Teen prodigy ixaras is quickly proving she’s one of the most exciting forces in the Aussie music scene. Last time I wrote about her I was impressed by the launch of her label Anti Dismal which helps make music more accessible for other young people. Now I’ve got her debut EP full lover fake friend on repeat. This incredible indie-pop release shows ixaras’ musical talent matches her passion.
Through this intimate collection of songs, ixaras shares her experiences navigating life as a young queer artist. That might sound a little niche, but these songs are so powerful that I know they’ll resonate with anyone who’s felt different. We hear her trying to figure things out as she seeks connection, falls in love, and experiences all the challenges that so many struggle with growing up.
ixaras marries her confessional lyrics with catchy pop melodies and post-punk edge. I know these songs will move you, but they also encourage you to pick up your hair brush and use it as a microphone while you jump around. Every track is an earworm.
ixaras is so young, but with the release of full lover fake friend she shows an incredible maturity and talent beyond her years. I am so excited to see where her musical endeavours take her. The release of this EP is a brilliant beginning.
ixaras is in for a busy New Year with performances at NYE on the Hill at The Farm in Gunaikurnai Country/South Gippsland and Great Escape in Lutruwita/Nugent. Tickets for both shows are on sale now.
In Good Hands have ushered in a new era of music with the release of their latest single “Old Friends.” It’s a nostalgic indie-rock track that captures the transition from childhood to adulthood, the period where you gain freedom but you grapple with new responsibilities that might just weigh you down.
The band’s lead singer Jack Kenyon says that the lyrics “reflect the struggle of feeling lost in the routine of adult life. We remind ourselves—and you—that it’s okay to feel scared but never too tired to chase those memories again.”
For “Old Friends”, In Good Hands reunited with Jack Nigro who produced their Daylight EP.
“This one came together super quickly and naturally, with the bones turning into the finished song in a week or so. We knew straight away that it would be a track we had to record with Jack Nigro up at Sonora Studios, so we rushed up there to get it done!” they said.
With the release of “Old Friends,” In Good Hands sound like they’re going from strength to strength. I can’t wait to hear what comes next.
My review of Dylan Wright’s EP, Half a World Away, has been a long time coming. I intended to write it before I left for New Zealand, but time got away. And then I had my car accident, and I started to wonder whether it was even relevant anymore given that this EP dropped in October. But then I started to think about it, and I didn’t want you guys to miss it, especially considering Dylan has just been named as Tina Arena’s support on her upcoming tour.
This isn’t your typical post-Idol release. It’s better than that. There are no covers. There’s not even his winner’s single. It’s just fantastic, original music that really showcases who Dylan is. His words, his voice.
The opening track “Little Lost” is the perfect introduction to this collection of songs. It’s warm and stripped back, anchored by Dylan’s vocals and acoustic guitar. Its classic sound makes me hungry for road trips. He takes things up a notch with “All I Need, a darker song driven by yearning and heart. There’s a similar vibe to “Back to You.” We didn’t see this brooding side on Idol, but gritty tracks like these provide great contrast to the lighter moments. “Mess of a Man” may be my favourite song on this EP. It’s so raw and honest. At a time when we still expect men to be so strong, it’s refreshing to hear one share their broken parts. Dylan’s love for his family was well-documented through his Idol journey, so it’s only fitting that he shares a little of his joy surrounding that with us too. “Old Oak Tree” is such a beautiful, uplifting song about legacy and tradition, a celebration of the best parts of the human experience. The gospel-tinged title track shows us a different sound, one that hints that Dylan has more to share in the future.
Recording an EP, with six quality tracks, is a smart choice. Dylan could have taken more time and released an album, but dropping Half a World Away instead capitalises on his moment in the sun, ensuring we get to really know him and don’t forget him like so many people who’ve taken the Idol crown in the past. Could he be the one to reverse that Idol trend? It’s too early to say, but I really hope so. As I mentioned, Dylan will tour Australia with Tina Arena next year. Presale tickets are available now for the following shows ahead of tomorrow’s general sale:
I’m easing myself back into work thanks to the wonders of speech-to-text technology. First on my to-do list was sharing my thoughts on the wonderful production of Jesus Christ Superstar playing in Eora/Sydney at the moment. I had tickets to the show the day after my car accident, so I was a bit sore and sorry as I bundled myself onto the train, but I’m so glad I pushed through the pain. I’ve seen three or four productions of Superstar over the years, and this was definitely among the best.
