We all need a little sad girl music every now and again, right? If you agree, wrap your ears around The Five Stages of Grief, the gorgeous new EP from Joan & The Giants.
This is a really personal collection of songs which explores the end of the nine-year relationship between frontwoman Gracie Newton-Wordsworth and the band’s former guitarist Aaron Birch. Gracie wrote some songs on her own and some songs with Aaron as they attempted to process their feelings.
Gracie isn’t afraid to lay her emotions bare here. The lyrics are raw, revealing sorrow, anger, and eventual acceptance and she moves through the grief of her relationship breakdown. Bandmates Riley Sutto and Liam Olsen take on gentle supporting roles, ensuring Gracie’s lyrics and voice shine brightest.
The Five Stages of Grief is a powerful snapshot of a relationship breakdown and what comes next. It’s out now. Thankfully Joan & The Giants have plenty to look forward to with sold-out shows supporting The Fray and their own headline tour on the horizon.
You know you’re in good hands when The VANNS release music. All That’s In My Head is album number three, a killer collection of songs which prove they’re one of the best rock bands on the local landscape.
The Yuin Nation/South Coast act recorded this one across two full-on two-week recording sessions in London and Woolyungah/Wollongong. You know what they say about pressure creating diamonds though. That concentrated effort gives this album a focus and clarity which is so compelling. It sucks you in from the opening guitar riff of the single “Accomplice” and doesn’t let go. I love the way this band produces such easy listening rock music that has such tension and intensity simmering just below the surface. Jimmy Vann’s in fine voice, rising to the occasion of the gruelling recording sessions alongside his bandmates. After 10 years together they work together like a well-oiled machine, creating fantastic music that sounds effortless.
Keep listening and you’ll soon realise this album has a lot more than the singles on offer. That slick bassline on “Golden Eyes.” Those massive chords that wake you up from the cruisy coastal rock vibes and force you to pay attention to “For God’s Sake.” The yearning dripping from Jimmy’s vocals in “In and Out.” And so it goes. There’s something special about every one of these songs, and the more you listen the more you find to appreciate.
When I tell people that The VANNS are one of the best rock acts on the scene, I still get blank stares from my contemporaries, so I’m going to say it again: The VANNS are one of the best rock acts on the scene. All That’s In My Head cements their reputation with its blend of energetic bangers and sombre, sensitive moments, all delivered with exceptional musicianship and heart.
All That’s In My Head is out now. The VANNS will take these songs on the road in the back half of the year and through to 2026, but venues are selling fast so don’t procrastinate to get your tickets.
Boorloo/Perth born, Nashville-based singer-songwriter Felicity blew me away with her recent single “I’ll Have What He’s Having.” Now that I’ve had an opportunity to listen to her sophomore EP 4PM in the Morning, I’ve discovered that was no fluke. It might be a little early to call it my favourite EP of the year, but it’s certainly a contender.
Felicity has such a strong voice, in every sense of the word. Her tone is incredible, unique and instantly identifiable. Her lyrics toe the line between personal and universally relatable. She’s quirky, but it’s no gimmick. She’s a true original, creating a space where listeners feel comfortable revelling in their own weirdness. I’m not sure I’ve felt this passionate about a female artist since I discovered Tori Amos and Alanis Morissette in the 90s. I’m aware of what a massive call that is, but honestly, Felicity is that good.
With 4PM in the Morning, Felicity shows listeners what a force she is. Its gentle acoustic opening promises sweetness and light, but Felicity quickly dispels those illusions with the caustic lyrics of “Bad Waste of Good Oxygen.” It’s very tongue-in-cheek, mostly, but incredibly cathartic, especially when those massive electric guitar riffs kick in. Felicity moves from taking aim at the wrong partner to herself with the single “I’ll Have What He’s Having.” If you didn’t listen already, here’s your reminder that this is one of the best songs you’ll hear all year.
After two upbeat indie pop numbers, Felicity shows a softer, more vulnerable side with “Half Sad.” This dreamy lo-fi ballad unfolds in a kind of anti-depressant haze, giving us a moment to catch our breath while connecting even more with this incredible artist. “Denver Airport” may be my favourite song on this EP. It’s a plaintive cry for love, no holds barred, totally stripped bare in the way someone can be only when they know they’ve got nothing left to lose. It’s so rare to hear someone so raw on a recording. Don’t be surprised if you’re wiping tears away by the end of this one.
“Carnivorous Butterflies” seems like a relatively subtle way to end such an impactful EP. But if you measure a song just by powerhouse vocals and big instrumentation, you’re missing the point. By stripping things back, Felicity lets her poetic lyrics shine. In case you missed it before, this track leaves no doubt that her songwriting is top notch.
