“SH!T YEAH” – Between You & Me

Between You & Me are ushering in a new chapter with the release of their first independent body of work, SH!T YEAH. Made of six absolute pop-punk bangers, this release shows these guys are more than capable of forging their own path in the music scene.

They make a strong statement opening with “Kill My Vibe”, a collaboration with their former touring partners Knuckle Puck. Between You & Me go toe to toe with the U.S. heavyweights, proving they’re just as big a force to be reckoned with. It’s such a fun, feel-good song which gets backed up with the single “In The Middle”. “Nevermind” celebrates the simple things in life. It’s an anti-rock star anthem if you will about being content with your material lot even as you strive for musical success. “Every Morning” (no, not the Sugar Ray song) sees Between You & Me at their sexiest. If the lyrics didn’t already get me excited enough, the electric guitar solo takes this track over the edge. “YEAH!” takes a little dig at Insta culture while reminding us what really matters. “Sad Songs” rounds out this EP which is the definition of all killer, no filler. With big chords and a singalong chorus, it leaves the listener on such a high.

With most tracks clocking in at around the three-minute mark or less, SH!T YEAH is short and oh so sweet. As if there was any doubt, it establishes this band as one of the best modern pop-punk outfits, not just in Australia but on the world stage. They’ve got the goods. Listen, enjoy it, and make sure you snag a ticket to one of their upcoming shows.

5 April 2024 – The Rebel Lounge, Phoenix
6 April 2024 – Chain Reaction, Anaheim
17 May 2024 – 170 Russell, Naarm/Melbourne
18 May 2024 – Lion Arts Factory, Tarntanya/Adelaide
19 May 2024 – The Rosemount, Boorloo/Perth
24 May 2024 – Factory Theatre, Eora/Sydney
25 May 2024 – The Zoo, Meeanjin/Brisbane

Main photo credit: Max Pasalic

“Makin’ Me Wild” – The Bad Dad Orchestra

I’m pretty late to The Bad Dad Orchestra party. They’ve been dropping EPs since 2016, but they’d slipped underneath my radar until late last year when they released the fabulous single “Birds of Prey.” “Makin’ Me Wild” came next, and my enthusiasm for the band was in full force. With expectations sky high, I pressed play on their long-awaited debut album, also called Makin’ Me Wild. So often when a band’s set the bar so high with stellar singles, an album falls a little short. Not here. It’s every bit as good as I hoped for.

I shouldn’t have worried though. These guys have been honing their craft for years. They know each other and what they can do together, and they do it so well. Every song sounds like a classic from the first listen. Soul oozes out of every note. Frontman Jimi Steele has one of the best voices I’ve ever heard. Period. The horns section is so tight and punchy. They make me wonder why more bands don’t use one. Every member of the orchestra plays a vital part though. Together they are magic.

A lot of this EP is party music. I found myself grooving in my chair to new favourites like “Soul Survivor” and “Trauma”. Just see if you can resist clapping along to “Callin’ Me Now”. Bad Dad Orchestra excels at this kind of music, but they’re equally capable of slowing things down and delivering heartfelt ballads like the gospel-inspired “Rockin’ My Heart” and the moving closer “Sapphire Sky.” Honestly, it’s all so brilliant.

If there was any doubt, Makin’ Me Wild cements The Bad Dad Orchestra’s reputation as one of the best bands in Australia. This album is brilliant, but something tells me these guys take the energy up a notch when they’re in front of a crowd. Find out for yourself when Bad Dad Orchestra visits your hometown on their album launch tour.

22 March 2024 – Valentino Safe Co, Woiwurrung Country/Lilydale (SOLD OUT)
5 April 2024 – Stay Gold, Naarm/Melbourne
6 April 2024 – Little Lucy’s, Koorakoorakup/Sunbury
19 April 2024 – Stag & Hunter, Mulubinba/Newcastle
20 April 2024 – The Vanguard, Eora/Sydney
3 May 2024 – Republic Bar, Nipaluna/Hobart
4 May 2024 – Paragon Theatre, Timkarik/Queenstown
10 May 2024 – The Royal Oak Hotel, Kanamaluka Country/Launceston
16-19 May 2024 – Blues on Broadbeach, Yugambeh Country/Broadbeach (FREE)
17 May 2024 – The Zoo, Meeanjin/Brisbane (supporting Cheap Fakes)
1 June 2024 – The Pier/Island State Brewing, Mumirimina Country/Ulverstone
24 and 25 August 2024 – Gympie Muster, Kabi Kabi Country/Gympie