I felt excitement bubbling up as the familiar “Overture” began. Then with “Heaven on Their Minds” we were introduced to the incredible Javon King as Judas. What a great voice he has. What a presence. I didn’t know him before this production, but I will watch his career closely from now on. The entire cast was sensational. The casting of Mahalia Barnes as Mary was one of the key draw cards for me, and she did not disappoint. She brought such a beautiful warmth and heart to the role, and what a voice she has. I was also really excited to see Reuben Kaye playing Herod. He was brilliant. Honestly he may be my favourite Herod ever. He had just the right blend of humour and malice. My parents weren’t familiar with him but they walked away fans. I was also really impressed by Peter Murphy’s Pilate. Unfortunately Michael Paynter didn’t appear in our matinee. While the understudy was great, I was really looking forward to his Jesus. I also wonder whether Michael’s voice may have contrasted better with Javon’s. JC simply works better when you can hear the difference between Jesus and Judas.
This production feels so new and fresh. The music doesn’t seem to age. The energy of the cast is palpable. I also really liked artistic choices like bringing the microphones into the scenes and having the crucifix as a key part of the set. The use of glitter was very effective in places, although I’m not sure it was as powerful as it should have been while Jesus received his lashes. Overall, I think the team behind this version of JC has done an incredible job. Whether you’re a long-time fan like many or new to the musical, make sure you don’t miss it.
Yes, I know I said I was taking a break, but when I heard American pop-punk legends Yellowcard are heading to Australia for a massive tour I couldn’t resist making one more post today. Hearing Yellowcard are heading our way to celebrate the 20th anniversary of Ocean Avenue was exciting enough, but then I saw the headliners. We get Motion City Soundtrack and Plain White T’s too?! Yes please!
“It has taken us a long time to sort out bringing the 20th anniversary of Ocean Avenue to Australia, but we promise it will be worth the wait!” Yellowcard said in the press release. “This lineup is so good and we can’t wait to reconnect with our fans down under.”
Yellowcard haven’t played Australia since 2017 so I know fans will be hungry for these shows. Sign up for presale tickets from December 10 or try the general sale from December 12.
2 April 2024 – Metro City, Boorloo/Perth (18+) 4 April 2024 Hindley St Music Hall, Tarntanya/Adelaide (Licensed ALL AGES) 5 April 2024 – Margaret Court Arena, Naarm/Melbourne (Licensed ALL AGES) 9 April 2024 – Hordern Pavilion, Eora/Sydney (Licensed ALL AGES) 11 April 2024 – Bar On The Hill, Mulubimba/Newcastle (18+) 13 April 2024 – Fortitude Music Hall, Meeanjin/Brisbane (Licensed ALL AGES)
I just wanted to let my readers know I was involved in a fairly serious car accident on Tuesday night which has left me nursing a broken collarbone and many bumps and bruises. So as much as I hate to do it, I’m going to have to step aside from the computer for a while and let my body heal. I’ll be back with all the Aussie music news and views you love as soon as possible.
It’s pretty hard to ignore that Christmas is mere weeks away. You can resist it, which doesn’t do much good I find, or simply embrace it. So in that spirit, I headed to Eora/Sydney last night for the taping of “A (Very) Musical Christmas.”
This review is a bit different than the ones I normally write, because I really don’t want to spoil it for anyone who’ll tune in to the ABC broadcast later this month. The lineup had been well-publicised so I will say that stars including Eddie Perfect, Casey Donovan, and that talented Laga’aia clan were every bit as wonderful as you might expect. I also hope this broadcast encourages people to see more shows like the traveling production of Dear Evan Hansen or Titanique, because their casts were fabulous. And I’ll also add that the surprise ABC personality, who wasn’t included in the original cast announcement, was an unexpected joy.
If you love Christmas, musical theatre, or (like me!) both do not miss “A (Very) Musical Christmas” when it screens on ABC on December 20. It was so good, I’ll definitely tune in to enjoy its fabulous renditions of beloved Christmas tunes all over again!
Solomon Island-born, Naarm/Melbourne-based singer, guitarist, and auu (panpipe) player Charles Maimarosia proves music really is the universal language with his gorgeous new single “Hote’ Hote’”. Like most listeners I don’t speak the Are’ Are’ language, but I’m moved by this gorgeous track. While Charles has to take a lot of the credit for that, he remains humble and acknowledges the part that Andrew Robison, who recorded, mixed, and produced “Hote’ Hote” played.
“Hote’ Hote’ is organic, rhythmic, soulful, and deeply rooted in the Are’ Are’ traditional ‘parani o’o’ rhythm, which shares similarities with rhythms found in many other cultures around the world. None of those rhythms would have been realised without Andrew Robinson,” Charles said. “He arranged the music chord progressions, and I layered the lyrics on top. If the words didn’t fit perfectly with the chords, we would try different ones until everything sat right, knowing that the words had to align with the context. For me, when I put Are’ Are’ lyrics in a song, I always make sure those words are true, make sense to ‘Are’Are’ people, and remain meaningful when translated into other languages, like English or Japanese. We’ve changed this song Hote’ Hote’ about three times already, and now we have this amazing version.”
