Category: Reviews

Posted on by Lauren Katulka

“Strings Attached” – Greg Gould

Australia met Greg Gould in 2013, when he came second in that year’s season of Australia’s Got Talent. He might not have claimed the title, but his incredible covers of tracks like “Purple Rain” and “Feelin’ Good” stuck in the public consciousness. His debut album 1998, jampacked with covers of the year’s biggest hits, topped the charts. He toured the country with En Vogue’s Maxine Jones on the back of their cover of “Don’t Let Go.” Covers have served Greg well. He has a knack for inhabiting a familiar song and making it his own. But Greg has much more than an amazing multi-octave voice to offer the music scene. With the release of Strings Attached, his first album of original music, he shows us he’s got plenty to say.

Pop is so often accused of being a lightweight musical genre. Musicians who come through the reality system are often dismissed by their industry peers. Greg seems to relish busting those myths and showing exactly what he can do. He doesn’t shy away from weighty material, tackling issues like sexual assault, the fight for equality, and the violent deaths of his friends Jesse Baird and Luke Davies. And that’s just the singles. Some songs can be confronting, but they’re also incredibly moving. Greg’s rich voice and knack for pop melodies draw you in, encouraging you to listen even when it’s uncomfortable.

It’s not all heavy-going though. “Hurricane” is an uplifting dancefloor anthem about trusting the right relationship. The earnest message and sweet piano melody of “You Are Enough” wrap around you like a big, self-affirming hug. “Love It All Out” is a beautiful torch song, a simple romantic ballad elevated by the musical chemistry Greg shares with Asian superstar Phoenix Morissette. She’s one of several big names on the album. There’s Broadway icon Shoshana Bean, Australian Idol Kate DeAraugo in her first pop appearance in nine years, Drag Race royalty Kween Kong, and a massive list of talent working behind the scenes. It’s a testament to Greg’s talent that all these luminaries have clamoured to work with him.

Strings Attached may well be the most powerful pop album I’ve ever heard. Greg takes the opportunity to tackle some big issues here, but he perfectly balances the darker songs with the light usually associated with the genre. With this album, I feel like we’re finally seeing the true depth of his talent, and it’s glorious.

Strings Attached is out now. You can see Greg live at one of the following shows:

13 September 2024 – Adelaide Entertainment Centre, Tarntanya/Adelaide (Synthony Dance Anthems Orchestrated)
20 September 2024 – Margaret Court Arena, Naarm/Melbourne (Synthony Dance Anthems Orchestrated)
27 September 2024 – Flamingo’s Live, Mulbinba/Newcastle (Keep the Faith George Michael & Whitney Houston show)
28 September 2024 – Avoca Beach Theatre, Darkinjung Country/Avoca Beach (Keep the Faith George Michael & Whitney Houston show)
30 September 2024 – Reef Casino, Gimuy/Cairns (Keep the Faith George Michael & Whitney Houston show – FREE)
31 September 2024 – Reef Casino, Gimuy/Cairns (Keep the Faith George Michael & Whitney Houston show – FREE)
8 November 2024 – Athenaeum Theatre, Naarm/Melbourne (Immortality Celine Dion & Bee Gees show)

Images used with permission from Kick Push PR

Posted on by Lauren Katulka

“In the Clear Light of Day” – The Holy Smoke

After eight years together, The Holy Smoke have called it a day. But not before releasing one more EP, In the Clear Light of Day. This five-track collection is a celebration of everything that makes this trio so special.

Something so magical happens when Karlee Rae, Delilah Rose, and Rose Parker sing together. Their harmonies are incredible and effortless. But you don’t just hear beauty as their voices come together. You hear their connection, which seems amplified by the recording process. It was mostly recorded live, sometimes through a shared mic, so it captures their spontaneous joy and unmistakeable bond so beautifully. I can almost hear them smiling as I listen to these songs.

These songs are the perfect selections. The Holy Smoke says they deal with “secret women’s business,” those concepts so many women struggle with but perhaps don’t talk about enough. I was so struck by the opening number “Little Light,” a song about stepping into your powers that so beautifully incorporates the timeless standard “This Little Light of Mine.” With just this one track, I was hooked. “Deeper Water” sees the trio resolving to keep moving forward, taking life’s challenges head-on and refusing to dwell on the mistakes of the past.

While the first two tracks celebrate internal strength, the EP’s heart comes from “My Mama.” We hear where the strength came from as we learn about the lessons passed down from generations. Its stunning acapella arrangement highlights the lyrics and The Holy Smoke’s incredible harmonies.

