Brad Cox is loading up his Mack truck and heading out to play the biggest shows of his career to celebrate the release of his fantastic new single “Everything I’ve Got.” The shows will see Brad play capital cities and major regional centres along the East Coast.
“I can’t wait to bring the Brad Cox roadshow to these cities to play some absolute milestone rooms,” Brad said. “I’ve spent months working on how to bring the fans together to make this tour one to remember. I’m loading this trailer full of surprises that’ll make this tour unlike any Brad Cox shows.”
Brad’s sandwiched the single tour dates in amongst a bunch of other shows including some fabulous festivals. And after that, this hardworking Aussie will make his way to Europe and the United Kingdom. Make sure you see him anywhere you can:
Eora/Sydney alt-rock act RedHook has teamed up with the UK’s Holding Absence for a massive new single “Dr. Frankenstein.” If you’ve ever found yourself in a toxic love story that has you questioning everything, I know listening to this one’s going to be cathartic.
“‘Dr. Frankenstein’ tells the story of a fairytale romance that rapidly devolves into a nightmare as one partner displays increasingly more possessive and controlling behaviour. But the bridge then hits us with a plot twist by suggesting that this emotional abuse may have spawned from the other partner being dishonest and unfaithful, thus posing several questions for us to consider: who is the real monster in this situation? Does making mistakes and hurting each other (emotionally) make us monsters? Or does it make us human?,” mused RedHook frontwoman Emmy Mack. “Ultimately, this song is about me owning my shit and taking accountability for my role in a past relationship that became toxic as all hell. During the breakup, I was guilty of privately indulging that kind of ‘victim’ mentality, but now that I’m a bit older and wiser, I feel like it’s important to take responsibility for the mistakes that I made too.”
“Holding Absence are one of our favourite bands in the world right now, and Lucas [Woodland]’s vocal talents are unparalleled,” she enthused. “I wrote this song with a male feature in mind, and Lucas was #1 on the list! We cheered so hard when he said he loved the song and was keen to jump on board!”
Lucas added, “I’m super hyped to be featured on this song! I knew from the moment I heard it that I had to get involved. ‘Dr. Frankenstein’ is a total rager with hooks galore, and RedHook are a great band. I can’t wait for people to hear it!”
This is the latest track released from RedHook’s forthcoming album Mutation, which drops on November 22. The band will head to the United Kingdom and Europe next month to support Welsh band Dream State. If you’re attending one of these shows, make sure you arrive early enough for their set!
I meant to write about the upcoming As December Falls tour yesterday. But instead of putting fingers to keyboard, I found myself falling further and further down a Spotify rabbit hole enjoying the music from this Nottingham act. I’m new to their tunes, but I’m putting them on rotation. If you love pop-punk, make sure you’re across their stuff before they touch down for their first Aussie tour next year.
The tour announcement comes at the perfect time, because the band just released The Live Album, filmed on their Join the Club tour last year.
“Over the years a lot of fans have asked for a live album, either because they can’t make a show or because they want to relive the experience!” enthused As December Falls frontwoman Bethany Hunter. “We ended up recording every show on the Join The Club tour and cut it down to 1 dope live record and we can’t WAIT to share it with everyone in September!”
If you love the live recording or their studio albums, make sure you don’t miss As December Falls’ local shows next year.
The Worm Girlz revolution continues with the release of the Meeanjin/Brisbane-based outfit’s latest single “Go Fishing.” This talented quintet have made a name for themselves releasing cathartic tracks that celebrate connection and rising above adversity. This latest release is no different. Its lyrics are a powerful reminder to never take the “bait” in one-sided relationships.
“‘Don’t be a drag, just go fishing!” enthused Worm Girlz’ vocalist Lauren. “I think all toxic people literally just need to go fishing. Nothing like a natural water source and some alone time to allow for self-reflection and growth. A fun switch-up from our more emotionally-driven songs, ‘Go Fishing’ is an upbeat crowd favourite, perfect to soundtrack your next gatho or house party.”
“We hope this song inspires people to stop letting other people run their lives! Go fishing, get away from me, you need a nap!” added guitarist Jade.
Worm Girlz have a bunch of shows coming up, including Chappell Roan tribute nights. Here are all the dates you need!
This blog tells that on Friday night I saw my ninth David Campbell show. And I’m not counting seeing him in “Dream Lover” and on the bill of George Michael and Disney tribute nights. So what keeps me coming back show after show? It’s just always a great time. It’s as simple as that.
