Produced by Malcolm Burn, it emphasized elements including blistering guitar sections amid an overall laid-back tone suitable for introspective listening. The achieved commercial success in , peaking at number 3 on the ARIA Albums Chart, while reaching the top 40 in and . Critical reception was mixed, with assigning a 3.5 out of 5 rating for its genre blend of alternative pop/rock and Aussie rock, though user aggregates like averaged 3.2 out of 5, reflecting appreciation for its moody production but noting a departure from the band's harder-edged sound. Following a two-year gap, Redneck Wonderland, the band's tenth studio album, appeared in 1998 as a pointed response to Australia's shifting political landscape under conservative governance. Characterized by heavy distortion, synthesizers, and metallic percussion, it addressed themes of race relations, environmental degradation, and national identity through tracks like the title song, which critiqued rural conservatism and urban disconnection. The album received Australian gold certification in 2014 for sales exceeding 35,000 units, underscoring enduring domestic appeal. Its title track earned recognition as number 93 on Triple J's "Hottest 100 of All Time" equivalent, the Ozzest 100, highlighting its cultural resonance. Reviews praised the raw energy, with AllMusic rating it 3 out of 5 for maintaining the band's alternative/indie rock ethos amid experimental production. Capricornia, released on 8 October 2001 in and early 2002 internationally, served as Midnight Oil's eleventh and final studio before an extended hiatus, shifting to a stripped-back aesthetic dominated by acoustic and clean electric guitars. Drawing inspiration from the Australian continent's northern regions, it explored ecological fragility, indigenous heritage, and personal reflection through songs like "" and the title track. The production avoided contemporary trends, prioritizing organic to convey a sense of vast, sun-baked landscapes. While specific chart peaks were modest compared to earlier peaks, it solidified the band's legacy, with retrospective critiques like Tinnitist's lauding its vitality and avoidance of clichés. This period's output reflected Midnight Oil's evolution toward introspection amid ongoing activism, bridging their commercial zenith with a contemplative close to the decade.

Hiatus, Reunions, and Final Chapter

Sydney Olympics performance and initial dissolution (2000–2002)

In October 2000, during the closing ceremony of the Sydney Olympics on 1 October, Midnight Oil performed their 1987 hit "" to an audience of approximately 110,000 at . The band members appeared on stage wearing black suits emblazoned with the word "SORRY" in white lettering, a deliberate visual drawing attention to Australia's unresolved historical injustices against , particularly the Stolen Generations policy of forced child removals from Aboriginal families between 1910 and 1970. Frontman later described the performance as an intentional act to highlight the federal government's refusal under to issue a national apology, amplifying the band's long-standing advocacy for amid the global spotlight of the Games. The gesture sparked immediate debate, with supporters praising its boldness and critics accusing the band of politicizing a celebratory event, though it aligned with Midnight Oil's history of using high-profile platforms for . Following the Olympics, the band continued promotional activities and recording, culminating in the release of their eleventh studio album, Capricornia, on 19 2002 in international markets (initially in late 2001 in ). Recorded primarily at Festival Studios in , the album featured 11 tracks blending the band's signature rock with thematic explorations of Australian identity, , and isolation, including singles like "" and the title track. It marked a return to more introspective songwriting after the overt of prior works, reflecting the Northern Territory's Capricornia region as a for 's peripheral cultural narratives, though commercial reception was modest compared to peaks like . By late 2002, internal dynamics shifted as Garrett, who had flirted with politics since the 1980s—including an unsuccessful Senate run in 1984—prioritized his political ambitions. On 2 December 2002, he announced his departure from the band to pursue a full-time role with the Australian Labor Party, citing a desire to influence policy directly on issues like environment and Indigenous affairs. This decision precipitated Midnight Oil's initial dissolution after 26 years, with the remaining members—guitarist Jim Moginie, drummer Rob Hirst, bassist Bones Hillman, and guitarist Martin Rotsey—opting not to continue without Garrett's charismatic presence and songwriting contributions. The split was amicable but final at the time, ending an era of consistent touring and recording that had defined the band's output since the 1970s, though they left open the possibility of future reunions.