“Self Talk” is a courageous song about battling imposter syndrome. Hearing the trio tackle this song is inspiring. Imposter’s syndrome is a battle many face alone, but as the three voices come together it creates a shared understanding and resolve which is so powerful. This EP ends with the gentle piano ballad “Shine On,” which introduces us to a diverse cast of female-identifying characters telling their truths and forging their own paths. Exploring this central theme for The Holy Smoke through these characters is a beautiful way to end both this EP and the trio’s story.

In the Clear Light of Day is out now.

Photo credit: Bridget Julie-Anne

Posted on by Lauren Katulka

“Noonlight” – Yours, Georgina

I’ve been a fan of Georgie Currie’s voice for years. As one-tenth of Naarm/Melbourne folk-pop act The Northern Folk, her gorgeous vocals always drew me in. While I love what she does in this band, I’m perhaps even more excited by her first EP Noonlight, released under the musical moniker Yours, Georgina. Through listening to these songs, I feel like I’ve gotten to meet Georgie the artist, who is so much more than a vocalist, for the first time.

Georgie’s heart sits so close to the surface in these songs which are united by the central theme of deceit. There’s deceit from past partners who told her things that didn’t turn out to be true. If the former flame in the opening track “If You Wonder” wasn’t capable of love as they claimed, she wonders how they’re all but married to someone new. Then there’s self-deceit, whether she’s convincing herself that dating apps are the answer in “Dog Tired” or looking at an old relationship with rose-coloured glasses in “We Hardly Speak At All.” Georgie flips the script with the closing song, “Who You Gonna Be Girl.” This upbeat country-tinged anthem celebrates the desire to move forward with most honesty. It’s like a breath of fresh air after the emotional weight of the songs that came before.

It’s interesting that an EP built around an exploration of deceit feels like it comes from such an honest, authentic place. The lyrics bring the relationships Georgie recalls, and the emotions they stir, to life so vividly. Coupled with her warm, inviting voice, they really make this EP so special. I love what Georgie does with The Northern Folk, but I hope this isn’t the last time that we hear her making her own music.

Noonlight is out now.

Photo credits: Shannyn Higgins

Posted on by Lauren Katulka

“an introduction to a theme” – PRETTY BLEAK

It might seem premature to usher in a new era with the release of a second EP. But press play on an introduction to a theme, the latest release from Naarm/Melbourne-based act PRETTY BLEAK, and it all makes sense.

PRETTY BLEAK dropped this EP after the release of in retrospect, featuring all their previous singles including those from the debut EP BLOOD, earlier this year. It definitively put a line through what came before and the music we hear now. PRETTY BLEAK hasn’t started from scratch, but they’ve built on the foundations of their early music. There’s still the mix of happy-sad that captured my ears when they hit the scene, although the balance shifts a little more towards the light these days.

As the title implies, an introduction to a theme is a concept EP. Through these six songs, PRETTY BLEAK explore the journey of a relationship. Opening track “she’ll come around” is a feel-good alt-pop track that celebrates the kind of love-at-first-sight infatuation that’s like an addiction. When it’s good, it’s so good, and we see it play out with the honeymoon phase in “now i feel it coming on” and “in your air”. The final track, “can’t say” sees it all fall apart. It’s devastating, dramatic, a natural evolution from PRETTY BLEAK’s earlier emo releases. I didn’t know the band had a song like this in them. It’s incredible.

With the release of an introduction to a theme, it feels like the emo kids have come of age. While I’ve enjoyed some previous releases, I found they could be a little hit-and-miss. This EP is their most cohesive and compelling body of work to date. The band sounds ready for stadiums and the vocals from Sam Thomas soar. They should be proud of this one.

an introduction to a theme is out now. PRETTY BLEAK will officially launch the EP with the following shows:

30 August 2024 – The Workers Club, Naarm/Melbourne
14 September 2024 – Tomcat, Meeanjin/Brisbane

Main photo credit: Tom Thomas

Posted on by Lauren Katulka

“Party Boy” – Eaglemont

Proving the adage that good things come to those who wait, Naarm/Melbourne based singer-songwriter Eaglemont recently released her debut album Party Boy. It’s a really special collection of introspective indie pop-rock-folk songs that eloquently explore themes of heartache, self-acceptance, and connection.

