Saif takes his music and sharp social commentary to the next level with the release of his latest single, “The Devil Wears Prada.” Rest assured, despite its name this track has nothing to do with the fashion-forward Anne Hathaway film!
“For me, this track is poetry for the people,” says Saif. “It’s raw, it’s honest, and it’s about transforming pain into power.”
Press play and take a moment to really absorb the lyrics which explore systemic oppression, media manipulation, and the struggles that underrepresented communities face every day. The way Saif blends the traditions of American hip hop with his distinctly Dharug Country/Western Sydney perspective is also first-rate. You can hear more when Saif plays the Granny Smith Festival in Wallumetta/Eastwood this Saturday, October 18.
Eora/Sydney emo-pop act The Admired are serving up serious nostalgia with their latest single “Dancefloor.” Press play and let yourself be transported back to the dances of your youth!
Vocalist Bianca Davino says the single “captures the feeling of landing exactly where you’re meant to be, even if just for a fleeting moment. It’s not about ticking off major milestones, but rather finding magic in just living the artist’s life. For the song’s protagonist, fulfilment comes from meeting fascinating people or being at a culturally significant event.”
Bianca wrote the lyrics for “Dancefloor” from the perspective of a protagonist that embodies an idealised version of herself.
“I wanted to create a character who fully embodies the part of me that wishes to be the ‘it girl’ at the most exciting events — someone completely immersed in the moment, unconcerned with the future. She’s a projection of who I sometimes wish I could be, even though I know I’m not naturally like that. I may be too anxious about the future, but I can create someone who isn’t and live as her for 3 minutes when I sing this song.”
“Dancefloor” comes from The Admired’s upcoming mini EP, which we’ll hear later this year.
Naarm/Melbourne funk-rock act New Delica are stretching their artistry with the release of their third album, Stonewater. It’s an exciting 12-song collection that will have you coming back for more.
The opening track “Steady” sets the tone for this genre-bending record. A collaboration with Aussie-born, Berlin-based producer and DJ Holo, the electronic beat drops before a bluesy harmonica joins in. It’s such an interesting fusion; I’m not sure it should work, but it does. Single “Dreamin’” follows, a straight-up groovefest which calls to mind classic 70s disco and the slick contemporary sounds of Daft Punk.
Stonewater continues taking exciting genre twists and turns as it unfolds. “Count Me Out” and “Love in Vain” are blues-rock bangers, “Down to the River” is spine-tingling and seductive with an epic, cinematic quality, and there’s such a laidback charm to the romantic “All I Know.” “Call Me Tonight” is another unexpected collaboration, this time with local folk singer Yours, Georgina. Her sweet voice is such a gorgeous contrast to Pat Coyle’s roughened, masculine tone. The way they play against each other so beautifully brings this country-folk duet to life.
The title track, a piano ballad brings this album to a gentle close. It’s not the place I expect to land given the upbeat openers, but it’s still so satisfying. New Delica kept me guessing, right up to the end. Rather than being disconcerted though, I felt exhilarated by the way New Delica refused to stay in any particular lane. Their sound is dynamic and their talent undeniable, no matter what genres they’re playing with.
Undalup/Busselton rockers Lines of Conviction have given some of their live favourites the studio treatment with the release of their EP, Evacuate. If you’re new to this West Coast band, these five tracks are the perfect introduction.
Capturing the energy of a live performance can be challenging, but the fire behind Lines of Conviction translates beautifully. My speakers may not be a patch on the ones that usually blast out their music, but I still found myself bobbing my head along to opening track “Go My Way.” Lines of Conviction turns the dial up a notch with one of their most requested numbers, “San Miguel.” Every rock act should have a good drinking song in their repertoire, and this is one of the best I’ve heard in some time.
The EP takes a left turn with “The Words You Said.” Featuring the beautiful guest vocals of Sofia Watt, it shows these Aussie rockers have a gentler, more romantic side. If an Aussie ever fronted the Gin Blossoms, their music might sound a little something like this. We get just a glimpse of the softness before Lines of Conviction put the foot back on the floor to bring Evacuate home. “Back to My Place” and the title track are two more rock belters that leave no doubt this band is the real deal. They’re a quintessential Aussie rock act, singing songs for battlers in an accent we recognise as our own. Evacuate doesn’t sound slick as some major label releases do, but it sounds authentic, and I think that’s much more important.
When I saw Reece Mastin at Ettalong Diggers back in 2016, I swore that while it was my first time seeing him, it wouldn’t be my last. I didn’t imagine I’d be left waiting nearly 10 years for a return visit. But it was all worth it to see him perform another acoustic show at one of my favourite local venues.
Local country-pop darling Chelsea Berman warmed up the crowds with a mix of originals and covers. It’s a testament to her talent that I hadn’t heard songs like “Going There” for years, but I remembered them well enough to sing along. It’s also impressive that she could capture the attention of a crowd interested in another artist with just her voice, an acoustic guitar, and her charm. The hush over the audience as she chatted easily between songs proved just how captivating she is. She had us hanging on her every word.
