It might seem premature to usher in a new era with the release of a second EP. But press play on an introduction to a theme, the latest release from Naarm/Melbourne-based act PRETTY BLEAK, and it all makes sense.
PRETTY BLEAK dropped this EP after the release of in retrospect, featuring all their previous singles including those from the debut EP BLOOD, earlier this year. It definitively put a line through what came before and the music we hear now. PRETTY BLEAK hasn’t started from scratch, but they’ve built on the foundations of their early music. There’s still the mix of happy-sad that captured my ears when they hit the scene, although the balance shifts a little more towards the light these days.
As the title implies, an introduction to a theme is a concept EP. Through these six songs, PRETTY BLEAK explore the journey of a relationship. Opening track “she’ll come around” is a feel-good alt-pop track that celebrates the kind of love-at-first-sight infatuation that’s like an addiction. When it’s good, it’s so good, and we see it play out with the honeymoon phase in “now i feel it coming on” and “in your air”. The final track, “can’t say” sees it all fall apart. It’s devastating, dramatic, a natural evolution from PRETTY BLEAK’s earlier emo releases. I didn’t know the band had a song like this in them. It’s incredible.
With the release of an introduction to a theme, it feels like the emo kids have come of age. While I’ve enjoyed some previous releases, I found they could be a little hit-and-miss. This EP is their most cohesive and compelling body of work to date. The band sounds ready for stadiums and the vocals from Sam Thomas soar. They should be proud of this one.
an introduction to a theme is out now. PRETTY BLEAK will officially launch the EP with the following shows:
Proving the adage that good things come to those who wait, Naarm/Melbourne based singer-songwriter Eaglemont recently released her debut album Party Boy. It’s a really special collection of introspective indie pop-rock-folk songs that eloquently explore themes of heartache, self-acceptance, and connection.
I knew I’d love this album before I hit play. I’d already raved about the singles “You Don’t Live Here,”“Vodka Pineapple,” and the title track “Party Boy,” marvelling at their confessional lyrics and Eaglemont’s heartfelt delivery. Sometimes when an album comes on the back of such strong singles, the remaining tracks struggle to hit the same bar. As I listened to this album though, and I’ve done that a lot over the past week or so, I was struck by new favourites. I fell in love with the wistful nostalgia and rock angst of opening track “Two Dumb Kids.” I wiped away tears as “Ikea” immersed me in a painful breakup recreated so vividly with Eaglemont’s detailed lyrics. I felt such empathy for the complicated relationship she recounts in “Girls, Darts, Panic Attacks.” The quiet, emotional power of “Spiral” really resonated with me.
Party Boy’s songs are so incredible on their own, but when you put them all together, they’re even stronger. They create such a powerful portrait of Eaglemont and her journey towards love, both for herself and others. She shares her queerness, her insecurities, and her heart so authentically that most listeners should find themselves relating to this impressive album, even if they haven’t gone through some of Eaglemont’s struggles.
Party Boy is one of the best Australian debut albums I’ve heard in some time, and it’s out now.
Radical Son has one of those voices that stays with you. It stops you in your tracks, forcing you to listen in and pay attention. A proud Kamilaroi and Tongan man, he’s just released his sophomore album Bilambiyal (the learning). It’s a special collection of soulful songs that will resonate with you long after the last track fades.
Interestingly, this album opens with “Elder – Reprise.” We’re not starting at the beginning, but further down the journey, where Radical Son expresses his hope to become an Elder, to grow old with a partner. He has dreams, dreams that might have seemed impossible at the start of the story. That story is sadly an all too familiar one. Radical Son’s life hasn’t been easy. He’s spent time in jail. Songs like “How Long Must I Wait,” featuring the incomparable Emma Donovan, and “All My Life” don’t shy away from the hard times. You can hear the pain in his vocals, the yearning for a different path. They’re a heartbreaking part of the story but they’re also an essential part because working through them gave him the wisdom and perspective he has today.
After his incarceration, Radical Son sought healing and redemption through his culture. The album evolves as each song retells that journey, taking us from a place of sadness to one of healing and ultimately hope. “Until You Call My Name” touches on love, of taking steps forward. Its stirring string section feels almost cinematic. The contrast between this track and the next, the intimate spoken word interlude “Cultural Contract,” gives resonance to both. Radical Son expands on the ideas of the opening track with “Elder.” It’s an inspiring midway point. After coming through so much pain, gaining so much wisdom, we see Radical Son finding purpose, hoping to channel what he’s learned into teaching the next generation so they don’t have to walk the same path.