I knew I’d love this album before I hit play. I’d already raved about the singles “You Don’t Live Here,” “Vodka Pineapple,” and the title track “Party Boy,” marvelling at their confessional lyrics and Eaglemont’s heartfelt delivery. Sometimes when an album comes on the back of such strong singles, the remaining tracks struggle to hit the same bar. As I listened to this album though, and I’ve done that a lot over the past week or so, I was struck by new favourites. I fell in love with the wistful nostalgia and rock angst of opening track “Two Dumb Kids.” I wiped away tears as “Ikea” immersed me in a painful breakup recreated so vividly with Eaglemont’s detailed lyrics. I felt such empathy for the complicated relationship she recounts in “Girls, Darts, Panic Attacks.” The quiet, emotional power of “Spiral” really resonated with me.

Party Boy’s songs are so incredible on their own, but when you put them all together, they’re even stronger. They create such a powerful portrait of Eaglemont and her journey towards love, both for herself and others. She shares her queerness, her insecurities, and her heart so authentically that most listeners should find themselves relating to this impressive album, even if they haven’t gone through some of Eaglemont’s struggles.

Party Boy is one of the best Australian debut albums I’ve heard in some time, and it’s out now.

Main photo credit: Wildrose Pictures

Posted on by Lauren Katulka

“Bilambiyal (the learning)” – Radical Son

Radical Son has one of those voices that stays with you. It stops you in your tracks, forcing you to listen in and pay attention. A proud Kamilaroi and Tongan man, he’s just released his sophomore album Bilambiyal (the learning). It’s a special collection of soulful songs that will resonate with you long after the last track fades.

Interestingly, this album opens with “Elder – Reprise.” We’re not starting at the beginning, but further down the journey, where Radical Son expresses his hope to become an Elder, to grow old with a partner. He has dreams, dreams that might have seemed impossible at the start of the story. That story is sadly an all too familiar one. Radical Son’s life hasn’t been easy. He’s spent time in jail. Songs like “How Long Must I Wait,” featuring the incomparable Emma Donovan, and “All My Life” don’t shy away from the hard times. You can hear the pain in his vocals, the yearning for a different path. They’re a heartbreaking part of the story but they’re also an essential part because working through them gave him the wisdom and perspective he has today.

After his incarceration, Radical Son sought healing and redemption through his culture. The album evolves as each song retells that journey, taking us from a place of sadness to one of healing and ultimately hope. “Until You Call My Name” touches on love, of taking steps forward. Its stirring string section feels almost cinematic. The contrast between this track and the next, the intimate spoken word interlude “Cultural Contract,” gives resonance to both. Radical Son expands on the ideas of the opening track with “Elder.” It’s an inspiring midway point. After coming through so much pain, gaining so much wisdom, we see Radical Son finding purpose, hoping to channel what he’s learned into teaching the next generation so they don’t have to walk the same path.

“Only One Life” is a joyous reggae number celebrating existence. It provides a brief moment’s respite before the somber title track. The introspective lyrics about loss, suffering, and rebirth are amongst the album’s best. The legacy of Yothu Yindi no doubt influenced “Yuluwirri Wandabaa (The Rainbow Dreaming).” Featuring Frank Yamma and the return of Emma Donovan, you feel this one deep in your bones. “Dhuwan Baraay Yuligi” is a much more intimate number, one where the vocals take centre stage. My intellectual side wished I understood the language, but the more primal part of me felt it. Something tells me, that’s the point. The layered vocal harmonies of “A Golden Age” have a gorgeous angelic quality that elevates, leading into the optimistic but vulnerable closer, “The Fall.” As Radical Son sings it’s going to be alright, you can’t help but believe him.

Bilambiyal (the learning) takes listeners on such an incredible journey, one that I’ve willingly taken countless times over the last few days. Radical Son is such a compelling artist, and in this album, he shares his wisdom and talent so freely. Wait until you’ve got a nice block of time to just listen to it, free from distractions, because this powerful album deserves your focus.

Bilambiyal (the learning) is out now. Radical Son will play an all-ages show at QPAC in Meeanjin/Brisbane tomorrow night, 31 July, to raise awareness of First Nations men’s mental health.

Main photo credit: Cameron Bloom

Posted on by Lauren Katulka

“In Between The Words” – Toby Mobbs

In 2022, Toby Mobbs captured my heart with his fantastic debut album Placid in the Rough. I marvelled at the eclectic songs that despite the genre shifts, all hit me in the heart. With the release of his follow-up In Between The Words, Toby still refuses to stay inside a musical box. But when you’re this creative, why would you?

