The punk genre isn’t known for its love songs, but Meeanjin/Brisbane band Talk Heavy aren’t afraid to buck the trends and show their vulnerable side. Their latest single “Wedding Bands” has got to be the sweetest emo track I’ve heard all year!
“It reflects on meeting someone, those early moments, and how they compare to where you are now, looking forward to the rest of your lives,” explained Talk Heavy’s frontman Matt Cochran. “Musically, it pulls influence from Rozwell Kid, Modern Baseball, Joyce Manor, and even Modest Mouse in the lead guitar. I think it tells a strong lyrical story from the daydream of the first verse, to the real-time moment of the second verse, into the realization of the outro.”
After recently inking a deal with local label Ninth Life Records, Talk Heavy are preparing to release a stack of fresh tracks in the coming months. Follow them on the socials to learn more about the tunes to come.
Pacific Avenue have taken their sound up a gear with their latest single “Working Class Hero.” With more intensity than their usual beachy fare, this is a proper indie rock anthem. Press play, turn up the volume, and enjoy this one.
“‘Working Class Hero’ serves as a tribute to our hometowns of Kiama and Gerringong (Wodi Wodi Country), and the hardworking people who keep them alive,” the band explained. “Growing up in small regional towns, we were shaped by a tight community where loyalty and perseverance ran deep. As we pursued music, moving away from home brought a sense of guilt—leaving behind family and friends. The song’s verses reflect the nostalgia of growing up with a close friend and the joys of small-town life, while the chorus explores the regret and longing of wondering if we’d made the right choice to leave. While we love being on the road and touring, part of us misses the integrity of actively contributing to a community. We aim to convey the heroism that often goes unnoticed, and hope this leaves viewers with a renewed appreciation for their own communities.”
“Working Class Hero” delivers our first taste of Pacific Avenue’s sophomore album, which should drop early next year.
After a few gloomy cold days, I’m happy to see some sunshine in my part of Australia in time for the weekend. It’s the perfect weather for hitting the beach, and the perfect time to blast “Change,” the latest single from Woolyungah/Wollongong quartet Cheeky Leash. It’s got such a fun, upbeat vibe, but tap into the lyrics and you’ll realise it’s a little deeper than you might think.
“The song ‘Change’ is rooted in the cost-of-living crisis and reflects how society has become so focused on getting ahead that we’ve lost a sense of connection with each other,” the band explained. “It’s a metaphor for transformation whether that’s personal growth, the evolving world, or even the band’s own musical development. There’s a nostalgic, coming-of-age film feel to the track and lyrically, it’s open to interpretation. Lines like ‘Still searching for change…’ play on the dual meanings of spare money and a deeper desire for societal change, making it resonate differently depending on the listener’s own experiences.”
Cheeky Leash will celebrate the release of “Change” with a whole stack of shows this November and December, including headlining performances and concerts supporting South Summit. Expect plenty of good vibes at the following gigs.
I had to check the date before posting about “Goddamn Fool,” the latest single by Ruby Gilbert. It sounds like it could score a classic Sergio Leone spaghetti western, but I assure you it’s a fresh 2025 release.
When asked about “Goddamn Fool,” Ruby explained “It’s about karmic justice; being outplayed, knowing you had it coming, and accepting the fall without asking for forgiveness or redemption.”
I just love how this one sounds. You’ve got country staples like the banjo and acoustic guitar, but also a Mariachi-style brass section in the mix. It’s so lush and layered, with Ruby’s unique voice the cherry on top. If you like your country music dark, feast your ears on “Goddamn Fool.”
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.
Boorloo/Perth rock act Late 90s have really impressed me with their latest single “Low.” It’s a little heavier than the music I usually go for, but if it’s good, it’s good, right? And this epic rock anthem is really good.
“‘Low’ is about that internal monologue of self-love and self-loathing – knowing you’re heading off course and wanting to be better but you just don’t know how to be a better version of yourself and then beating yourself up for it,” the band explained.
Guitarist Stephen Loreck added “Last year I struggled a bit with self-esteem and valuing myself. Sometimes you don’t know where to start to get better, maybe you’re waiting for someone or something to happen for you to get your shit together.”