While this was another acoustic show from Reece, it was a very different one from the gig at Ettalong all those years ago. A decade ago, Reece seemed keen to prove himself as a serious original artist. Coming off the back of his brilliant Change Colours album, originals took centre stage. He wanted us to know what he could do. These days though, Reece doesn’t have to convince us. He’s got more original material under his belt, yet the set was a much more even mix of originals and covers. The cover that made the set last time was a fairly obscure Yes track. Now though Reece seems happier to play crowdpleasers he knows his fans will love. While he celebrated his love of classic hits with a stunning cover of Bonnie Raitt’s “I Can’t Make You Love Me” and the Irish folk ballad “The Fields of Athenry,” he made sure to connect with his predominantly young audience through some more contemporary choices. They seemed to lap up “Oh Caroline” by the 1975 and “Breakeven” by The Script, which he originally covered on the X Factor Australia all those years ago.
It feels like Reece has made peace with his time on X Factor and his early music career. While just a couple of those early hits made the set last time, he breathed new life into “Stars” and delivered the fairly cheesy “Girls (All Around the World)” without a hint of cringe. Watching the way the faces of audience members in the front row lit up, why wouldn’t you?
I really enjoyed the artistry Reece displayed all those years ago, but I had more fun this time around. I think he’s got the balance right. He doesn’t have anything left to prove. He’s got some fantastic music under his belt, so he can just have a good time delivering it with his bandmates. The smiles on the stage said it all. They hadn’t prepared an encore, because what do you do after “Good Night”? You come back and improvise. A cover of Chris Stapleton’s “Tennessee Whiskey” capped off yet another fabulous show at Avoca Beach Theatre. Reece promises us he’ll be back in our neck of the woods before long, so hopefully I’m not kept waiting close to a decade for the next gig! If you get the opportunity, make sure you catch Reece Mastin at one of the following shows before the year ends:
I wasn’t going to see Rent this time around. It’s my comfort musical, and I love it, but I always wonder just how many times I need to go. However, those canny folks at Opera Australia suckered me in with a free dinner promotion. Second row dress circle tickets and a delicious grilled barramundi dinner with a beer for $99?! It’d be rude not to! So I found myself at my fifth production of Rent last night.
I’m not one of those people who see a show multiple times within the same run. It’s always a show here and there. I saw the original Australian run in Naarm/Melbourne in 1998, a production in Philadelphia while I was holidaying there in 2004, an amateur theatre production in Mulubinba/Newcastle in 2017, and another production in Darkinjung Country/Wyong as the world was emerging from lockdowns in 2021. When you add in my familiarity with the original Broadway cast through the soundtrack and film, I know this musical better than any other. I have such clear ideas about what it’s “supposed” to be and opinions about what new productions get right, and what they get wrong. So how does the latest iteration playing at the Opera House measure up? On the whole, remarkably well.
There were some standout performances. I remarked last time I saw Rent that Sean Miley Moore’s Angel was the best I’d ever seen. Sorry Sean, but I think Jesse Dutlow may have stolen your crown. They floored me with their incredible vocals and heart. When a production casts Angel right, they’re halfway there. Calista Nelmes’ Maureen was breathtaking with vocals that hit that high bar Idina Menzel set and true commitment to this challenging role. She was matched beautifully by Imani Williams as Joanne. This is one of the more understated roles in the musical, one that can easily get overlooked because the character is straightlaced and doesn’t have any solo songs. However, Imani is so magnetic with such powerful pipes and personality that my eyes were drawn to her whenever she was on stage. And when she came together with Calista on “Take Me Or Leave Me,” my favourite song in Rent, I was spellbound.
This production didn’t take as many risks as the one I saw in 2021, preferring instead to stay faithful to Jonathan Larson’s original vision. While Jonathan created a brilliant music, I would always love to see productions putting their stamp on the show. There were a few little moments where this production changed things up, with mixed results. I can’t remember another production where Angel cried out in anguish as they lay in the hospital bed during “Without You.” I felt myself starting to tear up at that, much earlier than I normally do. Watching Angel ascend and get their wings in “Contact” was visually so powerful. However, I feel like introducing marijuana into “Santa Fe” diminished this song’s honest yearning for a different, better life, turning it into nothing but stoner ramblings. It deserved better. I’m also not sure the cardboard cutout policemen were nearly as effective as real humans might have been. They took me out of every scene they appeared.
Ultimately, Rent is about community, so it was only fitting that I felt this show was at its best when the cast came together. Special songs like “Seasons of Love” and “La Vie Boheme” were highlights. Hearing the voices of the stellar principles and chorus, watching their faces as they bounced off one another, was beautiful. And Rent is beautiful. There’s a reason I keep coming back to it. Whether you’re a longtime fan like me or you’ve never seen it, there are plenty of reasons to check out Opera Australia’s new version. It plays at the Opera House until November 1. Tickets are available now from the Opera Australia website.
