Naarm/Melbourne funk-rock act New Delica are stretching their artistry with the release of their third album, Stonewater. It’s an exciting 12-song collection that will have you coming back for more.
The opening track “Steady” sets the tone for this genre-bending record. A collaboration with Aussie-born, Berlin-based producer and DJ Holo, the electronic beat drops before a bluesy harmonica joins in. It’s such an interesting fusion; I’m not sure it should work, but it does. Single “Dreamin’” follows, a straight-up groovefest which calls to mind classic 70s disco and the slick contemporary sounds of Daft Punk.
Stonewater continues taking exciting genre twists and turns as it unfolds. “Count Me Out” and “Love in Vain” are blues-rock bangers, “Down to the River” is spine-tingling and seductive with an epic, cinematic quality, and there’s such a laidback charm to the romantic “All I Know.” “Call Me Tonight” is another unexpected collaboration, this time with local folk singer Yours, Georgina. Her sweet voice is such a gorgeous contrast to Pat Coyle’s roughened, masculine tone. The way they play against each other so beautifully brings this country-folk duet to life.
The title track, a piano ballad brings this album to a gentle close. It’s not the place I expect to land given the upbeat openers, but it’s still so satisfying. New Delica kept me guessing, right up to the end. Rather than being disconcerted though, I felt exhilarated by the way New Delica refused to stay in any particular lane. Their sound is dynamic and their talent undeniable, no matter what genres they’re playing with.
Undalup/Busselton rockers Lines of Conviction have given some of their live favourites the studio treatment with the release of their EP, Evacuate. If you’re new to this West Coast band, these five tracks are the perfect introduction.
Capturing the energy of a live performance can be challenging, but the fire behind Lines of Conviction translates beautifully. My speakers may not be a patch on the ones that usually blast out their music, but I still found myself bobbing my head along to opening track “Go My Way.” Lines of Conviction turns the dial up a notch with one of their most requested numbers, “San Miguel.” Every rock act should have a good drinking song in their repertoire, and this is one of the best I’ve heard in some time.
The EP takes a left turn with “The Words You Said.” Featuring the beautiful guest vocals of Sofia Watt, it shows these Aussie rockers have a gentler, more romantic side. If an Aussie ever fronted the Gin Blossoms, their music might sound a little something like this. We get just a glimpse of the softness before Lines of Conviction put the foot back on the floor to bring Evacuate home. “Back to My Place” and the title track are two more rock belters that leave no doubt this band is the real deal. They’re a quintessential Aussie rock act, singing songs for battlers in an accent we recognise as our own. Evacuate doesn’t sound slick as some major label releases do, but it sounds authentic, and I think that’s much more important.
When I saw Reece Mastin at Ettalong Diggers back in 2016, I swore that while it was my first time seeing him, it wouldn’t be my last. I didn’t imagine I’d be left waiting nearly 10 years for a return visit. But it was all worth it to see him perform another acoustic show at one of my favourite local venues.
Local country-pop darling Chelsea Berman warmed up the crowds with a mix of originals and covers. It’s a testament to her talent that I hadn’t heard songs like “Going There” for years, but I remembered them well enough to sing along. It’s also impressive that she could capture the attention of a crowd interested in another artist with just her voice, an acoustic guitar, and her charm. The hush over the audience as she chatted easily between songs proved just how captivating she is. She had us hanging on her every word.
While this was another acoustic show from Reece, it was a very different one from the gig at Ettalong all those years ago. A decade ago, Reece seemed keen to prove himself as a serious original artist. Coming off the back of his brilliant Change Colours album, originals took centre stage. He wanted us to know what he could do. These days though, Reece doesn’t have to convince us. He’s got more original material under his belt, yet the set was a much more even mix of originals and covers. The cover that made the set last time was a fairly obscure Yes track. Now though Reece seems happier to play crowdpleasers he knows his fans will love. While he celebrated his love of classic hits with a stunning cover of Bonnie Raitt’s “I Can’t Make You Love Me” and the Irish folk ballad “The Fields of Athenry,” he made sure to connect with his predominantly young audience through some more contemporary choices. They seemed to lap up “Oh Caroline” by the 1975 and “Breakeven” by The Script, which he originally covered on the X Factor Australia all those years ago.
It feels like Reece has made peace with his time on X Factor and his early music career. While just a couple of those early hits made the set last time, he breathed new life into “Stars” and delivered the fairly cheesy “Girls (All Around the World)” without a hint of cringe. Watching the way the faces of audience members in the front row lit up, why wouldn’t you?