2009 reformation and Great Circle Tour (2009–2011)

In February 2009, amid the aftermath of the devastating that killed 173 people and destroyed over 2,000 homes in Victoria, Midnight Oil announced a temporary reformation to participate in the Sound Relief benefit concert. Federal Environment Minister , the band's longtime frontman who had left in 2002 to pursue , rejoined his former bandmates—drummer , guitarist , and guitarist —for the event scheduled at the on March 14, 2009. This marked the band's first performance together since their 2002 disbandment, driven by a desire to support fire victims rather than commercial motives. Preceding the main concert, Midnight Oil played warm-up shows on March 12 and 13 at the Royal Theatre in , featuring Garrett on vocals and harmonica alongside the core lineup. The Sound Relief performance drew an estimated attendees, headlining a bill that included acts like and , with proceeds exceeding AUD 7 million for relief efforts. The setlist emphasized the band's signature hits, including "Beds Are Burning," "The Dead Heart," and "Power and the Passion," alongside a rendition of "" to open the event, underscoring their activist roots in environmental and national themes. Critics noted the performance's high energy, with Garrett's distinctive stage presence intact despite his governmental duties. No extensive touring followed these appearances, as Garrett remained committed to his ministerial role until 2013, limiting the reformation to this charitable context. The events revived interest in the band's catalog but did not lead to new recordings or a full-scale "Great Circle Tour" during 2009–2011; subsequent reunions occurred later. The shows demonstrated the enduring appeal of Midnight Oil's raw, politically charged rock, drawing large crowds without reliance on contemporary promotion.

Recent projects: The Makarrata Project, Resist album, and farewell tour (2020–2022)

In October 2020, amid the , Midnight Oil released , their twelfth studio album and first new material in 18 years, comprising seven tracks centered on Indigenous Australian reconciliation and advocacy for a Makarrata commission as proposed in the . The album featured collaborations with First Nations artists, including singles "First Nation" with and Tasman Keith (released September 2020) and "Gadigal Land" with Joel Davison, , and Kaleena Ziersch. Produced by Warne Livesey and the band, it debuted at number one on the Albums Chart and earned critical praise for its urgent political messaging, though live promotion was limited due to restrictions. Following this, on 18 February 2022, the band issued Resist, their thirteenth and final studio album, containing twelve tracks addressing , , and social resistance, such as "Rising Seas," "The Barka-Darling River," and "." Recorded primarily in 2019 but refined post-Makarrata, the album—produced by the band with —reaffirmed their style with layered instrumentation and Peter Garrett's impassioned vocals, peaking at number one on the Albums Chart and receiving acclaim for its topical relevance amid global crises like . Singles included "Rising Seas" (November 2021) and "The Barka-Darling River." Resist supported "Resist: The Final Tour," announced in November 2021 as the band's farewell outing after over four decades, spanning February to October 2022 across , , , and . Kicking off on 23 February at Newcastle Entertainment Centre, the Australian leg included winery shows via A series in locations like Orange and , followed by international dates such as nine North American concerts (May–June) and European stops including in (July). The setlists blended career-spanning hits like "" with Resist material, emphasizing live energy and activism; guitarist noted the tour's intensity, with the band committing to no further performances post-Sydney's finale on 3 October.

Post-tour activities and retirement (2023–present)

Following the conclusion of their farewell tour on 3 October 2022 at Sydney's , Midnight Oil from live performances and ceased operations as an active band, fulfilling declarations made during promotion of their final album Resist that the outing marked an definitive end. No subsequent group recordings, tours, or official releases have been announced, aligning with prior statements emphasizing closure while ahead artistically. Band members shifted to personal pursuits post-retirement. Frontman , a former Australian , maintained environmental , advocating in 2025 for to lead on global climate efforts despite persistent crises like events. Drummer placed his signature Ludwig —used extensively in the band's touring history—up for auction in 2025, signaling divestment from performance artifacts amid individual transitions. Guitarists and , along with surviving core members, have not publicly detailed new collaborative or solo endeavors tied to the band's legacy as of late 2025. The retirement preserved Midnight Oil's catalog and reputation intact, avoiding dilution through sporadic activity.

