Category: Reviews

Posted on by Lauren Katulka

Red Hot Summer @ Roche Estate, Wonnarua Country/Pokolbin

On Saturday, I attended my first Red Hot Summer festival since 2020. I used to be a regular at these events, catching one every year between 2017 and 2020. While the pandemic stole a few years, the ones after just haven’t grabbed me. Lineups featuring the usual Aussie suspects and international acts past their prime couldn’t convince me to part with my cash, but the current run is different. And so, my parents and I ventured to Wonnarua Country/Pokolbin to catch the show headlined by Men at Work and Australian Crawl.

It’s worth noting that this was my parents’ first Red Hot Summer show. Those classic headliners proved irresistible to them, even though they don’t normally attend general admission gigs. People of their vintage were well represented, but so were the millennials and zoomers. Honestly, I’m not sure I’ve ever seen such a diverse lineup of music lovers. And the younger punters weren’t just there with their parents. They were turning up with friends, proudly wearing their Crawl singlets and ready for the music.

Ella Hooper kicked us off with a set that celebrated her new album Overnight Success and current country leanings. It must be a little daunting to play music that’s unfamiliar to many punters during a show that leans so heavily into nostalgia, but if Ella had any nerves, she hid them well. She chatted easily, sharing stories and charming us all. I love Ella’s new material, so I relished the opportunity to hear so much of it. Acoustic reworkings of her classic Killing Heidi tracks “Mascara” and “Weir” gave the crowd the opportunity to sing along.

After Ella had eased us into the afternoon, we were ready to rock out with Boom Crash Opera. They’re such a class act, with Dale Ryder oozing as much charisma as he did in the ‘80s and the band as tight as ever. They tour relentlessly, and it shows. You always know you’re in capable hands when they take the stage. The general admission area swelled, especially when they broke out those big hits like “Onion Skin,” “The Best Thing,” and “Dancing in the Storm.”

National treasures Vika and Linda gave us all the opportunity to catch our breath with their beautiful set. They truly have some of the best voices in the nation, and when they combine, it’s sublime. While I’ve seen Vika and Linda performing with the Black Sorrows, this was my first time seeing them as a duo, backed by their Bullettes. It gave them the opportunity to chat more and play a really varied set with new music from their 2026 album Where Do You Come From? (the title track was especially powerful) and old favourites like “When Will You Fall For Me” and “Never Let Me Go.” Their take on Nina Simone’s “Feeling Good” was another highlight. They were superb.

Eskimo Joe were one of my most anticipated bands and they did not let me down. While I’ve seen Kav Temperley live promoting his solo material, the stars never quite aligned for me to catch a full-band set. Thankfully, they’ve lost absolutely nothing over the years. They came out loud, ready to rock, with “Sarah.” Hit after hit followed, along with a surprising cover of Icehouse’s “We Can Get Together.” Kav is such a magnetic frontman. He had so many of us in the palm of his hand. Except for my dad. He insisted that they were just making a lot of noise. Which maybe means that they were doing something right!

While my dad didn’t appreciate the young whippersnappers in Eskimo Joe, he loved Birds of Tokyo. They have a lot more strings to their bow, he says. There’s no denying that they do what they do very well. They sound exactly like they do on the radio, except for those little moments when the super talented band members cut loose. Ian Kenny is a fine vocalist. They have the ability to capture an audience. Most of them probably only knew “Plans” and “Lanterns,” but they were captivated by the rest. For me, the music is a little too safe, a little too polished. But I sat near someone who sang every word passionately, who was so connected to what they do that it nearly brought her to tears. And when an act can do that, even if it’s not quite to my taste, I can see that they’ve done their job well. They might have even won me over when they busted out a cover of Traveling Wilburys’ “Handle With Care.”