Boorloo/Perth rock act Late 90s have really impressed me with their latest single “Low.” It’s a little heavier than the music I usually go for, but if it’s good, it’s good, right? And this epic rock anthem is really good.
“‘Low’ is about that internal monologue of self-love and self-loathing – knowing you’re heading off course and wanting to be better but you just don’t know how to be a better version of yourself and then beating yourself up for it,” the band explained.
Guitarist Stephen Loreck added “Last year I struggled a bit with self-esteem and valuing myself. Sometimes you don’t know where to start to get better, maybe you’re waiting for someone or something to happen for you to get your shit together.”
Stephen didn’t just play on “Low”; he also took over production duties for the first time. The band looked to their live sound engineer Emmett Carroll for mixing and entrusted the mastering to Brodie Stewart.
“The process of making ‘Low’ was so different to any other song we have done as we took way more of a DIY approach, with me producing the song,” Stephen explained. “We started recording this song before our previous EP came out, so we had a bit of time to obsess over all the parts, trying everything we could to just give the song an extra 10% for example tracking vocals three different times and bass twice haha. Some of our favourite parts of the song we wrote in the studio, just trying out random stuff, so having the time and freedom to experiment more was something we really valued. It was also really beneficial to have Emmett Carroll involved as he provided a lot of technical support, engineering when I was playing guitar or singing and coming up with some good ideas.”
Next up Late 90s will play for hometown fans at Sidefest, which will hit Rosemount Hotel from November 21 to 23. Catch them on the first day alongside top artists like Stand Atlantic, Dear Seattle, and heaps more. Or buy a weekend pass to catch all the action!
I really appreciate artists who prioritise quality over quantity. I’d much rather musicians take time to create something meaningful than churn out substandard work. Malaika Mfalme’s album Yasmin was one of my favourites of 2023, and now he’s back with “Berlin.” This is a stunning, stripped-back track that explores friendship, grief, and the freedom of anonymity against the backdrop of Germany’s capital.
“I wrote this song about three years ago, when I was in Berlin. I’d just lost my passport, was feeling disconnected from friends, and realised how freeing it can be to be unknown,” Malaika said. “There’s a line in the chorus that still hits me: ‘Maybe I won’t apologise for who I am in a place that don’t give a damn.’”
As a proud trans artist, Malaika’s work has consistently celebrated Black queer joy and resilience. He explained that they found the joy that helped them through such a challenging time in Berlin’s party scene. “It made me feel at home and fully accepted within the queer community there. That sense of joy and belonging was such a contrast to the heaviness I’d been carrying.”
“Berlin” is our first taste of Malaika’s new EP Forthcoming, which is slated for a November release.
One of Australia’s hardest working bands, Bootleg Rascal are back with a brand new EP and tour. Street Shark is a genre-bending seven-track collection of songs featuring Sounds of Oz favourites “Stepping,”“From the Very Start,” and “Drip Your Love.” With so many twists and turns, I know you’ll find some tunes to vibe with on this one.
It seems like Bootleg Rascal are always on the road, so they weren’t going to miss the opportunity to play for you all to support Street Shark’s release. After wrapping up their Western Australian shows last weekend, they’ve got their sights set on the East Coast and Aotearoa/New Zealand. Catch Bootleg Rascal at one of the following shows:
Greg Gould and Karise Eden are long-time favourites of mine, so when I heard they were teaming up for their Lady and the Tramp shows, I couldn’t resist heading up the freeway to Flamingos Live. The poster promised a celebration of “the greatest jazz, blues, and soul.” These two talented Coasties delivered that and so much more.
I must admit, given the tagline and references to Frank Sinatra, Nina Simone, and Etta James in the marketing materials, I expected a show that played mostly in the old-school standards space. While vintage classics were certainly represented, Greg and Karise delivered a much wider retrospective of the songs that made them.
There were reality show favourites like Greg’s masterful performances of “Feeling Good” and “Purple Rain” and Karise’s show-stopping take on “It’s a Man’s Man’s Man’s World.” I’ve heard it so many times before, but I’m always floored. There were the crowd favourites, like “Ain’t No Mountain High Enough” and “Knew You Were Waiting For Me.” And then there were deep cuts, like Etta James’ “Damn Your Eyes,” which Karise said she would have preferred singing on The Voice to “I’d Rather Go Blind.” As a massive Janis Joplin fan, I was in raptures when she took on “Cry Baby” instead of the more predictable “Piece of My Heart.” While most song choices were nostalgic, a cover of Chappell Roan’s “Pink Pony Club” was an unexpected delight.
Greg and Karise are both incredible talents in their own right. This show gave them many opportunities to wow and charm us with solo performances. But my favourite parts of the night were the moments when they came together. Their Darkinjung Country/Central Coast roots and big breaks on reality TV have helped cement a natural rapport that’s wonderful to witness. To say nothing of their fantastic voices, which come together more naturally than you might think. Greg’s showmanship helped bring out a playfulness in Karise that I loved to see. For a night of sing-along fun with some of Australia’s best talents, make sure you catch one of Greg and Karise’s upcoming Lady and The Tramp shows:
