Teen prodigy ixaras is quickly proving she’s one of the most exciting forces in the Aussie music scene. Last time I wrote about her I was impressed by the launch of her label Anti Dismal which helps make music more accessible for other young people. Now I’ve got her debut EP full lover fake friend on repeat. This incredible indie-pop release shows ixaras’ musical talent matches her passion.
Through this intimate collection of songs, ixaras shares her experiences navigating life as a young queer artist. That might sound a little niche, but these songs are so powerful that I know they’ll resonate with anyone who’s felt different. We hear her trying to figure things out as she seeks connection, falls in love, and experiences all the challenges that so many struggle with growing up.
ixaras marries her confessional lyrics with catchy pop melodies and post-punk edge. I know these songs will move you, but they also encourage you to pick up your hair brush and use it as a microphone while you jump around. Every track is an earworm.
ixaras is so young, but with the release of full lover fake friend she shows an incredible maturity and talent beyond her years. I am so excited to see where her musical endeavours take her. The release of this EP is a brilliant beginning.
ixaras is in for a busy New Year with performances at NYE on the Hill at The Farm in Gunaikurnai Country/South Gippsland and Great Escape in Lutruwita/Nugent. Tickets for both shows are on sale now.
My review of Dylan Wright’s EP, Half a World Away, has been a long time coming. I intended to write it before I left for New Zealand, but time got away. And then I had my car accident, and I started to wonder whether it was even relevant anymore given that this EP dropped in October. But then I started to think about it, and I didn’t want you guys to miss it, especially considering Dylan has just been named as Tina Arena’s support on her upcoming tour.
This isn’t your typical post-Idol release. It’s better than that. There are no covers. There’s not even his winner’s single. It’s just fantastic, original music that really showcases who Dylan is. His words, his voice.
The opening track “Little Lost” is the perfect introduction to this collection of songs. It’s warm and stripped back, anchored by Dylan’s vocals and acoustic guitar. Its classic sound makes me hungry for road trips. He takes things up a notch with “All I Need, a darker song driven by yearning and heart. There’s a similar vibe to “Back to You.” We didn’t see this brooding side on Idol, but gritty tracks like these provide great contrast to the lighter moments. “Mess of a Man” may be my favourite song on this EP. It’s so raw and honest. At a time when we still expect men to be so strong, it’s refreshing to hear one share their broken parts. Dylan’s love for his family was well-documented through his Idol journey, so it’s only fitting that he shares a little of his joy surrounding that with us too. “Old Oak Tree” is such a beautiful, uplifting song about legacy and tradition, a celebration of the best parts of the human experience. The gospel-tinged title track shows us a different sound, one that hints that Dylan has more to share in the future.
Recording an EP, with six quality tracks, is a smart choice. Dylan could have taken more time and released an album, but dropping Half a World Away instead capitalises on his moment in the sun, ensuring we get to really know him and don’t forget him like so many people who’ve taken the Idol crown in the past. Could he be the one to reverse that Idol trend? It’s too early to say, but I really hope so. As I mentioned, Dylan will tour Australia with Tina Arena next year. Presale tickets are available now for the following shows ahead of tomorrow’s general sale:
I’m easing myself back into work thanks to the wonders of speech-to-text technology. First on my to-do list was sharing my thoughts on the wonderful production of Jesus Christ Superstar playing in Eora/Sydney at the moment. I had tickets to the show the day after my car accident, so I was a bit sore and sorry as I bundled myself onto the train, but I’m so glad I pushed through the pain. I’ve seen three or four productions of Superstar over the years, and this was definitely among the best.
I felt excitement bubbling up as the familiar “Overture” began. Then with “Heaven on Their Minds” we were introduced to the incredible Javon King as Judas. What a great voice he has. What a presence. I didn’t know him before this production, but I will watch his career closely from now on. The entire cast was sensational. The casting of Mahalia Barnes as Mary was one of the key draw cards for me, and she did not disappoint. She brought such a beautiful warmth and heart to the role, and what a voice she has. I was also really excited to see Reuben Kaye playing Herod. He was brilliant. Honestly he may be my favourite Herod ever. He had just the right blend of humour and malice. My parents weren’t familiar with him but they walked away fans. I was also really impressed by Peter Murphy’s Pilate. Unfortunately Michael Paynter didn’t appear in our matinee. While the understudy was great, I was really looking forward to his Jesus. I also wonder whether Michael’s voice may have contrasted better with Javon’s. JC simply works better when you can hear the difference between Jesus and Judas.
