I’ve championed Sidney’s music for years, so I made sure to write a review of her brand new EP what if it ends? before I left for my overseas trip. New on all your favourite streaming platforms today, it’s a poignant exploration of love and loss with the title question at its core.
The single “sliding doors” opens the EP with its jubilant chorus and upbeat indie-pop feel. While it was inspired by the fictional romance movie, as you move from this track to the songs that follow, you realise Sidney’s drawing from her own experiences in this collection. They’re so real, so raw, that anyone who’s ever loved and lost hard will relate. “Long haul” is another fantastic single, but it hits a little bit harder with its lyrics exploring the reluctance to let an established relationship slip through the fingers.
We’re getting deeper, in preparation for “golden boy.” This beautiful, bittersweet ballad kills me. I rarely recount lyrics, but the lines “Can we just make out until it’s over? Can we just keep on holding our breath? ‘cause that way we’re both distracted and we won’t see how this ends” have my heart. We stay in the quiet a little longer with “the difference.” Its dreamy, melancholy feel reminds me so much of Mazzy Star’s “Fade Into You.” If your heart wasn’t already split open, the deep yearning of “anything” might get you there. Sidney’s vocals, which seem to move effortlessly from breathy falsetto to powerhouse full voice, have never sounded better. Sidney brings the energy back up with the EP’s title track. Feeling a little like a bookend for “sliding doors,” it really is the perfect closer with a feel-good vibe that softens the blow of those sucker-punch lyrics.
Emotionally honest, beautifully real, and always compelling, what if it ends? is out now.
Image used with permission from Nettwerk Music Group
If you’ve been following this blog for a while, I don’t need to tell you how good ixaras is. I’ve been following her career since before she dropped her stellar debut EP full lover fake friends. I loved her early material, but I’m thrilled to see how she’s evolving with every release. She recently released her sophomore EP WHAT IS AND WHAT ISN’T which serves as a timely reminder of the superb rock music she’s making.
I’ve already written about four of the six tracks, so there’s not a lot I haven’t already said. You know these tracks are solid, brimming with all the energy and angst that you hope to hear from an artist still in their teens. I can also report that the two “new to me” songs are every bit as good as the tracks previously released. There are no fillers. In fact, the defiant closer “CAUGHT UP” has become a new favourite.
ixaras’s music is just so relatable. I might be more than twice her age, but I get it. I feel this music down to my bones. Perhaps that’s because ixaras has such a strong sense of self. She certainly has more figured out than I did at her age!
“I know who I am, and who I am not. Even if you know what’s real nobody can fully know what is and what isn’t. This body of work is a release of my fears, insecurities, lessons and truth that I had to learn while navigating these past couple years,” she explained. “I had to kill part of myself to make this EP because not only was I deeply scared to be ambitious, but living in Australia there is a secret shame for wanting to succeed. This music is not only a mantra for those who want to have control of their own life, but it’s me letting go of the past and shedding old skin to make space for what I have planned for the future.”
Whether you’re already a fan like me or you’re new to ixaras’s music, take a listen to WHAT IS AND WHAT ISN’T. This fantastic EP is on all your favourite streaming platforms right now. And if you like what you hear, make sure you get along to one of her January shows.
Meeanjin/Brisbane-based sibling trio Favourite Kid have won me over with the wit and wisdom of their debut album 2 Cents Journal. As the album’s name implies, this outfit’s songs deliver honest and unfiltered points of view. In the wrong hands some of these songs could come across as preachy, but Favourite Kid has a warm, gentle touch and humour that made me lap up their insights.
Sonically, 2 Cents Journal refuses to sit neatly into any genre box. Favourite Kid’s sound is built on a solid foundation of pop, country, and folk-rock, but I hear a little reggae in there too. Whatever genre they’re playing in, they have a knack for crafting irresistible melodies that elevate their relatable lyrics and balance some heavy themes. The breezy ukelele of “Uncomfy” and the brutally honest words of “I Fucked Up” really put a smile on my face. Ordinarily I’d be irked at the repetition of “Feel Like Shit,” (albeit reworked as “Feel Like Shite” with a guest rap from The Lyrical), but it’s such a gem I would have hit play again anyway.