I was really looking forward to catching the much-hyped co-headliner, Men at Work. Colin Hay was a standout at the Good Times show a few years back, and I remember loving a free set they played at Tumbalong Park in 2000. But much of this set sadly fell a little flat for me. I couldn’t fault the sound. Colin has assembled a quality team of stand-ins for his original bandmates, and his distinctive voice is always superb. But for a casual fan, as most of us in the seated area were, the unfamiliar tracks didn’t hook us. We showed through the other performers that we don’t always need to sing along to feel invested, but one mellow track after another without any interaction with the audience saw people leaving the general admission area and many around me turning to their own conversations or scrolling their socials. I perked up a little at “Dr. Heckle & Mr. Jive,” but that came halfway through the set. Why not throw us a bone a little earlier? Even when the hits did come, they weren’t always delivered with the energy I hoped for. “Overkill” has long been my favourite Men at Work number, but I think I sang it with more passion than Colin. Things took a turn for the better near the end with a string of hits and more enthusiasm all round. By the time they played “Down Under,” we were all on our feet, and we stayed there for “Be Good Johnny.” Was it a little too late? Maybe. But at least we got there.

And then there was Australian Crawl. A band that might have actually come back stronger. The anticipation was at fever pitch. Those young blokes I mentioned earlier were absolutely frothing. It reminded me a lot of the hysteria around Darryl Braithwaite a few years back. Their enthusiastic cheers punctuated the hush that fell over the crowd as James Reynes took to the stage and delivered a stirring rendition of “Hoochie Gucci Fiorucci Mama” in tribute to their late members Guy McDonough and Brad Robinson. It was such a poignant moment before the party began. And what a party it was. My 73-year-old mum wound back the clock, refusing to sit down as the band delivered hit after hit after hit. They sounded so good, like a well-oiled machine despite their absence from the scene. All the remaining original members were there, along with Josh Owen and Sean Johnson who’ve played with James for so many years that they feel like family. Men at Work might have had international acclaim and performers with international profiles among their ranks, but our 100% homegrown talent blew them off the stage. What a way to close this amazing show.

The Red Hot Summer party continues through summer at the following venues. Many shows have sold out, but if you can manage to get your hands on some tickets, I suggest snapping them up!

7 November 2026 – Victoria Park, Ballaarat/Ballarat
8 November 2026 – Mornington Racecourse, Bunurong Country/Mornington (SOLD OUT – check for resale tickets)
14 November 2026 – Sandalford Wines, Whadjuk Noongar Country/Swan Valley
15 November 2026 – Glenelg Beach, Pattawilya/Glenelg
20 November 2026 – Riverstage, Meeanjin/Brisbane (Ella Hooper, Eskimo Joe, and Birds of Tokyo not appearing)
22 November 2026 – Sidney Myer Music Bowl, Naarm/Melbourne (Ella Hooper, Eskimo Joe, and Birds of Tokyo not appearing)

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

Phil x Phil – Phil Burton @ Wyong Rugby League Club, Darkinjung Country/Kanwal – 10 October 2026

If you thought Phil Burton was sitting around twiddling his thumbs waiting for his Las Vegas-based Human Nature mates to return, think again. While he still performs as part of Human Nature when the other lads are in Australia, Phil is also forging his own path as a solo performer. He admitted he was terrified for his Songs That Shaped My Soul shows in 2023, but he seems to have shaken off the nerves for his latest endeavour Phil x Phil. While his first solo dates offered a mix of Human Nature material and covers, Phil is more laser-focused this time around with a show celebrating the music of Phil Collins.

I was lucky enough to see Phil Collins in 2019, on what will likely be his last Australian tour. His voice was flawless, but issues with his hip and back saw him seated for most of the performance. I didn’t mind; I was just so excited to see this true legend perform. But attending Phil Burton’s show on Saturday gave me a little insight into what I might have enjoyed if I’d caught Phil Collins earlier in his career. Those Human Nature dance skills came in handy as Phil grapevined and box-stepped around the stage, performing with the kind of energy that Phil Collins just can’t muster these days. At the Phil Collins show, I also marvelled at the strength of his back catalogue. I have never owned a Phil Collins album, but his music dominated the airwaves, ensuring anyone who listened at the time knows every word. So while the Phil x Phil concept might seem a little niche, it actually works perfectly.

Phil assured us he’d keep the talking to a minimum because there was so much music to get through, and he was right. While the show stretched over more than two hours, it seemed to pass in the blink of an eye because every song was a banger. Most of the set list drew from Phil Collins’s solo era, but I was thrilled Phil reminded us of where it all began with Genesis’ “That’s All.” What a tune it is, the perfect showcase for Phil’s fantastic voice and his super-tight band.

Assembling the right musicians would always be key for these shows. When you think of Phil Collins’s music, you think about those epic drums in “In the Air Tonight,” the trumpet flourishes in “I Missed Again” and “Something Happened on the Way to Heaven,” and the saxophone solo of “One More Night.” I’ve seen the musicians Phil Collins hand-picked, and honestly I think every one of Phil Burton’s players was at least their equal. They’re also exceptional singers. While mostly they stuck to backing vocals, Phil gave them all time to shine on a beautiful ensemble rendition of “You’ll Be in My Heart.” The Voice alum Rebecca Selley was more than a backing vocalist; she was Phil’s partner in crime, matching him up front with dance moves and powerful vocals. Watching her handle Philip Bailey’s challenging parts in “Easy Lover” was an absolute joy.

Although he stayed true to his word and kept the chat to a minimum, Phil couldn’t resist asking us every now and again whether we’d heard our favourite song yet. Every time, I heard more people answering in the affirmative. I think by the time he treated us to “Sussudio” for the encore, everyone had heard that special song they were waiting for, and then some. It brought many of us to our feet, knowing that it was our last opportunity to dance and show our appreciation for this fantastic night of music.

While he’ll be back with his Human Nature mates before too long, Phil doesn’t need them to put on a show. With serious vocal chops, charm, and one of the tightest bands around, his Phil x Phil shows are a delightful celebration of Phil Collins’ legacy. Only one more is announced: EVAN Theatre in Mooroo Murak/Penrith on October 23. Tickets are on sale now from Ticketek. Trust me, you do not want to miss it.

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

“When The Water Stills” – Mietta

Music is often a lot like fine wine and good cheese; the best takes time. When so many records are pushed along through the corporate machine, there’s real beauty about an album that’s had time to breathe and grow. When the Water Stills, the debut album from Bunurong Country/Mornington Peninsula-based folk artist Mietta, is one of those special releases.

When the Water Stills came from a two-year, local community-grant-funded storytelling project. These songs developed naturally through Mietta’s performances and place-based gatherings, creating an indelible connection between the songs, the stories they tell, and the people and place that gave them life.

“The project is a lived reminder to go slow, tread softly, and be where our feet are – a practice often lost in the constant movement of our world and the music industry,” Mietta’s press release reads. That ethos really sets the tone for this special collection of songs.

I was immediately drawn in to Mietta’s world with the opening track “Margot.” When so many female artists want to stand out by belting or performing runs, Mietta’s subtler approach really stands out. The bare-bones acoustic arrangement beautifully supports her stunning voice, which reminds me of revered female storytellers like Sara Bareilles and Sarah McLachlan. Mietta feels like she’s having a direct conversation with listeners as she shares her story of getting her morning coffee and the universal experience of missing someone special.

I felt such a sense of calm as each song flowed beautifully from one to the next. With each one there was another story to connect to. I was especially drawn to “From Your Daughter,” which perfectly encapsulates the push and pull of healthy relationships between parents and their children, the oft-competing desires for independence and nurturing that exist all at once. “Young Years” is another absolute gem, a slow-burning ballad dripping in nostalgia.

The album reaches a turning point with “Eden” and “Choose to Care.” These tracks are unexpected, more experimental, more dynamic than the gentle folk music that came before. “Eden” has a cinematic feel reminiscent of a lost recording from Florence + The Machine. Then I was swept away by the pulsating beat of “Choose to Care.” Listening to these songs almost felt like reaching the mouth of the river, where the gentle flow meets the ocean and the water becomes more volatile, unpredictable.

But then the water calms as we return to that quiet, acoustic space with the penultimate number, “The Valley Song.” The title track is the perfect closer, a stripped-back number anchored by the foundations of Mietta’s music: her stunning voice and the warm tones of an acoustic guitar. This song feels like it brings us home, a little lighter and sonically nourished.

When the Water Stills is out now on all major streaming platforms and available as a high-quality digital download via Bandcamp.

Images used with permission from Mietta

Posted on by Lauren Katulka

“Making Room For Others” – Civic Video

After building real buzz for their live shows, Eora/Sydney-based indie-rock act Civic Video recently dropped their debut EP Making Room For Others. If they felt any nerves heading into the studio, I can’t hear them. This is one of the most confident and compelling indie-rock recordings I’ve heard in some time.

I’ve been listening to Making Room For Others for a couple of weeks, but it’s taken me a while to put my fingers to the keyboard. Not because I didn’t want to share it with you, because I certainly did. But I wasn’t ready to dissect it, to move from the phase of just enjoying it as a music lover to thinking about it as a critic. I didn’t want to analyse why I love this EP so much. I just wanted to rock out.

Frontman Zac Newton-John’s voice anchors this music. When he sings, you believe him. While some rock vocalists want to show listeners all their tricks, Zac is more restrained, delivering lyrics with heart rather than maximum power or acrobatics. He might be the man out front, but Civic Video are a tight, cohesive unit rather than a vehicle for their frontman. I found myself noticing the important contributions of the players as I listened. The snaky bassline of the opening track “Get Back to It” excites, the electric guitar and drums that bring an intensity to “Say It Out Loud” impress, and with every track that follows I fell a little more in love.

Like Gang of Youths, Holy Holy, and The VANNS, Civic Video have a knack for creating addictive indie-rock. I got to know these songs a couple of weeks ago, but I’m still pressing play. The choruses of songs like “Just Like You” and “Daisy” are so incredibly catchy, but they’re supported by stellar verses. By the time the EP reaches its epic title track, I’m powerless to resist one more listen.

Making Room For Others is out now. Civic Video are currently touring the EP along the East Coast, and they’ve got a couple of special events in store for fans outside those cities. Tickets are on sale now for their remaining shows:

23 October 2026 – La La La’s, Dharawal/Wollongong
24 October 2026 – Metro Social, Eora/Sydney
30 October 2026 – The Rions Halloween Special @ Cloisters at UniBar, Tarntanya/Adelaide
8 November 2026 – Spaced Out @ Gage Roads, Walyalup/Fremantle
13 November 2026 – Bergy Bandroom, Naarm/Melbourne

Main photo credit: yeahrad via Good Intent

Posted on by Lauren Katulka

Ben Folds @ Civic Theatre, Mulubinba/Newcastle – 1 October 2026

Now that the dust has settled on the NRL season and the long weekend, I’m turning my attention back to music and reminiscing about last week’s excellent Ben Folds show in Mulubinba/Newcastle. Ben is one of those artists that keeps me coming back every few years. The American singer-songwriter is a regular visitor to our shores, and while I don’t attend every tour I can never leave it too long before buying tickets. Even though a midweek gig in Newcastle was tricky, the prospect of seeing him at the Civic Theatre was irresistible, so my husband took a half-day off work and we made the way to my old stomping ground.

The Civic really is the perfect place for seeing a show like this. It’s one of a handful of heritage-listed theatres, a special space which sets the tone for special nights out. The sound is always impeccable, perfect for appreciating the lyrics of any unfamiliar songs. I really appreciated that for Lindsey Kraft’s set. Ben’s support act has only been making music since the pandemic, but was familiar to me through her role on Grace & Frankie. The quirky piano songs from her semi-autobiographical one-woman musical We’ve Been Here Before really were the perfect way to way to ease ourselves into a night of music. I hung on her every word, appreciating her humour and musicality.

This was my fifth Ben Folds show, but I’ve never seen one quite like this. He took to the stage wearing sunglasses, a way to cope with the vestibular migraines he’s been battling he told us. He hates them too, he said, but they allow him to keep making music for us. I’ve always known he was passionate about that, but I appreciated it just a little more at this concert. There was such intensity about the way he played, like he was pushing through the discomfort because the songs meant more. People closer to the front said they saw him closing his eyes behind the shades, gripping the piano, doing whatever he needed to do to ensure the show went on.

