Ahead of the release of her new album Forest House, Kiwi singer-songwriter Jenny Mitchell has released a brand new song and revealed she’s heading Down Under. Her latest release “Heart Like a House” sounds like a love song, but Jenny says she wrote it about a different kind of connection.
“’Heart Like A House’ is inspired by how important it is to me to build a life in music that is welcoming and safe for my band and my team – which has largely been influenced by watching other artists carve their own paths that don’t necessarily fit the mainstream industry model,” she explained. “It’s also really influenced by my upbringing, in a family who have always kept welcoming and hosting as a core value.”
“Heart Like a House” comes from Jenny’s fourth album Forest House, which she’ll release in May 16. You’ve got a couple of months to learn the new songs before Jenny arrives on our shores in July.
I love when artists release songs from albums you love and remind you just how good they are. I’m always looking forward to the next thing I vibe with, so often I forget to revisit what’s revved me in the past. But “Feeling Blue” by Ziggy Alberts, lifted from his fabulous seventh studio album New Love, is back on my radar and I couldn’t be happier about it. This song is thick with wisdom. Make sure you catch every lyric, because it contains some real pearls.
“I started writing this song in June 2023 while I was in Europe on break in between tour legs,” Ziggy recalled. “I remember working on it a lot in Ericeira, Portugal, and Biarritz, France. The opening line says it all: ‘I’m not convinced in all the ways I’ve been living now.’ It’s about being really unhappy – and if you didn’t listen to the lyrics carefully, you maybe wouldn’t know, because the song is really upbeat and positive in every other aspect. That contrast really reflects where I was at the time – a paradox of emotions / in the balance of opposites. In many ways, it’s one of the most honest songs I’ve written – just calling out my thoughts and feelings as they were. I’m thankful to have come through some of the personal challenges I was facing then.”
Ziggy has just wrapped up the Aussie leg of his tour but he’s got plenty of international shows in the pipeline. If you’re living abroad, here’s where to find him.
After two decades writing music, Mulubinba/Newcastle-based singer-songwriter Farrelly is sharing his music with the world. His self-titled debut album is packed with powerful tunes that explore the human condition and society’s injustices. I recently caught up with Farrelly to chat about the album, how it came together when the world shut down, and how he plans to bring it to people around the globe.
You’ve been writing songs for your self-titled album for the last 20 years. Why do you think it’s taken so long to release it?
Honestly? A mix of things. Imposter syndrome played a role — this feeling like I hadn’t earned the right to take up musical space. Life, work, other obligations filled the gaps. But truthfully, it just never felt like the right time until it did. Lockdown stripped everything back. It gave me a moment of clarity where I realised if I didn’t do this now, I might never. That urgency cut through all the excuses.
How do you think your writing has evolved over that time?
When I’m writing now, if something sounds a bit uncomfortable, if it feels a little too naked — that’s where I go. Once upon a time, I would’ve written around something and called it poetic, but really it was a facade. It made the songs sound clever but hollow. These days, if the lyric makes me wince a little or feel exposed, I know I’m onto something real.
This album really came together over the lockdown periods. What was it like putting together an album during that strange time?
It was disorienting, cathartic, and quietly liberating. There was this sense of pause, globally. And in that quiet, I felt a loud call to finally give these songs a home. With so much noise in the world, it felt like the only meaningful response was to make something that cut through it — something honest.
How important was music for you during the pandemic?
It was the outlet. But more than that, it was the method of reflection. Interestingly, I turned to the piano during lockdown. The weight of the keys and the rawness of the sound just felt like the right medium to express what I couldn’t say any other way. It allowed a slower, more contemplative approach. It grounded me.
You grew up in Apsley (Jandwadjali), which is a quiet rural area in Victoria, but you now live in Newcastle (Mulubinba). That’s a real change of pace. How has it impacted your music?
Apsley has this brutal honesty to it. It’s raw. Rural life doesn’t pretend to be anything it’s not. And that honesty sticks with you. Funny enough, Nick Cave was born not far from there, and when I saw The Proposition I remember thinking, “Ah, so it scarred him too.”
I lived in Melbourne for 20 years — the lights, the buzz, the burnout. But moving to Newcastle changed something. It’s gritty but creative, working-class with a strong artistic undercurrent. It feels like Apsley and Melbourne collided. That’s the backdrop for this album.
You recently launched your album at the Hamilton Station Hotel. What was it like to play it for people in your adopted hometown?
It was electric. There’s always that internal fear that maybe no one will come, or worse — that they will and it won’t land. But when we played “Shadows,” something changed in the room. People were holding their breath. I know because I was holding mine. Newcastle crowds don’t fake it. When you get their attention, it’s real. It felt like connection in its purest form.