Lead vocalist and songwriter Ethan said he wrote these songs to make sense of the world around him. “While we can’t control everything in life, it’s important to take time to notice how we’re feeling. Writing these songs has helped me through some difficult times with my own mental health, and I hope they can influence others’ minds to rest a little easier. This album is all about my neurodiverse experiences of learning to deal with anxiety in a world where it can seem like you always have to feel amazing and compare yourself to others.”
2 Cents Journal shows its heart openly, lifting listeners up and giving them food for thought. The more I listen, the more I find lyrics that resonate with me. It’s sweet without being saccharine, a joy from start to finish. It’s available now on all your favourite streaming services.
As it became clear that New South Wales would swelter on Saturday, I began to dread Jimmy Barnes’ Working Class Man 40th Anniversary show in Wonnarua Country/Pokolbin. If I hadn’t spent around $200 on the ticket, I might have cancelled. I became even more nervous as we neared Bimbadgen Estate and saw the car’s temperature gauge click over to 43 degrees. I felt nauseous by the time I found my seat and started to worry that this was all a bad idea. But superb music, and a healthy dose of soda water, has a way of making everything better.
John Rooney was a late addition to the bill. Ordinarily I would have made sure to catch an artist I wasn’t familiar with, but I’m sure in the heat he’d forgive me missing his set. One artist I wouldn’t miss is Kate Ceberano. She’s always excellent, but I’m not sure I’ve ever enjoyed a set as much as this one promoting her new Australian Made live album. I wasn’t familiar with this release, so every classic cover was a surprise. Hits of the past like “Boys in Town” and “Barbados” fit her like a glove, while modern tracks like “Chandelier” and “The Joker and the Thief” were unexpected joys. And she was always going to make the Barnesy-loving crowd happy with a cover of Cold Chisel’s “You Got Nothing I Want.” Kate also treated us to plenty of her own numbers including “Bedroom Eyes” and a reggae-tinged take on “Pash.” While she stole focus with her effortless charisma, I’ve got to give praise to her stellar band including the always fabulous HARTS. What a fantastic surprise to see such a brilliant artist in his own right sharing the stage with our Kate.
Kate’s celebration of Aussie music perfectly led in to Ian Moss’s solo set. Another national treasure and Jimmy’s former bandmate, he was always going to go down a treat with this crowd. It’s been some time since I’ve seen Mossy with a full band, so it was a real thrill to hear songs from his entire career given that electric treatment. From Cold Chisel hits like “Choir Girl” and the epic closer “Bow River” to “Nullarbor Plain” from 2024’s Rivers Run Dry, it was top notch. I also loved seeing Ollie Thorpe, who I last saw as part of The Whitlams’ Black Stump Band, with Mossy. He got his chance to really shine sharing vocal duties on “Georgia on My Mind.”
I was really looking forward to Icehouse after they blew Hall & Oates off the stage in 2012. I’m pleased to report they have very much still got it. The blend of founding member Iva Davies and long-term bandmates Paul Gildea and Paul Wheeler with newer members like saxophonist Hugo Lee and keyboardist Michael Best is inspired. They sound so tight, unmistakeably Icehouse, yet so fresh. I also loved seeing the supremely talented Michael Paynter doing double duty with Icehouse and Barnesy. Icehouse has a catalogue that is so rich, you don’t realise how many hits they had until they’re delivering them. They performed so many of them with the kind of energy that makes you forget many of the band members have done these songs for decades. They still seem to relish sharing their music with us. When a band plays with such precision and enthusiasm, you will always have a good time.
Remember how there was that heatwave that had me feeling nauseous? It persisted right up until Jimmy Barnes was due to take the stage. And then the weather took a serious turn. The winds came. The rains came. Oh how they came. Massive droplets that had us soaked to the skin, because of course we had been so worried about packing frozen water, fans, and damp face washers that we hadn’t thought to grab ponchos. We were told the concert would be “paused” and we should seek shelter. It honestly felt worse than the Sting show which was abruptly axed, so I braced myself for a cancellation. Although there was a voice in my head saying “I did not sweat it out only to go home!” And then thankfully, the rain disappeared, at least temporarily, and the show went on. And how.