I can’t say enough positive things about 4PM in the Morning. Just go listen. You can thank me later.
You know what they say about the best things coming to those who wait? Fans have been waiting years for Walyalup/Fremantle act Lloyd & The Leftovers to drop their debut album, and now their patience has been rewarded with the release of Spin the Wheel.
This album is the very best of indie-folk/alt-country. People might use the term Americana to describe the sound, and it certainly sits neatly alongside music from artists like Nathan Rateliff, Jason Isbell, and Ryan Adams. But there’s also something distinctly Australian about the twang in Luke Giglia-Smith’s vocals and the stories he tells. Music this great isn’t meant to sit in a box though. It’s meant to be felt, experienced, embraced.
Many artists bring out their heavy hitters early, but I appreciate the way Lloyd & The Leftovers let this album creep up on listeners. The opening number “Fruit and Wine” is such a gentle summery song that you might miss its easy charm if you’re not listening closely. The band kicks things up with “Kaarta Koomba,” but even with this song they seem reluctant to show all their cards. For me, the album really hits its stride with the third track, “Listen to Invalidate.” There’s such a beautiful, quiet power about it. It took my breath away from the first listen, but still makes an impression on me. With “Something Rainproof,” the band again shows the power of stillness.
With “Breathe Says the Sign,” Lloyd & The Leftovers seem to turn the dial up a notch and embrace a full-band sound rather than performing like a solo act. For me, that’s when this act resonates most. The harmonies are exquisite and the instrumentation is layered enough to make an impact without overshadowing the exceptional songwriting. Quieter numbers like “Cowboy” and “Twice in a Day” never fade into the background because the rich instrumentation and beautiful backing vocals support Luke Giglia-Smith’s voice so superbly.
Lloyd & The Leftovers saves some of its biggest songs to the back end of this album. Singles “Tried It On Tuesday” and the title track lose none of their potency here.
Spin the Wheel offers such a rich, rewarding listening experience. Lloyd & The Leftovers make exceptional indie-folk music and deliver it with heart. From quiet introspective moments to crowd-pleasing upbeat numbers, this album has it all and then some.
Lloyd & The Leftovers will launch Spin the Wheel tonight at Clancy’s Fish Pub in Walyalup/Fremantle. Get your tickets now from OzTix.
For not the first time last night, I found myself marvelling at how lucky the Darkinjung Country/Central Coast community is to have a venue like Avoca Beach Theatre. It’s a place that champions not just live music, but original Australian music. It’s an intimate venue, one where you can go to hear artists with an audience who respects what they’re doing. Even in the support act, you won’t hear a peep, unless of course the artist encourages us to sing along. Only occasionally will you see someone raise their phone to capture a photo, but then it’s put away as they give themselves over to the music once more. You rarely see people getting up mid-set to head to the bar. They’re too busy being in it. The older I get, the more annoyed I become at all those things that take me out of the music and the more I appreciate venues that let me revel in it.
I can’t imagine seeing a show like last night’s gig anywhere else, and I’m glad I don’t have to. Mark Crotti opened the show with an incredible set of gentle acoustic folk that had us all hanging on his every word. He could be hilarious one moment, but then make our hearts break with songs like “Half a Cup of Tea” and “Paint Me.” Ordinarily, I don’t remember the songs that support acts sing, even when I enjoy them, so that tells you something about how incredible they were. I’m an instant fan.
Mark Wilkinson is one of those artists I’ve appreciated for many years, but never managed to see live. Falling for his latest album Wild and Hunted Things gave me the push I needed. Now I’m wondering why it took me so long. His voice has always drawn me in, but I think it’s better in person. It filled the hushed room, wrapping around us all like a warm hug. He performed many songs I didn’t know, but it didn’t matter. In a venue like this, where everyone is so quiet and respectful, I could hear every lyric. It was the perfect introduction, and a timely reminder that I need to dig a little deeper into his discography. He gave us a couple of covers: a stripped-back version of Roxette’s “It Must Have Been Love” that made me appreciate the lyrics in a way I never have before and a killer rendition of Bruce Springsteen’s “I’m on Fire.” When people talk about artists making songs their own, they’re talking about what Mark does.
Mark spent most of his time on the acoustic guitar, but also ventured over to the piano for a few songs. He said he was nervous about playing this instrument for us, but honestly, these songs were probably my favourites. What a well-rounded talent he is.
Even though we were all out on a Thursday night, no one seemed in a rush to go anywhere. When Mark told us he’d play an extra song in his encore, we were thrilled. Any excuse for us all to stay in the moment, revelling in such beautiful music a little longer.
