Spencer P Jones Honoured With Jonesy Lane In St Kilda

The City Of Port Phillip has dedicated Jonesy Lane to Spencer P. Jones, marking his enduring influence on Australian rock with a ceremony at St Kilda Cellars.

by Paul Cashmere

“Spencer may not be a household name, but he’s had a book written about him, was idolised by Paul Kelly and the Violent Femmes, and played in some of Australia’s greatest rock bands. It was lovely to see many of those people come together for the launch,” said Patrick Donovan, Live Music Strategy and Development Lead for the City of Port Phillip, at the unveiling of Jonesy Lane in St Kilda.

The new laneway, located between 43 and 45 Fitzroy Street and connecting through to Jackson Street where Jones once lived, formally embeds the late musician into the geography of the suburb that shaped much of his career. The dedication ceremony at St Kilda Cellars drew peers, collaborators and admirers, underscoring Jones’ status as a foundational figure in Australian rock.

Jonesy Lane St Kilda dedication 29 April 2026 Patrick Donovan, Kim Salmon, Jan Patton (Spencer’s sister), her husband Randall Patton, Charlie Owen, John Von Goes, Jules Sheldon, Billie Pommer, Angie Jones photo Julian Wu

The naming of Jonesy Lane follows recent civic recognition of local music heritage, including Seekers Way for The Seekers, and earlier tributes to Rowland S. Howard and Paul Hester. The initiative reflects a broader strategy by the City of Port Phillip to preserve and promote St Kilda’s role in Australia’s live music ecosystem.

For the City of Port Phillip, the decision aligns with an effort to recognise artists whose cultural contribution extends beyond chart success. Jones’ career, which spanned more than four decades, intersected with key movements in Australian pub rock, post-punk and alternative music. His work with The Johnnys, Beasts Of Bourbon and Paul Kelly And The Coloured Girls positioned him at the centre of a network that shaped the country’s independent music identity from the late 1970s onward.

His former bandmate Paul Kelly said of the honour: “Spencer loved music, was so enthusiastic about it and loved to share his knowledge. Because of this he was a wonderful mentor to many younger bands and musicians. A great songwriter and he played guitar like nobody else!’’

International peers also contributed reflections for the occasion. Brian Ritchie recalled first encountering Jones when The Johnnys opened for the Violent Femmes on their 1984 Australian tour. “We hit it off spectacularly and that friendship spanned the intervening decades and several continents. Gigs, albums, bands and parties,” Ritchie said. “Spencer was a great guitarist, singer, and songwriter but to me his most notable trait was his devout belief in the power of rock and roll. He lived and breathed it beyond anybody I ever met.”

Brian Ritchie Spencer P Jones and Jim Moginie

Kid Congo Powers, of The Gun Club and The Cramps, traced his connection back to 1983. “Spence instantly became a lifelong friend and brother in music. Decades full of parties, shows and a lot of fun,” he said. “It has always been a pleasure to walk down any street with Spencer and I can’t wait to walk down this street that bears his name.”

From within Australia, Gareth Liddiard and Fiona Kitschin offered a detailed and personal tribute, reflecting on Jones’ mentorship, humour and songwriting. Liddiard described him as “the best Australian songwriter” he had encountered, recalling recording sessions for the Nothin’ Butts project where ideas “came fast and… sharp and ready to go.” Their account also pointed to the contradictions in Jones’ life, his generosity, volatility and resilience, shaped by both creative highs and personal struggles.

Jones’ catalogue reinforces that reputation. Born in Te Awamutu, New Zealand in 1956, he relocated to Australia in 1976 and became a central figure in multiple bands that defined the underground scene. His tenure with The Johnnys in the early 1980s coincided with a period when Australian pub rock was evolving into more hybrid forms, incorporating country, punk and blues elements. Parallel work with Beasts Of Bourbon expanded that palette into darker, more experimental territory.

As a solo artist, Jones released ten albums, beginning with Rumour Of Death in 1994. Records such as The Last Gasp and Fugitive Songs demonstrated a songwriting approach grounded in narrative detail and stripped-back arrangements, often reflecting the lived experience of touring musicians. In 2012, Australian Guitar magazine named him among the country’s Top 40 guitarists, a recognition that placed his technical ability alongside his broader artistic contribution.

The decision to honour Jones also speaks to a wider reassessment of legacy within the Australian music industry. While mainstream recognition often centres on commercial metrics, initiatives like Jonesy Lane acknowledge the infrastructure of influence, the musicians who shaped scenes, mentored peers and sustained live performance culture over decades.

There is little dissent around Jones’ significance, although his career trajectory, largely outside the commercial mainstream, highlights ongoing challenges in documenting and preserving the contributions of independent artists. The City of Port Phillip’s approach suggests a model where local government can play a role in addressing that gap.

Looking ahead, Jonesy Lane becomes both a physical landmark and a symbolic gesture, connecting past and present in one of Australia’s most historically significant music precincts. For those who knew him, and for those discovering his work, it offers a tangible reminder of an artist whose impact continues to resonate across generations of Australian music.