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
With every single release, Victorian singer-songwriter MAXON has been building a reputation as one of the most solid female voices on the scene. Now that her debut album Talking With Strangers is out in the world, there’s no doubt that she’s the real deal.
As someone with eclectic music taste, I appreciate the diversity of Talking With Strangers. MAXON delights in exploring different sounds. It all seems so effortless for her to move from raucously upbeat numbers like “18” and “Yabada” to heartbreaking ballads like “Best Shot” and the stunning closer, “Circles.” Often she plays in an Americana/country/folk space, but she isn’t afraid to throw us curveballs, like the synth-heavy retro pop-inspired “Tangerine Dream.”
While Talking With Strangers takes plenty of musical left turns, the album never gives listeners whiplash. It’s anchored so beautifully by MAXON’s voice. It’s rich, warm, comforting, authentic, steady. You know you’re in safe hands listening to her, so you’re open to wherever these songs take you. And then there’s MAXON’s exceptional songwriting skills. She’s a natural, writing songs that speak to the heart of her experiences as a woman and member of the LGBTQIA+ community. Together, they do an exceptional job of introducing MAXON to music lovers.
For a long time, I’ve said if you’ve never lived in Mulubinba/Newcastle, you don’t really understand how special the place is. It’s one of those cities that never leaves your heart, no matter how far you move away. Once a Novocastrian, always a Novocastrian. But now with the release of Steel Town, I think Morgan Evans might have given the country the scoop. His third album is a beautiful love letter to the place he still calls home and the feelings associated with it.
As someone born and raised in Newy, I was thrilled to hear the references to Burton Road, The Cambridge Hotel, and the rowdy home ground crowd (if you’ve ever been to a Knights game, you know) in the title track. It’s the perfect opener, rooting this album in a place that means so much to Morgan and many of his loyal fans. But he understands that many of the people who listen to his music don’t know Newy, and so other songs tap into the essence of the city without being so specific. If you’ve ever frequented local watering holes like The Del or The Lucky, you understand the culture that drinking songs like “Beer Back Home” and “Another Drink Coming” bring to life. But these songs could just as easily be written about pubs across Australia, bars across America, and beyond. “Land I Love” is a more general tribute to Australia, one which takes us from the white sand and crashing waves of the coast to the “red dirt tracks” of the Outback.
Then there are the stunning love songs celebrating the feeling of home that you get when you’re with the right one. “Two Broken Hearts,” a duet with American singer-songwriter and new love interest Laci Kaye Booth, talks about mending the pain with the right person. Her home state gets a nod in “She Talks About Texas.” The closer, “Settle It Down” perfectly brings together those ideas of love and home.
Listening to Steel Town, it seems like this is the album Morgan Evans was always meant to make. It’s a loving tribute to the things that matter most to him, although it’s accessible enough to touch the hearts of fans far beyond his hometown. As a Novocastrian, I’m very proud of this one, but I hope the rest of the world gets behind it too.
Steel Town is out now. Morgan will play Meatstock this month before kicking off his Aussie tour in May.
Most of us fondly remember the first act that we loved independently of our parents. We discovered them on our own and they spoke to us as individuals, meeting us as the people we were becoming, not the children still tied to the adults who raised us. They’re there for us at a time we needed them to forge our own identities. If we’re very lucky, they’re still there for us in the years that follow. For me that band was the Counting Crows. As a 13-year-old, I enjoyed singing along to “Mr. Jones” but I felt truly seen by “Round Here.” Yes, I was an angsty little thing! I got a copy of August and Everything After in my Santa sack and had it on repeat until Recovering the Satellites dropped in 1996. With the release of Hard Candy I was a little older and finally able to start seeing Counting Crows in concert. I developed a new respect for their artistry with every subsequent show, marvelling at the way frontman Adam Duritz could play with melodies and lyrics to make the songs I knew well feel fresh. That experimentation wasn’t to everyone’s taste, but I was here for it.
It was a case of first-world problems when I missed the last tour due to a holiday in Western Australia. So I was thrilled when Counting Crows announced they’d be a part of the ill-fated Bluesfest lineup for 2026. I counted my blessings when mercifully they weren’t a casualty of the collapsed festival. Before one of my favourites, I finally saw Kingswood. I say finally, because the Naarm/Melbourne act has been around for nearly 20 years, yet for some reason our paths had never crossed. Their blend of country, rock, and blues was the perfect foil for Counting Crows. Every member of the band has serious musical chops. I loved hearing the members harmonise and Fergus Linacre and Alex Laska trading off lead vocals. They had so much energy. It was the perfect entrée for the evening’s entertainment.
From the first notes of new track “Spaceman in Tulsa,” there was a different energy about this Counting Crows gig. It sounded so true to the album, a celebration of this new chapter. I thought perhaps Adam was sticking to the script just because this was a new song, but as the band moved into older numbers like “Hard Candy” and their breakthrough hit “Mr. Jones,” Adam stayed faithful to those recordings, even encouraging us to sing along as he held the mic aloft. We were all sharing a moment here, and it was glorious. Of course, Adam can never resist a little experimentation, but I think this show had a perfect balance between those sing-along moments and more creative sections.
