Gravy Day: Australia’s Unofficial Holiday
Paul Kelly has a way of sneaking into the hearts of Australians, embedding his music into the nation’s cultural fabric. Among his many celebrated works, one song has transcended the airwaves to become an unofficial holiday: “How to Make Gravy.”
Every year on December 21, fans across the country and beyond gather to celebrate what’s affectionately known as Gravy Day. But why has this song, and this date, captured the collective imagination of a nation?
The Song That Stirs the Pot
“How to Make Gravy” isn’t just a song; it’s a deeply emotive story. Written from the perspective of a man writing a letter from prison, it’s a vivid, aching glimpse into longing, regret, and the bonds of family. The narrator laments missing Christmas with his loved ones and shares a detailed recipe for gravy—a culinary lifeline to the holiday traditions he cannot partake in.
First released in 1996 as part of the EP Deeper Water, the song stood out not only for its evocative storytelling but for its unique perspective. Kelly’s use of conversational lyrics—“Who’s gonna make the gravy now? I bet it won’t taste the same”—strikes a chord with anyone who has ever been separated from their family during the holidays. The titular gravy isn’t just a recipe; it’s a metaphor for connection, home, and the irreplaceable warmth of togetherness.
December 21: A Date with Gravy
The date itself comes directly from the song. As the narrator’s letter begins, he writes: “Hello Dan, it’s Joe here. I hope you’re keeping well. It’s the 21st of December, and now they’re ringing the last bells.” This seemingly incidental timestamp has since become a rallying point for fans. December 21 isn’t just a date; it’s an invitation to reflect, gather, and share the spirit of the song.
Gravy Day has grown organically, with no marketing campaigns or official endorsements. Its celebrations are as varied as the people who love the song.
Some cook a feast centered on the perfect gravy, while others belt out Kelly’s lyrics at backyard parties or pub singalongs.
Social media lights up with tributes, recipes, and reflections on the song’s themes of love, forgiveness, and the bittersweet passage of time.
In a country as geographically vast and culturally diverse as Australia, shared rituals like this one serve as a reminder of what unites us.
“How to Make Gravy” encapsulates the bittersweet joy and pain of human connection, universal themes that resonate across generations and borders.
Whether you’re singing along in a crowded pub, passing a gravy boat around the table, or simply reflecting on those you’ve lost or long to see, Gravy Day offers a moment of connection in the whirlwind of the holiday season.
It’s a day to celebrate the ties that bind us, and to remember, as Kelly’s narrator says, that while life may not always be perfect, there’s always room for gravy.
The Life, Times, and Music of Poet Laureate Paul Kelly
Words and Photos by Mark Anning © 1987-2024
Paul Kelly is an enigma—a national treasure wrapped in the dusty cloak of an Australian bard.
Over four decades, he’s carved a legacy of lyrics that dance between gritty urban streets and the boundless, sunburnt landscapes of his homeland.
His words sing the quiet victories, the hollow defeats, and the unvarnished truth of life’s crooked roads.
To call him a songwriter feels woefully inadequate; Paul Kelly is Australia’s unofficial poet laureate.
Early Days: Seeds of a Troubadour
Born on January 13, 1955, in Adelaide, South Australia, Kelly grew up surrounded by music. His father played the piano with precision, his mother cherished folk songs, and young Paul found himself caught in the currents of everything from classical symphonies to Hank Williams’ mournful croons.
When his family moved to Melbourne, Kelly’s musical landscape expanded further. St. Joseph’s College became the proving ground for his earliest attempts at trumpet and guitar. But it was the storytelling—drawn from the likes of Bob Dylan, Lou Reed, and Robert Johnson—that planted the deepest roots. By the late 1970s, Kelly had begun to see music not just as an outlet but as a necessity.
High Rise Bombers: A Rocket to the Pub Scene
Kelly’s first brush with the Melbourne music circuit came in 1977 when he joined the High Rise Bombers. This ragtag band consisted of Kelly (guitar, vocals), Martin Armiger, Chris Dyson, Keith Shadwick, Sally Ford, Lee Cass, and John Lloyd. Their brass-heavy sound and swaggering attitude made them darlings of the Carlton pub scene, but internal tensions fractured the group by 1978.