Musical Characteristics

Style, influences, and songwriting approach

Midnight Oil's musical style is characterized by high-energy infused with angularity and new wave experimentation, featuring driving rhythms, caustic guitar riffs, and Rob Hirst's pounding percussion that evoke an urgent, propulsive force. Peter Garrett's distinctive vocals and shamanistic stage presence further amplify the band's raw intensity, blending off-centre sonic edges with arena-ready hooks capable of broad commercial appeal. This approach evolved from early pub rock roots into a synthesis of global rock traditions adapted to Australian contexts, as seen in albums like Diesel and Dust (1987), where desert-inspired rhythms incorporated subtle Indigenous and Anglo-Irish folk elements without overt stylistic mimicry. The band's influences drew initially from mid-1970s punk and new wave movements, which injected a sense of disaffection and raw energy into their sound following Garrett's 1976 addition to the lineup originally formed as . Early covers of and Led gave way to these edgier imports, fostering an experimental ethos that prioritized live dynamism over polished studio sheen, as evidenced in (1979) with its brighter mixing and keyboard accents reminiscent of contemporaries. Later, direct experiences—such as the 1986 Blackfella/Whitefella tour through remote Indigenous communities—infused their work with localized authenticity, informing tracks like "" (released October 10, 1987) through observations of cultural resilience amid social challenges. Songwriting in Midnight Oil operated democratically, with primary music composition handled by Hirst and —collaborators since 1972—who generated riffs, melodies, and structures often during tours or informal sessions, such as bus jams using portable instruments in 1988. emerged as a effort, with Garrett contributing activist-driven phrasing, Hirst adding rhythmic and emotional layers, and all members—including —exercising veto power in an egalitarian process that emphasized consensus and individual freedom. Themes typically stemmed from empirical observations of Australian socio-political realities, such as land disputes post-Uluru handback in , rather than abstract ideation, resulting in pointed, non-prescriptive commentary on issues like Indigenous dispossession and environmental decay. This method yielded prolific output, with credits often listed ly under "Midnight Oil" to reflect the band's unified vision.

Production techniques and live performance ethos

Midnight Oil's production techniques emphasized raw power and sonic clarity, evolving from the gritty, live-in-the-room approach of early albums like (1979), recorded with minimal overdubs at Trafalgar Studios in , to more layered and polished methods in later works. For (1987), producer utilized an SSL 4000 E console at Townhouse Studio Three in , applying aggressive compression on drums and bass—such as 4:1 ratios on kick drums—to achieve punchy, stadium-ready dynamics, while guitars were double-tracked and panned for width, enhancing the album's urgent, driving sound. Subsequent productions incorporated experimental elements, as in Blue Sky Mining (1990), where Warne Livesey employed programmed drum patterns alongside live takes for rhythmic precision, followed by ad-libbed vocal overlays to capture Peter Garrett's improvisational energy. In their final album Resist (2022), engineers shaped overdubs with targeted EQ and compression on room mics to integrate with foundational tracks, maintaining a structured six-week recording schedule at Henson Studios in to preserve band cohesion despite Garrett's vocal adaptations post-health issues. The band's live performance ethos prioritized uncompromised intensity and direct audience engagement, rooted in their origins as a high-energy surf-punk outfit from Sydney's , delivering ferocious sets that fused musical prowess with political messaging. Rob Hirst's aggressive style—described as "attacking the skins and cymbals"—drove marathon performances, often exceeding two hours, while Garrett's flailing, machine-gun-like movements conveyed visceral commitment, as seen in broadcasts like the Oils on the Water from Goat Island. This approach rejected conventional rock spectacle, favoring authenticity over encores in some eras to underscore message over indulgence, with shows like the 1994 Ellis Park concert in exemplifying rare intensity that integrated anti-apartheid statements seamlessly into high-octane renditions of tracks like "." Performances consistently amplified , such as body-painted protests during the Exxon tour in 1990, reinforcing an ethos where live energy served causal advocacy rather than mere .

Political Activism and Social Positions

Core themes: Environment, indigenous rights, and anti-war stances

Midnight Oil's lyrical and performative output consistently emphasized , advocating for preservation against industrial and climatic threats. The band's 2021 single "Rising Seas," released ahead of the COP26 summit, explicitly addressed rising ocean levels and anthropogenic impacts, with lyrics decrying "the ice is melting, the water's rising" as a call to mitigate global warming. Their 2022 album Resist framed as an urgent imperative, featuring tracks that critiqued habitat loss and , positioning the band as vocal proponents of planetary amid escalating ecological crises. Earlier works, such as references in songs like "Black Rain Falls" from 1990, highlighted and toxic fallout, reflecting Garrett's longstanding campaigns against corporate environmental harm. Central to the band's advocacy were , particularly land sovereignty and cultural restitution for . The 1987 track from spotlighted the people's displacement from Western Desert lands, urging "How can we dance when our earth is turning? How do we sleep while our beds are burning?" as a demand to return traditional territories seized for and . Inspired by firsthand observations of remote communities' hardships, the song galvanized international awareness of historical injustices, including forced relocations under policies like the Wave Hill walk-off's legacy, though it faced critique for simplifying complex negotiations. Anti-war sentiments permeated Midnight Oil's catalog, targeting foreign military overreach and its domestic repercussions. "US Forces," the 1982 lead single from 10,9,8,7,6,5,4,3,2,1, lambasted American bases in and interventions abroad, with lines like "US Forces give the nod, it's a setback for your country" protesting the facility's role in global conflicts. This stance extended to broader critiques of , as in tracks decrying escalations and post-9/11 nationalism, where the band refused to alter antinationalist material despite commercial pressures, underscoring a commitment to over alliance subservience.

