Growing up in Perth, percussionist Kaylie Melville (alum 2015, percussion) remembers attending the audition week for Churchlands Senior High School’s music program, where students were introduced to all of the instruments and music teachers. She was keen to choose a popular instrument to learn, such as flute or saxophone, but was blown away by the percussion teacher Nikki Turner. Nikki introduced herself and the menagerie of percussion instruments with flair; her infectious enthusiasm instantly engaged Kaylie.
And thus began Kaylie’s musical journey as a percussionist. She continued to be inspired by prominent female percussionists in the traditionally ‘blokey’ world of drums and percussion; she was fortunate to have Vanessa Tomlinson and Claire Edwardes (from Brisbane and Sydney respectively) visit her school in Perth for teaching and performances. “You can’t be what you can’t see,” says Kaylie, and these early experiences with established female percussionists inspired her to challenge stereotypes, push herself to constantly learn and try new instruments and techniques.
Kaylie studied her Bachelor of Music at the University of Western Australia, whilst also completing a Bachelor in Arts majoring in English Literature and French. At the end of her studies, she was encouraged by Alex Timcke (WASO Principal Timpani) to become “a small fish in a big pond”. Daunted by the prospect of moving overseas and so far from her family, Kaylie opted for Melbourne and hasn’t looked back. In 2011 she commenced a Master of Music at the University of Melbourne, and fortunately for Kaylie, ANAM was soon to establish its own offering for brass and percussion musicians. Kaylie successfully auditioned for ANAM and was one of the first percussionists admitted to the Performance Program in 2013. Kaylie recalls thinking she had completely stuffed up her audition interview. When asked “What do you want to be, as a percussionist?”, instead of the usual answers such as “orchestral timpanist” or “new music performer” or specialising in a particular genre or group of instruments, Kaylie answered honestly that she simply didn’t know, but wanted to try new things, and play everything to the very highest level of her ability.
This mantra became Kaylie’s strong suit – she was flexible enough to give everything a go, from the fickle baroque timpani through to experimental music and improvisation; from devilishly difficult solo works, through to larger chamber and orchestral works from various eras. Kaylie dedicated herself to each of these performances equally, with her signature professionalism and enthusiasm. And in turn, this helped her develop her own sense of artistic identity. “I had never played chamber music with musicians other than percussionists, before ANAM,” reflects Kaylie. And this, along with contemporary music, became Kaylie’s two major passions.
Whilst at ANAM, Rubiks Collective was born, with Kaylie as founding Co-Artistic Director alongside Tamara Kohler (alum 2014, flute). With Jacob Abela (alum 2015, piano) and Gemma Kneale (neé Tomlinson, alum 2015, cello) rounding out the ensemble, she recalls planning and talking together for many months before their debut performance in 2015. “I remember Michael Kieran Harvey’s advice at the time – to succeed as a chamber ensemble, he said we simply had to ‘stick together’. And that’s precisely what we’ve done over the last decade.”
“Tamara and I still meet weekly to discuss and plan Rubiks projects together.”
In their early years, the ensemble drew inspiration from their musical heroes, such as the American contemporary music ensembles Bang on a Can and Eighth Blackbird, and performed repertoire commissioned by these groups. But slowly, they began to build the confidence, and the experience, to start creating major works themselves. And these works are not simply musical. Integral to their performance are elements of lighting, technology, choreography, theatrics, visual art, cinematography and animation. When Kaylie attended a lecture at the Darmstadt Festival in 2019 by Irish composer Jennifer Walshe, who described this way of working as “The New Discipline”, she describes this as “a lightbulb moment for Rubiks”. The ways they were collaborating with Australian and First Nations artists of other artforms, to create new works with each artform interdependent of each other, was indeed a recognised form of composition.
Kaylie marks the creation and performance of these major new works by Rubiks Collective as some of her proudest musical moments, such as A Book of Hours which premiered in 2023, with choreographer Gerard Van Dyck, animation/visuals by Sal Cooper, music by Kate Neal and sound engineer Tilman Robinson. In late 2024, Rubiks presented the world premiere of Rorqual (with jazz singer Gian Slater and composer Wally Gunn), a new song cycle inspired by the true story of the 52Hz whale – often referred to as ‘the world’s loneliest whale’, with its call 30-40Hz higher than typical for its species, it was first detected by scientists in the 1980s and continues to travel the seas alone.
Maintaining artistic relationships is integral to the creation of these large-scale works, which are usually several years in the making. Kaylie finds great personal satisfaction connecting and working with others, constantly learning, and developing new ideas together.
Alongside her work with Rubiks Collective, Kaylie has had a long-standing professional relationship with the cutting-edge ensemble Speak Percussion. She first saw the ensemble at the Australian Percussion Gathering, a symposium for percussionists held in Brisbane, in 2010. “In their performance at APG, Speak Percussion performed a duo entitled Driftwood where during the performance, they slowly disassembled a marimba, playing every part of the instrument and creating sounds I’d never heard before. It was something completely new to me, and inspired me to apply to become a Speak Emerging Artist later that year.”
Since those early days, Kaylie performed in increasingly more projects with the Melbourne-based ensemble, tackling fiendishly difficult works at the very edge of sonic and musical capabilities. She became a core member of the ensemble, managed several successful young artist and community engagement programs, and then in mid-2024, was appointed as Co-Artistic Director, alongside the ensemble’s founding Artistic Director Eugene Ughetti. Kaylie is excited to honour Speak’s artistic legacy, and at the same time explore new directions for the ensemble with her own personal stamp.
I ask Kaylie about the unusual format of her roles at both Rubiks and Speak, sharing her artistic leadership with others. Kaylie views this shared responsibility as an asset. “We can exchange ideas, question one another and push each other into new directions artistically and musically that wouldn’t be possible if working alone. It’s a healthy way to work, plus we can delegate tasks to each other if we’re unable to do things, if we’re under the pump, too busy or simply unwell. For example, Tamara will write budgets as long as I manage Rubiks’ social media – we play to each other’s strengths too!”
Another strength of shared artistic visions is that Kaylie can remain true to her own musical voice, without being tied specifically to the identity of an ensemble. “A sense of oneself is so important as an artist,” explains Kaylie. “Maintaining my own artistic practice, exploring my own musical directions and maintaining professional artistic relationships are crucial to being able to contribute to authentically to my roles at both Rubiks and Speak.”
“Speak’s music is music for my mind – challenging me intellectually, making me question and think about issues, concepts and sonic potential on a deeper level. And Rubiks’ is music for my heart – that pulls at the emotions, connecting us to each other and the greater human spirit.”
2025 will be a big year for Kaylie – with Rubiks Collective celebrating their tenth anniversary, and Speak Percussion their twenty-fifth, she is also one of the 2025-26 recipients of ANAM’s Ian Potter Emerging Performers Fellowships, which supports the establishment of independent creative musicians through career development, mentorship and financial support. Kaylie is indeed an artist to watch, and no doubt will be inspiring the next generation of percussionists with her artistic legacy in the years to come.
Words by Laura Panther, Senior Alumni Coordinator (Jan 2025)
Photo credits: Cameron Jamieson (headshot) and Bryony Jackson