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.
It’s a concept album released at a time when those long-players are becoming increasingly rare, especially in the pop world. Don’t even be tempted to skip to the singles or hit shuffle, because you’ll miss the story that unfolds. The beautiful opening soundscape “Intro – an angel number” leads naturally into the gentle “Starlight.” It’s a beautiful jazz-infused number, romantic and peaceful. The story heats up with the steamy “Sensations.” It sounds so current it could have come from the next Arianna Grande record. It would be easy for Renee to sit in that space. It’s the music people are buying right now, after all, but there’s more of this story to tell.
The album takes a turn with “Exposed.” We’re moving from the heat to vulnerability. It’s where the real stuff is, a place where a relationship can either solidify or crumble. Once those walls come down they can really love you, but they can also hurt you. Renee explores all of that so eloquently on this track. But she’s just getting started.
“Perfect Storm” is a moment of calm as the relationship crumbles. It’s a gentle ballad, but make sure you listen to those lyrics which reveal the surrounding chaos. We sit in those feelings a little longer, as so many people do when they’re in the wrong relationship. “Sometimes I Wish” is dripping with longing, dreams unfulfilled, sadness, and ultimately a goodbye.
The final two tracks see Renee moving forward. It’s a different kind of love story now, one that sees her connecting with herself rather than someone else. The title track is an epic pop anthem, creative and experimental, and above all fierce. “Looking for Myself” is an introspective, super catchy closer. Renee’s not claiming to have all the answers. She’s still a work in progress, she’s still looking, but she’s getting there. And along the way, she might just have a dance.
“‘222’, both the number and the project, mean so much to me,” Renee said. “Rather than ending with a couple, it’s about realising that when I thought I needed a relationship, which turned toxic, I needed to love and find myself first. I had to bring my positive and negative mind together and accept it, like yin and yang coming together to form one. 1 + 1 = 2; it is duality in oneself.”
222 is such a strong debut album from an artist who refuses to play safe. With this release, Renee Naccari shows she’s a force to be reckoned with and a talent with a big future ahead.
Listening to Crash Test, the latest EP from Eora/Sydney singer-songwriter Gia Darcy, I wondered why she’s playing tiny venues while Taylor Swift is selling out arenas. I understand that the Swift juggernaut is bigger than the music, but when I listen to the tunes Gia’s creating I think they’re every bit as good. At the risk of offending the Swifties, they might even be better.
Gia’s got a similar knack for creating vulnerable, relatable pop songs. Like Taylor, her lyrics feel like the most eloquent of diary entries, insightful yet brimming with emotions that sit right on the surface. The bittersweet happiness coupled with the uncertainty that plagues new relationships shines through the incredible opener “Nice Things” and “Make Me Wanna.” She explores heartbreak so powerfully in the title track and the closing number, “In the Next Room.” In amongst the tunes about makeups and breakups, there’s “Next Life.” This is a different kind of love song, one that celebrates platonic love. Listening to this feel-good track made me wonder why more artists don’t write songs about this steady, reliable love. Whatever the case, I’m thrilled Gia has.
Thoughts of Taylor popped into my mind several times while listening to Crash Test. Gia has a similar sweet voice and a comparable knack for lyrics and melody. But while Taylor’s released several albums of varying quality in recent years, Gia understands that sometimes less is more. Unlike those recent Taylor releases, every song on Crash Test is outstanding. Take a listen, then get out to see Gia on her Crash Test tour.
9 October 2024 – House of Strings @ Mumbo Jumbo’s, Darkinjung/Terrigal (FREE) 10 October 2024 – The Hamilton Station, Awabakal/Newcastle (FREE) 11 October 2024 – TBH Friday’s, Towradgi Beach Hotel, Dharawal/Wollongong (FREE) 2 November 2024 – Trocadero Room, Eora/Sydney
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.
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.