Notable campaigns: Exxon protest, Blackfella/Whitefella Tour, and Olympic statement

In 1990, following the that released approximately 11 million gallons of crude oil into Alaska's on March 24, 1989, Midnight Oil organized a guerrilla protest concert outside the Exxon Corporation headquarters in . On May 30, 1990, the band performed a six-song set from a , drawing a large crowd and halting traffic to draw attention to the environmental devastation and Exxon's response. Band members displayed a banner reading "Midnight Oil Makes You Dance, Exxon Makes Us Sick," emphasizing their critique of corporate negligence in the disaster's aftermath. The unannounced event amplified global awareness of the spill's ecological impact, which affected over 1,300 miles of coastline and killed an estimated 250,000 seabirds, 2,800 sea otters, and thousands of other marine species. The Blackfella/Whitefella Tour, conducted in mid-1986, involved Midnight Oil collaborating with the Aboriginal rock group to visit remote indigenous communities across , including settlements in the and . This initiative aimed to foster cultural exchange and highlight Aboriginal land rights and living conditions, with performances in areas like and along the . The tour influenced the band's 1987 album , incorporating themes from direct observations of indigenous struggles, such as in songs like "Beds Are Burning," which references the people's displacement from their lands. Strict protocols were enforced, including no alcohol and respect for local customs, to ensure respectful engagement; the tour was documented in the 1987 ABC program , underscoring its role in bridging white Australian and Aboriginal perspectives on . During the closing ceremony of the Sydney 2000 Summer Olympics on October 1, 2000, Midnight Oil performed "" while wearing black clothing emblazoned with the word "SORRY" in white letters, a direct referencing the Australian government's refusal to issue a national apology for the Stolen Generations—the forced removal of Aboriginal and Islander children from their families between 1910 and 1970. This affected an estimated 100,000 children, leading to intergenerational trauma documented in the 1997 Bringing Them Home report. The performance, viewed by a global audience of millions, reignited debates on , contrasting the celebratory Olympic context with unresolved indigenous injustices, as had rejected a formal apology. Frontman later described it as a deliberate statement to leverage the event's visibility for advocacy, though it drew criticism from some officials for politicizing the games.

Policy engagements via Peter Garrett's career

Peter Garrett, lead singer of Midnight Oil from 1973 to 2002 and again from 2009 to 2022, entered federal politics as a member of the Australian Labor Party, winning the seat of Kingsford Smith in the 2004 election and securing re-elections in 2007 and 2010. In his on 8 December 2004, he emphasized the need for "genuine and deep accommodation" with , aligning with the band's long-standing advocacy on and land rights. Appointed Minister for the Environment, Heritage and the Arts on 3 December 2007 under Prime Minister , Garrett oversaw policies extending Midnight Oil's environmental themes, such as opposition to expansion and nuclear issues, though adapted to governmental constraints. As until a portfolio reshuffle in 2010, Garrett advanced conservation measures including new programs for protection, a national waste policy establishing Australia's first e-waste recycling scheme, and international efforts via the Coral Triangle Initiative for regional marine sustainability. He also implemented policies, campaigning against Japan's "scientific" in waters and supporting the cessation of commercial globally. These initiatives reflected the band's protests against industrial pollution, as in their Exxon Valdez-inspired activism, but Garrett's role involved balancing ecological goals with economic priorities, such as approving port dredging in despite environmental concerns. On , Garrett's engagements built on Midnight Oil's Blackfella/Whitefella Tour and songs like "," promoting through policy and public advocacy; he contributed to frameworks addressing historical injustices, including land and wage theft, as recognized in his 2019 honorary doctorate for efforts in Indigenous . In later years, he endorsed the 2023 referendum, arguing it would foster constitutional recognition and practical outcomes for Aboriginal and Islander peoples. His tenure as Minister for School Education, Early Childhood and Youth from 2010 to 2013 further tied to , implementing fairer funding models responsive to disadvantaged communities, including Indigenous groups, via the Gonski Review. Garrett's policy record drew criticism for perceived compromises diverging from his and Midnight Oil's uncompromising ; notably, he supported Labor's reversal on banning new mines in 2007, defending it as a pragmatic shift despite prior opposition as Australian Conservation Foundation president. Opponents, including former band supporters, accused him of diluting environmental stances to align with party platforms, such as moderated amid fossil fuel industry influence, contrasting the band's direct protests like "Sorry" on their clothes during the 2000 Olympics. While achieving tangible reforms, these adaptations highlighted tensions between activist ideals and governmental feasibility, with Garrett maintaining that policy required coalition-building rather than absolutism.