When you intend to see an artist for some time, there’s always a risk they might disappoint you. But I can’t imagine a better night, seeing Mark playing songs from his latest album, with Mark Crotti on support, in such a special venue, with a good friend keeping me company. I’m so thrilled I got to experience it. Mark Wilkinson continues his Wild and Hunted Things tour with Mark Crotti on Saturday night in Mulubinba/Newcastle. Limited tickets are available for most of the remaining shows:
It’s so satisfying watching a band come of age. With the release of their sophomore EP an introduction to a theme last year, I noted that Naarm/Melbourne-based band PRETTY BLEAK had dropped “their most cohesive and compelling body of work to date.” They continue their upward trajectory with their latest offering, coming to terms with it all.
“The EP serves to explore the difficulty of navigating interpersonal relationships on a societal scale, from the perspective of people for whom these things are rarely easy,” explained frontman Sam Thomas. “It details reckoning with obligation, perception, self-interest, betrayal, introspection, and resignation or inevitability through the lens of our own personal experiences, whether those be triumphs or catastrophic failures.”
They’re some heavy themes, but PRETTY BLEAK balance them with optimistic melodies that are bound to put a smile on your face. The atmospheric sounds of EP opener “i.need2” naturally lead into the upbeat banger, “behere.4u.” With its big brassy horns, lush synths, and ridiculously catchy chorus, it’s so much fun. “how ironic” has a similar energy, but when the music is so enjoyable you want to stay in that space. It reminds me a little of the music The Band CAMINO is making these days, an easy blend of indie rock and electropop that has you on your feet and begging for more.
In “with your friends,” PRETTY BLEAK lean more into that electronic sound to great effect. It’s such a different vibe, but one that helps give this EP some dynamics. I enjoy it, but not as much as that high-octane sound of “something’s wrong with me.” This the kind of music that PRETTY BLEAK excels at, a bold sound that’s pure joy paired with angsty lyrics that connect so easily our own insecurities.
The closing number “you can be the river” is a breathtaking change of pace. A piano ballad at its core, it sounds like nothing else on this EP. Its poetic lyrics are authentically romantic, and its orchestration is so richly layered. Every time I hear it, I have to take a moment to stop and absorb it.
And then, once I’ve felt all the feelings, I hit play again, because coming to terms with it all is that kind of EP. One that encourages repeat listens because it’s so catchy and likeable. PRETTY BLEAK have honed the sound they pivoted towards in an introduction to a theme beautifully. They also wrote, produced, and mixed this EP, which shows just how much they want to take ownership of their music. It’s a bold decision for a band so early in their career, but one that’s paid off.
coming to terms with it all is out now. Catch PRETTY BLEAK play these songs and more live at the following shows:
Naarm/Melbourne-based artist Kevin Silvester is making a splash today with the release of his bold debut EP, O2. With its high-octane fusion of pop and rock sounds and introspective lyrics, this release is impossible to ignore.
The opening track “I THINK I NEED THERAPY!” perfectly sets the scene. We’re exploring mental health with an upbeat pop-punk style song on track one? Why not?! It’s those kinds of bold moves that make O2 such an unforgettable listen. I can hear influences like The Veronicas and Avril Lavigne coming through loudly, but Kevin’s unique perspectives as a neurodivergent, queer artist and his fearless approach to songwriting ensure he’s got something new to say.
I immediately found myself bopping along to songs like “STRANGER” and “BAD OMEN” as this EP unfolded. Kevin barely takes his foot off the accelerator, but when he does for the epic ballads “FOOL’S GOLD” and “SLEEPWALKER” you start to appreciate the full breadth of his artistry. Something tells me there’s even more in the tank that we’re yet to see.
At eight tracks, O2 feels closer to an album than an EP, no matter what the press release says. But every track deserves its place here. Each one is a banger with a message, and that all might be more important than the format.
O2 is out now. To celebrate its release, Kevin Silvester will play his biggest headline show to date at The Toff in Town on July 18. During this theatrical, immersive experience, Kevin will play the EP in full, along with fan favourites and some surprises. “It’s going to be heartfelt, expressive, and just the right amount of unhinged,” Kevin promised. Tickets are on sale now from Moshtix.
Cardboard Cutouts cement their reputation as one of the most exciting new rock acts in the country with the release of their debut album, Politics and Footy Tips. With raw lyrics, honest vocals, and an epic sound, this Jagera, Giabal, and Jarowair Country/Toowoomba-based band checks all the boxes, and then some.
I say and then some, because this is an album that keeps you on your toes. While the band’s name suggests one-dimensionality, they refuse to make a rock album by the numbers. The opening track “Dishy” sets that standard. Dishies and glassies are rarely rock song heroes, but these icons of Aussie pubs get their moment here. The gentle start, more country-folk than indie-rock, is also unexpected. Soon enough the band’s full throttle, but when they do let rip it’s so much more powerful for the contrast to the quiet moments before.
