Category: Reviews

Posted on by Lauren Katulka

“Lessons in Love” – Thndo

It’s no coincidence that Thndo’s released her new album Lessons in Love this Valentine’s Day. While the day might be a Hallmark holiday, it’s also the perfect time to discover this diverse collection of “love songs.”

I put the term in quotes because most songs aren’t love songs in the traditional sense. While they all touch on relationships, they’re not formulaic or overly saccharine. Thndo bares her heart here, exploring the emotions that come when you open yourself up to someone. There’s excitement over infatuation, but also trepidation over being vulnerable. Love comes in all forms, so it’s only fitting that Thndo touches on motherhood with songs like “Another Day” and the incredible closer, “Purpose.” The struggles in relationships are celebrated as part of the story rather than sugar-coated. While Thndo’s not afraid to show the scars, this is ultimately an uplifting collection of songs that offers hope that love can conquer all.

These are songs of real substance, so I wanted to celebrate that first before I mention Thndo’s voice. It’s important to stress that her talent goes much deeper than her vocal chops. But of course, I also have to mention Thndo’s voice. It’s simply one of the best in the country. It can truly do anything, from the upbeat grooves of “Along the Way” and “Bedroom Eyes” to the cinematic ballad “Holding On.” But I love it best in pared back numbers like “Another Day” and “Given Time.” When you strip the music back, there’s nowhere to hide. If there were any imperfections, we’d hear them. There are none. Thndo’s rich, soulful voice is simply incredible.

I liked Lessons in Love from the first spin, but after a few listens I feel deeply in love with it. Press play and let it find its way into your heart this Valentine’s Day. You can see Thndo performing selected songs from Lessons in Love at the following venues:

14 February 2025 – A Valentine’s Affair @ Jazz Lab, Bulleke-bek/Brunswick
22 February 2025 – Under the Stars @ Packer Park, Bunurong and Wurundjeri Country/Carnegie (FREE)
16 April 2025 – Northcote Theatre, Naarm/Melbourne (supporting BJ the Chicago Kid)
27 June 2025 – Karralyka Theatre, Wurundjeri Country/Ringwood

Main photo credit: She is Aphrodite

Posted on by Lauren Katulka

“Stay With the Horses” – Alexander Biggs

Fiercely independent, Alexander Biggs is an artist who plays by his own rules. His music doesn’t sound like anything on the radio. He takes his time releasing it, waiting five years after hitting my radar before unleashing his debut album Hit or Miss and another four years before following it up. But today, we get the opportunity to hear his sophomore effort Stay With the Horses.

Of course, when you’re self-recording, self-producing, and independently releasing your music as Alexander does, you have time. To experience life and find inspiration, to experiment with lyrics and sounds, to get it just right. I hear the benefit of time in these songs. They embody the elements that drew me to Alexander’s music years ago. The hushed vocals have such a quiet power, drawing in the listener and creating intimacy. The lyrics are beautiful, poetic, and authentic. The melodies are simple, allowing us to hear the words that Alexander almost whispers.

But don’t think Alexander’s simply delivered more of the same here. This is everything I love about his music, but better. The melodies seem more approachable and a little catchier. You’re still not going to belt out these songs at karaoke, but you might find yourself humming them unexpectedly. His songwriting has evolved too. I found myself marvelling at his way with words, admiring phrases that hit my ears and heart. Alexander has elevated his music without alienating his fans here. That can be a delicate balance, but he achieves it with these songs.

Stay With the Horses is a really special album. It’s music that matters from an artist that isn’t afraid to buck trends or reveal their heart. Listen to it on your favourite streaming services now or purchase a limited edition vinyl copy here.

Images used with permission from Maths and Magic

Posted on by Lauren Katulka

Damien Rice @ State Theatre, Eora/Sydney – 3 February 2025

Damien Rice’s music captivated me from the release of his debut album O. Yet strangely, even though he’s a regular visitor to our shores, I hadn’t managed to catch him live. Those shows always clashed with others or came at the wrong time. So I made things right last night when he visited the beautiful State Theatre.