Given all we had endured, Jimmy seemed determined to make it worth our while. He’s always the kind of guy who gives his all, but he seemed to have a little extra in the tank as he treated us to every song from his breakthrough solo album For the Working Class Man. I loved the opportunity to hear many songs that don’t make his typical sets like “Without Your Love” and “Promise Me You’ll Call.” Given the length of the album, I knew there’d be a few more songs besides, but it was a mystery which tracks would make the cut. There were some old favourites like “Too Much Ain’t Enough Love” and “Lay Down Your Guns” as well as more recent cuts which tie so easily back to early material like “Shutting Down Our Town,” inspired by his upbringing in Elizabeth, and “Beyond the River Band,” a tribute to his love with his beloved Jane who lent her backing vocals and bagpipe skills to the night.
The songs are just one part of the Jimmy Barnes experience. We love them, but we also love him. He’s one of us, our working-class man. In a place like Wonnarua Country/Hunter Valley, a significant coal mining area, his humble beginnings resonate. He might be up on that stage, but he talks to us like we’re old friends. He joked about the “fucking hurricane”, noting that he felt like the president as organisers tried to usher him to a car as the heavens opened up. He said he refused, rebelliously declaring “If we die, we all die together!” That’s our Jimmy.
I am such a fan, I will listen to Jimmy perform anything and lap it up. But there’s something special about being amongst a bunch of Australians as Jimmy belts out monster hits like “Working Class Man” and “Khe Sanh.” I felt it even more intensely on Saturday night, perhaps because we had all gone through so much. The heat, the storms, the joy that made it all worth it. The conditions made me dread this concert, but it was such a beautiful celebration of Aussie talent that I am so glad I put my concerns to the side and attended.
Jimmy Barnes and his ultra-talented mates will continue the Working Class Man 40th Anniversary shows in Eora/Sydney this week and through 2026. And it’s likely to be hot. Bring your water, sunscreen, and hats, and just do it. I promise you, you will not be sorry. Tickets are still available for all remaining dates:
As you might have noticed, I see a lot of concerts. I adore them, but typically they come and go and I start looking forward to the next one. They rarely leave the sort of lasting impression that has me buzzing several days later. But most concerts are not like the shows Lenny Kravitz has been putting on around Australia. My thoughts are still a little scattered, and even though I consider myself a bit of a wordsmith I’m not sure I have the vocabulary to tell you just how good the Meeanjin/Brisbane show was. But you know I’m going to try.
Although I see a lot of shows, Friday night was my first time seeing Jet. When they were announced as supporting artists I wasn’t sure they’d be the right fit, but I’ll happily eat my words. Their straight-down-the-line brand of rock music was the ideal complement to Lenny’s own rock edge. I don’t think I realised just how many hits they had until they were strung back-to-back. While their discography is rich, a killer version of AC/DC’s “Long Way to the Top” had us all singing along. I couldn’t help thinking about AC/DC’s decision to remove it from their sets as Brian Johnson knew he could never measure up to Bon Scott’s vocals. If Acca Dacca are ever in the market for a new frontman, Nic Cester has the goods. Although I can’t imagine him ever slotting into someone else’s band when he’s created magic with his brother Chris and longtime pals Cameron Muncey and Mark Wilson. There’s such chemistry when they perform and a passion for their craft which shines through.
I just wish my photos did them justice. On arriving in Meeanjin/Brisbane I received an email stating personal cameras wouldn’t be permitted, although phone cameras would be fine. What a frustrating policy that really disadvantages anyone who isn’t close to the stage. The photos my pal Lisa has snapped are a lot better than the ones my Samsung takes, but nowhere near as good as I could have captured with my camera. On the plus side, it did ensure that I really took this show in and lived in the moment.
While I enjoyed Jet, Lenny took this show to a whole other level. One that I honestly wasn’t prepared for. He sent such a strong message with his opener “Bring It On,” from the album It Is Time For a Love Revolution. We weren’t just preparing for the love revolution; it was here with Lenny our leader. I didn’t think it was possible for someone to have so much swagger. In his purple snakeskin pants, denim jacket, and signature dreadlocks, he was every inch the rock star and far cooler than any 61-year-old has the right to be. He was also backed by one of the strongest bands I’ve ever heard. Longtime collaborators like guitarist Craig Ross have come together seamlessly with newer talents like bassist Wolf and drummer Jas Kayser.