I really enjoyed the artistry Reece displayed all those years ago, but I had more fun this time around. I think he’s got the balance right. He doesn’t have anything left to prove. He’s got some fantastic music under his belt, so he can just have a good time delivering it with his bandmates. The smiles on the stage said it all. They hadn’t prepared an encore, because what do you do after “Good Night”? You come back and improvise. A cover of Chris Stapleton’s “Tennessee Whiskey” capped off yet another fabulous show at Avoca Beach Theatre. Reece promises us he’ll be back in our neck of the woods before long, so hopefully I’m not kept waiting close to a decade for the next gig! If you get the opportunity, make sure you catch Reece Mastin at one of the following shows before the year ends:
I wasn’t going to see Rent this time around. It’s my comfort musical, and I love it, but I always wonder just how many times I need to go. However, those canny folks at Opera Australia suckered me in with a free dinner promotion. Second row dress circle tickets and a delicious grilled barramundi dinner with a beer for $99?! It’d be rude not to! So I found myself at my fifth production of Rent last night.
I’m not one of those people who see a show multiple times within the same run. It’s always a show here and there. I saw the original Australian run in Naarm/Melbourne in 1998, a production in Philadelphia while I was holidaying there in 2004, an amateur theatre production in Mulubinba/Newcastle in 2017, and another production in Darkinjung Country/Wyong as the world was emerging from lockdowns in 2021. When you add in my familiarity with the original Broadway cast through the soundtrack and film, I know this musical better than any other. I have such clear ideas about what it’s “supposed” to be and opinions about what new productions get right, and what they get wrong. So how does the latest iteration playing at the Opera House measure up? On the whole, remarkably well.
There were some standout performances. I remarked last time I saw Rent that Sean Miley Moore’s Angel was the best I’d ever seen. Sorry Sean, but I think Jesse Dutlow may have stolen your crown. They floored me with their incredible vocals and heart. When a production casts Angel right, they’re halfway there. Calista Nelmes’ Maureen was breathtaking with vocals that hit that high bar Idina Menzel set and true commitment to this challenging role. She was matched beautifully by Imani Williams as Joanne. This is one of the more understated roles in the musical, one that can easily get overlooked because the character is straightlaced and doesn’t have any solo songs. However, Imani is so magnetic with such powerful pipes and personality that my eyes were drawn to her whenever she was on stage. And when she came together with Calista on “Take Me Or Leave Me,” my favourite song in Rent, I was spellbound.
This production didn’t take as many risks as the one I saw in 2021, preferring instead to stay faithful to Jonathan Larson’s original vision. While Jonathan created a brilliant music, I would always love to see productions putting their stamp on the show. There were a few little moments where this production changed things up, with mixed results. I can’t remember another production where Angel cried out in anguish as they lay in the hospital bed during “Without You.” I felt myself starting to tear up at that, much earlier than I normally do. Watching Angel ascend and get their wings in “Contact” was visually so powerful. However, I feel like introducing marijuana into “Santa Fe” diminished this song’s honest yearning for a different, better life, turning it into nothing but stoner ramblings. It deserved better. I’m also not sure the cardboard cutout policemen were nearly as effective as real humans might have been. They took me out of every scene they appeared.
Ultimately, Rent is about community, so it was only fitting that I felt this show was at its best when the cast came together. Special songs like “Seasons of Love” and “La Vie Boheme” were highlights. Hearing the voices of the stellar principles and chorus, watching their faces as they bounced off one another, was beautiful. And Rent is beautiful. There’s a reason I keep coming back to it. Whether you’re a longtime fan like me or you’ve never seen it, there are plenty of reasons to check out Opera Australia’s new version. It plays at the Opera House until November 1. Tickets are available now from the Opera Australia website.
Greg Gould and Karise Eden are long-time favourites of mine, so when I heard they were teaming up for their Lady and the Tramp shows, I couldn’t resist heading up the freeway to Flamingos Live. The poster promised a celebration of “the greatest jazz, blues, and soul.” These two talented Coasties delivered that and so much more.
I must admit, given the tagline and references to Frank Sinatra, Nina Simone, and Etta James in the marketing materials, I expected a show that played mostly in the old-school standards space. While vintage classics were certainly represented, Greg and Karise delivered a much wider retrospective of the songs that made them.
There were reality show favourites like Greg’s masterful performances of “Feeling Good” and “Purple Rain” and Karise’s show-stopping take on “It’s a Man’s Man’s Man’s World.” I’ve heard it so many times before, but I’m always floored. There were the crowd favourites, like “Ain’t No Mountain High Enough” and “Knew You Were Waiting For Me.” And then there were deep cuts, like Etta James’ “Damn Your Eyes,” which Karise said she would have preferred singing on The Voice to “I’d Rather Go Blind.” As a massive Janis Joplin fan, I was in raptures when she took on “Cry Baby” instead of the more predictable “Piece of My Heart.” While most song choices were nostalgic, a cover of Chappell Roan’s “Pink Pony Club” was an unexpected delight.
