Dee and Christoph’s First Year of Think13
The first year of Think13 has been a period of discovery, movement and careful listening for Dee and Christoph. What began as a music and performance project has grown through songwriting, rehearsals, live appearances, interviews and conversations with audiences who value work that feels direct and human.
Their creative partnership also reaches beyond the stage. Think13 connects recorded music with community activity, collaborative performance and the VAGABOOM youth programme, creating a space where artistic expression can sit alongside learning, confidence and shared experience.
Finding A Shared Musical Language
For Dee and Christoph, the early months were shaped by the practical work of becoming a functioning creative team. Ideas had to move from loose sketches into songs with a clear emotional centre. That process involved trying arrangements, discarding sections, revisiting lyrics and allowing each track to develop at its own pace.
Their first year as Think13 has therefore been less about presenting a finished identity and more about discovering what the project can hold. Electronic textures, live instrumentation, vocal interplay and performance energy can each take a different role. The result is a sound that feels open to change rather than tied to one genre label.
This flexibility matters in an independent music environment. A song may begin in a rehearsal room, take shape during a recording session and then reveal a different character in front of a live audience. Dee and Christoph have treated those changes as useful information, not as signs that the work is unfinished.
From Songs To Shared Experiences
Live performance has given Think13 a way to test the connection between atmosphere and audience. A recording can preserve detail, but a performance includes the room, the timing of the crowd and the physical presence of the musicians. That exchange has helped the duo understand which moments invite concentration and which create movement.
Their appearances, interviews and radio conversations have also widened the project’s reach. Each setting asks for a different kind of communication: a stage rewards immediacy, while an interview allows the artists to explain the ideas and memories behind a song. Together, these encounters have made the first year feel like a conversation rather than a promotional cycle.
For listeners in Australia, the contrast may be familiar. Music communities in Melbourne, Sydney and Brisbane often move between small venues, community radio, home listening and informal word of mouth. Think13’s progress reflects that broader pattern, where an artist can build an audience through several modest points of contact instead of relying on one large launch.
Creative Work With A Wider Purpose
The VAGABOOM programme has added an important educational and intergenerational dimension to Think13. Through the VAGABOOM youth programme, performance becomes a way for young people to explore presence, rhythm, collaboration and confidence. The value of that work is measured in participation as much as in the final show.
This kind of creative environment can be especially meaningful for young people who do not see themselves as conventional performers. Rehearsal teaches patience and attention, while ensemble work shows how individual choices affect a whole group. Dee and Christoph’s involvement reflects a belief that music can be both an artistic outcome and a practical form of connection.
An Australian audience will recognise the importance of clear safeguarding and responsible youth work in this setting. Organisations involving children commonly need Working with Children Checks, appropriate supervision and documented safety procedures, with requirements varying between states and territories. Those realities sit alongside the imaginative side of performance and help make community arts work sustainable.
Lessons From The First Twelve Months
One lesson from the year has been the value of consistency. Independent musicians often balance creative work with administration, rehearsal logistics, promotion and ordinary employment. The daily habit of returning to a song, answering messages or preparing equipment can matter as much as a dramatic burst of inspiration.
The local music market also rewards patience. In Australia, audiences may discover an emerging act through community radio, a festival listing, a venue bill or a friend’s recommendation before committing to a release. Streaming has expanded access, yet it has also made it harder for individual projects to hold attention. Think13’s combination of music, live work and storytelling gives people several ways to enter the project.
There are practical financial considerations as well. Ticket income, merchandise, performance fees and digital royalties operate within Australia’s tax and business environment, while music licensing is commonly connected with organisations such as APRA AMCOS. These details may be invisible to an audience, but they shape how independent artists plan events and protect the value of their work.
Looking Ahead With Curiosity
The next stage for Think13 is likely to build on the relationship between recorded songs, live performance and collaborative learning. Rather than treating the first year as a completed chapter, Dee and Christoph appear to view it as a foundation. The project can continue to grow through new music, further appearances and creative partnerships that extend its reach.
That approach leaves room for experimentation. A future release might emphasise the intimacy of a voice and instrument, while another performance could lean into movement, visuals or ensemble energy. The important thread is the willingness to let each setting reveal something different about the music.
| Area | First-year focus | What it creates |
|---|---|---|
| Songwriting | Developing a shared language | A flexible musical identity |
| Live shows | Testing ideas with audiences | Stronger performance instincts |
| Interviews and radio | Explaining the work in context | A deeper connection with listeners |
| VAGABOOM | Linking performance with education | Confidence and creative participation |
| Independent practice | Balancing art with practical work | A sustainable foundation |
For Dee and Christoph, the first year of Think13 has been defined by movement between private creation and public exchange. The project’s identity is taking shape through songs, stages, conversations and the people who help bring each performance to life. What readers should remember is that Think13 is growing as a living practice: music is the centre, but connection gives it lasting meaning.