Lenny delivered a set for all kinds of fans, the faithful who had waited patiently for his return and the casual listeners who appreciated the radio tunes. I was on my biggest Lenny kick in the early 2000s, so I was thrilled to hear underrated gems of the period like “Dig In” and “Stillness of Heart.” Although this tour was technically meant to promote Lenny’s new album, Blue Electric Light, he was humble enough to ask whether he could play some of the new material. I’d enjoyed the album, but it hadn’t stuck with me like many of his earlier releases. However, watching Lenny perform tracks like “TK421” and “Paralyzed” has given me a new appreciation for them.
Honestly though, Lenny could have sung the phone book and I would have been happy. His voice is so strong. He handled everything, from the hushed words of “Believe” to the falsetto notes of “It Ain’t Over ‘Til It’s Over,” with so much ease. He’s got serious musical chops, whether he’s on his signature electric guitar, bass, or keys. And then there’s that swagger. I have never witnessed such a sexy performance. His power is undeniable. I am so glad I saw Lenny with my best gal pal instead of my husband, because I knew she was getting just as much out of this performance as I was. He had us squirming in our seats, and loving every single second, when we weren’t on our feet.
I experienced plenty of lust, but also plenty of love. Lenny’s songs celebrate it while encouraging that love revolution. With Lenny out front leading us all in song, you start to believe it’s possible. That spirit of love culminated in the epic encore song, “Let Love Rule.” It’s ironic that it was in this magic moment that a “fan” decided to rip dreadlocks from Lenny’s head. Seriously girl, what were you thinking?! That behaviour is deplorable. It also shows Lenny’s consummate professionalism that I didn’t even realise it happened until I watched his reels the next day. What I saw in that moment was a man who wanted to connect with his audience taking a lap around the perimeter of the auditorium so he could get as close to as many people as possible. He took his time, saying hello, shaking hands, and encouraging us all to sing those three important words: Let Love Rule. It was beautiful, a lasting memory that capped off one of the greatest concerts I have ever attended.
Lenny assured us he’ll be back soon. I already can’t wait. Before that though, he’s got just three shows remaining on this Aussie tour. Trust me, you will want to catch him if you can.
My husband and I discovered what piano bars could be when we were cruising with P&O several years ago. These weren’t the loungey piano bars you see in hotel lobbies; they were rowdy venues where the entertainers played party anthems that had crowds on their feet. Honestly, we’ve been chasing that high ever since. I’ve lost count of the number of times we’ve visited piano bars on cruise ships and on land and walked out disappointed. So our expectations were fairly low when we decided to catch the Duelling Pianos show at Drifter’s Wharf. The tickets were cheap, so we reasoned we could leave early if we wanted. However, this was the piano bar experience we’ve been looking for.
The Duelling Pianos concept originated in New Orleans. While it’s common in the US, it’s something we sadly don’t see enough of in Australia. As the doors opened, we were greeted by two pianos facing one another, each one set up with a request pad and pencils so we could start shaping the set. Mitchell Dormer, who you may remember from the most recent season of The Voice Australia, eased us into the night with Billy Joel’s “Vienna.” But after that it was banger after banger. With his buddy Bodhi Acton on the other piano, they raised the roof on this intimate venue. While usual piano bar suspects like “Sweet Caroline” and “Piano Man” got their time, they sat alongside pub classics like “Mr Brightside” and “Am I Ever Gonna See Your Face Again.” And we all got in touch with our feminine side when they busted out “Man! I Feel Like a Woman!” for the closer.
Longtime readers might notice that I am very reluctant to stand for a gig. I wouldn’t even do it for Rob Thomas a couple of weeks ago. I fully expected that even if the music was good, fatigue might set in and cause me to cut my night short. But honestly, I could have enjoyed a couple more hours of Duelling Pianos. Mitchell and Bodhi are insanely talented musicians with a seemingly encyclopaedic knowledge of music. While I didn’t get my Harvey Danger and Montell Jordan requests, I can’t think of a better way to spend my Saturday night.