He’s such a successful TV host that I think some people forget what an incredible singer he is. As that career in front of the camera has taken more time and focus, it seems even David questions it. He said that he wondered whether people would still come to the shows. Looking around at the beaming faces in the packed suburban auditorium, I think he got his answer.
After so many years in the recording studio and on the stage, David’s got such a wide catalogue of crowd-pleasers to choose from. The hits came thick and fast, peppered with banter from this charismatic entertainer. No matter when you came to his music and no matter your favourite era, you would have left satisfied. My parents were thrilled for the Good Lovin’ songs. My dad sang enthusiastically along to “Jackie Wilson Said,” a track from his favourite singer Van Morrison. My mum was instantly transported back to being a teenager, when her eyes locked with a singer performing in Battle of the Bands, when he flawlessly sang “How Can I Be Sure.” My husband and I were thrilled his ’80s album Let’s Go, far from a commercial success, wasn’t entirely forgotten. Most of DC’s fans probably don’t remember the decade as fondly as we do, but they couldn’t begrudge us spirited covers of “Come on Eileen” and “Tainted Love.”
We learned pretty early that DC’s mind was half on the Swannies game, but it certainly didn’t show in his performance. In fact, it seemed to spur him on. He insisted that he wouldn’t leave until the game was done, and when they did win it gave a little extra excitement to “Shout.” He must have sung that Johnny O’Keefe classic hundreds of times, but never felt quite as jubilant as in that moment.
David said many times that it had been far too long since he played for us all and thanked us so warmly for our warm reception. Hopefully that means he won’t leave us waiting too long for his return. I’m definitely ready to bring my show tally into the double digits. David will wrap up his current run of Good Lovin’ & More shows when he plays Twin Towns Services Club in Bundjalung Country/Tweed Heads on November 2.
Dan Howls’ latest single “Low” is one of the coolest blues tracks I’ve heard. I enjoyed its sultry opening, but it only gets better when it gets into third gear around the two-minute mark. This is a prime example of a song that knows exactly where it’s going. Just press play, give it time to warm up, and enjoy the ride.
“This release was written about a time we were out in the desert at a festival, there was a giant storm rolling in, and we knew our whole camp and tent was about to be blown away,” Dan recalled. “We started digging trenches around our little picnic spot, and that was about as much as we could do. We lost our whole tent that night. It’s really about accepting things, and not dwelling on things you can’t control, and changing the things that you can.”
Dan Howls’ might just be one of WA’s best kept secrets. If there’s any justice, this track will be the one that gets the country talking.
Naarm/Melbourne-based talents Samuel Gaskin and Kee’ahn have joined forces for “Find My Way Back,” a dance-pop number that pays tribute to the people who’ve paved the way for these two artists. Samuel channels their Māori and Nigerian roots while Kee’ahn celebrates their Yalanji, Jirrbal, Badu islander heritage.
“For me ‘Find My Way Back’ is a love letter to the Ancestors and the parts of ourselves we may have shut down or been disconnected from,” Samuel explained. Kee’ahn added that the song is “an invitation to accept ourselves where we are at so that we can have the courage and self belief, to chase after what feels like home.”
I love a good collaboration, and this is one of the best I’ve heard in a while. Make sure you turn it up!
I’ve been searching for the last few days for new music that hits right. Sometimes nothing seems to jump out or scratch that emotional itch. Thankfully I can call off the search, because “Friends Lose Friends,” the latest single from Boorloo/Perth indie-folk-punk outfit Odlaw is the goods.
“I wrote this track after a night in our drummer, Jamie’s courtyard,” frontman Mark Neal recalled. “We had some drinks, and the chatter started to descend into deeper territory. We shared stories of loss and relived the moments we found out. It was sad but beautiful. We understood each other’s experience, felt each other grieve, and collectively it helped us”
“Friends Lose Friends” is the latest track lifted from Odlaw’s upcoming fourth studio album, Mi(l)dlife Crisis. Expect to hear a lot more from this incredible band when it drops.
I’m convinced there’s no better pick-me-up than a really great pop song. If you need that lift, look no further than “Cupid,” the latest release from Daphnie, the musical alter ego of Eora/Sydney drummer and producer Alistair Hayes. It’s a total earworm. I’ve already listened about five times in a row, and I’m probably not done.