Greg and Karise are both incredible talents in their own right. This show gave them many opportunities to wow and charm us with solo performances. But my favourite parts of the night were the moments when they came together. Their Darkinjung Country/Central Coast roots and big breaks on reality TV have helped cement a natural rapport that’s wonderful to witness. To say nothing of their fantastic voices, which come together more naturally than you might think. Greg’s showmanship helped bring out a playfulness in Karise that I loved to see. For a night of sing-along fun with some of Australia’s best talents, make sure you catch one of Greg and Karise’s upcoming Lady and The Tramp shows:
Vulnerable and unapologetic, Siobhan Cotchin presents her heart to listeners through the five tracks that make up her latest EP, Redemption Arc. That heart’s clearly been stomped on, but Western Australia’s rock ‘n’ roll cowgirl reminds us that it’s still beating through her powerful music.
Redemption Arc sees Siobhan in the aftermath of a devastating breakup, trying to make sense of her loss and forge a path forward. She says the songs explore “the fight to become better – not perfect, not fixed, but real.” The tracks are brutally honest and although they’re introspective, the flaws and insecurities Siobhan reveals are so relatably human that I connected with them instantly.
The opener, “Ghost of Us,” speaks to the confusion so many of us have felt when a lover seems to go cold without warning. “The Truth Always Comes Out” perfectly encapsulates the frustrating cycle of being let down, then reeled back into the relationship only to be disappointed all over again. My heart broke for the self-loathing in “Redemption Arc,” a result of hearing the negative messages from the wrong partner for too long. “I’m Not Finished Yet” strikes another powerful blow as Siobhan wrestles with her head and heart. “Consolation Prize” offers a moment of quiet reflection. With just her voice and an acoustic guitar, Siobhan reflects on the relationship lost and what she’s left with. However, with any redemption arc, there needs to be a triumphant end. For Siobhan’s EP it comes with the blues-rock closer, “Overdrive.” Listening to this anthemic track, you know that even if things aren’t OK for Siobhan right now, in time they will be.
Redemption Arc is a powerful release from one of Australia’s most compelling female voices. It’s out now. Next up she’ll support Rob Thomas on his two shows in Boorloo/Perth. Catch them both at the Perth Convention and Exhibition Centre on October 24 and October 25.
When I saw Billy Ocean for the first time in 2023, I wrote “Now I’ve discovered how good he is live, I can only hope that he’s got a few more tours left in him.” I raved so enthusiastically about that concert my mum said she’d love to see him next time he was in town. So on Tuesday, we headed to Eora/Sydney for a girls’ night out.
As with the last tour, Billy partnered with an emerging artist with an impressive collection of originals. Western Australian artist Jason Ayres came armed with plenty of charm and an easy blend of rock, folk, pop, country, and blues. His bio cites John Mayer, Ryan Adams, and Keith Urban as influences, which makes total sense when you see Jason live. He’s got a similar earnestness about him. While he’s quick with a smile for the crowd, you know he’s serious about his craft. His originals are very good, but he also sweetened the deal with stellar covers of Cher’s “Bang Bang” and Chris Isaak’s “Baby Did a Bad Bad Thing.” I wasn’t sure how his set of largely originals would go down with the crowd here for a nostalgic show, but I needn’t have been concerned. By the final song, they were enthusiastically clapping along to the beat, totally unprompted. You can’t ask for more than that.
I must admit, I felt a little sense of déjà vu seeing Billy. He opened with the same three songs as the last tour: “One World,” “Love Really Hurts Without You,” and “Nights (Feel Like Getting Down).” While the set has changed a little – “There’ll Be Sad Songs (To Make You Cry)” was a notable omission this time around and “Stay the Night” and “Daylight” are new inclusions – essentially what you get when you see Billy is the greatest hits show every time. And honestly, you can’t be mad at that.
Billy’s songs are fantastic and he performs them with such joy that it’s a pleasure to bask in his aura. I’m not sure I’ve seen many artists who take such clear delight singing songs they wrote decades ago. He tours relentlessly, he’s performed them countless times, yet his genuine smile never wavers. He’s authentically grateful to the crowd who lets him do this and he wants to give back, whether it’s with those still impressive vocals or a little shimmy and shake as he dances across the stage with more confidence than most 75-year-olds would. And they love him back, rushing the stage near the end to dance along to hits like “When the Going Gets Tough, the Tough Gets Going” and “Caribbean Queen.” Being amongst such a rapturous crowd enjoying songs like that is just such good pure fun.