Marcus Longfoot directed the song’s music video, which charts Charles’ personal journey from the Solomon Islands to Australia.
“The concept of the video is centred around voyaging in the ocean to the islands, which resonates with my own journey from Pipisu Village to Melbourne,” Charles explained. “I was shooting in the Melbourne city during winter, wearing shorts, which was quite an experience! I never imagined the video clip would turn out so well. The video was directed by Marcus Longfoot, with assistance from his team from RMIT media students: Rachel Kemp and Ruari Walsh. Natty [Dolaiasi] provided spoken word contributions from Lau Malaita Islands, whose people we call ‘masters of the ocean.’ Natty D’s spoken word and footage was filmed in Honiara Solomon Islands, my homeland, by Dream Cast Studios’ Mr Collin Leafasia. Marcus is a talented filmmaker and musician who has worked with Radical Son, another amazing artist from the First Nations community. It was a collaborative effort, and I’m grateful for all the creative minds who helped bring the video to life.” The year’s not done yet, but Charles is already setting his sights on 2025 when he’ll release a new album and play several shows.
“I want my audiences to know that I come from a remote village and that I’ll probably yarn a little bit on stage, share some stories, and make them laugh and reflect on their own life and journey while explaining each song,” Charles said. “Every time I’m on stage, I think of my mentor, and elder the late Donation Manu, an Are’ Are’ legend, and it reminds me that music is always here with us, before we are born and long after we are gone.”
Tickets for most of Charles Maimarosia’s February shows are on sale now, so don’t miss out!
Nathan Lamont effortlessly combines country, rock, and pop influences with his latest single “Name on It.”
“I wanted to highlight how love can completely upturn and transform a person’s outlook on life for the better, filling spaces we never knew were empty,” Nathan explained about the song he cowrote with his regular producer Alex Maher. “Alex and I have spent a lot of time in the studio together recording and songwriting, and we have many shared values and experiences when it comes to life and love.”
“Name On It” has already earned the seal of approval from none other than Keith Urban, who told Nathan to “keep it coming.” While Nathan looks up to Keith, his wife is arguably a bigger inspiration. His muse plays a starring role in the single’s film clip.
“I was excited to feature my wife in this project,” Nathan said. “She’s been the biggest source of inspiration behind my songwriting and has been on the sidelines supporting me since day one, so to have the opportunity to work with her so closely on something I love has only brought us even closer together.”
Nathan has already announced a couple of shows for next year, so don’t miss him if he’s playing near you!
“My Own Time,” the latest track from Meeanjin/Brisbane indie rockers The Urban Sea, is one of the best indie-rock tracks I’ve heard in some time. The lyrics are poetic and personal, and they’re wrapped up in such a fantastic shimmery sound that’s bound to have you grooving by the time the first chorus kicks in.
“There’s a bit of Arctic Monkeys swagger and Spacey Jane jangle in there, especially in how we approached the arrangements,” shared songwriter and guitarist Shanan Kilner. “’My Own Time’ came from a pretty emotional place during a breakup where I was ready to move on, but my ex was struggling to let go. The relationship had reached its end, and deep down, we both knew it. Writing this song was my way of processing those feelings and realising that sometimes the healthiest thing to do is move on. The line, ‘You got love on your lips but blood on your hands,’ sums it up. There was still affection, but we both had a hand in why things didn’t work out. It’s not about blame, but about recognising that love alone couldn’t fix what was broken. I wanted to move forward without rehashing old arguments or trying to pin down who was at fault, which is where the lines ‘I got no more coins for that wishing well’ and ‘lay low and let it go’ came from – sheer exhaustion from going over the same things again and again. The bridge ‘In my own time, get my feet back on the ground’ was a reminder to myself that healing takes time and it’s okay to take things at your own pace. When I first wrote it, it felt like a release.
“I didn’t want the song to be heavy or sad, even though the emotions were. The upbeat indie vibe reflects that sense of freedom that comes with finally letting go, even when it’s hard. I think we’ve all been in situations where we know it’s time to move on, but the comfort of the familiar pulls us back. It’s not about heartache – it’s about strength, about taking control of your own life and time. I think a lot of people can relate to that feeling of needing to reclaim their space after a relationship ends. Writing this song helped me find that closure, and I hope it resonates with anyone else who’s ready for their own fresh start.”
There’s more new music on the way from The Urban Sea, with the band set to release a new EP, Sunsets and Silhouettes, in February.