“It’s an homage to having a crush on someone, with all the excitement and anxiety that can get wrapped up in that feeling,” Alistair explained. “I find the idea of violent metaphors describing beautiful feelings so funny and dramatic, but at the same time crushes always kind of felt like that. I wanted to write something about being killed by the feeling of love itself and that’s exactly what ‘Cupid’ represents. With offbeat lyrics like stupid pickup lines, to those same lines being made fun of, it dramatises the whole feeling of a crush into something ridiculously insane.”
We often associate pop music with a big corporate machine, but Alistair’s operating on a much smaller scale. He wrote, produced, and mixed this track himself in his bedroom, much to his neighbours’ dismay. When he’s making music this good, I wouldn’t be complaining!
I can’t remember ever feeling as apprehensive about a night at the theatre as I did heading to the Opera House last night to catch Sunset Boulevard. When Opera Australia announced it would bring theatre legend Sarah Brightman to Australia to play Norma Desmond, we were thrilled. We purchased tickets as soon as they went on sale, forking out big bucks (and let’s face it, most decent seats commanded big bucks) to see this once-in-a-lifetime talent. But it seemed almost as quickly as Sarah arrived in Naarm/Melbourne for that city’s season the bad reviews went to press. The Guardian said she was “simply not up to the task … not physically, not dramatically, and certainly not vocally.” ArtsHub called her “woefully miscast,” noting that “it’s clear she does not possess the skills to play Norma”. Members of theatre communities I’m a part of on Facebook suggested understudy Sylvie Paladino was far superior, and insisted people should try to get tickets for her performances. All the chatter made me … concerned. I braced myself for the worst. Last night I walked out pleasantly surprised and wondered why the criticism had been so loud.
I don’t pretend to be an authority on Sunset Boulevard. I knew Norma Desmond was a faded star from the golden age of Hollywood who would collaborate with a young writer on a new script to relaunch her career. I knew the famous “Mr DeMille I’m ready for my close-up” line without any context and “As If We Never Said Goodbye” has long been a favourite theatre song, although again I didn’t know where it fitted into the story. I’m glad I didn’t have any preconceptions though. It meant I couldn’t compare this production to any others, I could just get swept up by the story. And I did. More than once my mouth was hanging open, shocked at the plot twists and turns.
It also meant that I couldn’t compare Sarah’s performance to the Norma Desmonds who came before. It seems some of the criticism comes from Sarah’s unique vocals. Certainly her angelic voice is a world away from the earthier tones of a Patti Lupone or a Glenn Close. Her operatic style was also a world away from the more straightforward theatre delivery of her fellow players. But she was Norma Desmond. The greatest star of them all, as we’re repeatedly told. She should stand out on that stage. I’ve read criticisms of Sarah’s voice in some of those Melbourne reviews, but I didn’t hear anything that should be picked apart. I’m not sure if she’s simply found her groove after an extended time away from the stage or they were being ruthless, but I felt blessed to witness her talents. I was especially wowed by “As If We Never Said Goodbye,” but I honestly felt like she didn’t put a foot or a note wrong.
The criticism of Sarah’s acting also feels below the belt to me. This is absolutely a demanding role. Most of us don’t know the level of madness Sarah was attempting to capture, so it’s difficult for us to say whether she did it well or not. I felt she inhabited the character, bringing all of her age and experience to the role. At 64, with extended time away from the stage, the parallels between Sarah and Norma are evident. Norma is clearly more unhinged, delusional, and off-the-wall, but Sarah took on all of that. I believed her, and I’m not sure you can ask more of an actor than that.
Sarah is the star, and quite rightly so, but she’s supported beautifully by the rest of the cast. Tim Draxl and Robert Grubb are some of the nation’s best. Ashleigh Rubenach has taken on major roles in smaller productions, but most often she’s part of the ensemble. She showed such promise as Betty, shining every time she stepped on stage. I’ve often marvelled at the depth of talent we have here in Australia. We can bring a star like Sarah here, and it’s wonderful when we do, but we honestly don’t need to.
While I’m heaping praise on the production, it’d be remiss of me not to mention the incredible set. I haven’t seen grandeur like it. Bringing a story that began as a film to life on the stage is always a hard ask; I can’t recall a team ever doing it so well. It was immersive, impressive, and beautiful.
If you’re plugged into the theatre community like me, you may have already written Sunset Boulevard off. Don’t. I’m not sure whether it’s found its feet in Sydney or people were simply unkind, but it’s an exciting revival. Sarah Brightman is a natural Norma Desmond, but every actor plays their part to make this production so special. Go see it, and Sarah, while you can. Sunset Boulevard plays at the Opera House in Eora/Sydney until November 1.