2024 has already been a massive year for Alana Wilkinson. She earned standing ovations at Woodford Folk Festival, was named the top act at the Illawarra Folk Festival, took her music to the United States for the Folk Alliance International, and toured the country with Ross Wilson and Scotland’s Ryan Young. And all of this came before she released her debut album. Today we get that recording, Half Time Oranges, a collection of songs that can best be described as the sonic equivalent of a warm hug.
The songs capture beautifully ordinary moments, the kind that add up to create a rich, full life. Many explore motherhood, whether she’s hilariously recounting her brain fog in “With My Boob Out” or encouraging her offspring to aim for the stars in the intimate closer “Dream Big.” “Charlie’s Song” is a gorgeous lullaby for the baby she breastfed between takes. We meet other key characters in her life too, her fabulous friend Jack in “Ultraviolet,” her late grandmother in “Shine Through,” the loves that worked out and the ones that didn’t. She brings them to life through her personal lyrics, which really stand out against her stripped-back melodies.
I love the simplicity of this recording. There are no bells and whistles, no artifice, just lovely little songs that are good for the soul.
Half Time Oranges is out now. Alana will kick off her album tour tomorrow.
When Hamilton made its Australian debut in 2021, we were the only nation in the world playing Lin-Manuel Miranda’s masterpiece. It was a beacon of hope, not just for the locals here coming out of lockdowns but for the world’s theatre community. I saw it in April 2021, thrilled to celebrate my birthday out in the world when the last was spent locked down. It seemed like kismet to see the musical on stage that had brought some colour to a very grey 2020. The Sydney season began smoothly, but was plagued by more lockdowns. Many people had their tickets cancelled, so it’s only right that now the production has made its return.
I was so impressed by the original Australian cast, but I think this latest run may top the first. I was obsessed with Vidya Makan’s performance as Eliza. There’s such a beautiful joy and innate goodness about her presence on stage. Her version of “Burn” ripped my heart out. Googoorewon Knox brought the right amount of gravitas and sexiness to George Washington. I feel like Brent Hill has grown into his role of King George and really made it his own with an incredible mix of farce and ire. Gerard-Luke Malgas brought all the charisma to his dual parts of Lafayette and Jefferson, all while never missing a beat of those rapid-fire raps.
But I’ve got to give a special mention to Marcus John. When he stepped out and said his name was Alexander Hamilton, my immediate thought was, “No you’re not!” Jason Arrow set such a high bar for this role, so I felt my gut sink when I saw his understudy was taking the stage. My reservations faded quickly though. Hamilton is such a tough role. He’s got the lion’s share of the musical’s many, many lyrics, but he’s also such a complex character, brilliant and inspiring but abrasive and selfish. It takes incredible skill to get it all right. When we have talents like Marcus waiting in the wings, it just shows how good this company is.
In 2021, I saw Hamilton from the nosebleed seats. I’d invited my whole family along, so I felt I needed to make compromises. This time around I relished my front row dress circle seats. I noticed little moments I hadn’t seen before, even though I’ve seen the pro shot countless times on Disney+. The beauty of seeing this musical live is that you can take it all in, not just what the camera wants you to see. My mum made the trip with my husband and me and said she took so much more from seeing the show a second time.
I often criticise producers for staging the same musicals and never taking a chance on anything new, but it makes sense for Hamilton to come back considering its disrupted first act in Australia. But even if that hadn’t happened, I’d want to see Hamilton on our stages again. It’s such a powerful musical. Every time I see it, it stirs something deep in me. I feel it in my chest as the company delivers songs like “One Shot” and “The Battle of Yorktown.” I feel it in my heart, wiping away tears every time they perform “It’s Quiet Uptown” and “Who Lives Who Dies Who Tells Your Story”. The Hamilton Australia website says it’s now playing “the final Australian season.” I hope against hope that isn’t true. But if you haven’t seen Hamilton yet, don’t risk it. If this is your only time to see this incredible musical, you do not want to miss out.