Achievements, Criticisms, and Controversies

Commercial metrics, sales, and chart performance

Midnight Oil attained substantial commercial success in , securing six number-one albums on the , though their international chart performance was more modest, with peaks in the top 20 on the for select releases. Certified album sales exceed 7 million units globally according to aggregated data from certifications, with strongest figures in , the , , and . The band's singles, including "Beds Are Burning," achieved top-10 placements in , the , and alternative charts but never reached number one in their home market despite 24 charting singles. Key albums drove this performance, particularly Diesel and Dust (1987), which topped the Australian charts for six weeks, reached number 21 on the US Billboard 200, and number 19 in the UK, with reported sales approaching 3 million copies worldwide. Blue Sky Mining (1990) also hit number one in Australia and number 20 in the US, earning 5× Platinum certification in Australia (350,000 units), Gold in the US (500,000 units), Platinum in Canada and France (400,000 combined), and Gold in Germany (250,000 units). Earlier releases like Red Sails in the Sunset (1984) marked their first Australian number-one album, holding the top spot for four weeks.
AlbumAustralia Peak (ARIA)US Billboard 200 PeakKey Certifications (Units)
Red Sails in the Sunset (1984)#1 (4 weeks)--
(1987)#1 (6 weeks)#21US: Platinum (1,000,000); : Multi-Platinum
(1990)#1#20: 5× Platinum (350,000); US: Gold (500,000); : Platinum (100,000); : Platinum (300,000); : Gold (250,000)
Later albums like (1993) charted lower internationally but sustained domestic sales, contributing to the band's enduring Australian market dominance. Live and compilation releases, such as 20,000 Watt R.S.L. (1997), further bolstered catalog sales without matching studio peak performance.

Critical reception: Praises and artistic shortcomings

Midnight Oil received acclaim for their intense, propulsive sound that fused aggression with anthemic rock structures, often highlighted in s of albums like (1987), which peaked at number one on Australian charts and earned praise for its tight performances and avoidance of infantilizing tones in addressing indigenous and environmental themes. Critics lauded the band's sincerity and musical integrity, distinguishing them from more commercial Australian acts, with one emphasizing their peak artistry and unwavering commitment to substantive content over pop concessions. Their live performances were frequently celebrated for raw energy and stage presence, drawing comparisons to politically charged acts while engulfing audiences in a visceral, activist-driven . Later works, such as Resist (2022), were hailed as exemplary rock efforts blending classic Oils urgency with contemporary relevance, underscoring their enduring passion and direct messaging on global crises. Despite these strengths, detractors identified shortcomings in lyrical approach, often deeming the band's messaging preachy or elemental to the point of , as in where protest themes risked overshadowing melodic nuance. This didactic quality persisted across their catalog, with some observers noting that while defined their appeal, it occasionally rendered songs one-dimensional or pedantic, prioritizing over sonic innovation. Early albums like their self-titled debut (1978) drew mixed responses for failing to fully harness Garrett's vocal power amid production constraints, contributing to perceptions of inconsistency before their refinement in the . Overall ratings reflected this divide, with later efforts like Redneck Wonderland (1988) scoring modestly at 6.7/10 on aggregate sites, signaling uneven artistic evolution amid unwavering thematic focus.

Activism efficacy: Tangible outcomes versus performative elements

Midnight Oil's , while influential in elevating environmental and indigenous issues within public discourse, yielded limited verifiable policy shifts attributable directly to the band's efforts, often prioritizing symbolic gestures over sustained legislative impact. The 1987 single "," inspired by the band's 1986 tour observing Aboriginal communities' conditions, achieved commercial success—peaking at number one in several markets—and propelled into mainstream cultural awareness, as evidenced by its role in amplifying discussions predating the Mabo decision and Native Title Act. However, no causal link exists between the song and specific legal reforms, with broader reconciliation efforts driven by judicial precedents and governmental inquiries rather than musical advocacy alone. The band's 1990 guerrilla concert outside Exxon headquarters in , protesting the 1989 , drew international media attention through its unannounced performance and members' "Exxon Makes Us Sick" suits, marking a bold escalation from prior antinuclear and antiwar stances. Yet, this action produced no documented changes in Exxon's practices or U.S. oil spill regulations, functioning primarily as a high-profile spectacle that reinforced the band's image without altering corporate or governmental responses to the disaster. Similarly, their 2000 Sydney Olympics closing ceremony performance of "" in "Sorry" emblazoned attire—referencing the Stolen Generations—reached an estimated 115,000 live attendees and global broadcast audience, intensifying calls for a national apology later realized in 2008 under . Critics, however, note the gesture's performative nature, as it aligned with pre-existing activism without uniquely catalyzing the policy outcome. Peter Garrett's transition to politics as Australia's Environment Minister from 2007 to 2010 highlighted tensions between advocacy and governance, with tangible wins including strengthened opposition to Japanese "scientific" whaling in Antarctic waters via diplomatic pressure. Conversely, approvals for uranium mining expansions and other resource projects drew accusations of compromising prior environmental absolutism, eroding credibility among former supporters who viewed such decisions as concessions to industry interests over principle. Analyses of Garrett's tenure indicate scant evidence of transformative reforms directly stemming from Midnight Oil's cultural groundwork, suggesting the band's efforts excelled in consciousness-raising but faltered in translating protest into enduring causal mechanisms for change.