While Billy Ocean didn’t reinvent the wheel with this concert, he didn’t need to. He gives the people what they want, singalong hits delivered exceptionally well with a healthy dose of charm and joy. You can’t ask for more than that.
The word legend is bandied about far too freely in the music industry for my tastes. Very few deserve the title, but the crowd at the Enmore Theatre last night knew the man they came to see was one of those rare talents. You could feel the energy crackling through the air, that certain something that told us we were in the presence of greatness. That man, the myth, and the legend was the one and only George Clinton.
While the tickets told us the show started at 8, Kiwi band Drax Project were already lighting up the stage as we found our seats. I became an instant fan, impressed by their easy blend of soul, funk, and pop and youthful energy. Shaan Singh’s vocals gave me chills and his saxophone skills were the cherry on top. Watching him vibe with his bandmates was such a thrill. Apparently George Clinton and his crew have been so impressed by Drax Project’s sets that they’ve given them a little more time each night. The extended set gave them the opportunity to road test new material, which the crowds lapped up. I can’t remember the last time I heard an audience cheer when a band announced they’d play fresh originals. Being amongst such receptive music lovers hearing such incredible music was a joy.
After such an explosive opener, my expectations were sky high but if anyone could meet them it’s a legend like George Clinton, the Grandmaster of Funk. From the moment he took the stage with Parliament Funkadelic, the show was a total vibe. George was there in glitzy regalia, encouraging us all to put our hands in the air. His granddaughter Patavian Lewis was blowing bubbles and dancing up a storm in heels I could never contemplate walking in. The horns were tight, the vocalists were incredible, and I was living!
Sustaining that energy isn’t easy, but George and his crew somehow managed to keep the crowd in that rapturous space throughout their funktastic set. Big hits like “Flashlight” and “Atomic Dog,” fittingly saved for the final medley, were highlights, along with a delightfully unexpected cover of House of Pain’s “Jump Around,” but as with Drax Project the crowd lapped up everything this colourful crew delivered.
I didn’t get to see George in his prime, but no doubt he’s slowing down a little these days. There was a chair conveniently placed on the stage for him to rest whenever he needed. He’d take a moment to gather his breath before moving back to the front of the stage and continuing to give it his all. His vocals are limited these days, but he surrounds himself with exceptional singing talents, taking on the role of the captain overseeing a super-talented ship. On a personal note I was thrilled to see Uche, who I cheered on during American Idol in 2019, is now a part of Parliament Funkadelic. His exceptional vocals and dance moves, which the judges sometimes criticised for being too much, are perfect for a show like this. But every member of Parliament Funkadelic was exceptional.
Last night’s George Clinton show was like nothing I’ve ever experienced. It was a total vibe. I feel privileged to have spent a few hours basking in the aura of George Clinton and the incredible musicians he gathered for us on this Aussie tour.
As the working week winds down, I’ve found myself looking for a comfort listen. The kind of music that would wrap around me, nurture me, and help carry me through to quitting time. I found just what I was seeking with Always Here, the beautiful debut EP from Anaiwan Country/Armidale trio OhMaSoul.
As their name suggests, OhMaSoul make music that speaks to the heart. Vocalist Jemimah Hiscox has one of the best neo-soul voices I’ve heard in some time, pure and effortless, with a beautiful freedom that soars as it plays with the melodies. You can almost hear the energy crackling between Jemimah, keyboardist James Brinkhoff, and drummer Thomas Hogarth. They might be just releasing their debut, but this is a trio that understands one another intimately.
Neo-soul and jazz are often closely linked, and OhMaSoul fuse these genres beautifully. The EP opens with the title track, a gentle ballad which shows just how special the blend can be. “What Is This” is a little more progressive, with a melody that keeps listeners on their toes. “My Cup” is straight-up neo-soul, a track that gives these three performers space for creativity and connection. It feels so natural, almost unrehearsed, like a beautiful jam session has been captured. “Rollin” sees OhMaSoul at their funkiest and most upbeat. It’s a sunny spot before OhMaSoul shift back to a quieter space with the poignant closer, “Whisper.”
Always Here is a testament to the talent of this rising trio. It’s an independent release, so it doesn’t have the big-budget backing of a major label, but it sounds incredible. While mixing and mastering from Australian jazz guitar great Jim Kelly no doubt plays a part, the natural talents of OhMaSoul are what really shine through.