“Only One Life” is a joyous reggae number celebrating existence. It provides a brief moment’s respite before the somber title track. The introspective lyrics about loss, suffering, and rebirth are amongst the album’s best. The legacy of Yothu Yindi no doubt influenced “Yuluwirri Wandabaa (The Rainbow Dreaming).” Featuring Frank Yamma and the return of Emma Donovan, you feel this one deep in your bones. “Dhuwan Baraay Yuligi” is a much more intimate number, one where the vocals take centre stage. My intellectual side wished I understood the language, but the more primal part of me felt it. Something tells me, that’s the point. The layered vocal harmonies of “A Golden Age” have a gorgeous angelic quality that elevates, leading into the optimistic but vulnerable closer, “The Fall.” As Radical Son sings it’s going to be alright, you can’t help but believe him.
Bilambiyal (the learning) takes listeners on such an incredible journey, one that I’ve willingly taken countless times over the last few days. Radical Son is such a compelling artist, and in this album, he shares his wisdom and talent so freely. Wait until you’ve got a nice block of time to just listen to it, free from distractions, because this powerful album deserves your focus.
Bilambiyal (the learning) is out now. Radical Son will play an all-ages show at QPAC in Meeanjin/Brisbane tomorrow night, 31 July, to raise awareness of First Nations men’s mental health.
In 2022, Toby Mobbs captured my heart with his fantastic debut album Placid in the Rough. I marvelled at the eclectic songs that despite the genre shifts, all hit me in the heart. With the release of his follow-up In Between The Words, Toby still refuses to stay inside a musical box. But when you’re this creative, why would you?
His debut album pushed genre boundaries, but Toby’s taking even more risks this time around. The sound is louder, bolder, more self-assured. The gentle acoustic guitar strains of the album opener “Over & Out” ease us in, before big crashing chords signal that this is no sleepy background folk. Toby demands to be heard, and I found myself willingly strapping myself in for the ride. It’s a good thing I put on that metaphorical seatbelt, because this album delivers plenty of twists and turns. Electric guitars, synths, and simple singable lyrics combine in “Run Back to You” for a retro rock sound. The following track “Let Go” occupies a similar nostalgic space, although it’s a little more complex. It reminds me of Springsteen. It’s that good.
Just as you start thinking you’ve figured this album out, Toby takes another left turn. “Three Cities” is a big, ballsy hard rocker. I didn’t know Toby had it in him, but with Simon McKenna guesting on vocals, he finds another gear, another genre to play with. Perhaps it’s not so surprising that he nails it. “Same,” a duet with Naarm/Melbourne artist Iva Mahoni delivers the sweetest, softest moment of the album. After a couple of collaborative tunes, it’s only fitting that Toby brings us “Coming Back to Me.” It’s an introspective rock anthem that builds to a crescendo that should have you punching your fist in the air. It feels like the finale of a big show yet, but Toby’s not quite done. There’s still some more music to explore.
The big brassy notes of “Stagger” give it a ska feel that takes me right back to the early noughties. I’d barely stopped skanking when the simple piano melody of the final track, “Surrender” kicked in. I thought we were in for one of those gorgeous quiet piano ballads. I would have been happy with that. But of course, Toby kicks things up a notch for his grand finale, adding a stirring symphony and even a dash of opera. It’s dramatic, daring, and utterly spellbinding.
It’s very rare that I feel the need to touch on all the songs from an album, but each one is such an important part of this release. Like jigsaw puzzle pieces, they come together to create an exciting picture of where this talented young artist is right now. I often hear on reality shows that people need to find their sound, because the audience needs to understand who they are. As you listen to Toby’s music, you understand that sticking to one genre isn’t the only way to represent your artistry. In fact, when so many sounds all feel like a natural fit, surely releasing such a diverse collection is the only authentic option.
