On Friday December 12, Boy & Bear released their fabulous new album, ‘Tripping Over Time’. It’s their second album as an independent band and the guys had their minds set on celebrating with an album launch gig on the steps of the Sydney Opera House the following Sunday.
On Sunday December 14 at 6pm in Sydney, the gates of Boy & Bear’s Sydney Opera House ‘On the Steps’ show had opened and nine thousand people had gathered to enjoy hearing the band. By 6.30, the first support act Darcie Haven was warming the stage and winning new fans. Around twenty minutes later on Bondi Beach, less than 10 kilometres away, the heinous terrorist attack on innocent families had begun. No doubt many in the Opera House crowd knew about the shootings, many wouldn’t have. Authorities decided that with the crowd contained, it was safer for the show to go on rather than release thousands of people onto the Sydney streets. Oblivious to what was going on, apart from some very vague news, Boy & Bear were warming up for their set. Eventually the band hit the stage and in bass player David Symes’ words, played a set to a ‘joyful’ audience. It wasn’t until they left the stage and got backstage that they learned of the events unfolding in Bondi. The band is still coming to terms with the tragedy and their clash of emotions. (See Tania Graham-Brown’s concert review and photos HERE)
Speaking with Australian Musician editor Greg Phillips, Boy & Bear bassist David Symes discusses the band’s new album ‘Tripping Over Tim’, their evolving creative process as an independent act, and the emotional weight of performing a landmark Sydney Opera House concert on the same evening the Bondi shootings were unfolding just kilometres away.
MORE ABOUT THE ‘TRIPPING OVER TIME’ INTERVIEW
The interview begins with reflection on that extraordinary Sunday night on the Opera House steps, where Boy & Bear played to a crowd of around 9,000 people. Symes explains that the band was completely unaware of the events in Bondi while they were preparing for and performing their set. With the gates already open and the audience inside the venue, the show progressed in a joyful, celebratory atmosphere. It wasn’t until after the band left the stage that they were informed of what had occurred.
Symes describes the shock of learning the news immediately after what had been a deeply positive live experience. He recalls the emotional dissonance of stepping off stage and being confronted with the reality of a horrific act that had taken place so close by, while they and the audience had been immersed in music and communal joy. Still processing the events days later, Symes speaks candidly about how dark and heavy the mood felt across Sydney in the aftermath, acknowledging the shared sense of grief felt not only locally but around the world.
Despite the tragedy, Symes notes that during the performance itself there was no sense of unease in the crowd. The audience energy was described as one of the most joyful and inclusive he has experienced, with people of all ages, from children to older fans, fully engaged in the moment. The timing of the incident meant many attendees were unaware of what was happening elsewhere in the city, and the concert unfolded as a genuine celebration of live music and connection.
The Opera House show also served as an important platform for introducing material from Tripping Over Time. Boy & Bear opened the set with new track “Where Does Life Begin?”, using its atmospheric soundscape to set the tone for what Symes describes as a new chapter for the band. They also performed “Vertigo,” which he says has quickly proven to be a strong live track thanks to its pop sensibility, rhythmic groove, and sing-along energy. Another new song, “Roses,” leaned more heavily into the band’s alt-country roots, offering a stylistic throwback while still feeling connected to the new record.
Symes explains that the band aimed to create a balanced setlist, drawing from every album in their catalogue to maintain a sense of flow and continuity. With Tripping Over Time only just released, the group is looking forward to expanding the number of new songs in future shows as audiences become more familiar with the material.
Although Symes did not write the album’s lyrics, he offers insight into the meaning behind its title and overarching themes. He describes Tripping Over Time as a reflection on embracing life as it comes-optimistic, honest, and grounded rather than idealistic. According to Symes, the songs acknowledge that while there is hope and warmth throughout the record, life is not without its darker or more challenging moments. The title speaks to the idea of learning through experience, often only understanding life’s lessons after having lived through them.
The interview also delves into Boy & Bear’s collaborative songwriting process. Symes explains that music and melody always come first, with emotional tone and instrumentation shaping each song long before lyrics are finalised. Vocal melodies are often developed using improvised sounds, allowing the emotional intent of the music to guide the eventual lyrical content. This approach, he says, allows songs to mean different things to different listeners, with emotion and performance often carrying as much weight as words.
From a technical perspective, Symes discusses his role as a bassist and the album’s understated low-end approach. Rather than featuring prominently, the bass often blends into the overall mix, serving the song rather than drawing attention to itself. He highlights the track “Ancestors” as an example, where double bass is used sparingly to add warmth and texture, complementing strings and sparse instrumentation. Much of the album’s bass was recorded direct rather than through amplifiers, with tone shaped through instrument choice, preamps, and recording chains rather than mixing alone.
The conversation also touches on the band’s decision to operate independently following the conclusion of their record label contracts. Symes describes the move not as a rebellion but as an opportunity to evolve alongside a rapidly changing music industry. While independence brings increased workload and responsibility, it also allows the band to engage more directly with fans and retain greater creative control.
Looking ahead, Boy & Bear are preparing for album launch shows across Australia in May, supported by a carefully curated lineup of artists including The Dreggs, Hollow Coves, Cloud Control, Bear’s Den, Darcie Haven, and Rageflower. International touring is also on the horizon, with shows planned in Canada, the UK, and Europe. With a newly established studio space now serving as the band’s creative headquarters, Symes reveals they are already writing their next album, continuing to build momentum during one of the most creatively fertile periods of their career.
More pics from the Sydney Opera House by Tania Graham-Brown