This production feels so new and fresh. The music doesn’t seem to age. The energy of the cast is palpable. I also really liked artistic choices like bringing the microphones into the scenes and having the crucifix as a key part of the set. The use of glitter was very effective in places, although I’m not sure it was as powerful as it should have been while Jesus received his lashes. Overall, I think the team behind this version of JC has done an incredible job. Whether you’re a long-time fan like many or new to the musical, make sure you don’t miss it.
It’s pretty hard to ignore that Christmas is mere weeks away. You can resist it, which doesn’t do much good I find, or simply embrace it. So in that spirit, I headed to Eora/Sydney last night for the taping of “A (Very) Musical Christmas.”
This review is a bit different than the ones I normally write, because I really don’t want to spoil it for anyone who’ll tune in to the ABC broadcast later this month. The lineup had been well-publicised so I will say that stars including Eddie Perfect, Casey Donovan, and that talented Laga’aia clan were every bit as wonderful as you might expect. I also hope this broadcast encourages people to see more shows like the traveling production of Dear Evan Hansen or Titanique, because their casts were fabulous. And I’ll also add that the surprise ABC personality, who wasn’t included in the original cast announcement, was an unexpected joy.
If you love Christmas, musical theatre, or (like me!) both do not miss “A (Very) Musical Christmas” when it screens on ABC on December 20. It was so good, I’ll definitely tune in to enjoy its fabulous renditions of beloved Christmas tunes all over again!
Folk duo Salt Tree are easing me into the weekend with their gorgeous new EP Swell. This collection of songs transports you to Tom and Nath’s hometown of Wooditup/Margaret River, a picturesque coastal town where the ocean meets the forests, or as the band’s name suggests, where the salt meets the trees.
Salt Tree take total control of their music, writing, recording, producing, and mixing it in a bedroom studio. Their hearts shine through beautiful acoustic arrangements that showcase their lyrics and artistry. They don’t reinvent the wheel, but if you love gentle acoustic guitar melodies, two-part vocal harmonies, and uplifting songs, Swell will be everything you’re looking for.
Opening track “Take My Hand” encourages you to step into Salt Tree’s musical world. “I’ll Be Here” reassures you that you’ve made the right choice. Its foot-stomping vibe reminds me of acts like Mumford & Sons and our own Pierce Brothers. The duo keeps that energy up with “We Were Young,” a nostalgic number that reminisces about the simplicity of childhood. The natural imagery of “Follow Me in the Ocean” is so compelling. From the water to the land, Salt Tree’s “Garden” sees the pair at their most romantic. This is a gorgeous song about budding love which resists the cliches. Salt Tree close out their EP on an optimistic note with “Dreaming Of a Future.” It’s a powerful reminder that even though the seas might get rocky, there’s always hope.
After visiting Wooditup/Margaret River, I told everyone who would listen that they needed to go. Listening to Swell, I’m taking back to that space that helped me unwind from the pace of my daily grind. I still maintain you should visit Wooditup/Margaret River if you can, but until you can book the trip, listening to Salt Tree’s beautiful folk EP is the next best thing. Salt Tree kick off their European tour in Germany tonight, so many sure you get out and support them if you can snap up some of the limited remaining tickets.
8 November 2024 – Jaki, Cologne (SOLD OUT) 9 November 2024 – Ponyhof, Frankfurt (SOLD OUT) 11 November 2024 – Milla, Munich (SOLD OUT) 12 November 2024 – Werkstatthaus, Stuttgart (SOLD OUT) 13 November 2024 – Exil, Zurich 14 November 2024 – ISC, Bern 16 November 2024 – B72, Vienna (SOLD OUT) 17 November 2024 – Lark, Berlin 18 November 2024 – Hebebühne, Hamburg (SOLD OUT) 19 November 2024 – Tolhuistuin Zonzij, Amsterdam (SOLD OUT) 21 November 2024 – The Waiting Room, London (SOLD OUT) 22 November 2024 – Lock 91, Manchester 23 November 2024 – Academy 2, Dublin 26 November 2024 – Club Sauvage, Barcelona 27 November 2024 – Moby Dick Club, Madrid 4 December 2024 – Bar Brooklyn, Stockholm
Images used with permission from Nettwerk Music Group
Like so many Australians, the music of Cold Chisel is part of my DNA. They’ve been pumping out hits since before I was born. East and Circus Animals were on regular rotation as I grew up. I don’t remember when I learned the lyrics to these songs, in much the same way I don’t know when I learned English. It just seems like I always have. So when the band announced their Big Five-0 tour, celebrating 50 years in the biz, I knew I had to be there. Dad passed, insisting he saw them enough times in local pubs and clubs that he didn’t need to brave the crowds now. But as someone who missed those heady days, who has had much more limited opportunities to see Chisel do their thing, I knew I had to be there.