“Sign of the Times” and “Indignation” are some of the amazing protest songs from this album. What issues are firing you up at the moment?
There are too many to name. Sometimes it feels like the entire system is designed to overwhelm us with injustice. Even before we get to anything local, the sheer emotional fatigue of Trump-era politics is exhausting. But here at home, I’m gut-punched every time I see Australians slipping into homelessness — people who did everything asked of them, followed all the rules, and still lost.
That’s what “Heroes of the Day” is about. It’s for the people who did the heavy lifting while those in power hoarded the rewards. Our youth are inheriting a harsher world: more expensive, more unequal, and far more hostile thanks to human-made climate change. I write because it helps me process. I sing because I feel I have to try.
There’s a real authentic Australian feel to your album, but the opening track “Somewhere in Uvalde” was actually inspired by an American school shooting. What was it about that event that made you want to write that song?
I get asked this one a lot. In fact, I’ve had audience members come up after shows and ask if I lost a relative in the Uvalde shooting. I hadn’t. But when I was recording in the studio, the news broke. Normally, I don’t give much attention to US domestic issues — I’ve always believed that’s their business. But then I saw Ted Littleford’s cartoon. A dog sitting joyfully in front of a door, waiting for children who would never return.
It broke me.
I sobbed uncontrollably. And I couldn’t stop. That one image said more than any speech, policy, or outrage post ever could. That dog would sit there forever, unable to make sense of the absence. And that’s where the true heartbreak lies — in not being able to understand. Understand what happened, and understand how can it be allowed to keep happening. I wanted to honour that beautiful, tragic brilliance with a song.
When Matt from Lodge Productions, a UK based animation artist created the clip, and I watched it for the first time I sobbed all over again. I know every note of that track. But seeing it paired with that imagery made it hit all over again. That’s when I knew we had done it justice.
As a side note, I was at school and had a teacher whose parents were killed in the Port Arthur massacre. That kind of violence and grief casts long shadows and stays with you. Maybe the cartoon triggered something– I honestly can’t say.
Your album sees you playing around with rock, folk, punk, and blues sounds. What musicians influenced your sound?
Nick Cave, for sure — both musically and emotionally. The Pogues gave me permission to be messy and lyrical. Nirvana taught me that vulnerability could roar. Arcade Fire’s theatricality, The Smiths’ melodic melancholy, and The Cure’s dark pop sensibilities all crept in.
And then there’s Paul Kelly — not just the protest songs, but the voice-as-truth-teller ethos. I’ve had people describe my sound as “Paul Kelly/Dylan being molested by Depeche Mode,” which is disturbing and oddly accurate. What unites all those influences is that none of them were trying to be perfect. They were trying to be honest.
I also owe a lot to the band I played with. Gareth Hudson (producer and lead guitar), Mick Rippon on bass, and the horn section added new dimensions that lifted my songs into something I never could have created alone. They shaped the sound every bit as much as I did.
Now that this album is out after such a long gestation period, what’s next for Farrelly?
I want to show off the album — take it around Australia. It seems to be getting a bit of love in Europe too, and strangely in Brazil. Honestly that would be a dream come true. I’ll be in Ireland this September and I’m planning to perform there. And then? Back to the studio for album #2. The next batch of songs is already forming a line in my head. I don’t intend to wait another 20 years.
Farrelly’s self-titled debut album is out now on all the major streaming platforms. You can also purchase a digital copy from his Bandcamp page. Make sure you follow him on Instagram or Facebook to learn about Farrelly’s shows as soon as they’re announced.
Joe Mungovan’s latest single “Parachute” is the mid-week pick-me-up you’re looking for. With all the energy of the lovechild of Spacey Jane and the Arctic Monkeys, it’s an ultra-catchy indie-pop gem that encourages repeat listens.
“It’s about knowing a relationship is doomed from the get go, but not being able to find the evacuation button before it’s too late,” Joe explained. “You know you’re going down and there’s no cushion upon landing.”
Joe has had a massive 12 months on the road headlining two tours and supporting Caravana Sun, Subtribe, Alex Lloyd, Pete Murray, and most recently Ben Lee. Follow him on the socials to see when he announces his next batch of gigs.
While many of us are dealing with chocolate hangovers, I figured it was the perfect time to introduce you to Teenage Joan’s tasty new single “Sweet and Slow.” If you love angsty female-fronted acts, this ultra-catchy pop-punk gem will be right up your alley.
