The release of The Deluge by Fanning Dempsey National Park was one of the unexpected joys of 2024. The coming together of Bernard Fanning and Paul Dempsey, two of the country’s most respected singer-songwriters, on original ’80s-inspired music was heaven. So I was thrilled to see them bring this album to life, and so much more, at the Civic Theatre on Friday night.
Local singer-songwriter Jen Buxton warmed up the crowd with her incredible songs. To say she was unassuming was an understatement. She introduced herself only as Jen – I had to do a bit of Googling to figure out exactly who to follow on the socials! Her songs were punctuated by self-deprecating humour. But I was transfixed. Her lyrics were incredible, and her rich, seasoned voice drew me in. When you can captivate an audience with only an acoustic guitar, you’re doing something right.
The Fanning Dempsey National Park set was everything I’d hoped for and then some. Recording this music together seems to have reinvigorated these artists. From the title track that opened their show, they seemed in high spirits. Songs like “Strangers” and “Disconnect,” which both came early in the set, have such a party vibe and you could feel that energy coursing through the room.
It was a night for celebrating the music Bernard and Paul make together, but also one for looking back fondly on the past. Something for Kate’s biggest hits “Ramona Was a Waitress” and “Monsters,” Bernard’s smash “Wish You Well” and his Powderfinger anthem “Pick You Up” all made the set. The latter track was especially electric, so it’s a shame that the Civic security wouldn’t allow us to feel the music and enjoy a little dance. While we complied with their request to sit down then, they were powerless when the whole floor stood to enjoy a rousing cover of “Under Pressure.” What a time! It also gave me the opportunity to bend the rules and snap a few cheeky photos for you.
While they didn’t make this set, I noticed that Fanning Dempsey National Park have dropped a few new tracks this year. Hopefully it’s a sign that this pairing may have a few more albums and tours left in them. But just in case they don’t. I’d urge you to see them while you can. Limited tickets are available for the remaining shows on Fanning Dempsey National Park’s regional tour.
After wowing me with her relatable pop songs for nearly a year, Ama has released her debut EP. Julie’s House is a gorgeous collection of coming-of-age songs that has really struck a chord with me.
It’s been a long time since I was caught in the throes of infatuation, but I don’t think those feelings ever leave you. Listening to Ama’s music brings back all the insecurities and heightened emotions we all experience as we’re trying to figure things out. Ama articulates them so beautifully, with songwriting that’s achingly honest. She’s also got an incredible knack for melody. These are some of the catchiest songs I’ve heard. I also love her voice, warm, pure, and emotive. She makes listening such a joy.
Julie’s House features some of Ama’s best singles including “Metro Girl” and “Bite.” They sit perfectly alongside undiscovered gems like the wistful closer “If i dated a guy” and the epic title track. This EP was inspired by Ama’s feelings for the same girl she met online, and it’s fascinating to learn about that relationship through this collection of songs.
Julie’s House is a fantastic EP from one of Australia’s best emerging pop acts. It’s out now on Spotify and all your favourite streaming services.
Naarm/Melbourne band Press Club maintain the rage with the release of their fourth album To All The Ones That I Love.
I’ve been listening all weekend and I must admit, I’m reluctant to switch gears from experiencing the music to writing my views down. Because this isn’t really music that needs intellectual analysis. They’re songs that you feel deep in those primal parts of yourself. This album appeals to my inner angsty teen, my frustrated artist, my introverted loner.
I’m not going to pretend that every song clicked with me, but that’s art, right? If the music pleases everyone, the band probably isn’t pushing enough boundaries. And when it does resonate, it can make you feel entirely seen.
Press Club recorded To All The Ones That I Love at their own studio in Western Naarm/Melbourne after writing the songs collaboratively over a few months. Guitarist Greg Rietwyk handled production and mixing duties before Kris Crummett (Closure in Moscow, Dune Rats, Currents) mastered it. That means that except for some final polishing, this is truly Press Club’s baby. The band said making this record was an incredibly fun, creative, and liberating experience, and you can hear all that in these songs. They’re defiant but jubilant, energetic and emotional. Calling out any one track feels unfair, because they all contribute to this fantastic body of work. Yes, even the ones that haven’t quite struck a chord with me.
To All The Ones That I Love is out now. Press Club will play one more local show before heading to the UK and Europe for their sixth tour. Don’t stress though Aussies; they’ll be home for more gigs from July which go on general sale tomorrow. You just know these songs will be even better experienced in a sweaty pit, so make sure you don’t miss Press Club wherever they are near you.
10 years after the first time I saw Les Miserables on stage, I was keen to take it all in again at Les Miserables: The Arena Spectacular, a production celebrating 40 years of this revered musical. I mentioned last time I saw Les Mis that it’s much more my husband’s thing than mine. While I love musical theatre, my favourites are much more contemporary and a little less depressing. But I was psyched to see West End icons Alfie Boe and Michael Ball in the flesh. What a rare opportunity. They, and the rest of this stacked cast, did not disappoint.
That cast is really the most outstanding thing about this production. I knew Alfie and Michael would be incredible, but honestly they surpassed my expectations. Often you see people perform after decades in the business and wish you’d have seen them in their heyday, but these guys remain at the top of their game. Their vocals are simply incredible. Their intimate knowledge of the characters is evident in their performances. Their years of collaborating give them the sort of chemistry you rarely see at shows that throw together a bunch of stars. I’m sure the alternate Jean Valjean and Javert are incredible too, but I’m so glad I made a point to see these artists bringing their most beloved characters to life.
Alfie and Michael are the stars, as any artists with their storied careers, or indeed any Jean Valjean and Javert, should be, but they’re supported beautifully by the rest of this talented ensemble. Rachelle Ann Go’s Fantine drew me in with her warmth, poise, and passion. Beatrice Penny-Toure has the most angelic voice I think I’ve heard. She was perfectly cast as Cosette, and by the time he delivered a heartbreaking rendition of “Empty Chairs at Empty Tables” I was sold on Jac Yarrow’s Marius. James D. Gish is my newest theatre crush. I have a long history of falling for Enjolras and he embodied everything about this character that makes me swoon. I’d initially feared Matt Lucas may be stunt casting, but what an exceptional job he does as Thenardier. I love that this production gives him space to play with the role. Helen Walsh as Madame Thenardier reminded me that getting the alternate isn’t always a bad thing. I was really looking forward to seeing Marina Prior sink her teeth into a bawdier role than I’m used to, but Helen was exceptional.
The ICC is much larger than the Capitol Theatre, where I saw Les Mis all those years ago, but this production fills it. The massive set really helps you feel like you’re on the frontline of the French Revolution. The use of sound effects and lights brought the battle to life beautifully.
Sadly my husband’s eagerness to catch a train home meant that we missed the finale, where cast members from the original Australian production graced the stage. I can’t quite believe it. What an opportunity gone begging. But I refuse to let it take the lustre off what was a really special night of music, even for someone like me who isn’t a big Les Mis fan.
Littlefair captured my heart with the release of “Happy” a couple of months ago. Now they’ve given us a little more enjoy with the release of their fabulous EP, Forever is a Long Time.
This release delivers everything I knew I loved about this band, and then some. Jessica Depiazzi is an irresistible frontwoman, but when I hear her harmonising with her sisters Kira (violin, percussion) and Mary (keys, guitar), and bandmate Jaik Rushan (bass, guitar), I get goosebumps. I am so glad their voices blend in every song. I loved the energy of “Happy” and found more of those clap-along melodies with “Jacket” and “Take Me Down,” which sees the band shaking things up and putting Jaik out front.
Forever is a Long Time shows that there’s more to this act than feelgood fun though. “Something to Miss” is a gentle, romantic ballad. And the final song, “Prescription,” which explores the complexities of watching someone you care about trapped in a toxic relationship, is so raw it bleeds. It makes a strong statement about this Western Australian band and the depth of their artistry.
Whatever music they’re making, the chemistry between the members of Littlefair is palpable. It makes listening to their music such a joy. Discover their EP Forever is a Long Time on your favourite streaming platform now. And if you’re local, catch them at their EP launch at Lyrics Underground in Wu-rut/Maylands on May 18.
When I heard Christopher Cross and Toto were heading to Australia, I was initially excited. But then my logical brain kicked in. It told me that I didn’t know enough songs to warrant spending the money, that I was too busy anyway to fit it in, that perhaps these acts would be showing their age, so I decided to pass. Then fate intervened and a friend gifted me his ticket when he couldn’t make the concert. I am so grateful that he did, because the show last night was absolutely brilliant.
When you have two massive acts on the bill, you get right to the good stuff. Christopher Cross opened with “All Right,” signalling that he wasn’t going to leave us wanting. He seemed genuinely touched by the enthusiastic reception we gave him, but how could we be anything but appreciative when he was treating us to ‘80s gems we remembered so fondly? His vocals were solid and his guitar skills so much better than I imagined. His stage presence is understated, without bells and whistles, but give me great music performed well and I’m a happy camper. The audience who rose to their feet for a standing ovation after he ended his set with “Ride Like the Wind” seemed to agree.
You could feel the energy crank up a few notches when Toto took the stage with their incredible instrumental, “Child’s Anthem.” Just like Christopher Cross, they didn’t leave us waiting too long for a sing-along. They had us all up on our feet for “Rosanna.” You know that feeling you get when a band plays an encore and you just feel that peak musicality and passion? That’s the feeling I got during “Rosanna,” three songs into the set! Usually if a band stays past that point the energy naturally wanes, because where do you go once you’ve peaked? Somehow though, Toto managed to keep us all at that point of exultation.
Toto is one of the tightest bands I’ve ever seen. I guess this is what happens when you’ve honed your craft as session musicians. If you’re even a casual guitar fan, you know Steve Lukather is one of the best in the business. I marvelled at his prowess. He shared his vocal duties with Joseph Williams, who backs up his incredible voice with oodles of charisma. These guys might be out front, but the rest of the band are no slouches.
Most members have industry resumes as long as your arm. Keyboardist Greg Phillinganes was Michael Jackson’s musical director and he’s toured with Stevie Wonder, Eric Clapton, the Bee Gees, and John Mayer. Warren Ham on sax, percussion, and flute played with Kansas, Donna Summer, and Ringo Starr. Drummer Shannon Forrest has played on albums by Willie Nelson, Michael McDonald, Kenny Rogers, and Taylor Swift. Bassist John Pierce has played with Huey Lewis and the News since the mid ‘90s and recorded albums with Alice Cooper, Cher, and The Pointer Sisters. That’s just a snippet of the people they’ve worked with too. To say they’re good is an understatement.
The exception is Dennis Atlas, on synthesizer and vocals. His resume is less impressive, but he is the member of the band I recognised. Because Dennis auditioned with American Idol last year and got three nos. I remember his audition vividly. I howled at the TV, certain that Lionel Ritchie, Katy Perry, and Luke Bryan had made a mistake. Watching him every bit the equal of these musicians who’ve been in the business for decades warmed my heart. Remember the name Dennis Atlas; he’s a superstar in the making.
When talents like this come together? Oh boy. And separately in extended solos? Mind-blowing. When you have such incredible musicians in front of you who genuinely enjoy playing together, it doesn’t matter how many songs are familiar. You can just appreciate what they do.
Even casual fans like me got their sing-along moments with the final two numbers, “Hold the Line” and “Africa.” No encore, no bullshit, just giving the people what they want. I feel so lucky that fate intervened and put me at that show last night. It was everything I hoped it would be and so much more. If you missed them on this Australian tour, you missed out.
After more than four decades touring the world, Cyndi Lauper’s made the decision to step away from the stage. Thankfully not before bidding fans around the world a fond farewell. It’s been 14 years since I saw this icon live. I resisted a few double bills and had a few clashes, so I was thrilled that the stars aligned for me to see her one last time.
The Veronicas didn’t just warm up the stage; they made it red hot. They delivered a smart set made up of their many bangers and some choice covers. “Edge of Seventeen” was an electric opening number that played perfectly to the crowd of ‘80s music fans. “Love is a Battlefield” and an incredible cover of “Simply the Best” also made their way into the set. These songs sat easily amongst the Veronicas originals. I’m not sure I realised how many chart toppers they’d released, but I knew and loved everything they performed. Some of those songs are heavily produced on the record, so it’s easy to forget just how good their voices are. Whether singing independently or harmonising in the way only siblings can, they sounded sublime. They also had such energy; I couldn’t look away. Note to self: make a point to see more Veronicas shows.
This was a very different Cyndi show than the last one I attended; I feel so blessed that I got to see both. Last time she was promoting her Memphis Blues album, and with a crack team of blues musicians around her focusing on that album felt right. The biggest hits came out near the end, giving fans an opportunity to sing along before the end of the night. This time around the hits came out early after a rainbow explosion of confetti. Talk about starting the night with a bang! I sang along heartily with tracks like “She Bop,” “The Goonies ‘R’ Good Enough,” and her iconic cover of Prince’s “When You Were Mine.” I marvelled at the sight of this ‘80s icon with her bold outfits and colourful wigs bopping around the stage.
This show wasn’t just about the hits and Cyndi’s bubbly persona though. Without a new album to promote, Cyndi could use her time playing songs that moved her in the moment. I was thrilled to hear many of the softer, more personal songs that didn’t make the set list last time like “Sally’s Pigeons” and “Who Let in the Rain.” One of my very favourite moments was watching Cyndi standing in place, without a trademark wig in place, wearing all black, delivering the most incredible version of Frankie Laine’s “I’m Gonna Be Strong.”
This show wasn’t just about the songs either. Cyndi told us several times she didn’t just want to sing at us. She shared stories freely, about her working-class upbringing, her career, and her beliefs. I hung on her every word. She’s such an incredible storyteller and I loved getting to know her heart a little more.
For the encore, Cyndi moved to a smaller stage in the centre of the floor. Watching the fans circling her, gazing on adoringly as she performed the powerful “Shine,” I thought this is probably as close as I come to church. It was that powerful. And just when I thought it couldn’t get any better, Cyndi delivered “True Colours.” I’ve heard this song so many times, but I’ve never been as moved as I was last night watching Cyndi deliver it as she waved a beautiful rainbow scarf. It was such a powerful symbol of allyship delivered at a time when the political war against the LGBTQIA+ community is raging. I don’t mind admitting that I was moved to tears. As I wiped them away, Cyndi lifted us up one more time with her girl power anthem, “Girls Just Wanna Have Fun.” She told us she wanted us to sing loudly and joyfully, and we all did. I experienced pure, unfettered happiness. How special is that?
It must be a difficult decision for artists to step away from the stage. Cut it too short and you miss that connection with fans that Cyndi clearly enjoys. But overstay your welcome and you might tarnish your legacy. It’s very rare that you see an artist time it as beautifully as Cyndi. While she wasn’t quite as energetic as the last time I saw her, she still had plenty in the tank and she gave me everything that mattered. Her vocals were incredible. Her artistic vision was still so fresh. And she still had a few moves up her sleeve. Saying goodbye is so bittersweet, but if we had to do it, I’m so glad we did it this way.
Cyndi has just a few shows left on the Australian leg of her Girls Just Wanna Have Fun Farewell Tour. If you are on the fence, trust me, buy the tickets. You will not regret it.
It feels like Harry Cleverdon’s album, Survival, has been a long time coming. He released an experimental psychedelic album under the moniker SonofHarry in 2023, but Survival is the first released under his own name. It’s also the first featuring the sweet country-folk-pop sound I’ve enjoyed from Harry since 2022. But you know what they say about good things coming to those who wait.
Now that it’s out in the world, I appreciate that Harry took his time. He’s still a young artist, but the experience and wisdom he’s gained through the last few years I’ve spent following his career shows. Songs like the incredibly catchy album opener “House of Cards” and the stirring title track, which you can listen to below, are among the best he’s released. I love the cheekiness of “Empty Bottles,” but I’m also glad Harry balances it with more vulnerable numbers like “Nothing For Myself” and “Superman (Late Night Trance).” He shows more of his heart with “The Best That I Can,” an earnest love song that’s sure to leave most listeners swooning.
There’s also an ease about Harry’s music that only comes with growing comfortable in your own skin. When so many new releases rely on heavy production, Survival comes as a breath of fresh air. Harry’s not afraid to buck the trends and get back to basics with his music. With acoustic, organic instrumentation in support, his sweet vocals are never overpowered. We can hear every lyric, which is such a blessing when the songs are so well-crafted. Listening to these tunes you get the sense that they’d sound the same live as they do on the recording. There’s no tricks or wizardry here, and the music is better for it.
Survival is the perfect showcase for Harry’s talents as a singer and songwriter. The songs are instantly accessible, but spend a little more time with them and know you’ll fall as deeply in love as I have. Stream it on your favourite platform now. You can also hear Harry and other fantastic Aussie country acts on my Spotify playlist, Sounds of Oz Loves Country.
Images used with permission from Lambing Flat Records
St Patrick’s Day came early to Eora/Sydney yesterday with the first ever Misneach festival, a welcome addition to the city’s festival calendar. The brainchild of regular visitor to our shores Dermot Kennedy, the festival was a celebration of Irish culture.
I personally thought my festival days were long behind me, but I’m such a Dermot fan I didn’t hesitate to grab tickets. I did wonder how I could possibly stand for close to 12 hours, but like so many music-motivated decisions I decided I’d figure out the details later. As it turned out, I didn’t have to. With my collarbone not healing as well as doctors would like, I reached out to organisers with my concerns about being jostled in the crowd. Hey presto, my husband and I found ourselves with an upgrade to accessible seating. We were so well taken care of, with access to water and sunscreen and a plum position on an elevated platform directly behind the front general admission. I found the one silver lining to a major car crash! Our prime spot helped me brave the 38-degree heat and enjoy all the acts.
That 38-degree heat was certainly a barrier for many though. No one can control the weather, but it’s a great shame because it meant some of the early acts played to just a handful of dedicated music lovers. Some came late, others preferred the ample seating and shade around the Doss House stage. If I didn’t have a chair provided, I certainly would have joined them. But I was thankful that I could enjoy those emerging artists in relative comfort.
Even if you didn’t get the red carpet treatment, you were well looked after at Misneach. The Red Frogs team circled the crowd offering free water, sunscreen, and those sugary Allens lollies. Friends reported that the team at the medical centre weren’t just happy to keep medications cold and provide space for taking them; they also allowed offered charging ports for the punters’ mobile devices. The food vendors catered to every taste and dietary requirement. We were personally thrilled to see Coeliac Australia-accredited food truck Brother Jackson & Co. selling safe gluten-free items. Their festive green-battered chips on sticks were top notch.
FYNCH was the ideal opening act for a festival that aimed to break stereotypes and showcase where Irish music is today. He’s clearly a talented rapper, although I’m not sure the small crowd did him justice. Or perhaps it was the heat. His performance seemed a little introverted, but it’s hard to bring the energy to an empty dancefloor.
After brushing up on the appearing artists before the show, Cliffords were the new discovery I was most excited about. While FYNCH’s set dragged a little, Cliffords seemed over in the blink of an eye. Iona Lynch is such a captivating frontwoman and their angsty rock songs are incredible. If I wasn’t so wiped out, I’d be at the Lansdowne seeing them tonight. They’re incredible: get on to them.
Susan O’Neill told us her set was “20 minutes of misery,” but I felt uplifted by her sad songs. She was one of the real surprises for me. While I liked listening to her gentle folk music on Spotify, the recordings can’t capture utterly enchanting she is on stage. Her voice is so unique and beautiful, what a huskiness and warmth that draw you in and leave you hanging on every single word. This was another set over too soon that deserved to draw more of a crowd. If you were there, you know how special it was.
Sorcha Richardson continued to show us just how strong female-fronted music is in Ireland. A singer-songwriter at her core with an indie-rock bent, she oozed cool. She’s another artist that I felt could have benefited from a larger turnout around the stage; it just might have taken that solid performance to the next level.
While the sun was still scorching, many couldn’t resist the allure of Amble. I didn’t blame them. I’d had music from this modern folk act on regular rotation leading up to the festival and they did not disappoint. They seemed to feed off the appreciative crowd who gathered in full voice, waving their Irish flags proudly. I loved hearing those classic Irish instruments like the mandolin and banjo combining with their flawless harmonies. What they do is really special. Like Cliffords they’ll continue the party tonight with their own show at Oxford Art Factory. That one’s sold out; I wouldn’t be surprised if fans nabbed the last couple of tickets after watching them yesterday.
Some may wonder how Australian artist Meg Mac landed on the bill. However, with an Irish mother she was an ideal representative for all the Aussie-born Irish folk here in this country. And you can’t argue with her talent. Watching her set I was reminded just how many hits she’s had over the years. Her voice was utterly flawless and I loved watching her easy camaraderie with her sister and back-up singer Hannah.
The show took a sharp left turn with The Scratch who amped up the energy with their unique blend of traditional Irish folk and heavy metal. That blending of genres sounds like a mess on paper, but I was enthralled. Even though the sets were getting longer by this point, it felt like theirs went by in a heartbeat. If I had more energy, I’d catch them at the Doss House tonight. I know they’re going to raise the roof on that tiny whiskey bar!
I’ve got a confession to make: I was not looking forward to Kneecap. I know they’re one of the hottest bands on the planet right now, but after listening to some of their music online I thought this hip hop trio’s longish set might be a slog. It’s just not my thing. I didn’t account for that X factor that comes when you’re seeing an act like this live though. Their set was absolutely off the hook. They whipped the crowd into a frenzy, the likes of which I’ve never seen. The pit looked so much fun, but my broken collarbone was very glad I was well clear of it! Bottom line: I was entertained, and you can’t ask for more than that.
I wondered how Matt Corby might feel following up Kneecap’s wild performance. If he was intimidated, it didn’t show. He just came out and did his thing. What he does, he does so well. Matt’s another Aussie artist that I hadn’t seen up until this point, so it was exciting to finally get there. The set celebrated his evolution, from his folky breakthrough “Brother” to more recent soul releases. Whatever genre he turns his hand to, his musicianship so impressive and his voice is spine-tinglingly good.
My excitement hit fever pitch as The Frames’ set approached. I bought tickets to Misneach knowing only that Dermot would play, trusting him to allow the rest to fall into place. I didn’t expect he’d put my favourite Irish artist and Frames frontman Glen Hansard on the bill. Glen is the only artist that I have carte blanche to simply buy the concert tickets whenever he tours, no questions asked. We love him. And it’s been nine long years since he played in Australia. So much time has passed that Glen realised it was the first time his band was the oldest on a festival set, to rapturous applause. However, age is not wearying this outfit. The Frames are an Irish institution, and anyone who wasn’t already aware of that discovered why through their blistering set. From hard-hitting tracks like “Relevate” and “Fake” to gentler moments like “Star Star” and “Lay Me Down,” it was a masterclass. I only hope this all-too-short set helps Glen remember how good Aussie audiences are and we get the opportunity to see him playing a much longer show here sooner rather than later.
And then there was Dermot Kennedy, the man who brought it all together. It might just be the post-concert excitement talking, but I think he might be getting better. Or perhaps the gravity of seeing the festival he conceived brought to life gave him a little extra gas in the tank. But either way, he was in such fine form last night. His hour and a half set celebrated his albums Without Fear and Sonder, gave a nod to his first recordings, and acknowledged where he’s heading with the debut performance of “Let Me In.” It’s only been out in the world for a few days, but the choir of audience members joined him singing it as confidently as they did any of his past singles. This is the power of Dermot, a man who inspires such passion with his poetic, emotional music. He delivers a big show now with colourful screens, a full band, and backing singers, but that poetry, that heart, remains at the centre of what he does.
Dermot doesn’t usually do encores, but he made an exception this time, reuniting all the event’s musicians to join their voices and ours in the traditional Irish farewell, “The Parting Glass.” We didn’t take any photos, preferring instead to just drink in the moment. What a special way to say goodbye to the first ever Misneach.
Dermot said he’d see us all next year, so I guess my days of festivals aren’t far behind me at all. I won’t be able to rely on the accessible seating next year, but I had so much fun that I’ll willingly brave the crowds. Hopefully the weather is a little kinder to us in 2026!
Ziggy Alberts has crammed an awful lot into his 14 years in the music industry. He’s won APRA Awards, racked up more than a billion streams, and played shows all over the world. While others may be daunted through their journey, it seems like nothing phases Ziggy. His signature chill shines through his recently released seventh album, New Love.
I’ve always appreciated Ziggy’s music, but this collection of songs is the first I’ve really taken into my heart. I think it’s the focus on relationships and romance that resonates most. Easy love songs make up the bulk of the music here, and they’re beautiful. It’s refreshing to hear songs about love that’s uncomplicated and without drama. As a 40-something who’s spent decades with the one man, songs like “I’m With You” and “Confessions”. And even if your personal life looks different, hearing the heartfelt lyrics delivered with such emotional sincerity brings comfort.
Ziggy punctuates his beautiful music with philosophical insights that might sound naff coming from someone else. But coming from this Kabi Kabi and Jinibara Country/Sunshine Coast-raised talent, it just makes sense.
New Love is such an enjoyable listen. Its songs are mellow and gentle, without sharp edges. Ziggy’s voice and the strum of his acoustic guitar will soothe you. Great art doesn’t always need to challenge the listener or the status quo. Sometimes, as is the case with this album, simply making listeners feel good is enough.
New Love is out now. Ziggy is playing plenty of shows around Australia and beyond to support its release but tickets are selling out fast, so get yours while you can.