Images used with permission from Footstomp Music

“from my bedroom floor” – Kate Gill

The very best music makes you feel something. As the artist shares their stories and bears their soul, it triggers your memories and brings your emotions to the surface. Mine are sitting raw now as I spend time with Kate Gill’s EP from my bedroom floor.

The five songs on this EP feel like diary pages sharing secrets with the listener. They’re confessional, vulnerable, powerful. The title track opens the EP, drawing us in with its simple melody and Kate’s incredible lyrics about figuring her life out as she transitions to adulthood. It’s bittersweet, beautiful, and so relatable. From this introspective number, Kate takes us on a journey through key relationships. They’re messy, as relationships can often be in our early years. “toothbrush” introduces us to the one she can’t get over, “september” tells us about the one marred by infidelity. “friends” reminds us that platonic relationships can be every bit as complicated. The final song, fittingly called “the end,” actually gives us hope of a new beginning. A relationship that might be good, if only Kate can get out of her own head and stop comparing herself to the new partner’s ex. Full of self-doubt and self-loathing, it draws this EP to a powerful close.

With her debut EP from my bedroom floor, Kate Gill shows she’s more than ready to make the leap from TikTok phenom to mainstream success. These songs are some of the best I’ve heard. They encourage you to sit on that bedroom floor with Kate, empathise with her stories, and recognise parts of yourself in them. It’s only March, but I expect this will be one of my favourite releases of the year.

Main photo credit: Gabi Rankine

“Nothing to Lose” – Hollow Coves

The mercury might be falling, but Hollow Coves are keeping the summer vibes flowing with their cool new album Nothing to Lose. Full of chilled out tunes that will have you thinking of the sun, surf, and sand, this album sounds good at any time of year.

The first thing that struck me about this album is how accessible it is. These acoustic-driven folk-pop songs feel familiar, a little nostalgic, from the very first listen. It’s a gift to create music that feels so comforting, while remaining fresh. Most of these songs aren’t singles, but they still manage to evoke memories and feelings of peace from the get-go.

The first couple of listens I just let myself get swept away by the sound. However, the more I listened (and trust me, I’ve listened a lot) the more I heard the wisdom of these songs. Tracks like “Nothing to Lose” and “Harder to Fake It” remind us of the importance of making the most of moments and living our most authentic self. The single “Photographs” celebrates physical photos and the simplicity of a time before mobile phones were so ubiquitous. “Let’s Go” and “Purple” are beautiful love songs, but they also emphasise the healing power of travel and escape from the daily grind. “On the Way” reminds us that we don’t need to have it all figured out, that we can continue to grow and find our feet as we journey forward. You can’t make an album like this as a band starting out. It takes some seasoning to gain such maturity in music and message.

Nothing to Lose sounds good from the first listen, but sit with it a while and I know you’ll discover its deeper beauty. Hollow Coves are celebrating its release with shows all over the country. Check them out anywhere you can.