Karen Lee Andrews warmed up the crowd and reminded me just how good she is. I’ve seen her perform a few times now with the Barnes family, but those sets were solo and stripped back. Normally acoustic sets are my bag, but with a full band Karen really shines. Sharing the stage with her band seemed to calm her nerves and she was more confident than I’ve seen before. Her songs are superb and she’s got such a cool, blues-rock voice. I definitely need to listen to more of her original music, because she’s exceptional.
Tickets for Chisel’s Big Five-0 tour were arguably as hot property as tickets for Coldplay or Taylor Swift, but unlike these international luminaries, there weren’t a lot of bells and whistles about the Cold Chisel experience. There were no pyrotechnics, no costume changes, not even any of those screens ensuring people near the back got a closer view of the action. Just a bunch of Aussie blokes on stage doing what they do best. The stages have gotten bigger over the decades but this band refuses to upgrade the spectacle, so the music remains the focus.
And what music it is. Cold Chisel have been mixing up the set list this tour, so you never know exactly what you’re going to get. But with such a rich catalogue, hits can come out early. “Standing on the Outside,” “Cheap Wine,” “Rising Sun,” and “My Baby” in just the first five songs? Incredible. Cold Chisel catered for all kinds of fans, those of us who flogged Chisel Gold and cranked up their tunes whenever they came on the radio and those hardcore enthusiasts who devoured each and every album. I’ve seen Chisel several times now, but I can’t recall them ever playing so many album tracks. Digging into the vault while keeping casual fans happy is a delicate balancing act, but Chisel walked that tightrope beautifully.
Chisel might not tour with the same kind of gruelling schedule that they did back in the day, but there’s such a beautiful chemistry when this band is on stage. You won’t find a tighter act around. Everyone has a crucial part to play. Jimmy attacks those vocals, performing with the sort of gusto that makes you forget he’s only just come back from hip surgery. Ian Moss blows me away each and every time I see him with his guitar skills and those warm vocals that never seem to age. After seeing so many acoustic shows in recent years, I relished seeing him rocking out. Nothing sounds quite as comforting as Don Walker on piano. Bass players never get enough credit, but Phil Small’s instrument is the glue that holds this sound together. Steve Prestwich’s loss created a hole in this band of brothers, but Charley Drayton does an admirable job stepping into his shoes. I’m sorry I missed the names of the saxophonist and harmonica player, but they were also incredible.
Don Walker teased a little “Star Hotel” during the introduction of “Breakfast at Sweethearts,” but strangely that Novocastrian rock anthem never came. It’s a minor quibble though, because this set really delivered so much. As they rocked out one final time to their traditional closer “Goodbye (Astrid Goodbye)”, after two encores, I felt well and truly satisfied. After 50 years in the business, Cold Chisel are at the top of their game. And there aren’t a lot of bands who can say that. So many shows are sold out, but if you get the opportunity to see Chisel on any of their upcoming shows, you will not be disappointed.
9 November 2024 – Red Hot Summer @ Victoria Park, Balaarat/Ballarat (SOLD OUT) 10 November 2024 – Mornington Racecourse, Bunurong Country/Mornington (SOLD OUT) 13 November 2024 – MyState Bank Arena, Nipaluna/Hobart (SOLD OUT) 16 November 2024 – Qudos Bank Arena, Eora/Sydney (SOLD OUT) 17 November 2024 – VAILO Adelaide 500 @ Adelaide Street Circuit, Tarntanya/Adelaide 22 November 2024 – Arts Centre Melbourne @ Sidney Myer Music Bowl, Naarm/Melbourne (SOLD OUT) 23 November 2024 – Arts Centre Melbourne @ Sidney Myer Music Bowl, Naarm/Melbourne (SOLD OUT) 28 November 2024 – Stage 88, Wiradjuri Country/Parkes (SOLD OUT) 30 November 2024 – Roche Estate, Wonnarua Country/Pokolbin (SOLD OUT) 4 December 2024 – Qudos Bank Arena, Eora/Sydney 18 January 2025 – Gibbston Valley Winery, Queenstown 25 January 2025 – Taupo Amphitheatre & Riverside Park, Taupo 26 January 2024 – Whitianga Waterways Arena, Whitaianga
Naarm/Melbourne band Belle Haven really impressed me with their most recent single “fauxlove.” It opens their recently released EP something new with a bang, but there’s a lot more to love on this four-track collection.
“fauxlove” hits hard, but the band aren’t all edges. The next track “lose, regret, repeat…” has more of a pop sensibility and even more vulnerable lyrics. The bittersweet contrast of the happy sound and heartbreakingly sad lyrics is so compelling. “thx” is a high-energy, angsty rock number that puts the pedal to the floor from the first note. “a hypothetical exit” rounds out this stellar collection of song. It’s Belle Haven at their most melodic and anthemic. It sounds fantastic, with massive drums, guitars, and vocals. If you love your emo music, you’re going to love this.
“‘something new’ isn’t about one specific theme or story—it’s a mix of the emotions we’ve been going through as a band,” Belle Haven’s frontman David De La Hoz explained. “We explore love, sex, heartbreak, bad habits (and breaking them), choosing yourself, and even death. It covers a lot because that’s just how life happens sometimes. Each track brings its own feeling. ‘fauxlove’ taps into something raw and intimate, ‘lose, regret, repeat…’ feels deeply sad, ‘thx’ has this angry energy, and ‘a hypothetical exit’ comes off a bit tongue-in-cheek. We didn’t plan to cover all these themes—it just naturally unfolded that way. In a way, we’re still figuring out what Belle Haven is, learning by doing. This EP is part of that journey.”
With the release of something new, Belle Haven continues to show us the depth of their artistry. Don’t you dare put this band in a box, because they’re masters at pushing the envelope and developing their sound. If you love what they do, make sure you check them out at am//pm emo night at Burdenkin Hotel in Eora/Sydney on November 30.
There was a hum of excitement around Warrung/Circular Quay yesterday as the city showcased blak excellence. DanceRites, the country’s only First Nations dance competition had taken over the Opera House forecourt. And inside the House, Electric Fields joined the Sydney Symphony for a very special show in the Concert Hall.
The Opera House and the Symphony are cultural icons, not just for this city but for this nation. But Electric Fields are quickly establishing themselves as an act that’s every bit as important for this country. Witnessing the Symphony and Electric Fields coming together in this iconic place is something I’ll forever hold close to my heart.
There was a reverence in the air as Zaachariaha Fielding, Michael Ross, and their backing vocalists took their places in front of the Symphony. It hung in the air as they opened with “Anpuru Maau Kutjpa,” an Inma in the Yankunytjatjara language passed down through generations. The idea that music is a universal language has become somewhat of a cliché. But listening to this traditional song featuring lyrics that I didn’t understand rendered so beautifully here, all I could do was feel.
It was magic, leaving us all in a bit of a dream state, until Electric Fields woke us up with “Shade Away” and encouraged us all to get on our feet. We were happy to oblige, feeling the music in a different way as we moved in time with the irresistible beats. Electric Fields know how to create a dancefloor banger and they turned the Concert Hall into a party.
We bounced between those energetic bops and more sombre moments, embracing the twists and turns. I got goosebumps listening to their beautiful rendition of Paul Kelly and Kev Carmody’s “From Little Things Big Things Grow.” As a Eurovision fan, I relished dancing along to “2000 and Whatever” and “One Milkali (One Blood).”
I marvelled at Zaachariaha Fielding’s incredible voice. I knew it was good from those recordings and live performances on TV, but sharing space with him made me appreciate its commanding beauty even more. The orchestral backing elevated this music, giving it extra gravitas. There was something so beautiful about the coming together of the Symphony, a white symbol for arts and culture, and the oldest living culture on the planet. I loved being a part of that too. Zaachariaha encouraged us to sing along, taking the time to teach us some of those Indigenous lyrics and explain their meaning. It was all just so special.
This show with Electric Fields and the Sydney Symphony Orchestra was transformative. To witness such talent on stage in such a welcoming space, to feel moved and energised in equal measures, was incredible.