His debut album pushed genre boundaries, but Toby’s taking even more risks this time around. The sound is louder, bolder, more self-assured. The gentle acoustic guitar strains of the album opener “Over & Out” ease us in, before big crashing chords signal that this is no sleepy background folk. Toby demands to be heard, and I found myself willingly strapping myself in for the ride. It’s a good thing I put on that metaphorical seatbelt, because this album delivers plenty of twists and turns. Electric guitars, synths, and simple singable lyrics combine in “Run Back to You” for a retro rock sound. The following track “Let Go” occupies a similar nostalgic space, although it’s a little more complex. It reminds me of Springsteen. It’s that good.

Just as you start thinking you’ve figured this album out, Toby takes another left turn. “Three Cities” is a big, ballsy hard rocker. I didn’t know Toby had it in him, but with Simon McKenna guesting on vocals, he finds another gear, another genre to play with. Perhaps it’s not so surprising that he nails it. “Same,” a duet with Naarm/Melbourne artist Iva Mahoni delivers the sweetest, softest moment of the album. After a couple of collaborative tunes, it’s only fitting that Toby brings us “Coming Back to Me.” It’s an introspective rock anthem that builds to a crescendo that should have you punching your fist in the air. It feels like the finale of a big show yet, but Toby’s not quite done. There’s still some more music to explore.

The big brassy notes of “Stagger” give it a ska feel that takes me right back to the early noughties. I’d barely stopped skanking when the simple piano melody of the final track, “Surrender” kicked in. I thought we were in for one of those gorgeous quiet piano ballads. I would have been happy with that. But of course, Toby kicks things up a notch for his grand finale, adding a stirring symphony and even a dash of opera. It’s dramatic, daring, and utterly spellbinding.

It’s very rare that I feel the need to touch on all the songs from an album, but each one is such an important part of this release. Like jigsaw puzzle pieces, they come together to create an exciting picture of where this talented young artist is right now. I often hear on reality shows that people need to find their sound, because the audience needs to understand who they are. As you listen to Toby’s music, you understand that sticking to one genre isn’t the only way to represent your artistry. In fact, when so many sounds all feel like a natural fit, surely releasing such a diverse collection is the only authentic option.

With In Between The Words, Toby Mobbs makes good on the promise I heard in Placid in the Rough. He’s still writing incredible, eclectic songs, but in between those lyrics his sound has evolved to become something bigger, bolder, and more confident this time around. In Between The Words is out now on all your favourite streaming platforms. If like me you prefer an old-school CD, you can order the album from JB Hi-Fi or find it in selected stores.

In Between The Words was:

Written by Toby Mobbs
Produced by Toby Mobbs and Matt Cross
Arrangement by Matt Cross
Engineered and Mixed by Simon McKenna
Mastered by Forrester Savell
Artwork by Kate Cossor

Images used with permission from Toby Mobbs

Posted on by Lauren Katulka

“Lustre” – The Buoys

For the last few days, I’ve been cranking Lustre, the debut album from Aussie rockers The Buoys. There’s not enough women making rock music in the world these days. There are even fewer examples of really good all-female rock acts. But these women are making some of the best I’ve ever heard.

I’ve been rocking out to The Buoys for some time, lapping up singles like “Check Mate”, “Guard My Heart”, and so many more. In fact, I’m not sure I’ve come across a track from The Buoys that hasn’t inspired me to put my fingers to the keyboard and share it with you all. After listening to Lustre, I’m convinced they just don’t have a bad song in them. Sustaining the quality over 14 tracks is no mean feat, but it proves just how good these women are.

I could call out individual tracks, but that would feel unfair to the rest. In actuality, this album grabbed me with the first honest, impactful lyrics of “Settle Petal” and didn’t let go. I was in raptures right until the final singalong notes of “Totally Completely Fine.” And then I hit play again. And again. And again. In fact, I’ve had to convince myself to stop procrastinating and write about this album so you could all get onto listening to it. So do it. Honestly. Don’t waste another moment before getting it on.