26 March 2024 – Gloria-Theatre, Cologne
28 March 2024 – Muziekgieterij, Maastricht
29 March 2024 – TivoliVredenburg – Ronda, Utrecht (SOLD OUT)
30 March 2024 – Zeche Carl, Essen (SOLD OUT)
31 March 2024 – Uebel & Gefährlich, Hamburg
2 April 2024 – Columbia Theater, Berlin
3 April 2024 – MeatFactory, Prague
4 April 2024 – Simm City, Vienna
5 April 2024 – Technikum, Munich
7 April 2024 – Magazzini Generali, Milan
8 April 2024 – Komplex 457, Zurich
9 April 2024 – Les Docks, Lausanne
11 April 2024 – Halle02, Heidelberg
12 April 2024 – Opderschmelz, Dudelange
13 April 2024 – Le Trabendo, Paris (SOLD OUT)
14 April 2024 – AB Ballroom, Brussels
16 April 2024 – O2 Forum Kentish Town, London
17 April 2024 – Brudenell Social Club, Leeds (SOLD OUT)
18 April 2024 – Academy 2, Manchester
5 June 2024 – Union Stage, Washington DC
6 June 2024 – The Foundry, Philadelphia
8 June 2024 – Warsaw, New York City
10 June 2024 – Paradise Rock Club, Boston
11 June 2024 – MTELUS, Montreal
12 June 2024 – Danforth Music Hall, Toronto
14 June 2024 – Lincoln Hall, Chicago
15 June 2024 – Fine Line, Minneapolis
17 June 2024 – Gothic Theatre, Denver
19 June 2024 – The Grand at the Complex, Salt Lake City
22 June 2024 – El Rey Theatre, Los Angeles
23 June 2024 – Venture Music Hall, Ventura
24 June 2024 – Bimbo’s 365 Club, San Francisco
26 June 2024 – Aladdin Theater, Portland
27 June 2024 – The Crocodile, Seattle
29 June 2024 – Vogue Theatre, Vancouver
30 June 2024 – Capital Ballroom, Victoria
24 October 2024 – The Church, Christchurch
25 October 2024 – Tuning Fork, Auckland San Fran, Wellington
26 October 2024 – San Fran, Wellington
2 November 2024 – The Tivoli, Meeanjin/Brisbane
8 November 2024 – Republic Bar, Nipaluna/Hobart
9 November 2024 – Lion Arts Factory, Tarntanya/Adelaide
15 November 2024 – Enmore Theatre, Eora/Sydney
16 November 2024 – Forum, Naarm/Melbourne
22 November 2024 – Freo.Social, Boorloo/Perth
23 November 2024 – The River, Wooditup/Margaret River

Main photo credit: Catherine Bernier

“The Folk Singer” – Kerryn Fields

Kiwi-born, Naarm/Melbourne based singer-songwriter Kerryn Fields has thoroughly captivated me with her new live EP The Folk Singer. This collection of songs is a powerful reminder of the value of simplicity.

In a world where music is often over-produced and over-manufactured, this EP really stands out. Kerryn presents these songs as purely as possible, typically just with her voice and an acoustic guitar. We hear a little harmonica now and again, but that’s it. No backing vocals, no ensemble of musicians, and definitely no studio wizardry. It’s so interesting that this approach is radical today, but I was so struck by the sound of the stillness in these recordings. When you strip away everything but what’s important, those crucial elements are left to shine. And shine they do. These songs are some of the most well-crafted I’ve heard in some time.

As the EP’s title suggests, this collection of songs focuses on the artist. I felt like I really got to know Kerryn through these songs. The EP starts with the title track, which establishes not just the EP’s genre but who Kerryn is as a performer. The tracks to come peel back the layers. The current single “Fork in the Road” is a heartbreaking response to a stranger questioning why she doesn’t have children. “Human Touch,” which explores the longing for human connection, also hits hard. After such deep material, Kerryn brings us back up with a more playful ditty, “I Know Nothing.” “Canadian Folk Song” has a similar upbeat feel, but its lyrics which capture a relationship lost resonate deeply. “Trains & Whistles” provides another perfect snapshot of a moment of connection. “Should I See You Again” brings the EP to a poignant close. It’s a song of love and longing, but also one of strength, of refusing to bend or break to fit into someone else’s mould.

I’ve listened to The Folk Singer several times over the last few days and every time I fall a little more in love with it. It’s an exceptional collection of songs that are honest, personal, and poetic. It’s available exclusively for fans on Kerryn’s Bandcamp page.

Image used with permission from Kerryn Fields

The Band CAMINO @ The Metro, Eora/Sydney – 5 March 2024

I dragged my feet to see The Band CAMINO last night. The show was my third Tuesday night gig in as many weeks. I was off to The Metro, which really isn’t my favourite venue. They attract buzzy bands, but the sound quality is often subpar, the lighting feels like something from a Tim Burton film, and I’m too old for venues that don’t have a generous amount of seats. Any night out in Sydney usually means arriving home after 1am. I also wasn’t sure I was ready to switch gears after such an incredible time with Matchbox Twenty. But despite my reservations, I made another trip down the highway to Eora/Sydney. I am so glad that I did.