Specific disputes: Truganini liner notes, indigenous representation, and political compromises

The liner notes for Midnight Oil's 1993 single "," from the album , described as "the sole surviving Tasmanian Aborigine, the last of her race, when she died in 1876." This claim drew immediate criticism from Tasmanian Aboriginal communities and scholars, who argued it perpetuated the discredited "extinction" myth, ignoring evidence of mixed-descent survivors and the continuity of Tasmanian Aboriginal identity beyond 1876. The band's manager, , defended the notes as metaphorical commentary on land rights injustices rather than literal history, but Indigenous critics contended this response dismissed factual corrections and exemplified non-Indigenous overreach in interpreting Aboriginal history. Criticisms of Midnight Oil's indigenous representation extended beyond the liner notes to their broader oeuvre, particularly albums like (1987), where songs such as "" and "" invoked Aboriginal dispossession and land rights without direct Indigenous input or collaboration. Some Indigenous commentators and academics accused the band of appropriating narratives of and survival, positioning white as authoritative voices on Aboriginal experiences, which risked reinforcing paternalistic dynamics rather than amplifying self-representation. Morris's public statements during the fallout further fueled this debate, as he suggested Midnight Oil's platform enhanced visibility for Indigenous issues in ways Aboriginal advocates could not achieve independently, a view decried as undervaluing Indigenous agency and media access. Despite the band's intentions to highlight systemic injustices, these elements led to disputes over whether their substituted for, rather than supported, authentic Indigenous storytelling. Peter Garrett's transition to politics amplified disputes over political compromises, as his role in the Australian Labor Party (2004–2016) required concessions that conflicted with Midnight Oil's uncompromising stances on environmental and Indigenous protections. As Minister for the Environment, Heritage and the Arts (2007–2010), Garrett approved resource projects, including expansions in sensitive areas, which critics linked to impacts on Indigenous lands and waters, diverging from the band's anti-mining in tracks like "." The Labor government's continuation of the Intervention—initially a Howard-era policy involving welfare quarantining and increased policing in Aboriginal communities—was defended by Garrett as necessary for , yet condemned by some Indigenous leaders as eroding and echoing assimilationist approaches the band had critiqued. In 2017, senior Warlpiri elder Jack Green demanded a public apology from Garrett for supporting legislation in the , arguing it prioritized economic interests over sacred sites and community opposition, highlighting perceived betrayals of the band's Indigenous solidarity. Garrett later reflected that "all politics involves some form of compromise," acknowledging tensions between ideals and governance realities, though detractors viewed these as dilutions of Midnight Oil's radical ethos.

Legacy and Cultural Impact

Influence on Australian rock and subsequent artists

Midnight Oil's aggressive post-punk-infused rock style, honed in Sydney's pub circuit from the late 1970s, helped redefine Australian rock by emphasizing high-energy performances and socially conscious lyrics over imported trends. Their 1982 album 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 marked a breakthrough, achieving international attention and drawing A&R scouts to Australian acts, thus elevating the local scene's global profile. By blending raw pub rock drive with political urgency, they shifted the genre toward authentic narratives rooted in Australian environmental and indigenous issues, influencing the integration of into mainstream rock. Subsequent Australian artists have cited Midnight Oil as a formative influence for prioritizing national challenges in their work. Adam Spark of , formed in 2004, described their impact as unparalleled, stating, "No other band has so respectfully diarised our unique Australian challenges," crediting them with fostering a deep cultural resonance that evolved from childhood fandom to artistic inspiration. This reflects a broader pattern where later rock acts adopted Midnight Oil's model of fusing with anthemic soundscapes, encouraging generations to address land rights and through music rather than aping overseas styles. Their legacy endures in Australian rock's emphasis on local identity and issue-driven songwriting, as evidenced by their in a wave that prioritized domestic over of American or British acts. While direct sonic emulation varies, Midnight Oil's precedent for politically engaged pub —exemplified by the 1986 Blackfella/Whitefella Tour's influence on (1987)—paved the way for bands to weave causal critiques of and into frameworks.