It’s another bold move to bring out singles “My Best Friend” and “Steer” so early in the album, but it speaks to Cardboard Cutout’s faith in these songs. What comes later is far from filler. While other tracks like “A Story of Numbers, Bottles & Anxiety” and the incredible closer “Better Voice” may be unfamiliar to listeners, they’re destined to become new favourites.
Cardboard Cutouts makes the best kind of rock music. There’s no veneer or bravado, just pure heart. They get real about topics like anxiety, self-doubt, self-acceptance, and perseverance, showing vulnerability that’s rare and beautiful. Whether they’re belting out a tune at 11 or stripping their sound back on a bittersweet ballad, listening to this music from Cardboard Cutouts is such a cathartic experience.
Politics and Footy Tips is a fantastic album from a band with such a bright future ahead of them. Cardboard Cutouts will support its release with headlining shows around the country starting in Meeanjin/Brisbane tonight.
Eora/Sydney act A Swift Farewell show they’re a band unafraid to take risks with their latest release, Hollow Threats. This six-track EP sees them evolving from the pop-punk act we once knew to a grittier emo act.
Expanding their sound beyond the pop-punk genre has given A Swift Farewell more space for self-expression. Every song on Hollow Threats tells its own story of struggle. Through introspective lyrics, they tackle big topics like depression, betrayal, and coming out.
The sombre opener “I Never Wanted This…” establishes early that A Swift Farewell are doing things differently. It’s vocal-driven, with ambient synths and beats underscoring the words. The drums and guitars kick in with “Silence,” an anthemic, moody track that should have you punching your fists in the air by the time the chorus kicks in.
On such a personal EP, it’s interesting that two collaborations – “The Haunting” featuring Amariah and “Just Breathe” featuring Besties – take the central positions. Collaborating with other artists can take music in different directions, but these tracks work so cohesively with A Swift Farewell’s own creations.
“Hold Me Down” is a breakup anthem for the ages, pairing introspective lyrics with a soundscape punctuated by driving drums and acoustic guitars. It’s a unique blend, but it works so well. Most of these tracks hit hard, but A Swift Farewell take another left turn with the closer “Homeless.” It’s an incredible piano-led ballad that builds beautifully to an epic crescendo.
Individually A Swift Farewell’s tracks are so powerful, but together they’re an emotional onslaught. Hollow Threats often isn’t an easy listen, but it’s a cathartic one. Press play, turn it up, and appreciate this killer EP from one of Australia’s finest emerging acts.
Hollow Threats is out now. See A Swift Farewell at 2 Pizza 2 Planet Festival at Stay Gold in Naarm/Melbourne on August 9.
The first time I saw Anthony Callea, he was performing the songs of George Michael at Taronga Zoo. I was so impressed that I’ve seen him several more times over the years. So it was a bit of a full-circle moment to catch him at the Civic Theatre on Saturday night reprising those George Michael classics. This time around though, the show’s gotten a bit bigger with the addition of Anthony’s husband Tim Campbell and some Elton John classics. It all added up to a hell of a lot of fun.
If you’ve ever watched Tim and Anthony’s social media videos, you’d know this show was always going to be pretty loose. The laughs came thick and fast as the pair chatted to the audience like they were old friends. Tim even bowed to the crowd’s peer pressure and did a shooey, much to Anthony’s disgust.
But while there was plenty of time for jokes, these guys know how to switch gears. Although they can be irreverant, they’re serious about music and the artists they pay homage to. Separately, emotional songs like “Kissing a Fool,” “Father Figure,” “Daniel,” and “Your Song” were so powerful. But then watching them together, harmonising so beautifully on tracks like “Jesus to a Child” and “Don’t Let the Sun Go Down on Me” was pure magic. The show’s sombre moments were balanced beautifully with Elton and George’s many dance hits. Getting on my feet to groove along to “Saturday Night’s Alright for Fighting” and a Wham! medley was so much fun. Anthony and Tim surround themselves with such quality talent, so I was thrilled to see long-serving backing vocalist Susie Ahern and Rocky Loprevite get moments out front for “I Knew You Were Waiting (For Me)” and “As.”
Anthony and Tim’s The Songs of Elton John and George Michael show delivered exactly what it promised. It was a celebration of classic hits delivered by two talents who are as funny as they are fantastic singers. With George already passed and Elton hanging up his microphone, we are so lucky to have Anthony and Tim celebrating their legacy. Limited tickets are available for their remaining shows, so get on them!