A Ben Folds concert always surprises. “Brick,” with his band Ben Folds Five, is his only top 50 hit, so people aren’t really seeing his shows because they heard him on the radio. That gives him the freedom to play what he feels like, because he’s amongst serious fans who either know more obscure tracks or are open to hearing them. We don’t mind if we don’t hear “Brick,” and we didn’t, because we’ve probably got other favourites. I heard many of mine: “Landed,” “Still Fighting It,” “Effington,” and “You Don’t Know Me” with the crowd making an impressive stand-in for Regina Spektor. I’ve not sure I’ve every heard such enthusiastic participation or better harmonies from an audience.

Given the migraines, I wasn’t expecting an encore. I appreciated the way Ben had already pushed through, but it seemed he had a little more in the tank. He returned to the stage, tossed the sunglasses, and put everything into “Army.” And then finally, a few familiar notes and I was clutching my husband’s hand as Ben serenaded us with “The Luckiest.” This is such a special song for my husband and I, and for a few minutes we sat in it, marvelling at how lucky we are. To have found one another all those years ago, and to be sitting together enjoying one of our favourite artists sing one of our favourite songs. Truly the luckiest.

Thank you for a wonderful show Ben. I can’t wait to do it again soon. Ben Folds has just wrapped up his solo shows, but he’ll be back on our shores for more gigs backed by orchestras next year. Tickets are on sale now for all the following dates:

22 January 2027 – Llewellyn Hall, Ngambri/Canberra (with Canberra Symphony Orchestra)
23 January 2027 – Llewellyn Hall, Ngambri/Canberra (with Canberra Symphony Orchestra)
29 January 2027 – Hamer Hall, Naarm/Melbourne (with Melbourne Symphony Orchestra)
30 January 2027 – Hamer Hall, Naarm/Melbourne (with Melbourne Symphony Orchestra)
3 February 2027 – Hordern Pavilion, Eora/Sydney (with Sydney Symphony Orchestra)
4 February 2027 – Hordern Pavilion, Eora/Sydney (with Sydney Symphony Orchestra)
6 February 2027 – Wrest Point, kree.wer/Sandy Bay (with Tasmanian Symphony Orchestra)
18 February 2027 – Her Majesty’s Theatre, Tarntanya/Adelaide (with Adelaide Symphony Orchestra)
19 February 2027 – Her Majesty’s Theatre, Tarntanya/Adelaide (with Adelaide Symphony Orchestra)

Photo credit: Tim J Keegan @ Flickr

Posted on by Lauren Katulka

“Assassins” @ Red Tree Theatre – 20 September 2026

For a long time, I was a theatre snob. I was convinced that community theatre productions could never rival the shows that grace the big-city venues. But in recent years, I’ve discovered the charm of the smaller theatre companies. While there are no household names, the performers often blow me away. There’s a beautiful intimacy about small theatres filled with the most enthusiastic audiences. Community theatre can also often take chances that major companies can’t, so there are more original works and fewer mainstream pieces. If you’re a theatre nerd like me, community theatre is often the only place you’ll find some of the gems of the past. That’s what encouraged me to visit Red Tree Theatre for the first time last weekend. I adore Stephen Sondheim, so I couldn’t miss their production of Assassins.

I don’t know why it’s taken me so long to get to Red Tree. It’s on Darkinjung Country/the Central Coast, so there’s really no excuse. I promise I’ll be back soon. It’s such a great theatre, with Tamburlaine wines at the bar, comfortable seats, and helpful staff. I was dazzled by the carnival set, an assault on the senses with patriotic bunting and twinkling lights. My phone photo doesn’t do it justice. It may be the best theatre set I’ve ever seen. It primed me for this outstanding production.

Assassins is a biting satire exploring the dark side of the American Dream through the stories of nine historical figures who attempted to kill American presidents. Some succeeded while others’ plots didn’t quite come off. Their lives intersect, breaking the rules of time and space, as they make their murderous plans against the garish carnival backdrop. Darkly funny and unsettling, Assassins is like nothing I’ve ever seen before. It was so beautifully realised by this impressive cast. I was especially impressed by Brayden McFarlane-Walker playing the flamboyant and charismatic Charles J. Guiteau, Raif Colbert Smith as the volatile Samuel Byck, and Taylah Fellowes as the obsessively lovestruck Lynette “Squeaky” Fromme, but there were no weak links here. What talented performers we have here on the Coast.