I swear, arriving to a line of 300 or so keen punters snaking around the block did nothing to quell my reservations. But then miraculously we found some seats by the bar, with a clear view of the stage, I got a Young Henrys in my hand, and I started to soften a bit. Support act Kian brought the energy, as did the crowd. I’d listened to a couple of his tracks on Spotify, but I think he’s much better in the live arena. He lapped up the enthusiasm of the crowd and was thoroughly enjoyable.

That crowd’s fervour hit another gear once The Band CAMINO took the stage, and didn’t the US band relish it. This was their first visit to Australia, one that was long-awaited if the audience’s reaction was anything to go by. They jumped around and sang out every lyric, whether the band played tracks from their new album The Dark or a song from their very first EP My Thoughts on You. This is the beauty of seeing a band at this stage of their careers. Plenty of people at the Matchbox Twenty shows probably enjoy singles on the radio so thought they’d come to the shows. I’m sure they had a great time, but most of them couldn’t match the enthusiasm of last night’s crowd. I love being a part of audiences like that, even if most of the punters there are less than half my age.

You can see the way the band appreciates it too. It must be surreal to travel half-way across the world, to a country you’ve never charted, to find such ardent support. They lapped it up and put on such a show. I found myself appreciating their musicianship more than ever before. The rock edge to their material came through a little more in the live space, with guitars taking precedence over the synths. Upbeat bangers dominated the set: I loved hearing songs like “1 Last Cigarette”, “Told You So”, and “What Am I Missing?” live. But honestly it was all so good.

I might have been reluctant to head into the city last night, but The Band CAMINO and their exceptional crowd made it easy to leave my misgivings at the door. I am so glad I pushed through that midweek funk, even if I am exhausted today!

Image source: own photos

Confessions of a 40-Something Fangirl

I recently shared my jubilation after attending Matchbox Twenty’s first Eora/Sydney show on the long-awaited Slow Dream tour. That was one of three Matchbox shows I attended in just eight days this tour. I considered writing a review of each one, as each was special in its own right, but instead, with the dust settling on that frenetic, fantastic period I thought instead I’d write a post about embracing your deep passion for a band.

Twelve years is an awfully long time to be without live shows from your favourite band. It’s what inspired me to buy tickets to several concerts this tour. Depending on your perspective, three shows in a single tour might be a lot or it might be fairly conservative for a hardcore fan. For me it was the sweet spot. In 2012, the last time Matchbox played Australia, I bought tickets to a single show. I reasoned that I was a wife now, we were saving for a house, I had more important things to spend my money on. In truth though, nothing is more important than embracing a deep passion. I saw my single show and I loved it, but then I crashed hard. So much build-up to a tour and then it was all over in a matter of hours. I swore I’d never just do a single show for this band or Rob solo again.


I haven’t done three shows in a tour since Matchbox came out here for their More Than You Think You Are tour in 2003. I haven’t seen a local show and still travelled interstate since John Mayer came out for his Room for Squares tour in 2002. Back then I was a single woman, still living with my parents. I had no responsibilities beyond a retail job, so I thought nothing of just taking off for a little “me” time. What I learned this tour is that you’re never too far away from that person, no matter how years pass. And you owe it to yourself to nurture that part of you when you can.

So this time, three shows. A couple of days in between each one to catch my breath and get excited about the next one. I’m so glad I did it. The first show totally overwhelmed me. It was a whirlwind, with my emotions just on the surface through the whole thing. It was beautiful, but I was so glad I had Mulubinba/Newcastle a few days later to enjoy a little more calmly. I was a couple of rows further back, so I felt I could take that one in a little more, without all my heightened emotions getting in the way. In Meeanjin/Brisbane a few days after that I had second row seats, so I was just in it. I allowed myself to take photos in just two songs and put my camera away for the rest of it. In Mulubinba/Newcastle, without my husband there, I felt pressure to capture all the moments and that took me out of songs. In Meeanjin/Brisbane, I told myself just to remember them, feel them. They’re all in there. I danced hard, I sang loud (the evidence it all over my friend’s videos!), I was there.