When I first discovered Malaika Mfalme’s music, they were creating songs processing their grief. Their debut album Yasmin was a tribute to their late partner and an exploration of the emotions that loss triggered. It was a challenging listen, but a beautiful one. Now several years have passed and Malaika has released Unfurling, a collection of songs that reflect on their path to healing.
“Unfurling is that quiet moment when you realise you’ve survived, and you’re finally beginning to bloom again,” Malaika explained. “The word itself makes me think of plants, of finally opening after all the mess and heartbreak, realising that the waiting was actually growth.”
The opener, “Cobblestones,” is a breathtaking spoken word piece which sets the scene, explaining how Malaika needed to leave Sydney (Eora) and all the heavy emotions he felt there and travel to Germany’s capital. It naturally leads us into the EP’s first single, “Berlin,” which Malaika penned during their time in the European city. “Smoke” is another stunning spoken word piece, part letter, part poetry. “Thirteen” is bittersweet and nostalgic, giving glimpses into friendships past, the ghosts they leave behind, and the patterns we seem destined to repeat. Another gorgeous poem, “Grace,” precedes the stunning final track, “The History of Me and You.” This perfect closer honours the quiet moments shared with loved ones and the scars and stories from the past that make us who we are going forward.
Unfurling is another truly special offering from Malaika Mfalme. Through sharing their poems and songs, they share their heart. While we meet them in a place that’s not quite as raw this time around, these warm, folky tracks are every bit as moving and authentic. Set aside 18 minutes of quiet to listen to them, really listen to them, taking in the words and the way they make you feel.
Unfurling is out now. Malaika will support its release with the following shows in the coming weeks.
After a strong season in Meeanjin/Brisbane, it’s safe to say that The Lovers has struggled to find its feet in Eora/Sydney. I snapped up tickets for a mere $48 during a sale. Despite the bargain prices, it’s still wrapping up early. I try to go into any production with an open mind, but I was nervous I may be disappointed. I needn’t have worried. This modern reimagining of Shakespeare’s A Midsummer Night’s Dream is an absolute joy.
The Lovers is the brainchild of local creative Laura Murphy, who brought us The Dismissal and Zombie! The Musical. She streamlined Shakespeare’s original text, eliminating the play within a play and most of the fairies to focus on the love tangle of Hermia, Helena, Lysander, and Demetrius. It works so well, I’m sure Shakespeare would approve. Pieces of the Shakespearean text are cleverly interspersed with super catchy and original pop songs. Full of pop culture references and wit, they do a superb job of refreshing the original story.
Every member of this small cast was superb. We’d seen Mat Verevis in Beautiful and Stella Perry in the Rocky Horror Show, but they were eclipsed by actors in larger roles. With such a small ensemble, I saw them shine. Jayme-Lee Hanekom is such a light as Puck. Natalie Abbott was also absolutely radiant as Helena. Six alum Loren Hunter was also breathtaking. Nic Van Lits stepped in for Jason Arrow as Demetrius during our matinee. He may not be a big name like the Hamilton star, but he made the role his own and was every bit the equal of the cast regulars.
I’m not sure why The Lovers is struggling to find an audience in Eora/Sydney this time around. It’s funny, moving, a celebration of love and literature, a true pleasure. It’s everything I wanted it to be and so much more than I hoped for. Do not let the early closure put you off. This is such an exciting musical and one you really should see before it leaves the Theatre Royal on November 16.
Longtime readers will know that while I’m passionate about all kinds of music and performers, no artist thrills me like Rob Thomas. Whether he’s solo or fronting Matchbox Twenty, he moves me like no one else. His songs have soundtracked my life from my angsty mid-teens to my relatively calmer married years, and I’m so grateful for them. I see at least two shows each tour because anything more than one feels like a bonus and I can keep those post-tour blues at bay. Right now I’m performing that delicate balancing act of extending the buzz as long as I can while rejoining the “Real World.”
While local country act Fanny Lumsden wasn’t the most natural choice of opener for a pop-rock show, she quickly won over the audience with her infectious energy and catchy songs. She led the crowd in line dances and choreographed hand movements. Seeing the sea of people in the general admission section mimicking her movements in time with these songs they likely weren’t familiar with really brought a smile to my face. So did Fanny’s brother Thomas, who may be one of the most entertaining backup vocalists I’ve ever seen. Watching the siblings dancing around together, lapping up their first-ever shows at the Enmore, was really special.