Lustre is out now. The Buoys will celebrate its release with shows in the major capitals in August and September. Tickets are on sale now for all of the following dates:

16 August 2024 – Republic Bar, Nipaluna/Hobart
17 August 2024 – Corner Hotel, Naarm/Melbourne
23 August 2024 – The Valley Loft, Meeanjin/Brisbane
30 August 2024 – The Factory Theatre, Eora/Sydney
6 September 2024 – Jive, Tarntanya/Adelaide
7 September 2024 – Jack Rabbit Slim’s, Boorloo/Perth
19 October 2024 – Stonefest @ University of Canberra, Ngambri/Canberra

Main photo credit: Dougla Gorman

Posted on by Lauren Katulka

Macy Gray @ The Art House, Darkinjung Country/Wyong – 10 July 2024

Cast your mind back to 1999. The video that played at the start of last night’s concert made it easy for me, but I’ll give you a refresher. “Mambo No. 5” was Australia’s highest charting single. Cher was on the comeback trail with “Believe.” A young starlet called Britney Spears made a splash with “Hit Me Baby One More Time.” And we were introduced to Macy Gray, thanks to her smash debut On How Life Is.

While that footage took us on a trip down memory lane, it didn’t quite capture what made listening to music in 1999 so special. Radio and television programs like Rage and Video Hits were a springboard for discovering albums. Once you’d buy one, it would live in your stereo until your next purchase. We didn’t have Limewire yet, let alone Spotify, so you’d immerse yourself in a record for much longer before moving on to the next. I hadn’t picked up On How Life Is for years, but when I revisited it a couple of months ago I found I still knew every word. After a quick refresher, I was pumped for Macy’s show at the Art House in Wyong.

I’ve got to say, what a thrill it was to see an international artist of her calibre at our intimate local theatre. It holds just 500 people; there are no bad seats. It’s a special place where you feel like you can make a real connection with the performer and their fans. I can only hope Macy’s appearance paves the way for more massive acts so close to home.

Macy was here to celebrate the 25th birthday of On How Life Is, which she played virtually front to back in the first part of the show. Of course she’d leave us waiting for her monster smash “I Try,” and the album’s final track “The Letter” was such a natural closer that would need to wait too. But otherwise the nostalgic tracks flowed easily from one to the next. Macy stopped briefly to introduce us to her incredible band, and invite us to yell our own names so she could get to know us too. There was an off-the-wall story about meeting a koala on the streets of Wyong, who promptly jumped for her when he heard she hoped to meet a kangaroo. It was weird and wonderful, and totally Macy.

I’d be remiss if I pretended that it was a perfectly executed show. Without any backing singers, moments exposed weaknesses in her vocals, especially the stripped-back ballad “Still”. But Macy’s vocals have never been flawless. They’re richly textured, and while some parts may be a little weaker than they once were other parts of her voice left me speechless. Every song she delivered with such heart and conviction and joy that it was difficult to fault even the imperfections.

I knew Macy planned to sing songs from On How Life Is early in the show, but I was intrigued by how she’d fill the back end. As she launched into the jazz standard “Sunny,” I knew we were in for some surprises. I strapped myself in and enjoyed the ride. Her unexpected cover of Radiohead’s “Creep” was a delight. Her bandmates had a time to shine with a drum solo and a 90s-inspired DJ set which gave Macy time to change from one fabulous outfit to the next. She told us that tonight would be a “fuck everything” night and encouraged us to forget about the rules and what other people might think of us before urging us to our feet for “Sexual Revolution.” I, for one, took her words to heart. I’m not sure I’ve ever felt more free.

Listening to the cries of “Finally” when Macy played “I Try,” I’d wager a few people bought tickets on the strength of that song. I personally can’t imagine seeing a show for one song, but tracks with that kind of power and potency so many years after their release are rare. It’s a special song, and while I’d heard many favourites that night, I loved being a part of the sing-along that clearly touched Macy’s heart.

I thought she’d move straight on to “The Letter” and we’d be done, but Macy had other ideas. While the night traded heavily on nostalgia, Macy was proud to show us she’s still got some fresh tunes. She played us a little of her latest single “I Am”, then taught us vocal parts and dance moves before leading us in a somewhat chaotic (our fault!) but fabulously fun version. The song is so catchy I heard people singing it as we left the theatre! Macy sent us on our way with “The Letter”, the final track from her landmark debut, such a feel-good ending for an excellent night out. It ensured I wasn’t left wanting in this show that was 25 years in the making for me. Macy was everything I hoped for: a magnificent, colourful (in every sense of the word), talented delight. I am so glad I finally got the chance to see her in all her glory.