Broader societal and political reverberations

Midnight Oil's advocacy amplified public discourse on , particularly through songs like "," which protested the displacement of the people from their lands in for agricultural and mining purposes, achieving number-one chart positions in multiple countries and serving as an enduring symbol of reconciliation efforts. The track's global reach, including its performance at the 2000 Olympics closing ceremony, embedded Indigenous into mainstream cultural consciousness, contributing to heightened awareness that paralleled policy milestones such as the 1985 return of to its traditional owners. The band's early emphasis on , evident in albums like (1987), predated widespread Australian concern for such issues in the 1970s, fostering a generational shift toward on , , and resource extraction impacts. Their messaging influenced public perceptions of ecological and Aboriginal relations, sustaining dialogue on that echoed in later movements. Politically, Midnight Oil's integration of themes—spanning workers' rights, urban alienation, and anti-war sentiments—activated cohorts of young Australians toward , as evidenced by their role in bridging with policy critique from 1976 to 2002. This cultural-political interplay helped normalize outspoken environmental and Indigenous advocacy in Australian rock, indirectly pressuring broader societal reckoning with historical injustices.

Documentaries and retrospectives (e.g., The Hardest Line, 2024)

Midnight Oil: The Hardest Line (2024), directed by Paul Clarke, is a 105-minute that examines the band's 45-year trajectory, emphasizing their role in shaping Australian culture through music and . The film incorporates previously unreleased interviews with all band members, archival live performances, studio sessions, and key events including the Blackfella/Whitefella Tour with in 1986 and the Exxon protest in 1990. Produced by Beyond Entertainment and Blink TV, it premiered as the opening film of the on June 5, 2024, followed by a theatrical release distributed by Roadshow Films. Over five years in production, the documentary highlights anthems such as "US Forces" and alongside the band's outspoken stance on issues like and . It has garnered positive reception, with an rating of 7.4/10 from 174 users and a 100% Tomatometer score on based on seven reviews praising its concert footage, interviews, and audio quality. Earlier retrospectives include Midnight Oil: 1984 (2018), a centered on the band's transformative yet tumultuous year, marked by the release of Red Sails in the Sunset, extensive touring, and internal strains that tested their cohesion. Directed by Paul Clarke, it draws on archival material to depict how 1984 elevated Midnight Oil's profile internationally while nearly leading to their dissolution, earning an IMDb rating of 7.2/10 from 180 users. Additional coverage appears in Midnight Oil: Rocking to Change the World, a documentary produced by SLICE that focuses on the band's activism, including protests against nuclear testing and oil spills, presented through historical footage and interviews to illustrate their efforts to influence policy via music. These films collectively provide chronological and thematic insights into Midnight Oil's evolution, prioritizing primary footage over narrative embellishment to document their persistence amid commercial and political challenges.

Band Personnel

Final and core members

The core members of Midnight Oil, who formed the band's stable creative and performing nucleus for the majority of its four-decade career, were on lead vocals and harmonica, on drums and backing vocals, on guitar, keyboards, and backing vocals, and on guitar. These four musicians provided continuity from the band's early years through its commercial peak and final activities. Hirst and Moginie originated the group in 1972 as schoolmates experimenting with music, later recruiting Garrett in 1975 and Rotsey in 1976 to solidify the lineup. The bass position saw changes, with founding bassist Andrew "Bear" James serving from 1972 to 1980, followed by from 1980 to 1987. Dwayne "Bones" Hillman joined as bassist and backing vocalist in 1987, forming the final core quintet that recorded key albums such as Diesel and Dust (1987) and Blue Sky Mining (1990), and toured internationally until Hillman's death on November 13, 2020. This lineup persisted through the band's initial disbandment in 2002, reunions for events like the 2005 WaveAid concert and 2009 20,000 Watt RSL tour, and culminated in the 2022 Resist album and farewell world tour.
MemberPrimary Role(s)Tenure
Lead vocals, harmonica1976–2002, 2005–2022
Drums, backing vocals1972–2002, 2005–2022
Guitar, keyboards, backing vocals1972–2002, 2005–2022
Guitar1976–2002, 2005–2022
Bass, backing vocals1987–2020
Following Hillman's passing, the surviving core members—Garrett, Hirst, Moginie, and Rotsey—completed final performances without a permanent bassist replacement, emphasizing their foundational roles in the band's enduring identity. Garrett stepped away from full-time touring post-2022 but participated in select reunion efforts, while Hirst and Moginie continued collaborative projects under related banners.