Rob’s visiting Australia to promote his new album All Night Days, but I’ll use the term promote loosely. Just four songs from the album made the set on my first show, but that was pared back to three on Rob’s final night in Sydney. He opened with the explosive “I Believe It,” which really comes alive on the stage but then preferred to play with more familiar material. It’s a wise move, guaranteed to win over an audience, but as a diehard fan who’s seen multiple shows during his career I would have loved to hear more of that fabulous fresh material.
I will say, that’s my only criticism of these shows and it’s a minor niggle outweighed by all that was overwhelmingly positive. Now that Rob has five regular solo albums and just as many Matchbox releases under his belt, he has a rich discography that allows him to mix up the sets. What a joy for the ardent fans like myself who attend multiple shows! He wasn’t afraid to deliver deep cuts either. “Not Just a Woman,” a bonus track on a limited-edition version of …Something to Be, made its unexpected Australian debut. “Rest Stop,” which I’m not even sure I’ve heard Matchbox perform, let alone Rob solo also got a beautiful acoustic treatment. These gems for the faithful were sprinkled into the set, sitting easily alongside singalong favourites like “Lonely No More,” “3 AM,” and “Smooth.” Listening to the voices, looking around at the faces in the crowd, you can see that these songs matter. For me personally, watching Rob play tracks like “Mockingbird” and “Can’t Help Me Now,” which mean so much to me and my husband, while we sit close and take in every lyric, is pure magic.
The songs are at the heart of what Rob does. There were no big screen projections, no pyrotechnics, no flash. Rob doesn’t need the bells and whistles because he is so magnetic. His banter always feels natural, his joy at playing for audiences in one of his favourite countries evident. I’m also not quite sure how he’s becoming more energetic on stage when his peers are slowing down, but I witnessed two electric performances back-to-back. He also surrounds himself with a fantastic band. While the sound crew at the Enmore didn’t always do them justice with the mix, they really are some of the best in the biz. After several tours with Rob, drummer Abe Fogle, bassist Al Carty, and keyboardist/guitarist Matt Beck are familiar faces to fans. While they all play their parts well, I was most impressed by Rob’s son Maison Thomas-Eudy. He has big shoes to fill as lead guitarist, especially when it’s time for “Smooth,” but he has all the attitude and chops of a rock star. This is no nepo hire; “The Kid” has the goods.
I am so glad that I saw two shows. During the first, I was overwhelmed with the gravity of seeing my favourite artist. There were tears. It was incredible, but I’m not sure I took everything in as much as I did on night two. I was steadier, but every bit as grateful to be in the room with Rob. Thankfully I won’t have to wait too long for his return, as he assured us he’s already planning to bring Matchbox Twenty back in 2027. Until then, I’m just going to ride this wave for as long as I can. Meeanjin/Brisbane, you get the last show of this tour. It’s at Sandstone Point Hotel on November 8. If you don’t already have tickets, general admission passes are still available through Ticketek.
On a Hump Day that’s feeling more challenging than most, Fool Nelson’sBad Dreams EP is delivering the sonic shot in the arm I need. If you’re struggling this morning or you just want to enjoy some stellar indie-rock music, take a listen.
The title track is an explosive opener which sets the tone for the rest of this six-track EP. The music is relentless, with a furious energy which almost seems at odds with Tom Broadbent’s easy vocals. I’m not sure why the unlikely blend works, but it does.
Fool Nelson barely takes their foot off the accelerator. The brief atmospheric “Interlude” gives listeners a little time to catch their breath before the energy amps up again with “Forget It” and “Big Shot.” This is big stadium rock music made all the more impressive when you realise it’s created by a trio. I’m not quite sure how three people achieve such a massive sound, but I’m so glad they do. By the time the final note of the closer “Don’t Feel Right” faded away I was invigorated, and so ready to listen again. It’s that kind of EP.
Bad Dreams is out now. Fool Nelson are currently playing shows around the country to support its release. They’ll also head to the United Kingdom and Europe next May, so stay tuned for those dates if you’re living abroad. It’s only a matter of time before they graduate to large venues befitting their massive sound, so take the opportunity to enjoy them in these intimate settings while you still can.