With In Between The Words, Toby Mobbs makes good on the promise I heard in Placid in the Rough. He’s still writing incredible, eclectic songs, but in between those lyrics his sound has evolved to become something bigger, bolder, and more confident this time around. In Between The Words is out now on all your favourite streaming platforms. If like me you prefer an old-school CD, you can order the album from JB Hi-Fi or find it in selected stores.
In Between The Words was:
Written by Toby Mobbs Produced by Toby Mobbs and Matt Cross Arrangement by Matt Cross Engineered and Mixed by Simon McKenna Mastered by Forrester Savell Artwork by Kate Cossor
For the last few days, I’ve been cranking Lustre, the debut album from Aussie rockers The Buoys. There’s not enough women making rock music in the world these days. There are even fewer examples of really good all-female rock acts. But these women are making some of the best I’ve ever heard.
I’ve been rocking out to The Buoys for some time, lapping up singles like “Check Mate”, “Guard My Heart”, and so many more. In fact, I’m not sure I’ve come across a track from The Buoys that hasn’t inspired me to put my fingers to the keyboard and share it with you all. After listening to Lustre, I’m convinced they just don’t have a bad song in them. Sustaining the quality over 14 tracks is no mean feat, but it proves just how good these women are.
I could call out individual tracks, but that would feel unfair to the rest. In actuality, this album grabbed me with the first honest, impactful lyrics of “Settle Petal” and didn’t let go. I was in raptures right until the final singalong notes of “Totally Completely Fine.” And then I hit play again. And again. And again. In fact, I’ve had to convince myself to stop procrastinating and write about this album so you could all get onto listening to it. So do it. Honestly. Don’t waste another moment before getting it on.
Lustre is out now. The Buoys will celebrate its release with shows in the major capitals in August and September. Tickets are on sale now for all of the following dates:
Cast your mind back to 1999. The video that played at the start of last night’s concert made it easy for me, but I’ll give you a refresher. “Mambo No. 5” was Australia’s highest charting single. Cher was on the comeback trail with “Believe.” A young starlet called Britney Spears made a splash with “Hit Me Baby One More Time.” And we were introduced to Macy Gray, thanks to her smash debut On How Life Is.
While that footage took us on a trip down memory lane, it didn’t quite capture what made listening to music in 1999 so special. Radio and television programs like Rage and Video Hits were a springboard for discovering albums. Once you’d buy one, it would live in your stereo until your next purchase. We didn’t have Limewire yet, let alone Spotify, so you’d immerse yourself in a record for much longer before moving on to the next. I hadn’t picked up On How Life Is for years, but when I revisited it a couple of months ago I found I still knew every word. After a quick refresher, I was pumped for Macy’s show at the Art House in Wyong.
I’ve got to say, what a thrill it was to see an international artist of her calibre at our intimate local theatre. It holds just 500 people; there are no bad seats. It’s a special place where you feel like you can make a real connection with the performer and their fans. I can only hope Macy’s appearance paves the way for more massive acts so close to home.
Macy was here to celebrate the 25th birthday of On How Life Is, which she played virtually front to back in the first part of the show. Of course she’d leave us waiting for her monster smash “I Try,” and the album’s final track “The Letter” was such a natural closer that would need to wait too. But otherwise the nostalgic tracks flowed easily from one to the next. Macy stopped briefly to introduce us to her incredible band, and invite us to yell our own names so she could get to know us too. There was an off-the-wall story about meeting a koala on the streets of Wyong, who promptly jumped for her when he heard she hoped to meet a kangaroo. It was weird and wonderful, and totally Macy.
I’d be remiss if I pretended that it was a perfectly executed show. Without any backing singers, moments exposed weaknesses in her vocals, especially the stripped-back ballad “Still”. But Macy’s vocals have never been flawless. They’re richly textured, and while some parts may be a little weaker than they once were other parts of her voice left me speechless. Every song she delivered with such heart and conviction and joy that it was difficult to fault even the imperfections.
I knew Macy planned to sing songs from On How Life Is early in the show, but I was intrigued by how she’d fill the back end. As she launched into the jazz standard “Sunny,” I knew we were in for some surprises. I strapped myself in and enjoyed the ride. Her unexpected cover of Radiohead’s “Creep” was a delight. Her bandmates had a time to shine with a drum solo and a 90s-inspired DJ set which gave Macy time to change from one fabulous outfit to the next. She told us that tonight would be a “fuck everything” night and encouraged us to forget about the rules and what other people might think of us before urging us to our feet for “Sexual Revolution.” I, for one, took her words to heart. I’m not sure I’ve ever felt more free.