While the Bombers left behind only two recorded tracks, “She’s Got It” and “Domestic Criminal,” they established Kelly as a rising talent in Melbourne’s underground music scene.
Paul Kelly and the Dots: Punk Rock’s Poetic Heart
By the late 1970s, Kelly had pulled together Paul Kelly and the Dots, a band as volatile as it was promising. The original lineup included Kelly, Langman, Lloyd, Paul Gadsby, and Chris Malhebe. The Dots quickly gained traction on Melbourne’s vibrant scene, despite regular lineup changes—Chris Worrall replaced Malhebe in 1979, and Tony Thornton stepped in on drums when Lloyd departed for Sydney.
The Dots’ debut EP featured the raw edges of punk rock mixed with Kelly’s burgeoning lyrical sophistication. Tracks like “Recognition,” “Lowdown,” and “I See Red” hinted at something greater, and by 1980, the band’s single “Seeing Is Believing” began gaining attention. Then came their ska-inflected hit “Billy Baxter”, which cracked the Top 40.
Their debut album, Talk, dropped in 1981 after a grueling production process involving three producers. Highlights like “Lowdown” and “Want You Back” showcased Kelly’s sharp storytelling, but the chaos of constant lineup shuffles left the band’s future uncertain.
In 1982, the Dots recorded Manilla in the Philippines, producing gems like “Clean This House” and “Alive and Well”. But Kelly’s world spun off its axis after he was mugged in Melbourne, breaking his jaw and slowing his momentum.
By 1983, Kelly dissolved the Dots, choosing reinvention over stagnation.
The Coloured Girls / The Messengers: Paul Kelly’s Ascension
Reborn in Sydney, Kelly formed Paul Kelly and the Coloured Girls in 1985 with Steve Connolly, Michael Barclay, Peter “Pedro” Bul, and Jon Schofield. The band’s name—a nod to Lou Reed’s “Walk on the Wild Side”—sparked controversy in America, where they were rebranded as Paul Kelly and the Messengers.
The band’s double album Gossip (1986) catapulted Kelly into the limelight. Sprawling over 24 tracks, it delivered hits like “Before Too Long”, “Darling It Hurts”, and “Leaps and Bounds”. The album’s intimate narratives and vivid Australian imagery earned critical acclaim, solidifying Kelly’s place in the pantheon of great songwriters.
Their second album, Under the Sun (1987), refined the formula. Singles like “To Her Door” and “Forty Miles to Saturday Night” showcased Kelly’s knack for balancing pathos and humor. The band toured the U.S., first supporting Crowded House and later headlining their own shows.
Lyrical Genius: The Heart of Paul Kelly’s Work
What sets Kelly apart is his ability to distill universal truths from the mundane. In “To Her Door”, he crafts a vivid tale of redemption in just a few verses: “And he drank like a fish and he kissed all the women / He came back again…”
Then there’s “From Little Things Big Things Grow”, written with Kev Carmody, which chronicles Australia’s Indigenous land rights movement. This isn’t just music; it’s history set to melody.
Reinvention: Solo Success and Collaborations
Kelly’s first solo album, Post (1985), stripped back the noise to reveal a raw, introspective artist. Tracks like “From St. Kilda to King’s Cross” became anthems of self-reflection. His collaborations, including work with Indigenous artists like Archie Roach on Charcoal Lane, further demonstrated his versatility.
Throughout the 1990s, Kelly experimented with blues, reggae, and R&B, releasing standout albums like Wanted Man (1994) and Deeper Water (1995). Songs like “How to Make Gravy” proved his lyrical dexterity, transforming a prison letter into a heartbreaking ballad.
Legacy: Australia’s Poet Laureate
Kelly’s influence stretches beyond his music. He’s mentored artists like Kasey Chambers and Dan Sultan, contributed to soundtracks (Young Einstein), and even written a memoir. His induction into the ARIA Hall of Fame in 1997 recognized not just his achievements but his enduring contribution to Australian culture.
Today, Paul Kelly’s songs remain as relevant as ever. Whether it’s the quiet despair of “Wintercoat” or the anthemic hope of “Dumb Things”, his music continues to inspire.
Paul Kelly isn’t just a musician; he’s a storyteller, a chronicler of life’s crooked roads, and a voice that echoes across generations. In the words of his own song: “Everything’s turning to white, but he’ll sing it into color.”