I’m still thinking about Assassins several days after seeing it, which proves the power of this production. It’s criminally underperformed, so it’s worth a trip to the Coast to see it. But you’d better get your tickets soon, as there are just five more performances. Catch Assassins at Red Tree Theatre in Darkinjung Country/Tuggerah from 24 to 27 September.

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

“Stranger That I Know” – Toby Mobbs

Listening to a new Toby Mobbs album always feels like catching up with an old friend. He wowed me with his debut album Placid in the Rough in 2022, and impressed me again two years later with In Between The Words. Now another two years have passed and he’s gifted us with another fantastic collection of songs, his latest album Stranger That I Know.

Toby eases us in with the nostalgic pop-rock ballad “Far From Home.” It’s a song of longing and memories that builds to a beautiful brassy climax. It’s a natural precursor to “Returning,” which also has Toby reflecting on the life he’s led and where he’s heading. I love the way these songs start so small, with just the strum of an acoustic guitar and gentle piano chords, drawing us in before taking us on moving musical journeys as they gain emotional momentum.

Stranger I Know takes its first musical left turn with “Birdcage,” a rollicking rock number that will have you punching your fist in the air. It’s gloriously rebellious, an anthem to freedom and self-belief. He also rocks out on “Best For Me,” a duet with fellow Bungambrawatha/Albury-Wodonga native James Oswald. Meedie, a singer-songwriter from Mulubinba/Newcastle, joins Toby for “Long Forgotten,” a bittersweet breakup anthem. The reggae vibes of “200” put a smile on my face before Toby had me wiping away tears with “Rather Stay.” This powerful piano ballad is such a fitting end to a really special album.

As with his other releases, Toby has taken the time to create music he can be proud of on Stranger That I Know. Every detail is considered, every lyric heartfelt, every genre shift intentional. Stranger That I Know is available to stream or purchase on CD at JB Hi-Fi. He’ll celebrate the album’s release with a national tour featuring gigs in every single state and territory. Get your tickets for the following dates from the links below:

7 October 2026 – Thirsty Crow, Wiradjuri Country/Wagga Wagga
8 October 2026 – Pot Belly Bar, Ngambri/Canberra
9 October 2026 – Society City, Woolyungah/Wollongong
11 October 2026 – The Nook, Gubbi Gubbi Country/Sunshine Coast
17 October 2026 – Durack Community Arts Centre, Larrakia Country/Palmerston
23 October 2026 – Kokomo’s, Walyalup/Fremantle
27 October 2026 – Prince Albert Hotel, Kadlitiya/Gawler
30 October 2026 – The Old Church on the Hill, Djandak/Bendigo
1 November 2026 – Don Memorial Hall, Paranaple/Devonport
13 November 2026 – The Cube, Bungambrawatha/Albury-Wodonga (with Albury-Wodonga Symphony Orchestra)

Photo credit: M Rehman Photography

Stranger That I Know was:

Written by Toby Mobbs with additional writing by Matt Cross
Produced by Toby Mobbs and Matt Cross
Arranged by Matt Cross
Engineered and mixed by Simon McKenna
Mastered by Forrester Savell
With cover art by Ian Cossor

Posted on by Lauren Katulka

“HEAVEN IN A HURRICANE” – Amalia

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.

HEAVEN IN A HURRICANE is out now on all the major streaming platforms. Make sure you listen to this excellent local release.

Images used with permission from Amalia

Posted on by Lauren Katulka

“The Man You Remember” – Milina Mihic

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.

Main photo credit: Niko Pirounakis

Posted on by Lauren Katulka

“Gentleman” – Budjerah

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.

31 October 2026 – The Espy, Naarm/Melbourne (18+)
1 November 2026 – The Sound Doctor, Kuarka-dorla/Anglesea (ALL AGES)
7 November 2026 – Metro Social, Eora/Sydney (ALL AGES)
20 November 2026 – Miami Marketta, Yugambeh Country/Gold Coast (ALL AGES)
21 November 2026 – Triffid Beer Garden, Meeanjin/Brisbane (ALL AGES)

Main photo credit: Daniel Boud