When Naarm/Melbourne-based indie artist Amalia released her debut single “Electric Rush” in 2024, I declared it “one of the strongest debuts I’ve ever heard.” Now that she’s released her debut album HEAVEN IN A HURRICANE, I’m feeling every bit as effusive. Featuring 11 tracks written over three years during her late teens and early twenties, this album aims straight for the heart and doesn’t miss.
The late teens and early twenties are a tumultuous time, punctuated by sweet highs and crushing lows. Amalia takes us to all those places and in between as she grapples with life, love, and coming into her own. The high-octane opener “Borderline” alerts listeners that they’d better strap in. It’s the sort of song that encourages you to grab a hairbrush, dance around your room, and try to sing along, even if you don’t have Amalia’s incredible vocal range.
Amalia’s voice is really superb, and it seems to have no limits. It can go from an impassioned rock belt to a show-stopping falsetto with ease. It commands attention, demanding that you listen. There’s such power in that alone, but Amalia is also an incredible songwriter. Her lyrics pack an emotional punch, and her melodies are so catchy you can expect to be humming them long after you stop listening. I can hear the influences of Stevie Nicks, Alanis Morissette, Lana Del Rey, Florence Welch, Kate Bush, Pat Benatar, the greats that came before her, but Amalia is still so clearly her own artist.
I feel so connected to this album. Singing along to the powerful choruses of tracks like “Lies” and “Sugar Baby” is utterly cathartic. My heart broke hearing the emotion in Amalia’s voice in the beautiful closing ballad “Cruel to be Kind,” but I was healed by the joy of the independence anthem “Break Free.” I’ve always felt the true measure of music is whether it moves you. The way every track on HEAVEN IN A HURRICANE makes me confident it will be one of my favourite albums this year.
Icy August weather calls for comforting music that wraps around you like a blanket. Eora/Sydney-based singer-songwriter Milina Mihic delivers the perfect soundtrack for the season with her debut EP The Man You Remember.
I fell for this collection of songs from the moment I heard Milina’s sublime vocals on the opening track, fittingly titled “Winter.” Her voice is so beautiful and compelling. It’s delicate, almost fragile in quiet moments, but capable of real emotional intensity as the music swells. Her tone’s warm, inviting. It draws you in and encourages you to stay in the songs and listen to what she has to share.
“Winter” is the first of six special songs featured on The Man You Remember. This EP’s been four years in the making and it shows. Not only is each song exceptional, but they’re infused with the sort of insights that can only come with time. There are moments of uncertainty mixed with real clarity as Milina explores themes of love, loss, and identity. While powerful as individual tracks, I love the way they come together to capture Milina’s coming-of-age journey from her teens to early twenties. Even though the lyrics are very personal, the universal themes help them resonate.
The Man You Remember has really cast a spell on me. Every time the final notes of the title track fade out, I find myself pressing play for another listen. Each time I catch new lyrics and sonic moments that move me. Take a little time out to discover The Man You Remember on your favourite streaming service.
The release of Budjerah’s long-awaited debut album Gentleman feels like a reintroduction to this talented artist. The shy indie-pop teen we met in 2020 appears utterly transformed with this polished pop release.
From front to back, Gentleman is an album of bangers. But you might expect that when you browse Budjerah’s collaborators. Some of the songwriters include Poo Bear, known for his work with Justin Bieber, Rob Lewis, who’s been Christina Aguilera’s music director for more than 20 years, and Philip Lawrence, who’s Bruno Mars primary creative partner. And if that wasn’t enough, he’s got a song penned by Diane Warren, one of the most acclaimed lyricists of all time who’s written chart toppers for Cher, Celine Dion, Aerosmith, and countless others. These are people who understand what it takes to write a hit.
Their tunes are total earworms, but they would fall flat if Budjerah didn’t bring such charisma and confidence to them. It’s probably easy to be confident when you’ve assembled the Justice League of songwriters though! But they’re not doing all the heavy lifting. Budjerah also enlisted Grammy Award-winning producer Om’Mas Keith, who’s worked with talents like Frank Ocean, Jay Z, and Erykah Badu. His involvement ensures that Gentleman feels sonically interesting, rather than a record that’s commercial but ultimately forgettable.
From the upbeat soul of the title track and opener, Gentleman had me hooked. It feels like a natural companion to the next track “Want You Back.” They’re such perfect pop that Budjerah probably could have released an album entirely in this vein and kept me happy. But rather than play it safe, he experiments with genre. “I Only Remember Your Name” has a deep reggae groove, “Sinner” is a gospel-tinged ballad, and “Lonely” is pure yacht rock. Through all the twists and turns, Budjerah’s undeniable vocals shine through.
Gentleman has been a long time coming for Budjerah fans, but I’m glad he took the time. This is a considered release, one that comes from an artist who knows who he is and is now ready to share that definitive debut statement with the world.
Gentleman is out now. Budjerah will take these songs around the East Coast on his The Gentleman Tour this October and November. Tickets are on sale now from the links below.
Twenty-eight years ago, Bachelor Girl released their debut album Waiting for the Day. It was a monster hit, spawning beloved singles like “Permission to Shine,” “Treat Me Good,” and “Buses and Trains.” And now, Bachelor Girl and some of their famous friends are revisiting that release with Waiting for the Day: Artist Sessions.
This album is absolutely stacked with talent. I’m talking Jessica Mauboy, Guy Sebastian, Darren Hayes, Delta Goodrem, S-tier Aussie acts. They help breathe new life into these songs, adding artistic flair that transforms them into something brand new. I appreciate the creativity and intent, even if I don’t always like the results. As a massive fan of the original album, some of the ultra-pop renditions fall a little flat for me. But when this album gets it right, it gets it so right. The rock edge of Suze DeMarchi on “Don’t Hold Back” and Jon Stevens on “This Must Be Love” play perfectly with Tania Doko’s iconic vocals. Michael Paynter proves why he’s one of the nation’s most in-demand singers when he joins Tania on “I Don’t Believe You.”
While the star power will encourage people to press play, it’s the core elements that made this album great the first time around that inspire repeat listens. Decades have passed, but the songs on Waiting for the Day are still so good. Tania Doko and James Roche created something so special with this album, and that legacy is celebrated here. It’s so fitting that Tania and James are the ones to deliver the title track and final number. While the star cameos are fun, the founding members of Bachelor Girl still shine so brightly without them.
Whether you look back on this album with nostalgia like I do or you’re new to the songs and lured by the stars, Waiting for the Day: Artist Sessions is an exciting release. It’s not as flawless as the original, but there are some real moments of brilliance here.
Waiting for the Day: Artist Sessions is out today. Bachelor Girl will support its release with the following shows:
Darkinjung Country/Central Coast-based singer-songwriter NEAV lets listeners into her world with the release of her debut EP be. With these four songs, she walks the delicate line between sharing songs that are personal, yet incredibly relatable.
“I often find myself overthinking, worrying about the future, and struggling to stay present,” NEAV said. “be. reflects my personal journey toward self-discovery and acceptance, both in my mind and during my physical travels. These songs serve as a personal reminder to slow down, breathe, and find peace in the right now – to just ‘be.’ These tracks are incredibly personal to me, and my hope is that they give listeners a safe space to sit with their own thoughts.”
The opening track “Me” is a catchy pop number with real depth. While I appreciated its groove, I fell in love with its lyrics which celebrate self-acceptance. “Full of Yourself” is another irresistible upbeat track. Here NEAV turns the lens on someone who’s so self-absorbed that they left no space for her. The lyrics have real bite and NEAV’s vocals seem to have no limits.
NEAV changes direction with the third song, “Forever,” stripping the sound back to give space to her vulnerable lyrics and delicate vocals. This song is the heart of this EP for me. It’s so, so good. The final song, “Alone,” is an anthemic pop number which celebrates independence. NEAV’s strength is evident in every note. What a fitting way to close this EP.
be. is a beautiful EP from one of the country’s most promising new voices. While her knack for pop melodies is on full display here, her introspective lyrics are what will stay with me. be. is out now on all your favourite streaming platforms.
In an era where concept recordings are a dying breed, especially among female artists, Jean Elliot’sButcher, Lover, Runner reminds listeners of their value. This is a boldly ambitious EP which blurs genre boundaries to tell a compelling story of survival in the Australian bush.
The EP’s title refers to its three central characters whose paths cross in the Devil’s Wilderness, a cinematic gothic-noir setting inspired by Jean’s home in the Dyarubbin/Hawkesbury River. The bluesy opening track “Hole in Her Head” introduces us to the Runner, the story’s female protagonist driven out of the township and into hiding after she was falsely accused of attempted murder. The intensity of this situation is revealed with “Wiretrap.” It’s a powerful alternative rock song that reminds me of music from Tori Amos and Fiona Apple with the contrast between its heavenly vocals and dark, grungy music. The darkness lifts for a moment when the Runner meets the Lover in the “Beneath Your Sun.” He’s a highwayman and a willing accomplice to her plans. Of course, their peace is short-lived, and we’re returned to the bleak reality of their existence with “Devil’s Wilderness Theme.” A spoken-word soundscape, it’s an ambitious piece that anchors this EP beautifully. “Lennon” and “Highwayman” bring the story to a close as the Runner and the Lover travel to confront the ringleader of the witch-hunt – The Butcher – and deal with the fall-out.
“The genre of Australian gothic-noir inspired the lyricism and visuals,” Jean explained. “The ideas about witch-hunts and boy gangs are inspired by the attitudes of young people I have come across, with the hunter and prey metaphor running through the story symbolising cycles of violence, relationships, and the cruelty/beauty of nature.”
Butcher, Lover, Runner takes listeners on a journey with its characters and genre shifts. Jean manages to do it all effortlessly, playing with country, blues, folk, rock, and genres in between. Whatever sounds she’s exploring, her striking voice and engaging narrative compel you to listen. It’s such an original, impressive EP. Butcher, Lover, Runner is streaming now.
Main photo credit: Ollie Acosta EP artwork credit: Wilma Acosta (edit Layla George)
In the modern age, it seems like so many music lovers think bigger is better. Websites melt down as people clamour for tickets to the latest stadium gig. Personally though, they never quite hit like intimate shows do. I never take it for granted that I live so close to Avoca Beach Theatre, which is run by passionate people who champion live music. This venue was the perfect place to see Things of Stone and Wood launch their new album Rae Street.
That’s right, ‘90s darlings Things of Stone and Wood have a new album, their first in 23 years. This is a band that’s refusing to rest on their laurels. The music on this new album is incredible and this venue, which always attracts people who want to listen and absorb, was the perfect showcase for it. I hung on every word of new material like “You’d Gone Before You Went,” a heartbreaking song about lead singer Greg Arnold’s mother who passed with dementia, and “The Year of the River Song,” an upbeat ditty about Greg’s resolve to stop writing songs about a river near his new home in Geneva and find new inspiration. Avoca is the sort of venue that encourages artists to open up about their music, to share something more than songs, to break that wall that often exists between them and the audience and just come together. It sounds a little woo-woo to suggest there’s magic in the air, but I can’t explain it any other way.
While Things of Stone and Wood were here to celebrate their latest release, they balanced the new material with the songs that we’d already taken into our hearts. Yes, “Happy Birthday Helen.” Always “Happy Birthday Helen.” But the fans know this is a band that’s about more than the song that took the charts by storm. And so I relished songs like “Fingertips” and “Heidelberg.” A cover of Thompson Twins’ iconic ‘80s tune “Hold Me Now” was an unexpected joy. And how amazing to see the band step down off the stage and go “proper acoustic,” singing without microphones in the theatre’s aisles.
I’m convinced Things of Stone and Wood are a band that only gets better. Musically, they’re incredible, with the mandolin and piano accordion creating such a special folky sound. Their harmonies are still so tight. They also seem to genuinely like one another, which isn’t something that all bands who’ve been together for decades can say. And when musicians have fun, we do too.
The encore seemed to come around all too soon, but Things of Stone and Wood were clearly in no rush to get off the stage. They asked for requests and after hearing the cries from the crowd decided to play all three. Because why not? I tried to capture the final song, “In Our Home” in my mind, because I knew I’ll look back on this gig as one of the best I’ll see all year.
Things of Stone and Wood have one more show left on their Rae Street album tour. Victorians, catch them at Dja Dja Wurrung Country/Hepburn Palais in Hepburn Springs on May 29.
Richard Marx is one of those artists who keeps me coming back tour after tour. He always delivers with solid vocals and oodles of charisma. No matter what album he’s promoting, every show features the hits that encourage you to sing along. While I appreciate his dependability, shaking things up a little with his After Hours tour made my fifth Richard Marx show last night in Mulubinba/Newcastle my favourite.
Richard started the show in his usual radio-friendly pop-rock space. Songs like “Take This Heart” and “The Way She Loves Me” have become classics, and I can’t imagine ever tiring of singing along while Richard does his thing. It clearly fills him with joy watching us sing those lyrics back to him. He joked that he goes to concerts too; he knows what it’s like to wait to hear your favourites, so he’ll always deliver those big singles. But he wanted to share with us some of the material from his new After Hours album, a collection of standards from the Great American Songbook and his own contributions modelled after these timeless hits. His voice brought a fresh energy to treasured classics like “The Way You Look Tonight” and “Fly Me to the Moon.” These songs have stood the test of time, but they sit naturally against original efforts like “All I Ever Needed” and “Magic Hour.”
After playing acoustic shows around the United States, Richard decided to bring a little of that stripped-back magic to our shores. He seemed even more relaxed as he encouraged us to request our favourites. I loved hearing “Hold On to the Nights,” “Keep Coming Back,” and “Now and Forever” performed so simply, beautifully. During this intimate portion of the show, Richard shared stories of his friendship with John Farnham, including some footage of them spending time together in the ‘80s. His reverence for one of the best voices our country has ever produced was evident as he treated us to covers of “That’s Freedom” and “Burn For You.”
Richard’s set was peppered with sing-along hits, but he saved some of his biggest for the encore. Hearing “Hazard,” “Should’ve Known Better,” and “Right Here Waiting” back-to-back was a fantastic way to end this nostalgic show. A self-proclaimed honorary Aussie, Richard says he loves being on our shores and it shows. He’s such a giving performer who only seems to be getting better as the years pass. Richard has almost wrapped up his Aussie tour, but if you’re in Naarm/Melbourne you can catch him at Margaret Court Arena on April 24 before he heads back to the United States.
Photo credit: Lyn Foreman (the venue said there would be no photos, but Mum got bold after spotting many people flouting the rules and whipped her iPhone out. The photos aren’t as clear as I get on my camera, but they’re certainly better than nothing!)
I could feel the excitement in the air as Guy Sebastian kicked off his 100 Times Around the Sun tour in Mulubinba/Newcastle last night. Fans posed for photos next to posters outside the venue and quickly changed into their new merch, showing the kind of enthusiasm usually reserved for big global artists. It’s been a long time since I’ve been around that kind of buzz, and it really set the scene for one of the most memorable concerts of 2025.
Sam Fischer’s backdrop reminded us that he is “the guy who sings This City,” and he drilled that point home by starting and finishing his support slot with that global smash. However, he’s so much more than that. He’s a charismatic performer with one of the best voices I’ve ever heard live. When you can impress someone like Guy Sebastian with your vocal chops, you know you’re doing something right. He’s also an incredible songwriter who used his time to introduce us to several new tracks. It takes a special artist to capture an audience there to see someone else with songs they don’t know, but I barely heard a murmur as Sam delivered his fantastic music. He told us he’d never visited our city before, but after such a warm reception, I wouldn’t be surprised if he’s planning a return visit.
It’s been around three and a half years since Guy toured the country, and from the moment he graced the stage, I could tell how much he’s missed it. He opened with new songs “Get It Done” and “100 Times Around the Sun,” noting how thrilled he was to share this material with fans. While the new tracks clearly meant a lot to him, he struck that delicate balance. Although the night celebrated 100 Times Around the Sun, older tracks like “Who’s That Girl” and “Battle Scars” provided early sing-along moments for anyone not yet familiar with the 2025 album.
I relished hearing the new material, because I’m convinced Guy’s songwriting is only getting better. It benefits from the wisdom that comes from finding love, experiencing loss, and living life with all its highs and lows. Smart arrangements with Guy sitting at the piano or strumming a guitar ensured we could hear and appreciate every lyric. His backup singers, including the exceptionally talented Gary Pinto, Carmen Smith, and Vince Harder, complemented his incredible voice perfectly. I got goosebumps listening to them harmonise.
Guy told us he was throwing everything at this first show, and he really wasn’t kidding. He welcomed Sam Fischer back to the stage for “Antidote,” which they wrote together for Guy’s 100 Times Around the Sun album. These two talented vocalists put on a masterclass. Guy probably panicked a few security guards when he made the impromptu decision to come down to the audience and take some personal requests, but it proved to be one of the show’s many highlights. While the band wasn’t familiar with Bob Carlisle’s “Butterfly Kisses,” Guy performed a little a capella version for a couple who danced to this country hit at their wedding. I’m not sure there was a dry eye in the house after Guy performed “Unchained Melody” for a woman still grieving the loss of her partner.
Guy tugged at the heartstrings again when he invited his young son Archie up to sing. Guy told him he might want to perform something easy for his first time in front of a large audience, but he fearlessly threw himself into “I Have Nothing.” What a beautiful, pure voice Archie has. The look of pride on Guy’s face as he joined his son in Whitney Houston’s classic was something I’ll never forget.