Listening to the cries of “Finally” when Macy played “I Try,” I’d wager a few people bought tickets on the strength of that song. I personally can’t imagine seeing a show for one song, but tracks with that kind of power and potency so many years after their release are rare. It’s a special song, and while I’d heard many favourites that night, I loved being a part of the sing-along that clearly touched Macy’s heart.
I thought she’d move straight on to “The Letter” and we’d be done, but Macy had other ideas. While the night traded heavily on nostalgia, Macy was proud to show us she’s still got some fresh tunes. She played us a little of her latest single “I Am”, then taught us vocal parts and dance moves before leading us in a somewhat chaotic (our fault!) but fabulously fun version. The song is so catchy I heard people singing it as we left the theatre! Macy sent us on our way with “The Letter”, the final track from her landmark debut, such a feel-good ending for an excellent night out. It ensured I wasn’t left wanting in this show that was 25 years in the making for me. Macy was everything I hoped for: a magnificent, colourful (in every sense of the word), talented delight. I am so glad I finally got the chance to see her in all her glory.
Macy has just a few more dates left on her Australian tour. Catch her anywhere you can:
2024 might be the year of The Dreggs. Seven years since releasing their debut single, they dropped their incredible first album Caught in a Reverie. It’s one of my favourites this year. They’ve also just played their first show at the Enmore Theatre, a bucket list venue for the duo from Yarun/Bribie Island. I was so thrilled to be there to share this milestone with the band.
While Friday was The Dreggs’ night, it was really a celebration of local talent. I was unfamiliar with This New Light from Kabi Kabi and Jinibara Country/Sunshine Coast, but he made such a big impression on me. It’s challenging for an emerging artist to fill a theatre with only an acoustic guitar for the majority of the set, but he had me hanging on his every word. His chilled-out folk music was the perfect primer for the evening. He was so sweet too, genuinely humble as he told us how much he’d appreciate us checking out his tunes on Spotify or giving him a follow on Instagram. How could we say no?
I’ve been raving about GRAACE’s music since 2018 (about as long as The Dreggs!), so I was thrilled to finally catch her on stage. Her pop tunes weren’t a natural fit for a night like this, but she owned the stage. I loved watching her dance around as she delivered some of my favourite songs like “Jealous Type” and “Love is Getting Wasted.” Rather than a full band, GRAACE shared the stage with an incredible guitarist. Again, it wasn’t the most natural choice for an alt-pop artist, but I loved seeing her shred. They both got their rock star moment when GRRACE slipped in an unexpected cover of Kings of Leon’s “Use Somebody” that had everyone singing along.
You could feel the energy shift when Then Dreggs’ stepped out. I’m not sure I’ve ever seen such an enthusiastic reception for a local act. Sure, I’ve seen people excited when big names like John Farnham and Jimmy Barnes step out, but those guys are so big that their audience becomes a little diluted by people who’ve simply enjoyed the songs on the radio. When you see an act like The Dreggs, everyone there is incredibly passionate. It’s a beautiful thing to be part of. New songs? Already across them. Old favourites? Everyone was following the band then too so we’re all prepared to sing along to every word.
I knew The Dreggs would sound good, but I don’t think I was quite prepared for exactly how good. The music I loved on their recordings went to the next level on the stage. Paddy Macrae’s banjo was incredible, and the full band brought a new depth to some of those early tracks. These guys are tight. There’s a natural chemistry between Paddy and Zane Harris forged from years of friendship. Their harmonies are second to none. But the whole band gelled together so fabulously. It was a joy to watch the music they created.
They may have a few more rungs on the board than their first support act The New Light, but The Dreggs have a similar humility. They remarked several times that playing the Enmore was something they’ve strived for throughout their career. You could see they didn’t take that moment for granted. They thanked the crowd for their support earnestly and even gifted a fan singing every lyric a merch pack. That pack could have gone to so many people, because every song was a singalong. So many numbers had fans up on their feet, dancing enthusiastically, whether they were on the floor or up in the dress circle. That’s right, even among the seats where people normally want to chill, the show was often a party.
