One of the men who helped shape Australian music: Skunkhour's drummer dies at height of band's renaissance

The sudden death of Michael Sutherland last week has robbed Australian music of one of its quiet pioneers, just as the founding drummer was turning his life around and his legendary band Skunkhour was celebrating three decades of their breakthrough hit.

Sutherland, who formed Skunkhour in 1991 with his brother Dean and guitarist Warwick Scott, died of a heart attack on Wednesday, leaving behind three children and a musical legacy that helped open doors for countless Australian artists who followed.

For many Australians over 50, Skunkhour might ring a bell from Triple J's golden era in the 1990s.

But this wasn't just another alternative rock band—they 'pried open a closed door through which acts such as the Hilltop Hoods, the Cat Empire, and the Avalanches followed'.

The brothers who built the rhythm section

Michael and Dean Sutherland formed 'an irresistible rhythm section' that became the foundation for Skunkhour's unique sound. Their style reflected diverse backgrounds—the brothers had played rock and jazz, while being influenced by reggae, 1970s funk and hip hop.

What made them special wasn't just their musical chops, but their willingness to experiment. In an era marked by grunge, rave culture, and hip hop, Skunkhour blazed a trail by blending eclectic influences with rap and brass sections, creating a fusion of hip hop, acid jazz, alternative rock, and funk.

The band's story began in 1991 in Lismore, originally called Skunk, before moving to Sydney in 1992 and recruiting the Larkin brothers, Aya and Del, renaming themselves Skunkhour after a 1958 poem by American Robert Lowell.

Pioneers of a uniquely Australian sound

As the band reflected: 'Sometimes I feel like people don't realise how much ground we covered as a 90's band in terms of the doors we kicked open for funk groove style music in Australia. Rapping in an Aussie accent about Australian themes... we were one of the first to really get that out there commercially'.

This wasn't just musical bravado—it was true. During the 1990s until around 2010, Triple J 'set the cultural agenda, particularly for Australian music', and Skunkhour was right at the centre of that revolution.

Their breakthrough single 'Up to Our Necks in It' has an origin story that's become part of Australian music folklore. Guitarist Warwick Scott woke from a dream with the signature riff and chords in his head. The band began jamming the melancholic, introspective tune, and the rest was history.

A life of complexity and recovery

Michael Sutherland's story wasn't just about musical success. His bandmate and 'very dear friend of 40 years' Warwick Scott revealed that Michael had struggled with addiction but was finally finding his way back.

'I spoke to him about a week ago and he was like the Michael I met in 1985 again. Optimistic, full of plans and ideas, funny and full of energy,' Scott wrote in his heartfelt tribute.

Scott's honest reflection captured the complexity of his friend: 'He could be arrogant, difficult, unreliable and sometimes downright rude. But he was also one of the most talented, intelligent, funny and entertaining people I've ever known.'

This kind of honest remembrance reflects how many Australians understood the struggles of the creative community during and after the height of the alternative music scene.

The changing landscape they navigated

As the band later reflected: 'People were still going out a lot then. The internet hadn't taken over, gaming wasn't such a big thing. It was still part of the culture: going out to pubs and seeing bands... By 2010 and around that time, you started to see a change. Once the whole online revolution kicked in, everything splintered from there'.

The band disbanded in November 2001, frustrated by lack of support from Universal Music during industry upheavals. As singer Aya told The Sunday Mail: 'We decided that we'd rather move on now and look at some other possibilities while we're still drawing big crowds... Unfortunately, the last album was only heard on Triple J and some community stations, so we didn't really reach the mainstream with it... But overall, we just wanted to go out on a high. We didn't want to overstay our welcome'.

A renaissance cut short

Since reuniting in 2009, Skunkhour had been selectively touring, including performances at their 20th anniversary gig at The Standard Hotel in Sydney in 2012, the Apollo Bay Music festival in 2013, Byron Bay Bluesfest in 2014, and shows at The Metro in Sydney in 2016.

Most poignantly, the band had just announced October and November shows celebrating the 30th anniversary of 'Up to Our Necks in It' - the song that defined their legacy and introduced many Australians to a new sound that would become part of the national musical DNA.

Michael Sutherland is survived by his three children, Eleanor, Hamish, and Archie, and a musical community that recognised his contributions to a uniquely Australian sound that influenced a generation of musicians.

The legacy lives on

While Michael won't be there for the anniversary shows, his rhythmic foundation will echo through every song. Skunkhour's legacy includes having 'garnered a widespread international following, fostered a passionate home fan base, and left an enduring legacy within Australian music'.

For those who lived through the 1990s Australian music scene, Skunkhour represented something special—local artists who didn't try to sound like anyone else, who celebrated Australian stories and voices, and who proved you didn't need to head overseas to create something genuinely innovative.

As the music industry continues to evolve and fragment in ways the band predicted years ago, the loss of pioneers like Michael Sutherland reminds us of an era when a small group of musicians could change the sound of a nation—one groove at a time.

The October and November anniversary shows will no doubt be bittersweet celebrations, honouring both the music and the man who helped create it.