RocKwiZ is an Aussie institution. It’s been a part of our lives for nearly 20 years, in fits and starts on TV, but for many years as a touring franchise. It’s been one of those things I always meant to see but never quite got there, until the gang finally made their way to Darkinjung Country/Wyong this week.
I wasn’t quite sure what to expect, but we got everything I loved about the TV show and more. When I arrived at The Art House Brian Nankervis was already encouraging people to sign up to play. Those who put down their names and a few wildcards with invitations under their seat made their way to the stage to battle it out in a stripped-back version of the show. The questions came thick and fast, along with a splash of karaoke and dancing. The best of the best then prepared to face off in the main event.
Watching the night unfold, I was reminded how much I love the original format. With more time to play than Foxtel allows, we could really get to know our contestants, experience the undeniable chemistry between Julia Zemiro and Brian, and appreciate the music from the superb RocKwiz orchestra and our talented celebrity guests. I don’t want to reveal them, because that would spoil the fun for anyone who happens to see the same line-up at their show. Because gee it’s exciting to hear those “Who Can It Be Now?” clues, then get that big reveal that a favourite star is joining you! I will say that there was something for everyone among the line-up: an emerging artist generating plenty of buzz, a more established talent who’s spent plenty of time abroad, and a bona fide Aussie legend. I’ll also add that I’ve covered every one of them here on this blog, so watching them perform together and solo, a mix of their originals and some choice covers was really something special. I appreciated that this longer format allows time for more music, the very thing that brought this show together.
A night out with the RocKwiZ crew is bloody good fun. We sang along to classic songs, we laughed (a lot!), and we marvelled at the talent on stage. It’s so beautiful to see this team in action, continuing to keep this program’s legacy alive whether it’s on TV or not. If like me you’ve been thinking you should see one of their shows, but never quite gotten there, just buy the tickets. You won’t regret it. You’ll get plenty of opportunities too, with plenty of shows left on the Never Mind the Buzzers tour:
During the pandemic, my husband and I missed musical theatre hard. So starved for that experience, we’d watch anything we could find. While scouring YouTube we came across a recording of the original Broadway cast performing Dear Evan Hansen. It was a world away from Disney+’s Hamilton pro-shot, a basic video captured by an audience member on their mobile phone. But it was enough to trigger an obsession with this show. We listened to the soundtrack with those incredible Pasek and Paul songs more times than I could count, and when an Australian production was announced, we snapped up tickets for the first performance.
I am so thrilled that Australia gets a chance to see this musical. It’s a fantastic story that explores themes of mental health, connection, growing up, and the cult of social media so beautifully. I don’t want to give too much away, but it’s so powerful and beautifully realised by our Australian cast. Beau Woodbridge is a revelation as Evan. It’s such a demanding part, both vocally and in terms of the role itself, but he excelled, making us care about him all while the character’s flaws shone through. Georgia Laga’aia was also the perfect Zoe. While I’m torn, my husband insists she was even better than the original Broadway Zoe, Laura Dreyfuss. It’s a big call, but I really appreciated what she did with the role and the gorgeous timbre of her voice. Verity Hunt-Ballard is always outstanding, but I especially loved seeing her in a grittier role after watching her all poised and polished years ago in Mary Poppins. All the adults were excellent though. After their parts were slashed so substantially in the film version, watching our cast reminded me just how pivotal they are to this story. Side note: please don’t base your opinion of Dear Evan Hansen on that dreadful film adaptation.
I’ve also got to give shout-outs to set designer Jeremy Allen, lighting designer Matt Scott, and video designer David Bergman. Normally I don’t notice what these professionals do, but the way they have elevated this production even beyond the Broadway version we watched deserves praise. They brought us into the Hansen and Murphy homes, and the spaces in between, so beautifully. The virtual world, and the fallout of events there, was perfectly realised.
This is such a gorgeous production, and so worth the wait for Dear Evan Hansen fans like myself. I’m so glad the whole creative team did this musical justice and that Aussies will finally get to see it so beautifully brought to life. If you’re a longtime fan like me, do not hesitate. Snap up all the tickets. And if you’re new to this musical, take a chance on it. I know there are plenty of known quantities out there, but please get out there and support this production. It plays at the Roslyn Packer Theatre in Eora/Sydney until December 1. It’ll be at the Playhouse Theatre in the Arts Centre in Naarm/Melbourne from December 14, Canberra Theatre Centre in Ngambri/Canberra from February 27, and finally Her Majesty’s Theatre in Tarntanya/Adelaide from April 3.