Always Here is out now. OhMaSoul will play the following local shows in the coming months to support its release:
When people heard that I was heading to the Mayday Parade, Jack’s Mannequin, and Home Team show the day after returning from Japan they said I was crazy. But I’ve always believed you can sleep when you’re dead. And considering I love Jack’s Mannequin so much that I’m heading to the United States to see them on the Holiday from Real cruise in February, there was no way on earth I’d miss seeing them so close to home!
Running on pure adrenaline, I was psyched for this incredible triple bill. I wasn’t really familiar with The Home Team, but they quickly won me over with their energy and genre-bending sound. They’ve definitely got pop-punk at their core, but they know how to rock hard and bring some dance-funk into the mix. It’s such an unusual blend, but I was definitely here for it. Brian Butcher is one of the most charismatic frontmen I’ve ever seen. I could barely take my eyes off him, which is saying something considering the moves that guitarist John Baran and bassist Ryne Olson delivered. All without missing a note! Formed in 2013, The Home Team are one of the newer acts on the pop-punk scene. Brian seemed in awe of the moment, marvelling that their music has taken them to Australia and noting that their gigs back home are much smaller. They’ve definitely got the goods to play those big stages though. Their 10-song set was more generous than most afforded to opening acts, but I was entranced from start to finish. I’d see them again in a heartbeat.
Seeing how much time The Home Team had only made me more psyched for Jack’s Mannequin. It’s always a gamble to attend a show when you love the support act more than the headliner. You can easily be shortchanged. But I was treated to an hour of fantastic music from this band that means so much to me. I wasn’t there when Jack’s Mannequin had their time in the sun. Andrew McMahon’s music was a pandemic discovery for me, one that brought a rainbow of colour during a really dark time. So this was my first opportunity to see him in full-band mode and I relished it.
It was a totally different show than the stripped-back Andrew McMahon in the Wilderness one I saw in February 2023. While Andrew excels behind a piano, I loved watching him prowl around the stage and move into the audience to feed off their energy (no photographic evidence because he moves fast!). Seeing his connection with his bandmates filled my heart. The set list was also fire, featuring personal favourites including “Bruised,” “Dark Blue,” and one of the songs that hit me hardest during the pandemic, “Swim.” I know I’m biased when it comes to this band, but my friend Lisa, who is far less familiar with their music, leaned over to me during the set and said, “They’re fantastic!” Yes, they are. If it were possible, I’m even more excited about my US trip after Saturday’s set.
Understanding my love for Jack’s Mannequin and the travel fatigue I was fighting, Lisa asked me whether I wanted to stay for Mayday Parade. But I never considered leaving. Not for a second. While most of the crowd here no doubt discovered these bands in their adolescence, I’ve been on a bit of a pop-punk/emo kick in recent years that’s seen me diving into a lot of the fabulous music that wasn’t quite mainstream in this country including this band’s back catalogue. It’s a bold move for any act celebrating their 20-year anniversary to open up with a 2025 single, but the rapturous response to “By The Way” showed this crowd was up for anything. And that’s what they gave us, a set that took twists and turns as it celebrated all that makes Mayday Parade such a fantastic act. I was thrilled to hear my personal favourite “Jersey” come out early. As it wasn’t released as a single, I didn’t expect them to play it, but I lost my mind when they did. Along with the deep cuts, Mayday Parade also made sure to celebrate favourites like “Oh Well, Oh Well” and “Anywhere But Here.”
High-energy moments were contrasted with stunning emo ballads like “Miserable at Best” and “Terrible Things.” While they sounded beautiful, I wish they didn’t see lead singer Derek Sanders move to the back corner of the stage to play piano. He was totally obscured by the speakers from my seats on the left. And while I know it’s not very punk to sit at a rock show, I can’t recall another show where the lead singer spent any considerable time hidden away near the back of the stage.
When we did see Derek, he was incredible. I loved watching him jump around with such feeling, vocals never faltering despite his high-octane performance. He also seemed overcome with the emotion of the occasion, noting that Australian cities are among the band’s top markets for new material. I felt privileged to be amongst this crowd who continue to support this band. “Jamie All Over” was the predictable closer, but even though I knew it was coming I had such fun rocking out to it.
I came out of Saturday’s concert without the small shred of voice that I had been hanging on to. It still has not returned. I crashed out in record time once my head hit the hotel pillow. When people said I was insane to even contemplate going to the gig so soon after my overseas adventures, they were probably right. But I would do it all again, because it was incredible. Mayday Parade, Jack’s Mannequin, and The Home Team have just two shows left in Australia. If you’re on the fence, trust me: buy the tickets.