I thought I was in for a special night, but it exceeded my expectations. All too often musicians tour a set show. The songs mostly stay the same, they tell the crowd the same stories, simply subbing out city names where appropriate. The performances are carefully crafted to appeal to the masses, and to some degree it works. But when artists have such a clear plan, I think it can also undermine creativity, spontaneity, some of the foundations of music. So it was refreshing to see an artist like Damien Rice who throws out the rule book and gets back to basics.

Damien doesn’t use a setlist. Instead he relies on instinct and lets the evening play out as it’s supposed to. Sometimes he played the music that felt right for the moment, in others he agreed to the requests of his passionate audience or asked his talented cellist and vocalist Francisca Barreto what she felt like playing. He also doesn’t go for the usual staging either. There are no big screens behind him and lighting is minimal. That might not be ideal for photos, but I loved the intimate atmosphere these choices created.

I had my first inkling that this wasn’t any ordinary show when he played his first number, an unreleased track, on his knees hunched over a harmonium, a small light barely illuminating his face. I was mesmerised. He moved on to more familiar territory with “Delicate,” the opening track from O, but even though we all knew it you could hear a pin drop. It was almost as if we collectively worried that adding our own voices to the mix might break the spell.

It took until the eighth song for someone to yell out a request. “I Remember,” an excellent choice Damien was all too happy to oblige. This opened the floodgates for others to suggest their favourites. He was generous, delivering many songs the audience held dear. I’ve got to commend those vocal fans for choosing so beautifully. But all too soon he told us that he’d need to start wrapping up as people had work in the morning. How I love a musician who’s so considerate on a weeknight! And so, he gifted us with his breakthrough hit “The Blower’s Daughter” mixed with a little of Radiohead’s “Creep.” It was glorious from the start, but turning down all the microphones, so he was simply singing to us, made it magical.

Honestly, I hadn’t expected an encore. That song was so powerful, I wasn’t sure where he might go from there. But sure enough, he came back with Francisca and delivered a beautiful version of “Cold Water” silhouetted against the stage’s backdrop. I didn’t need to see them because I could feel them. Damien ended the evening with another unreleased track, bringing the evening full circle. On any other night these might have seemed like strange choices but on a night like this, which was more about appreciating music than singing along to it, it made perfect sense.

As I left the theatre, and again now as I relive it in my mind, one word echoes in my brain: transcendent. It means “beyond or above the range of normal or physical human experience.” That’s what this concert was for me. I see a lot of concerts. I love many of those shows. But I’m not sure I’ve ever experienced a night quite like this. Thank you Damien Rice.

Damien Rice continues his Australian tour in Mulubinba/Newcastle. There are limited tickets for that show at the Civic Theatre tonight before he plays his final sold out show in Meeanjin/Brisbane on Thursday.

Photo credit: Stephen Katulka

Posted on by Lauren Katulka

“Some Good Songs … Done Badly” – Brave Mistakes

I love a good cover version. Covers have become a bit of a dirty word over the years, something reserved for karaoke nights or reality singing shows on commercial networks. But interpreting a beloved song and making it your own takes a real skill. So while the title gave me some trepidation, I was excited to discover Brave Mistakes new EP, Some Good Songs … Done Badly.

Brave Mistakes are a DIY band from Tarntanya/Adelaide. That city has always been a rich breeding ground for talent, giving birth to acts like Cold Chisel, The Angels, and Masters Apprentices. There’s an energy about these bands that I hear echoed in Brave Mistakes. The songs on this EP are pretty raw and unfiltered, but what’s more rock and roll than that?

This EP definitely has some good songs, as its title suggests, and while the delivery’s probably not what you’re used to it’s far from bad. Actually it’s pretty amazing. Brave Mistakes have made some really clever song selections here. Frontman Garrett R. Cooper has a rich, resonant voice that lends itself perfectly to these diverse numbers. Darker material like Chris Isaak’s haunting “Wicked Game” and Iggy Pop’s tortured “Candy” are natural fits. But Brave Mistakes brings out the yearning in Elvis Presley’s “Heartbreak Hotel.” This is no slick, matinee idol performance; it’s much more interesting. Their version of “Who Do You Love?” reminds me a lot more of The Doors’ sexy take than Bo Diddley’s rockabilly original. Brave Mistakes take their biggest left-turn with the closer, “Be My Baby.” I’ve never heard a male-fronted band deliver this Ronettes’ hit, let alone one that’s so unpolished. But there’s a retro charm about Brave Mistakes that makes this work too.

Leave your preconceptions at the door. Brave Mistakes don’t sound like so many other rock outfits that record their music in high-end studios with acclaimed producers. They’re doing it their way, and that’s a big part of their appeal. Some Good Songs … Done Badly is out now. Brave Mistakes will play the following festivals in the coming weeks:

8 February 2025 – High Fever Festival @ Three Brothers Arms Hotel, Kangowirranilla/Macclesfield
1 March 2025 – Pirate Life Brewing 10th Birthday @ Pirate Life Brewing, Yartapuulti/Port Adelaide (SOLD OUT)

Posted on by Lauren Katulka

Heathers: The Musical @ The Art House, Darkinjung Country/Wyong

I love musical theatre, but it doesn’t seem like the nation as a whole embraces my enthusiasm. More often than not, major theatre promoters seem unwilling to try anything new. They give us the same old hits or jukebox musicals they know will fill seats. And I don’t blame them. When they do take a risk, as Michael Cassel Group did recently staging Dear Evan Hansen, the reception is so lukewarm that whole runs outside Eora/Sydney and Naarm/Melbourne get cancelled. But I learned a couple of years ago that musical theatre nerds like me have options. There are passionate community theatre groups all over the country committed to bringing a greater variety of productions to fans. I’ve raved about the Hayes Theatre in Eora/Sydney before, but I’m lucky to have a fantastic community theatre group closer to my home in Darkinjung Country/Central Coast. On Sunday I headed to the Art House to see Curtain Bounce’s production of Heathers: The Musical.

The Art House has staged major concerts by everyone from Macy Gray to Anthony Callea in their main 500-seat theatre, but they also have a smaller studio that’s ideal for productions like Heathers. It holds just 130, but every one of those seats was occupied on Sunday, as they had been all weekend. I love being a part of audiences like this, a small group where you know that everyone cares. They’re attentive, they radiate warmth and the players feed off it.

Those actors and actresses are not household names … yet … but they’re every bit as talented as the stars I’ve seen in major local productions. I worried that they may pale a little bit in comparison to the actors from the original 80s film I fell in love with as a teenager. Christian Slater was one of my big crushes of the period, largely due to his turn as JD, but I was impressed at the way Kane McCarthy made it his own. Winona Ryder was the It girl at the time, but Teaghan Thompson’s Veronica was perhaps even more compelling. I appreciated the way the musical made more of the character of Heather Chandler, and Jacqui Grunden rose to the challenge of playing the ultimate queen bee. Every time she stepped on stage I could barely take my eyes off her. What a superstar she is. But the entire ensemble never put a foot wrong. Everyone was right in their performances, and it was a joy to watch.

Looking around at audience members with their plaid skirts, blazers, and bows in hair, it was clear that many were already fans of the musical. But I appreciated discovering it for the first time on the stage with this incredible production. Curtain Bounce presents Heathers: The Musical until February 8. There are still some tickets left for the February 6 evening performance and February 8 matinee, but they won’t last long once word spread. Snap them up at the Art House website.

Posted on by Lauren Katulka

“Forgiving Spree” – Slowly Slowly

With Forgiving Spree, Slowly Slowly proves the old adage that quality is always better than quantity. Its nine tracks spanning will take you just a little over half an hour to listen to, but I guarantee you’ll be thinking about them long after the final note.

It’s no coincidence that Slowly Slowly released five singles from this album before its launch. It opens with the title track before moving on to “Gimme the Wrench” and “How Are You Mine?”, all so catchy and crowd-pleasing. You might expect a dip in energy as Slowly Slowly move on to those album tracks, but in all honesty, any song on this album might have served as a single. This is an album that sees Slowly Slowly leaning into their pop sensibilities, unafraid to take inspiration from more commercial influences like John Farnham and Bruce Springsteen. There are more love songs than gritty anthems here. Most songs encourage listeners to sing along, but with the closer “Born Free,” Slowly Slowly shows they have what it takes to silence you. It’s such an epic ballad, stripped back and vulnerable until its dramatic musical and emotional crescendo.

Forgiving Spree is Slowly Slowly’s fifth album and their most accomplished. It sees them taking well-educated musical risks that always land, yet still surprise listeners. They’re stretching themselves musically and proving that just maybe, they can do it all.

Forgiving Spree is out now. Slowly Slowly will celebrate their new release with shows in Europe, the United Kingdom, and here at home over the coming months. Get your tickets now because they’re bound to sell out.

6-9 February 2025 – Party in The Paddock Festival @ Quercus Park, Kanamaluka/Launceston
28 February – 2 March 2025 – Feastival Falls Creek, Jaithmathang Country/Falls Creek
1-2 March 2025 – Yours and Owls Festival, Woolyungah/Wollongong
9 March 2025 – Limestone Coast Beer & BBQ Fest, Berrin/Mount Gambier
14 March 2025 – Academy 2, Dublin
16 March 2025 – Cat House, Glasgow
18 March 2025 – Key Club, Leeds
19 March 2025 – Deaf Institute, Manchester
20 March 2025 – Hare & Hounds, Birmingham
22 March 2025 – Camden Assembly, London
24 March 2025 – AB Club, Brussels
26 March 2025 – Supersonic, Paris (FREE)
27 March 2025 – Rotown, Rotterdam
29 March 2025 – Artheatre, Cologne
30 March 2025 – Badehaus, Berlin
4 April 2025 – Astor Theatre, Boorloo/Perth
5 April 2025 – Hindley Street Music Hall, Tarntanya/Adelaide
6 April 2025 – King Street Bandroom, Mulubinba/Newcastle
10 April 2025 – Fortitude Music Hall, Meeanjin/Brisbane
11 April 2025 – Enmore Theatre, Eora/Sydney
12 April 2025 – Margaret Court Arena, Naarm/Melbourne

Main photo credit: Marcus Coblyn

Posted on by Lauren Katulka

“TOY” – Dear Seattle

Dear Seattle aren’t playing around with their latest album TOY. The band’s third studio album is packed with stellar rock tunes that will have you singing along in no time.

The album takes off with “Nothing’s Stopping Me Now,” an upbeat, feel-good banger that perfectly sets the tone for this release. Dear Seattle have a knack for creating big, anthemic earworms. Frontman Brae Fisher’s vocals have this raw, authentically Australian quality that encourages listeners to join in. The hooky guitar riffs are infectious. High-energy numbers are the band’s specialty and tracks like “Courtney Love” and “Sungazer” are some of the band’s best. The band doesn’t keep its foot flat to the floor though. Dear Seattle ensures this rock album never feels one note when it slows down the tempo for more introspective numbers like “Evergreen” and “Counting Hours.”

While Dear Seattle’s Like a Version cover of “The Special Two” is a lot of fun, it doesn’t quite gel with all this incredible original music. It’s a shame this bonus track couldn’t be delivered like the bonus tracks on old CDs, after an extended silence that let us digest this excellent album first.

The release of TOY feels like Dear Seattle have come full circle. This album saw them reunite with Fletcher Matthews, who produced their debut EP in 2017. This time they’re coming together with years of stage and studio experience under their belt. Dear Seattle have matured without losing that raw Aussie charm that first endeared them to punters. This fresh batch of songs are instantly accessible, but I feel I’m going to love them even more once I memorise all those lyrics and can sing along at top note.

TOY is available now on vinyl, CD, and streaming platforms.

Main photo credit: Charlie Hardy

Posted on by Lauren Katulka

Rai Thistlethwayte & Ben Vanderwaal @ Avoca Beach Theatre, Darkinjung Country/Avoca Beach – 16 January 2025

It’s been an unseasonably cold, wet week, but I wasn’t going to let that stop me heading back to Avoca Beach Theatre for some more musical fun. I know it seems like I should just move in at this point, but when this incredible venue keeps bringing great acts to my local area it’s hard to resist the tickets!

I really love that Avoca is hosting so many up-and-coming local artists in their outdoor courtyard area. I’d thought these free shows may have only happened on weekends, but sure enough we had NEAV entertaining us on Thursday. I wrote about NEAV’s beautiful voice a few years ago, and I loved seeing how she’s maturing into such an incredible artist. Her set celebrated her original material while giving us a taste of her influences with some choice covers from Talking Heads and Travis. I just wish more people were around to see her set. While the courtyard was full before Jack Jones, just a few of us braved the cold and wind on Thursday night. You can’t control the weather, but I hope Avoca Beach Theatre have NEAV back when conditions are more favourable.

It was toasty warm inside the theatre when Rai Thistlethwayte and Ben Vanderwal took to the stage. I last saw Rai perform solo in 2011 and I must admit I expected more of the same. Thirsty Merc tunes stripped back with Ben taking a supporting role. In hindsight, despite the bandname on the drumkit, that was incredibly naïve. Spotify tells me Rai’s released plenty of solo material and a couple of EPs with Ben. I honestly don’t know how they escaped my attention, but after hearing the music on Thursday night I’ll make a point of diving deeper into it.

I write all this because I’m probably not the only one who hasn’t explored Rai’s less-commercial back catalogue. Thankfully I’m the kind of person who revels in discovering something new, and if I’m doing that at a gig I don’t mind at all. So I wasn’t disappointed that only four Thirsty Merc tracks made the set list and that they weren’t the ultra-successful singles. While I always enjoy them, I’ve probably heard Rai sing “In the Summertime” and “20 Good Reasons” enough times by now. But to hear him play deeper cuts like “DNA” and “Katie Q”? Priceless. However, others might not feel the same.

Rather than focusing on what didn’t make the set, I revelled in the fabulous songs so different to Thirsty Merc. Rai’s love of jazz shone through the extended jam sessions with Ben. I have a feeling the recorded versions are much more concise, but I love watching musicians feeling the music and the energy between them. I’ve always been impressed by Rai’s keyboard skills, and Ben may be one of the greatest drummers I’ve ever seen. It was a joy watching them collaborate.

The show was incredibly loose, and I ate it up. The stories were off-the-wall. We heard music we didn’t expect to hear. I know I’ll never get an instrumental version of the Beverly Hills 90210 theme at a Thirsty Merc show! A great gig should be like that, a moment in time that won’t ever be replicated. Yet those shows are becoming rarer as acts create rigid setlists and deliver rehearsed banter. So while it wasn’t the show I expected, I think that was a happy accident. If I’d known the show was so light on Thirsty Merc material, I may have decided to stay home, and then I would have missed this amazing night of entertainment.

Photo credit: Stephen Katulka

Posted on by Lauren Katulka

“Mutation” – RedHook

With the release of their sophomore album Mutation, RedHook show they’re a serious force to be reckoned with. This album builds on the promise of their debut Postcard From a Living Hell, with a killer selection of rock cuts that you’ll want to play again and again.

Some might call it an evolution, but mutation seems more appropriate for this spooky rock act who brings us songs like “Cannibal,” “Dr. Frankenstein, “and “Party/Zombie.” They’ve mutated into a band that consistently delivers the best parts of themselves.

“With this record, we wanted to crystallize all the most unique parts of RedHook’s DNA and then put that on steroids,” lead vocalist Emmy Mack explained. “Stronger hooks, braver lyrics, bigger production, wilder collaborations, bolder musical choices, just an evolution in every way. From moments of deep pain and heartbreak to moments of rage and defiance, to moments of joy, celebration and just pure fun, Mutation is an authentic statement of everything we are, and we hope you don’t get bored for a single BPM.”

Some of those wild collaborations include tracks recorded with Alpha Wolf, Holding Absence, and Vana. Their contributions are inspired, but RedHook are every bit as strong without their help. Emmy is one of the most exciting frontwomen in the business. I adore her strong vocals and convictions. You can almost guarantee that this band wouldn’t be calling out misogyny in “Bomb.com” or narcissistic abuse in “Scream 2” if it didn’t have a kick-arse female at the helm. I also appreciate the contributions of her bandmates. This outfit is tight. Without those big drums and big guitar chords RedHook wouldn’t sound nearly as compelling. Everyone has a role to play and they do it so well.

Mutation is everything I love about RedHook but better. If you’re a fan of this quirky rock outfit, I know you will adore this album. And if you weren’t already on the RedHook train, Mutation may be the album that encourages you to get on board. RedHook will support Stand Atlantic on their Was Here regional tour in March and April.

21 March 2025 – Forth Pub, Tommeginne Country/Forth
22 March 2025 – Uni Bar, Mouheneenner Country/Sandy Bay
27 March 2025 – The Governor Hindmarsh, Tarntanya/Adelaide
1 April 2025 – The Basement, Ngambri/Canberra
2 April 2025 – Beer DeLuxe, Bungambrawatha/Albury
4 April 2025 – Torquay Hotel, Wadawurrung Country/Torquay
5 April 2025 – Pier Bandroom, Monmar/Frankston
6 April 2025 – Commercial Hotel, Wurundjeri Balug and Wurundjeri Willam Country/South Morang
9 April 2025 – King Street Hotel, Mulubinba/Newcastle
12 April 2025 – Miami Marketta, Yugambeh Country/Gold Coast
13 April 2025 – Solbar, Yuggera Country/Maroochydore

Listen to “HEXXX,” RedHook’s track with Vana, on my new playlist Sounds of Oz Loves Rock. It’s early days so I’m still adding tracks but I hope that playlists like this will be another way you can engage with my blog and discover some fantastic Aussie tunes.

Main photo credit: Luke Shadrick

Posted on by Lauren Katulka

Jack Jones @ Avoca Beach Theatre, Darkinjung Country/Avoca Beach – 4 January 2025

Saturday night saw me back at my musical happy place, Avoca Beach Theatre. Here in Darkinjung Country/Central Coast we are so blessed to have this intimate “barn,” as co-owner Beth Hunter calls it, where some of the country’s best and brightest play. And it shows no signs of slowing down. In fact, things seem to be ramping up. I visited on Saturday night to see Jack Jones, but what I got was a whole lot more.

For the first time our evening started outside the theatre, where the venue is hosting summer sessions before the main gig. They’re free events that welcome all members of the community, including non-ticket holders and their furry friends. I’ve often enjoyed a glass of wine before the show in this lovely courtyard area, but adding live music to the mix takes the experience up a notch. It’s also such a great platform for emerging artists like the lovely folk singer who entertained us with her mix of original songs and classic covers. I just wish the artist was better advertised. A little sign saying her name or a reminder from the artist herself every now and again would have helped us all remember to support her in future.

The talent kept coming inside when Piper Butcher warmed up the stage. I’ve appreciated her music for a long time, but my admiration has gone up a notch after seeing her live. She has such a beautiful, warm personality that’s incredibly endearing. I loved hearing her stories about her career and where it might go next as she prepares to head to the United States for a month. Her music was also incredible. It takes a special something to capture an audience with predominantly original tracks they don’t know, but she held us all captivated. The only cover in her set – a bluesy take on Soft Cell’s “Tainted Love” – hinted at what could have been had she stayed longer in the Australian Idol competition. Piper also treated us to a few yet-to-be-released songs she recorded with Australian country royalty, Kasey Chambers. If there’s any justice, they may just be the tracks to give her the mainstream attention she deserves.

I’ve seen Jack Jones perform solo a few times now, and I keep coming back because he always impresses. His voice is flawless and his songs bring back such beautiful memories. It’s hard to believe I was 10 years old when his band Southern Sons released their first album. It gave us so many smash singles Including the beautiful “Hold Me in Your Arms” which Jack opened the show with. It takes such confidence to play such a beloved song so early, but this beautiful number set the tone for this special night. I loved hearing it and watching Jack’s face light up as we sang a chorus for him so sweetly. I only wish our singing was as good on “Always and Ever.” It seems like less than half of us knew the words, and try as I might I couldn’t quite make up for those who had faded away.

The show wasn’t all about the hits though. I loved hearing favourite album tracks like “Something More” and “Wildest Love,” who he dedicated to his partner in the audience. He also treated us to some music from his time performing under his birth name, Irwin Thomas. I remember seeing him at that time supporting Matchbox Twenty and it wasn’t my thing. Hearing these songs stripped back though has helped me appreciate them all these years later. There were new songs too from an EP or album to come. That’s right readers; Jack Jones isn’t done creating music.

As with the last time I saw Jack, he regaled us with generous stories with many tangents. We heard all about his lock down experiences and the recent losses in his life which still bring tears to his eyes. He joked that chatting to us was like therapy; his walls were certainly down. I love when an artist lets us in like that and we get to see the human behind the music.

This was one of the longer concerts I’ve attended at Avoca Picture Theatre. Jack was so chatty that he had to ask whether there was a curfew because he understood his stories had taken up a lot of time. Thankfully there wasn’t and none of us had a better place to be. And so we all took our time, and yet it still felt like it wasn’t enough when Jack hit the opening notes of “Heart in Danger.” And yes, we all sang along.

Later this month Jack will start celebrating the 35th anniversary of Southern Sons with a string of shows around the country. Check back here for a review of the Darkinjung Country/Wyong gig after it happens. Tickets are limited so make sure you snap up yours soon.

31 January 2025 – Kings Theatre @ Event Centre, Kabi Kabi and Jinibara Country/Caloundra
1 February 2025 – Twin Towns Showroom, Bundjalung Country/Tweed Heads
7 February 2025 – The Wedge, Wayput/Sale
8 February 2025 – Wonthaggi Union Community Arts Centre, Boonwurrung Country/Wonthaggi
21 February 2025 – Lighthouse Theatre, Gunditjmara Country/Warrnambool
22 February 2025 – Wendouree Performing Arts Centre, Ballaarat/Ballarat
28 February 2025 – The Art House Theatre, Darkinjung Country/Wyong
1 March 2025 – Anita’s Theatre, Thurrural/Thirroul
7 March 2025 – Yan Yean Theatre, Wurundjeri Balug and Wurundjeri Willam Country/South Morang
8 March 2025 – Arts Centre, Monmar/Frankston
14 March 2025 – West Gippsland Arts Centre, Darug Country/Warragul
15 March 2025 – Ulumbarra Theatre, Dja Dja Wurrung/Bendigo
21 March 2025 – Country Club Showroom, Kanamaluka/Launceston
22 March 2025 – West Point Showroom, Nipaluna/Hobart
12 April 2025 – Astor Theatre, Boorloo/Perth
2 May 2025 – Alpine MDF Theatre WPACC, Bpangerang/Wangaratta
3 May 2025 – Palms at Crown, Naarm/Melbourne
19–26 October 2025 – Rock the Boat, leaving from Eora/Sydney

Photo credit: Lyn Foreman and Lauren Katulka