Macy has just a few more dates left on her Australian tour. Catch her anywhere you can:

11 July 2024 – The Playhouse, Ngambri/Canberra
12 July 2024 – Anita’s Theatre, Woolyungah/Wollongong
13 July 2024 – Enmore Theatre, Eora/Sydney

Images: Stephen Katulka

Posted on by Lauren Katulka

The Dreggs @ Enmore Theatre, Eora/Sydney – 28 June 2024

2024 might be the year of The Dreggs. Seven years since releasing their debut single, they dropped their incredible first album Caught in a Reverie. It’s one of my favourites this year. They’ve also just played their first show at the Enmore Theatre, a bucket list venue for the duo from Yarun/Bribie Island. I was so thrilled to be there to share this milestone with the band.

While Friday was The Dreggs’ night, it was really a celebration of local talent. I was unfamiliar with This New Light from Kabi Kabi and Jinibara Country/Sunshine Coast, but he made such a big impression on me. It’s challenging for an emerging artist to fill a theatre with only an acoustic guitar for the majority of the set, but he had me hanging on his every word. His chilled-out folk music was the perfect primer for the evening. He was so sweet too, genuinely humble as he told us how much he’d appreciate us checking out his tunes on Spotify or giving him a follow on Instagram. How could we say no?

I’ve been raving about GRAACE’s music since 2018 (about as long as The Dreggs!), so I was thrilled to finally catch her on stage. Her pop tunes weren’t a natural fit for a night like this, but she owned the stage. I loved watching her dance around as she delivered some of my favourite songs like “Jealous Type” and “Love is Getting Wasted.” Rather than a full band, GRAACE shared the stage with an incredible guitarist. Again, it wasn’t the most natural choice for an alt-pop artist, but I loved seeing her shred. They both got their rock star moment when GRRACE slipped in an unexpected cover of Kings of Leon’s “Use Somebody” that had everyone singing along.

You could feel the energy shift when Then Dreggs’ stepped out. I’m not sure I’ve ever seen such an enthusiastic reception for a local act. Sure, I’ve seen people excited when big names like John Farnham and Jimmy Barnes step out, but those guys are so big that their audience becomes a little diluted by people who’ve simply enjoyed the songs on the radio. When you see an act like The Dreggs, everyone there is incredibly passionate. It’s a beautiful thing to be part of. New songs? Already across them. Old favourites? Everyone was following the band then too so we’re all prepared to sing along to every word.

I knew The Dreggs would sound good, but I don’t think I was quite prepared for exactly how good. The music I loved on their recordings went to the next level on the stage. Paddy Macrae’s banjo was incredible, and the full band brought a new depth to some of those early tracks. These guys are tight. There’s a natural chemistry between Paddy and Zane Harris forged from years of friendship. Their harmonies are second to none. But the whole band gelled together so fabulously. It was a joy to watch the music they created.

They may have a few more rungs on the board than their first support act The New Light, but The Dreggs have a similar humility. They remarked several times that playing the Enmore was something they’ve strived for throughout their career. You could see they didn’t take that moment for granted. They thanked the crowd for their support earnestly and even gifted a fan singing every lyric a merch pack. That pack could have gone to so many people, because every song was a singalong. So many numbers had fans up on their feet, dancing enthusiastically, whether they were on the floor or up in the dress circle. That’s right, even among the seats where people normally want to chill, the show was often a party.

Those party vibes were balanced with sombre moments when Paddy spoke about the duo’s commitment to discussing mental health issues. They’ve explored these issues throughout their time as a band, but perhaps never as eloquently as on the album Caught in a Reverie, a record anchored in grief and what it takes to work through it. It was so powerful seeing these guys using this platform to speak about a topic few men willingly discuss. Hats off to them. Those dark moments were balanced so beautifully with lighter tracks like “She Picks Flowers,” “Keepsake,” and the triumphant final number “Hold Me Closer,” which had us all singing along with its “da da” refrain.

The Dreggs will soon take their show to Aotearoa/New Zealand before closing out the year with a few local dates. Catch them anywhere you can. I promise you’ll have a ball.

19 July 2024 – Hotel Brunswick, durring/Brunswick Heads
26 July 2024 – The Church, Christchurch
27 July 2024 – U Bar, Dunedin
28 July 2024 – Yonder, Queenstown
1 August 2024 – San Fran, Wellington
2 August 2024 – The Tuning Fork, Auckland
7 August 2024 – The Station, Ngarigo Country/Jindabyne
6 October 2024 – Long Jetty Festival, Darkinjung Country/Long Jetty

Photo credit: Stephen Katulka