“The video concept stemmed from the “Slow dancing on your rigged game show/this live audience won’t leave me alone” lyric,” explained Cahli and Tahlia. “We had this idea to do an almost SNL gone wrong type video, where we are guests on a talk show, ruining every segment with our mischief. We really wanted to lean into the 60s/70s/80s TV show aesthetic, especially reflected through the set designs and our costumes which we usually create and source with our manager, who is also super crafty.”
Kiwi-born and Australia-based, country singer Kaylee Bell won’t even let the arrival of a new baby slow her down. She recently teamed up with Australia’s own Tom Seaforth and New York hitmakers Zach Zadek and Michael Heyeka to write her latest single, “Ring On It.” This playful country-pop anthem is one for all those people waiting around for their partner to get down on one knee.
“I wanted this song to feel like a total moment—big energy, big hooks, and just pure fun,” she enthused. “Tom and I had a blast writing it, and it’s that perfect mix of playful and powerful.”
Kaylee has some massive international gigs coming up. She’ll play Country Jam USA in Wisconsin this July before heading to the United Kingdom in August for the Country Calling Festival.
Naarm/Melbourne soul songstress Nardia has just dropped a gorgeous new single “Is It You,” and it’s exactly what you need to listen to right now. Stop what you’re doing and press play, because this is absolute fire. Nardia’s vocals and the soaring instrumentation are just beautiful.
“’Is it You’ captures that moment of intrigue when you meet someone and feel an undeniable pull toward them,” Nardia explained. “The song explores the tension between attraction and curiosity, the desire to uncover someone’s true essence, and the mystery that makes love both exciting and uncertain, leaving you feeling uncomfortably excited.”
“Is It You” gives us a taste of the music we’ll hear when Nardia releases her album Own Every Scar. She’s actually travelling to Nashville today to finalise that release and get it to you this July. Based on this single alone, I can’t wait to hear it.
The Stamps have delivered another taste of their upcoming debut album with the release of their gorgeous new single “Jamie’s Song.” It’s a gentle, intimate folk-pop song which perfectly showcases the trio’s sublime harmonies. I’m in heaven.
The Stamps wrote “Jamie’s Song” after watching fellow travellers fall in love during a trip to Vietnam, despite knowing the relationship was unlikely to last in the “real world.” One third of the trio, Scarlett Graham, said the song “helped me process the fact that it’s okay not to have everything quite figured out and assured me that sometimes you will lose a bit of yourself when you’re experiencing things completely foreign to you. It’s my ultimate ‘what on earth is going on right now? I have no clue, but I guess for tonight I’ll just enjoy it’ song.”
“Jamie’s Song” comes from The Stamps debut album In All the Ways I Am, which drops on August 8. Fans can see them play it live At Merri Creek Tavern in Naarm/Melbourne this month. They’ll be there tomorrow night, April 14, with Nick Keough, and again on April 28 with support from Mia June.
A Swift Farewell have teamed up with Amariah Cook from Future Static for their epic new single “The Haunting.” This is a bit heavier than the music A Swift Farewell usually release, but it’s so good that I think most fans will be along for the ride. I know I’m cranking this one up today!
“Working with Amariah has been an incredible experience,” said A Swift Farewell’s frontman, Ryo Andi. “Every time I hear her voice, I’m in awe of her talent. She is such a gifted vocalist, and having her on this project has truly taken the song to the next level.”
Ryo also directed and edited the music video, which was shot at Valhalla by Viking Lounge.
“This shoot has been an absolute blast to direct and edit,” he said. “The idea revolves around switching between day and night, drawing inspiration from the horror genre. During the daytime, the room is ‘brighter’ to highlight life and energy, while at night, the furniture is draped with bedclothes to create a haunted, abandoned house atmosphere.”
A Swift Farewell will celebrate today’s release of “The Haunting” with a string of shows along the East Coast.
Have you ever heard a new song that you swear you’ve heard before? I got that beautiful sense of déjà vu listening to Mel Parsons’ latest single, “Post High Slide.” It feels like a throwback to the glory days of folk music, which talented female singer-songwriters like Carole King and Joni Mitchell ruled the airwaves. On the back of its release, the Kiwi artist is heading to Australia for a string of shows this June.
“I used to get post tour blues pretty bad,” she said. “I’d come home and thump back down to earth after a sustained period of excitement and adventure. Touring is the daily adrenaline shot of performing live, then the contrast of coming back to the reality of domestic life and the never-ending admin of being an indie artist.”
If you’ve seen Mel play leading folk festivals like Woodford, Port Fairy, or Bluesfest, you know how good she is. Don’t miss this opportunity to see her headlining the following shows.