Those party vibes were balanced with sombre moments when Paddy spoke about the duo’s commitment to discussing mental health issues. They’ve explored these issues throughout their time as a band, but perhaps never as eloquently as on the album Caught in a Reverie, a record anchored in grief and what it takes to work through it. It was so powerful seeing these guys using this platform to speak about a topic few men willingly discuss. Hats off to them. Those dark moments were balanced so beautifully with lighter tracks like “She Picks Flowers,” “Keepsake,” and the triumphant final number “Hold Me Closer,” which had us all singing along with its “da da” refrain.
The Dreggs will soon take their show to Aotearoa/New Zealand before closing out the year with a few local dates. Catch them anywhere you can. I promise you’ll have a ball.
After wowing me with singles like “All Hard Feelings” and “If I Want In,”Imogen Clark raised my expectations for her latest album The Art of Getting Through. Those singles were so well-written, with insightful lyrics and impeccable melodies. Happily, the release of the album shows they were no fluke.
This album sounds so polished, but we’d expect nothing else of a collection of songs recorded in the legendary Abbey Road studios in London, Peter Frampton’s Studio Phenix in Nashville, and EastWest Studios in Los Angeles, where the Beach Boys recorded Pet Sounds and Michael Jackson recorded Thriller. But it doesn’t matter how acclaimed the studios are if you don’t have the goods. Imogen does. Her songs unfold like diary entries, revealing her distrust of men in “Natural Predator,” her battles with an eating disorder in “Silhouette,” and her struggles and strength in “The Last of Me.” They’re big topics. Imogen is an artist with plenty to say, and listening to her catchy melodies and rich voice, you want to hear it.
“These songs are about the messiness of life, the layers of injury and hurt that build resilience and how you never really get a clean slate or a fresh start,” Imogen explained. “There is no starting over, there is only getting through.”
Most of the tracks on The Art of Getting Through sit in the pop-rock space. It’s a place where Imogen excels. These songs feel classic on the first listen. Not just the singles, but every track feels radio-ready. She could have sat in that space for the whole album and I don’t think anyone would complain, but she shows us we shouldn’t pigeonhole her music with the devastating closer, “If Your Heart Never Breaks.” It feels like a standard, beautiful,and cinematic, with hints of jazz. Can Imogen do it all? Quite possibly.
With the release of The Art of Getting Through, Imogen shows she’s blossoming into one of our best artists. Now she’s living in Nashville opportunities to see her live in our part of the world are becoming rarer, so make sure you don’t miss her when she visits in November after some UK shows.
I discover some amazing artists through this blog. I hear about their shows and think they’d be great live, but I often don’t actually make it to the gigs. Then there are the rare artists like Donovan Woods, who capture my heart so quickly that I know I need to be there. That’s how I found myself at new inner-city venue Darling Nikki’s on Friday night, just a couple of months after hearing his music for the first time. As I looked around at the blokes dressed in flannel and trucker hats, emulating Donovan’s signature look, I knew most people had followed his career for a lot longer. But I always say, it doesn’t matter when you find an artist; just that you do.
Darling Nikki’s was a last-minute venue option after The Great Club’s (hopefully temporary) shutdown. It’s wonderful that Darling Nikki’s stepped up, but I couldn’t help but think of what might have been. While I hadn’t yet been to the Great Club, a friend praised its relaxed vibe, with plenty of seating to chill. That was the kind of atmosphere that an artist like Donovan really needed. Darling Nikki’s small standing-room venue would be ideal for an up-and-coming rock act, but it didn’t feel right for gentle folk music.
You could have been forgiven for thinking Hayley Warner was the main event, rather than the support act. She got a rapturous response when she took to the stage, although she was quick to tell us that many of those cheering loudest were her family members and friends. Personally I was pretty excited to see how this artist, who I remember fondly from Australian Idol in 2009, had blossomed. She was an angsty teenager then, delivering some of the best rock music the competition’s ever seen. The years have mellowed her music, and helped her become one of the best songwriters I’ve heard in some time. I loved her originals, some of which you might have heard. A little Katy Perry hit called “Never Really Over” by any chance? Hayley’s been living in Los Angeles for the last 12, writing tracks for other artists like Ms. Perry, and being “miserable,” as she joked, perhaps not entirely tongue-in-cheek. Clearly she relished the opportunity to be here at home, playing for loved ones, making jokes that might not have been as well received Stateside, covering songs that the Americans simply don’t know. She encouraged us to sing along to John Farnham’s “Burn For You” and Tina Arena’s “Sorrento Moon,” soaking up that Aussie enthusiasm. When she announced her final song I had to check my watch. Surely she wasn’t done yet! We were having so much fun.