Oh, and somewhere in there, I happened to catch a flight with my favourite band. I’m not a great believer in manifesting or things of that nature, but I’m thrilled I got some time to chat to them, to thank them for returning after all this time, to get signatures on my favourite album 15 years after my original signed copy was stolen. It really made this tour better than I could have ever hoped it to be.

The beautiful thing about seeing more than one show on a tour is that every extra gig feels like a bonus. I have had the most wonderful, exciting, week or so of my life, but I’m not crashing as I rejoin the real world. I’m holding memories close and they’ll satisfy me until the next time, whenever that may be. I know with the cost of living, not everyone is in the position to see multiple shows on a tour, to travel interstate. Not everyone has friends and family willing to put them up or drive them around when they’re there. Not everyone has a spouse willing to support them taking time out from their adult responsibilities for a while or a job that’s as flexible as mine. But if you CAN do it, I definitely recommend that you do. It’s good for the soul. As Rob Thomas encourages in one of their new songs “Rebels”, “Let go and be yourself right now.” Believe me, it’s really good advice.

Image source: own photos

“Moments Between Dreams” – Ella Haber

Eora/Sydney-based singer-songwriter Ella Haber has wowed me with her new EP, Moments Between Dreams. It’s an exquisite collection of songs so that are both expertly crafted, yet so heartfelt.

It’s one of those EPs that transfixed me from the first atmospheric notes. The opening track “Hynogagic Bloom,” is so unique and dreamy, I felt like it cocooned me in a beautiful bubble. Its lyrics and gentle melody just wrapped me up and held me. I was in. It’s special, but so is every song on this EP. They explore relationships, from the paternal in “My Father” to the romantic “My Lover” and “Good For Me.” Ella’s voice is so striking and it can seemingly do anything. It’s got a great storyteller quality which is perfect for these revealing songs conceived in bedrooms on her piano. They’re often quiet, drawing you in and capturing you with their intimacy.

On writing this material in the summer of 2021-2022, Ella said “I needed to release myself from my own numbness, isolation, inactivity and loneliness induced by successive lockdowns, a long-term relationship coming to a close and a disconnection from my own body and heart. As soon as lockdown ended, I found new love, threw myself into activism and connected deeply with new friends for the first time in years. I felt a profound hope for the future, and I felt a restlessness to dive into the next chapter of my life with all senses open and alive with feeling.”

Moments Between Dreams
is the sort of EP that deserves to be savoured. So make yourself a cup of tea. Grab a blanket. Turn it on. Take time to listen to every lyric, to catch every note. You can thank me later. You’ll find it on all the streaming services and you can buy a limited edition vinyl copy here. Ella will celebrate its release with a sold-out show supporting CYMANDE at Liberty Hall in Eora/Sydney on March 4.

Main photo credit: Thea Elder

“Veruca Moon” EP – Veruca Moon

Boorloo/Perth-based group Veruca Moon have been building a strong following through performances at Western Australian events like Nannup Music Fest, WAMFest, and RTR’s Winter Music Fest. Now with the release of their self-titled debut EP, it’s time for the rest of the country to hear what they can do.

A great debut EP should serve as the perfect introduction. This EP does that beautifully. From the atmospheric soundscape that ushers in the opening song “War,” we know instantly that Veruca Moon are doing things their way. This track is so cool and brooding, with spine-tingling harmonies and a driving, almost primal rhythm. Talk about making a strong first impression.

“Let Me Go” is a bit of a left turn, a rock ballad with an easy groove and insightful lyrics about the wrong relationship. “About You,” has such a playful feel that you might mistake it for a love song if you weren’t paying attention to the lyrics. Don’t miss them, because they’re superb. Veruca Moon leave us waiting until “Winter Solstice” to deliver a song about a pure, beautiful love. I’m unsure whether it’s about finding yourself in the right relationship or learning to love yourself, because it works both ways, but I’m not sure it matters much. Instead, it’s more important to tap into those lyrics and let yourself get swept up in the cinematic, cathartic instrumentation.

It could be the ideal closer, but instead Veruca Moon reprises “About You.” This acoustic version, recorded at the Vinyl Café, really shows how good this band is. When you can create music this good away from the studio, with simple instruments, it’s really special. I loved revisiting this song and hearing it presented in such a new way.

In this introduction, Veruca Moon give us a tantalising taste of what they can do. This EP takes so many twists and turns that I’m sure there’s plenty more in their arsenal. While the songs are quite sonically different, they’re drawn together by exceptional lyrics that aren’t afraid to get raw and real. It’s an excellent EP and one that shows the promise of this exciting WA outfit. Veruca Moon will launch the EP tomorrow night at The Bird in Noongar Country/Northbridge.

Images used with permission from Blue Grey Pink

Matchbox Twenty @ Qudos Bank Arena, Eora/Sydney – 20 February 2024

Music can be such a powerful force. It can help you feel seen and understood at times when you think no one in your orbit gets you. It can lift you up and it can comfort you. If you’re lucky, you find a band that resonates with you so deeply that their music becomes a companion for you throughout your life. The band evolves as you do, and you somehow stay in alignment. For me, that band is Matchbox Twenty. I can’t write a review of their Eora/Sydney show last night with any sense of objectivity, but I can share what it was like to see my favourite band after 12 long years.

Siobhan Cotchin was an interesting choice of opener for a night featuring two bands who had their biggest hits in the ’90s. Personally I was thrilled to see her perform live after being impressed by so many of her singles. She’s such a fierce presence on stage. She sounded incredible, and looked every inch the rock chick flanked by nearly identical long-haired male guitarists. But there were a few things working against her. She was a fresh artist playing on a bill with some fairly-established bands. And her set started at 6:45, so people were still shuffling around and finding their seats. If it got to her she didn’t show it, but I wish she’d been able to have the captive audience she deserved.

You could feel the energy levels lift a notch when the Goo Goo Dolls took the stage. These guys haven’t toured Australia for 22 years and I could tell there were many die-hard fans relishing their return. Just not enough for lead singer John Rzeznik’s liking apparently. I hate to be a downer when there was so much to like about their set. They played everything I wanted to hear in their generous 45 minutes on stage, which is impressive considering how closely I’ve followed their career over the years. They sounded great and performed with a lot of energy. But there was a sense of entitlement from John that I found so off-putting. He made comments that the people sitting near the front must really love their expensive seats, because they didn’t want to get off them, and later called them miserable. When people did respond enthusiastically, he commented that we did have a pulse. I’m not into artists who want to tell me how to spend my time at their shows. If it feels right to stand, I’ll stand. But often I want to sit, especially as I get older, and that’s my right too. I think he needs to remember that his band was the support act, one who had just two top 30 hits in this country. I love their music, and many more than those two big songs, but his attitude really took the gloss off their solid set.

Oh Matchbox Twenty. The love I have for this band runs so deep. I spent the whole first song, “Friends,” sobbing because I was just so overwhelmed. Listening to those lyrics which reference being surrounded by community, the way I always feel at a Matchbox show, really hit home. My feelings were so heightened all the way through this gig as I listened to the songs that were the soundtrack to my life and spent time with the men that created them.

Matchbox know how to get the balance right. There were almost as many songs from their debut album Yourself or Someone Like You as there were from their latest release, Where the Light Goes. Casual fans who only listened to the band on the radio could check off every hit. But then there were those deep album cuts like “Hand Me Down” and “Parade” that those of us who followed their careers more closely relished. More tears.

There’s a special magic about a band who’ve been together for decades. Especially when they aren’t constantly on the road, you can see the camaraderie, the love they have for one another and the music they make together. We missed bassist Brian “Pookie” Yale, who couldn’t make the trip, terribly, but getting to see Rob Thomas, Paul Doucette, and Kyle Cook together was beautiful. I’ve gushed about Rob Thomas before, but I honestly love every member of this band. They play so well together, and they surround themselves with some outstanding musicians who step up and fill the gaps. I can’t express how much I loved spending time with them and the songs that made me last night. I’m so thrilled that I have tickets to two more shows on the Slow Dream tour. I’ve waited far too long for these concerts to be done just yet. Bring on the next one.

Image source: own photos