Meanwhile, for 25 years, Friday nights in lounge rooms across Australia began the same way—with Chris Doheny's soaring vocals declaring 'It's More Than A Game' as The Footy Show kicked off. Last Friday, the man whose voice became synonymous with Australian football tragically died in a car crash, ending a musical journey that spanned four decades.

For 25 years, Friday nights in lounge rooms across Australia began with Chris Doheny's soaring vocals declaring 'It's More Than A Game' as The Footy Show kicked off. Image source: Youtube.

Chris Doheny, the Melbourne-born singer, songwriter and frontman best known for leading 80s pop-rock outfit Geisha and lending his voice to the AFL anthem More Than A Game, has died in a road accident on the Thiele Highway, near Kings Bridge Road, Kapunda.

The accident occurred on Friday 19 September, 2025. South Australia police confirm that Chris was driving alone in his car. The other driver was uninjured.

From Melbourne Pubs to National Stardom

Doheny's first original band, The Officials, appeared on an early '80s compilation before morphing into other projects and finally into Geisha. After a short move to Adelaide to pursue science, he was lured back to Melbourne to form the definitive Geisha lineup.

Born and raised in Melbourne, Doheny grew up in a household filled with the music of The Beatles and the great rock bands of the 60s and 70s.

His early love of melody and performance carried into a succession of bands through his youth, but it was in 1983 that his legacy began to take shape when he founded Geisha Detail with brother Donoghue Doheny, John Nyman, Ken Sheppard and Peter Robertson.

Within a year the band shortened its name to Geisha, signed to EMI, and set about leaving their mark on a competitive Australian music industry. Their sound was steeped in the glamour of 70s rock but carried the polished, stylish sheen of the New Romantic movement that had propelled Duran Duran, Spandau Ballet and Japan to international attention.

The Countdown Years and Chart Success

Many Australians over 60 will remember Geisha from their appearances on Countdown during the mid-1980s. Their debut single 'Fool's Way' landed in April 1985, breaking into the national charts and setting up the release of their self-titled debut album later that year. That record spawned further singles 'Rainy Day' and 'Kabuki', the latter climbing to number one on the Melbourne charts and giving the band a spot on Countdown.

Formed in Melbourne, Geisha rose quickly with a sound that bridged the sleek production of the decade with an unmistakably Australian edge. With Chris at the helm, the band's hits such as Kabuki, Fool's Way, and Part-Time Love Affair brought them national recognition, cementing them as favourites on Countdown and across the live circuit.

The Song That Defined a Generation of Footy Fans

While Geisha brought Doheny recognition in the 1980s, it was a seemingly simple favour in 1994 that would cement his place in Australian cultural history. Beyond Geisha, his most enduring recognition came from More Than a Game, the anthem adopted as the theme for Channel Nine's The Footy Show. Initially recorded in 1994 almost as a favour, it became a cultural institution, uniting football fans for 25 years and securing Chris's place in the broader cultural fabric of Australia.

In 1994, Chris' voice was again heard across the airwaves when he was asked to record the lead vocal for the theme to the Channel 9 Footy Show, 'More Than A Game'. The song was released as Chris' first solo single and reached the top twenty.

A Restless Creative Spirit

After Geisha's initial run ended in 1988, Doheny's creative energy never waned. As the years passed, Geisha evolved through several lineups while Chris branched out with other projects including All the Young Dudes, Dragonfly, and work as a producer and mentor for younger acts.

In 1991 Chris released a mini-album entitled 'All The Young Dudes' which was later followed by the formation of a new band, Dragonfly, with Craig Harnath (ex. Kids In The Kitchen) in 1993. Dragonfly achieved Australian chart success scoring two Top 10 singles - 'River of Love' and 'Black Money'.

Solo Work and Later Years

Despite decades of performing, Doheny didn't release a full solo album until 2014. Chris Doheny, issued on his own Diamond Dog Records and recorded at his Blue Door Audio studio, was a deeply personal work. Its cover photo, inspired by Paul McCartney's debut, reflected Chris's desire to make an independent creative statement after years of collaborations and band projects.

Right up until his death, Chris remained passionate about his music and excited about new projects. In a career retrospective interview four years ago, he greatly appreciated the opportunity to trace his musical journey. Most poignantly, just a month before his death, he was looking forward to celebrating Geisha's legacy with a 40th anniversary re-release.

A Legacy That Resonates

The tributes that poured in after news of Chris's death revealed the deep impact he had on both the music industry and fans. Radio legend Chris Huggins described him as 'a fabulous guy who didn't get enough recognition for his terrific songwriting and singing skills.'

Neill Bartlett, who photographed Geisha from their early days, was among those left 'gutted' by the news. His tribute captured the essence of what made Chris special: 'His soaring vocals and magnetic stage presence gave Geisha their signature identity-equal parts glamorous and deeply human.'

The Show Must Go On

Diamond Dog Records said the anniversary record 'will now be moved to a later date' - a fitting tribute to an artist who was still creating and planning right until the end. For Australian music fans, particularly those who remember the golden age of Countdown and the early years of The Footy Show, Chris Doheny's voice will forever be part of the soundtrack to their lives.