Through his 23 years in the business, Guy has released 10 studio albums and 61 singles, including 23 top 20 hits. That’s a lot of ground to cover, and likely why this show ran so long that Guy repeatedly thanked us for sticking with him. However, even though it was a weeknight, none of us were in a rush to go home. Instead, we were excited to party with Guy for as long as he was willing. A medley of “Don’t Worry Be Happy,” “Like It Like That,” “Like a Drum,” and “Come Home With Me” was a smart choice for pre-encore, giving fans another opportunity to sing along and see Guy bust some moves.
But of course, we weren’t done. “Before I Go” was powerful and haunting, an impactful choice before Guy took things right back to where it all began. “Angels Brought Me Here” sounded a little different with its ’90s boy-band-inspired makeover, but I ate it up. With one more song in the tank, Guy invited us to stand and have a dance. We all soaked up the moment, clapping and singing along to “Choir,” our voices joining in appreciation for this special show.
Guy Sebastian’s 100 Times Around the Sun tour continues through April and May. Tickets for the remaining dates are available from the links below.
I’m a little biased, but I think Australia has produced some of the world’s greatest songs. Our artists are diverse, with strong, unique voices that tell our stories. So when Michael Paynter announced his shows paying tribute to that music, and a matinee show at Avoca Beach Theatre was amongst them, I jumped at the chance to see him solo for the first time.
I’m incredibly biased towards Avoca Beach Theatre, but it was really the perfect venue for Michael’s Great Australian Songbook show. The audience is always so attentive, just what you want for a show with a musician who wants to share stories about the songs he’s performing. We hung on his every word, whether he was sharing those tales or delivering fantastic Aussie songs that had a special place in his heart.
The set list was brilliant, celebrating classics and newer additions to the “great Australian songbook.” Michael says he regularly changes the set, but I imagine the biggies like “Working Class Man” and “Flame Trees” are fixtures. However, Michael’s not afraid to move away from the predictable pub standards. I expected I might hear a few John Farnham tracks given his recent casting in Whispering Jack, but I didn’t anticipate the criminally underrated “Angels” among them. I also didn’t expect him to deliver Sia’s “Chandelier,” Wolfmother’s “Joker and the Thief,” or Silverchair’s “Straight Lines.” These modern classics are so demanding and an acoustic set leaves nowhere to hide. I always knew his vocals were next level, but I was in awe!
I knew Michael could have standout moments playing alongside Icehouse and Jimmy Barnes, but it was exciting to see the way he could command a room for nearly two hours. The time flew by as he delivered flawless songs on the piano and acoustic guitar. He didn’t need any support, but it was a thrill to see him performing alongside young Ruby Rodgers, the 16-year-old daughter of Mahalia Barnes and Jimmy Barnes’ guitarist Ben Rodgers. She’s certainly inherited her family’s music chops. Her voice was haunting on Gotye and Kimbra’s “Somebody That I Used to Know,” delicate and earnest on Leonardo Bride’s “Even When I’m Sleeping.” Michael said that in five or ten years, we’d look back and remember what a special moment we shared, seeing her so early in her career. He’s probably right.
Michael Paynter’s Great Australian Songbook concerts are a beautiful celebration of the diverse music that makes this country great. They’re selling out all over the place, and I expect demand will only increase as more people see them and tell all their friends. Here are all the remaining dates.
22 April 2026 – The Foundry, Eora/Sydney (SOLD OUT) 23 April 2026 – The Foundry, Eora/Sydney (SOLD OUT) 24 April 2026 – The Regent Theatre, Eora/Sydney 2 May 2026 – Lefty’s Music Hall, Meeanjin/Brisbane (SOLD OUT) 3 May 2026 – Lefty’s Music Hall, Meeanjin/Brisbane (SOLD OUT) 8 May 2026 – Playhouse Theatre, Ngambri/Canberra 15 May 2026 – Athenaeum Theatre 2, Naarm/Melbourne (SOLD OUT) 16 May 2026 – Athenaeum Theatre 2, Naarm/Melbourne (SOLD OUT) 17 May 2026 – Athenaeum Theatre 2, Naarm/Melbourne (SOLD OUT) 29 May 2026 – Athenaeum Theatre 1, Naarm/Melbourne (SOLD OUT) 3 June 2026 – Astor Theatre, Boorloo/Perth 13 June 2026 – Story House Theatre, Djilang/Geelong (SOLD OUT) 10 July 2026 – Festival of Voices @ Theatre Royal, Nipaluna/Hobart 11 July 2026 – Festival of Voices @ Burnie Arts Centre, Pataway/Burnie