Departures, additions, and contributions timeline

Midnight Oil's core personnel remained relatively stable after its formation in 1972 by drummer and guitarist/keyboardist , alongside bassist Andrew James. Vocalist joined in 1973, followed by guitarist in 1977, solidifying the initial touring lineup that recorded the band's debut in 1978. James departed in late 1979 due to exhaustion from intensive touring, having contributed to the early albums Midnight Oil (1978) and (1979); he was replaced by bassist in 1980. Gifford played on subsequent releases including Bird Noises (1980), Place Without a Postcard (1981), 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 (1982), Red Sails in the Sunset (1984), and Diesel and Dust (1987), providing aggressive bass lines central to the band's post-punk sound before leaving in 1987 citing the demands of constant touring. Bones Hillman joined as bassist later that year, contributing to Blue Sky Mining (1990) and all later studio albums, including the reunion-era Resist (2022), with his tenure marked by harmonic vocals and rhythmic stability during high-profile international tours. The band entered hiatus after the 2002 album Capricornia, with Garrett pursuing a political career from 2004 onward, though no formal departures occurred beyond the pause in activity. The lineup of Garrett, Hirst, Moginie, Rotsey, and Hillman reformed intact for the 2017 "Great Circle" world tour commemorating the band's history, performing over 60 shows across six continents without additional personnel changes. Following the release of Resist and a final Australian tour in 2022, the members announced no further group touring but left open possibilities for future recordings, effectively concluding the band's active phase with its longstanding quintet.

Discography and Recognition

Studio albums and key singles

Midnight Oil released their self-titled debut studio album in November 1978, featuring raw, energetic pub rock influenced by punk and new wave elements. The band followed with in October 1979, expanding on aggressive guitar-driven soundscapes. By in November 1981, their style incorporated atmospheric production and . The 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, issued in November 1982, marked a breakthrough with radio-friendly tracks and chart longevity in , remaining on the albums chart for two years. Red Sails in the Sunset arrived in October 1984, blending experimental synths with urgent rhythms. (August 1987) achieved commercial peak, topping the Australian albums chart for six weeks and selling over two million copies worldwide, driven by themes from the band's tours. (February 1990) also reached number one in Australia for an extended run, focusing on and . (April 1993), Breathe (October 1996), Wonderland (November 1998), and Capricornia (February 2002) sustained their mature, activist-oriented rock, with the latter addressing Australian regionalism. The final studio effort, Resist, emerged on February 18, 2022, as a farewell statement amid the band's retirement tour.
Album TitleRelease Date
Midnight OilNovember 1978
October 1979
November 1981
10, 9, 8, 7, 6, 5, 4, 3, 2, 1November 1982
Red Sails in the SunsetOctober 1984
August 1987
February 1990
April 1993
BreatheOctober 1996
Redneck WonderlandNovember 1998
CapricorniaFebruary 2002
ResistFebruary 18, 2022
Key singles include "" from , released in September 1987, which earned Single of the Year and Song of the Year awards in while charting highly internationally. "," the lead single from the 1990 album of the same name, peaked at number eight on the singles chart and addressed mining exploitation. "" from (1993) highlighted , reaching number 20 in . "" (1986, from the Whoah! Live EP but tied to album era) became their highest-charting Australian single at number four. These tracks exemplify the band's fusion of anthemic hooks with political urgency, contributing to over 24 charting singles in without a number-one hit.

Awards: ARIA, APRA, and international honors

Midnight Oil has received eleven Awards, recognizing achievements across albums, singles, and videos. In 1988, the band won Song of the Year, Single of the Year for "," and additional categories tied to the album. The 1991 Awards honored with Album of the Year and Best Group, alongside wins for Best and Best Video. In 2004, they secured Best Music DVD for Best of Both Worlds. The band was inducted into the in 2006, with tributes from and . At the APRA Music Awards, Midnight Oil earned the Ted Albert Award for Outstanding Services to Australian Music in 2018, acknowledging long-term contributions. In 2021, "Gadigal Land" (featuring Dan Sultan, Joel Davison, and Kaleena Briggs) won Peer-Voted APRA Song of the Year. The track "Rising Seas" received a nomination for Most Performed Rock Work in 2023. Internationally, Midnight Oil garnered two Grammy nominations: in 1989 for Best Rock Vocal Performance by a Duo or Group with Vocal for "," and in 1991 for Best Rock Performance by a Duo or Group with Vocal for the album. In 2020, the band received the Peace Foundation's Gold Medal for , citing their and music's role in .

References

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  185. https://www.grammy.com/artists/midnight-oil/10687
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