The fun ramped up when Donovan Woods took the stage. That might seem a strange word to use for an artist who makes fairly mellow folk music, but this was one of the most fun gigs I’ve attended in some time. I knew the music would be amazing. Donovan’s recordings are pretty stripped back, so I knew just hearing him sing his songs with an acoustic guitar was my idea of a good time. What I didn’t prepare myself for was just how funny it is.
After wrapping up the first song “It’ll Work Itself Out,” he told us that would be the show. Just some gentle guitar music, some whispery singing, maybe he’d grab the other guitar but that was as dynamic as things would get. So if we wanted to get out now, he’d understand. Of course, no one headed for the door. I hung onto his every word as he played his music. But I enjoyed his hilarious repartee between tracks every bit as much. If this music thing didn’t work out, he could have easily had a career on the stand-up circuit. At one point he asked us whether he was talking too much, but my favourite gigs are always those ones where the artist shares themselves, not just the music. I found myself gaining an even deeper appreciation of songs like “Man Made Lake” and “Leave When Go” after hearing the stories behind them.
I grasped my husband’s hands just a little bit tighter as Donovan played favourite songs like “Seeing Other People,” “Last Time I Saw You”, and recent single “Back for the Funeral.” I know I’m fairly new to Donovan’s music, but I thought it was an incredible set that really celebrated his discography, including the soon-to-be-released album Things Were Never Good If They’re Not Good Now, (not Get Loose as it might have been! If you know, you know). Given that Donovan was touring solo, I expected we’d miss his gorgeous duets, so I was thrilled when he called for a volunteer to sing “I Ain’t Ever Loved No One” with him. I was even more chuffed to discover that volunteer, Talia (so sorry if I’ve spelled your name wrong!) was incredible. The best one yet, according to Donovan. What a special moment in an evening that was already so special.
Normally once an artist has several albums under their belt, you’ve missed the opportunity to see them play an intimate show. But Donovan hasn’t quite broken through here, so I got to be in a crowd of no more than 80 dedicated fans who soaked up every moment. Up close and personal with one of the best songwriters on the planet. I can’t think of a better way to spend a Friday night.
Tom Harrison takes us on a road trip through North America with his gorgeous debut EP, Old Growth. Tom burst onto the scene in 2018 with his band Hugo Stranger and the Rattlers, but he’s showing us a quieter, more introverted side with this release.
Old Growth sees Tom trading in his usual gritty blues for a sweeter, folkier sound. He penned the songs in 2017, when he travelled across Canada and America’s West Coast with his wife in a Chevy van. Each song brings a moment of that epic journey to life for listeners.
“I got the title Old Growth from the forests we were visiting in Oregon and on Vancouver Island,” Tom explained. “It felt like a summary for where I mentally was at. I was accepting a new chapter of my lifeand learning so much about myself and growing as an adult.”
If you’re a long-term reader you’re already familiar with the singles, “Start Again” and “How Long.” The other tracks help us fill in the missing pieces of their adventures. The opening song “Miles Away” may be my favourite. Its jaunty little melody and cruisy vibe perfectly set the scene for a trip with endless possibilities. It’s not all about chilling out though. “Skraeling” sees Tom at his most political, firing up at the “little men” like Donald Trump and Scott Morrison he saw failing their people from their positions of power. “Buffalo” is a haunting song inspired by the old missing people posters he saw at a New York bus terminal. Closing song “Ontario” has a cool Western feel that I’m really digging. Its bluesy sound is closest to the Hugo Stranger material that put Tom on my radar. Tom said “I think it nicely closes this chapter and gives a wink towards the next direction of my music.”
I’m not sure where his next musical moves will take him, but I’m excited to keep listening. Old Growth is out now. You can catch Tom playing at one of the following shows:
