Fresh from the America’s Got Talent stage, Indian rock act Girish and the Chronicles are heading Down Under for their first ever Aussie tour.
Fronted by powerhouse vocalist Girish Pradham, these guys have an old-school bombastic energy that I really enjoy. Aside from their stint on US TV, they’ve supported the likes of Guns N’ Roses, Nazareth, and Skid Row. After being blown away by their cover of Adele’s “Set Fire to the Rain” I started to binge their original music. It’s all stellar.
With Naarm/Melbourne rock act Shotgun Mistress in support, Girish and the Chronicles’ Australian shows are bound to be face-meltingly good. Get your tickets now through the links.
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.
Jessica Mauboy’s latest song “While I Got Time” has been all over TV lately soundtracking ads for Irene’s sad departure from Home & Away. Now we’ve all wiped away our tears, it’s time to stop and appreciate this incredible song.
I’ve always enjoyed Jess’ upbeat dance pop numbers, but I appreciate that she’s releasing more heartfelt ballads these days. Written with her longtime collaborator PJ Harding, “While I Got Time” is a stripped-back number that sees Jess really baring her soul.
“’While I Got Time’ really came from a place of reflection and release,” she said. “PJ and I wrote it during a moment where I was thinking about what I want to leave behind, and what I want to lean into while I’m still here. It’s about letting go of the past with grace, honouring where I’ve been, and stepping into the unknown with open arms.”
It’s only fitting that such a personal song is the first release from Jess’s own label, Jamally. She created her label so she could take more ownership of her creative process and start recording, releasing, and marketing music on her own terms.
“This is the start of a new chapter for me – not just as a singer or performer, but as a storyteller and businesswoman too,” Jess explained. “After launching my beauty brand Desert Rose, creating Jamally felt like a natural evolution. It lets me work with people I trust and chase what lights me up.”
If it means more fabulous music like this is on its way, I’m really looking forward to hearing what this new chapter in Jess’s musical evolution brings.
Image used with permission from Blue Music Services
I’m feeling all warm and fuzzy listening to new material from John Butler. His latest single “King of California” celebrates his 25-year partnership with his wife, muse, and regular collaborator Mama Kin. If you love love, I know you’ll fall for this one as hard as me.
“My partner and I have been on a pretty big ride together, constantly evolving and working out what it means to be life partners,” he said. “With every new phase of living comes a new season of self-reflection and reassessment. We’re here to ground and uplift each other, never to minimise or restrict.”
“King of California” comes from John’s new studio album PRISM, which drops on September 5. You can preorder the vinyl, CD, or merch bundles now. He’ll play shows all around the country, across the ditch, and in the UK and Europe to support its release. Tickets are selling fast though, so get on it!
Music lovers are in for a real treat when Andrew Blanch, Vladimir Gorbach, and Slava and Leonard Grigoryan take their Bach, Bossa and Beyond show to the major capitals next month. These guys are all exceptional individually, but when they join forces as the Australian Guitar Quartet magic happens. Check out this video for just a taste of what you’re in for.
The quartet promises to play music spanning almost 300 years in these not-to-be-missed shows. They’ll take you on a journey through genres including classical music, opera, Latin, and modern jazz, so there’s bound to be something for everyone. Tickets are on sale now for the following shows:
South Summit are one of the coolest bands out of Boorloo/Perth, and that’s saying something. They just released their long-awaited debut album The Bliss, and they’re preparing to take their music around Aotearoa/New Zealand and Australia next year.
I encourage you to dive into the album, but if you’re short on time make sure you check out the band’s incredible version of “Roxanne” recording for Triple J’s Like a Version. A band as iconic as The Police set the bar so high, but these guys weren’t afraid of the challenge. It might be that new sound energy talking, but I think this fresh take might even be better than the original.
South Summit are psyched to hit the road with their new material, noting “We’re super looking forward to our AUS/NZ Album Tour next February/March! These are by far the biggest headline shows we’ve ever played, and we can’t wait to get out there and see everyone again. These shows feel a little extra special though, it’s been a while since we’ve toured the whole country, and showcasing our debut album is something we’ve been looking forward to for a long time. We’ve got a brand new live show for you guys, and plenty more treats for ya! See you guys on the road.”
Before that happens, this hardworking band also have plenty of summer festival appearances. Tickets are on sale now for all these shows:
In 1999, a who’s who of the Australian entertainment industry descended on Dili to entertain our troops. Australian Road Crew Association has now released a recording of their star-studded concert. Tour of Duty Live at National Stadium’s release marks the first time that people could enjoy this concert since it originally aired on Channel Seven and Nine.
This album captures a moment in time. It feels like forever since Roy & HG hosted a gig, and gee it’s good to hear them taking the reins here. We get to hear Doc Neeson at the height of his powers delivering hits like “Shadow Boxer” and “No Secrets,” and John Farnham belting out so many of his classics like “Playing to Win” and “That’s Freedom.” He even “reluctantly” agrees to a rousing rendition of “Sadie (The Cleaning Lady)”! We’ve lost Doc, and likely we’ll never hear John Farnham sound like this again, so it’s a real thrill listening to them separately and duetting on timeless tracks like a medley of The Easybeats’ “She’s So Fine” and “Sorry.” Relative up-and-comers at the time like Gina Jeffreys and The Living End also make incredible appearances, along with our pop princess Kylie. You couldn’t wipe the smile from my face as I listened to big singalong numbers featuring the entire cast like “You’re The Voice” and the poignant closer, “I Still Call Australia Home.”
Admittedly some bits haven’t aged well, from the RMC Band’s cover of “Mambo No. 5” to John Farnham introducing Rachel Starkey of the RMC Band as a “pretty young lady.” But again, I remind you, this album captures a moment in time. And what a moment it was.
If there wasn’t enough incentive to get your ears around this release, all money raised with benefit Support Act’s Roadies Fund, which provides financial, health, counselling, and wellbeing services to local roadies and crews in crisis. Tour of Duty Live at National Stadium is out now and available on streaming services and as a digital download.
While his next official studio album is some time away, Matt Joe Gow has dropped a special treat for his fans online. Exclusively available online, The Woodshed Sessions is a beautiful collection of Matt’s best loved songs stripped back to their very essence.
This is a live album with a difference. Instead of recording it in front of an audience, Matt recorded the stripped back, acoustic versions of these songs in the studio in just one take. It’s a brilliant idea. While I love the energy of live recordings, the crowd noise can get distracting and the sound quality is often poor. There’s an energy to these songs too, but that comes from the dynamic between Matt and the members of his long-time band The Dead Leaves. You can feel the chemistry as their voices combine in beautiful three-part harmonies. Hearing the way the vocals sat alongside the piano and strumming of an acoustic guitar, I thought this is what music should be. It’s organic and pure, coming from the soul so naturally, free from studio “enhancements” like autotune and drum machines.
If you’ve listened to Matt’s music before, you know these songs are ripe for this kind of treatment. In acoustic mode, their introspective lyrics and perfect melodies come to the fore. If you’re new to Matt’s music, this compilation of career highlights makes the perfect introduction. It’s really like a greatest hits with a beautiful acoustic twist. I can’t wait to hear new music from Matt, but this release will keep me satisfied until that time comes. I’m going to leave you with this video of “Grand Ambition” from The Woodshed Sessions; check it out and I’m sure you’ll want to discover the rest of the tunes. You’ll find The Woodshed Sessions on all your favourite streaming services. If you’d like to purchase a physical CD copy, head to Matt’s Bandcamp page.
As a longtime Whitlams fan, I’ve really enjoyed hearing what the new Whitlams Black Stump act does with the band’s classic songs. Seeing them live in late 2022 was brilliant, and the releases just keep on coming. The latest is actually a revamped version of my all-time favourite Whitlams track, “You Sound Like Louis Burdett.” The Spaghetti Western style is a world away from the sound that made me fall for this song, but it surprisingly works!
This latest cut comes from the Whitlams Black Stump’s debut album Kookaburra, which is out on March 8. There are also plenty of full band gigs and shows with Tim and Ollie performing as the Black Stump Duo. If the date you’re interested in isn’t on sale yet, you’ll be able to get tickets from February 8.
8 March 2024 – Lizotte’s, Mulubinba/Newcastle
9 March 2024 – Blazes @ Wests Tamworth, Kamilaroi Country/Tamworth
10 March 2024 – Avoca Beach Theatre, Darkinjung Country/Avoca Beach
31 March 2024 – Bluesfest, Cavanbah/Byron Bay
25 April 2024 – Hotel Victor, Ramong/Victor Harbour (Black Stump Duo)
26 April 2024 – Hopgood Theatre, Tainbarang/Noarlunga
27 April 2024 – The Gov, Tarntanya/Adelaide
1 May 2024 – Playhouse, Kabi Kabi and Jinibara Country/Caloundra (Black Stump Duo)
2 May 2024 – Springlake Hotel, Meeanjin/Brisbane (Black Stump Duo)
3 May 2024 – Imperial Hotel, Kabi Kabi Country/Eumundi
4 May 2024 – Princess Theatre, Meeanjin/Brisbane
7 May 2024 – Piano Room, Dja Dja Wurrung and Taungurung Country/Bendigo (Black Stump Duo)
8 May 2024 – Piano Room, Ballaarat/Ballarat (Black Stump Duo)
9 May 2024 – Piano Room, Djilang/Geelong (Black Stump Duo)
10 May 2024 – Kindred Bandroom, Wurundjeri Woi Wurrung and Bunurong Country/Yarraville
11 May 2024 – Memo Music Hall, Euroe Yroke/St Kilda
16 May 2024 – Wilder, Palawa Country/Gowrie Park (Black Stump Duo)
17 May 2024 – Royal Oak, Kanamaluka Country/Launceston (Black Stump Duo)
18 May 2024 – Forth Pub, Tommeginne Country/Forth
19 May 2024 – Longley International Hotel, Palawa Country/Longley
23 May 2024 – Resin Brewery, Bulla Bulla/Bulli (Black Stump Duo)
24 May 2024 – Tallagandra Hill, Candariro/Gundaroo (Black Stump Duo)
25 May 2024 – Qirkz in the Hunter, Wonnarua Country/Abermain (Black Stump Duo)
26 May 2024 – Dangar Island Bowling Club, Darug and Darkinjung Country/Dangar Island (Black Stump Duo)
30 May 2024 – Avoca Beach Theatre, Darkinjung Country/Avoca Beach
31 May 2024 – Factory Theatre, Eora/Sydney
1 June 2024 – Avalon RSL, Guringai Country/Avalon
Image used with permission from Wildheart Publicity
It’s Imogen Clark’s birthday today but she’s giving us a gift: a brand new single. I feel like this every time I hear new Imogen Clark material, but “All Hard Feelings,” might just be her best one yet. It’s so relatable and catchy, I’ve already played it several times this morning. It sounds incredible, and well it should given her superstar collaborators. Imogen penned the track in Nashville with Sinead Burgess and Blake O’Connor, then recorded it with Grammy-winning bassist Davey Faragher and Rock’n’Roll Hall of Famer Pete Thomas on drums, who were both part of Elvis Costello’s band The Imposters.
“When I rocked up at Sinead and Blake’s apartment to write this song, I’d had a bit of a week. Someone had fucked me over and I resented how much it was getting to me,” Imogen recalls. “We decided to put that energy into a song about how I have never really gotten over anything in my whole life. I saw a meme once that said ‘Taylor Swift has never shaken anything off’ and I thought ‘Same queen’. It’s a really fun tune that also lets me burn off some of that bitter energy in a cathartic way”.
There are plenty of opportunities to see Imogen in the coming months as she’s landed some plum supporting slots. Once she wraps up her shows with BOWEN * YOUNG, she’ll warm up crowds for Andrew Farris and Steve Poltz. If you have tickets to any of these shows, make sure you get there early enough for her set.
While his next official studio album is some time away, 