The set was inspired. Counting Crows is a band with relatively few big hits. While they’re happy to tick them off for casual radio listeners, they’ve got time to deliver plenty of those favourites that more hardcore fans just don’t expect. The set is always changing, dependent on the vibe of the band and the audience. I was thrilled to hear so much from the fabulous 2025 album Butter Miracle, The Complete Sweets! Then there were songs I’ve long held close to my heart like “Angels of the Silences,” “Goodnight Elisabeth,” and the stunning closer “Holiday in Spain.” You expect a band to fill your cup with a song that you already adore. It’s more surprising when they can floor you with a song you’ve ignored. “Washington Square” has never hit me before, but I felt it last night.
Counting Crows are such a good band. Five original members are still waving the flag, bringing a sense of camaraderie which is so special to witness. Adam is a force of nature, a little less angsty than he used to be but no less passionate. I got a little thrill every time Charlie Gillingham stepped out from behind the keys and picked up the piano accordion. David “Immy” Immerglück can seemingly play any instrument, but his turns on mandolin were highlights. I had so many moments though where I just marvelled at the sound as I bopped along in my seat.
I’m not sure I’ve ever seen Adam so humble, so grateful, as I did last night. He’s always been a man of few words, preferring to let the music speak for him. But he took a moment to pause and thank us for the support through all the years that has allowed him to continue making music. It was heartfelt, an acknowledgement of the magic we all felt in that room. I’ve thoroughly enjoyed all my Counting Crows shows, but I have no hesitation in saying last night was the best of the bunch. Like a fine wine, they just seem to get better. Tickets to the rest of the Aussie The Complete Sweets! shows are rare, but if you can get yourself to a show I promise you won’t regret it.
The album opens with “A Habit of Dreaming,” a gentle soundscape of slide guitars, piano tones tells you to buckle up and settle in. “Something in the Winter” arrives like a hurricane. It’s country with a healthy dose of rock, anchored by Chloe’s incredible voice which can seemingly do anything. Her low tones are beautiful, but when she opens up on the chorus she really soars.
As the album continued, I became even more enamoured with Chloe’s voice. While “Pushing Punishment” had given me a taste of Chloe’s vocal capabilities, I didn’t know it had the bluesy tones she employs on “Why?” or the edge she exhibits in “Going Down the Drain.” I wasn’t prepared for the way she left herself so exposed in the haunting “Missed Mistakes.” She’s got such a strong solo voice, the beautiful harmonies of “a bad day in februrary” and the gorgeous duet, “Weight of It All,” featuring Jesse O’Neill, also caught me by surprise. The chemistry sizzling through this unforgettable closer makes it one of the album’s highlights.
While Chloe’s voice compelled me, it’s her songwriting talents that really held my interest. As I became more acquainted with the songs I marvelled at her knack for sharing her own heart while creating songs that resonated so strongly with me.
“My goal with this project is not only for neurodivergent people but is for anyone who has ever felt different,” Chloe said. “The record’s whole point is to remind people that it’s everyone’s first time being alive, as well as everyone’s last time being alive. How it’s just so much more worthwhile and meaningful to be kind, grateful, present, not get so caught up in things that don’t serve you, work, life stress, things you can’t control or the past. It’s about leading your own life, dreaming your own dreams and bringing them to life. I have always had a very supportive network around me and I understand not everyone has that privilege or ease in life and that sometimes it’s more complex than that, but this album really serves as a place for people to come to when they just need to feel a little more loved, believed in, confident, capable, strong, fearless and totally inspired to lead their own lives.”
I Have a Habit of Dreaming is out now. Chloe will mark its release with a string of shows kicking off in her hometown this April.
With the release of his debut EP i’ve been looking for you my whole life, Eora/Sydney-based singer-songwriter jnr. establishes himself as one of the freshest names in indie pop. His tunes are ultra catchy with sweet vocals and romantic sentiments that will have listeners swooning. But pay attention and you’ll soon discover that this local talent has a unique point of view that sets his music apart.
Like so many great pop records, i’ve been looking for you my whole life was inspired by a girl. But as he wrote music in France, his partner’s birthplace, jnr. found himself contemplating much more than their relationship.
“When I got there, I started to think a lot more about my relationship to my own culture and the reasons I didn’t want to face my own identity,” he admitted. “Writing my first body of work, which could be some people’s first introduction to me, in a place so foreign to me felt quite ironic. These songs became love songs for both her and my inner child who’s still figuring out where he belongs.”
i’ve been looking for you my whole life is full of bops. The beats are sure to get you grooving and the choruses are made for singing along. Every one delivers a dopamine hit, but understanding the depth of emotions behind them makes for a much richer experience. Up-tempo numbers like the outstanding singles “I guess it’s fine.” and “as you are” dominate, but jnr. shows he can shine in gentler moments too with the poignant closer, “everything.” jnr. strips back his sound here to deliver his final declaration of love. If you weren’t already taking notice, this will be the track that forces you to pay attention.
i’ve been looking for you my whole life is a fantastic pop EP, a collection of irresistible songs that provide powerful commentary on romantic love and self-acceptance. jnr. will showcase this music for hometown fans tonight when he officially launches the EP at Buddy’s Bar. The music kicks off at 7:30 pm with support acts GRXCE and Zhuli.