Stephen didn’t just play on “Low”; he also took over production duties for the first time. The band looked to their live sound engineer Emmett Carroll for mixing and entrusted the mastering to Brodie Stewart.
“The process of making ‘Low’ was so different to any other song we have done as we took way more of a DIY approach, with me producing the song,” Stephen explained. “We started recording this song before our previous EP came out, so we had a bit of time to obsess over all the parts, trying everything we could to just give the song an extra 10% for example tracking vocals three different times and bass twice haha. Some of our favourite parts of the song we wrote in the studio, just trying out random stuff, so having the time and freedom to experiment more was something we really valued. It was also really beneficial to have Emmett Carroll involved as he provided a lot of technical support, engineering when I was playing guitar or singing and coming up with some good ideas.”
Next up Late 90s will play for hometown fans at Sidefest, which will hit Rosemount Hotel from November 21 to 23. Catch them on the first day alongside top artists like Stand Atlantic, Dear Seattle, and heaps more. Or buy a weekend pass to catch all the action!
I really appreciate artists who prioritise quality over quantity. I’d much rather musicians take time to create something meaningful than churn out substandard work. Malaika Mfalme’s album Yasmin was one of my favourites of 2023, and now he’s back with “Berlin.” This is a stunning, stripped-back track that explores friendship, grief, and the freedom of anonymity against the backdrop of Germany’s capital.
“I wrote this song about three years ago, when I was in Berlin. I’d just lost my passport, was feeling disconnected from friends, and realised how freeing it can be to be unknown,” Malaika said. “There’s a line in the chorus that still hits me: ‘Maybe I won’t apologise for who I am in a place that don’t give a damn.’”
As a proud trans artist, Malaika’s work has consistently celebrated Black queer joy and resilience. He explained that they found the joy that helped them through such a challenging time in Berlin’s party scene. “It made me feel at home and fully accepted within the queer community there. That sense of joy and belonging was such a contrast to the heaviness I’d been carrying.”
“Berlin” is our first taste of Malaika’s new EP Forthcoming, which is slated for a November release.
After wowing me with her cinematic, genre-bending singles “Darkness & Gold” and “Don’t Compare Yourself” last year, I’m thrilled to wrap my ears around fantastic new music from My Chérie. Her latest release “Dishes in the Sink” is a haunting and poetic exploration of relationship friction and the longing for peace. Take a moment to really absorb this one, because you won’t want to miss a single note.
“This one came from a place of grief and self-reflection,” My Chérie explained. “It’s about sitting with the parts of ourselves we’re still learning to love, and the disconnect that can exist even in the closest relationships. We crumble into old selves we swore we’d outgrow … but healing isn’t linear, and love isn’t always simple.”
My Chérie is establishing herself as such an important voice on the contemporary music scene. Hopefully “Dishes in the Sink” is the first in a whole lot more new material from this exciting artist.
After wowing crowds on their first Australian tour in late 2024, New York sibling quartet Infinity Song are preparing for a return visit. They’ll touch down for a string of intimate shows, including their first in Boorloo/Perth, early next year.
If you’re not already across Infinity Song, let me get you up to speed. They started out busking around New York City before Jay-Z signed them to his Roc Nation label. Their music is a beautiful retro throwback with sublime harmonies that have seen them compared to acts like the Mamas and the Papas and the Fifth Dimension. It’s like nothing people are making now, yet it’s seen them take stages at festivals like Glastonbury, Lollapalooza, and Bonnaroo.
While their Aussie venues are slightly bigger this time around, they’re still intimate enough for you to appreciate the special music this four-piece creates. If you missed out last time, don’t make the same mistake this tour. Tickets are on sale now for all Infinity Song’s upcoming Aussie shows:
I’m rocking out this morning to “Charis (Dream),” the powerful new single from Western Australia’s own Devon Street. Asher and London Milne, the brothers who lead the band, wrote this hard-hitting song in tribute to their cousin who sadly lost his battle with addiction.
“It’s always easier to offer advice from the outside. The real dream was for him to heal and become the person he truly wanted to be. While things didn’t turn out that way,” they explained. “’Charis (Dream)’ tells his story – and honours his struggle.”
Devon City recently signed a deal with Tone City Records, known for their work with DICE and Dear Sunday, and they’re current recording their sophomore EP. There’s also a national tour, including their first shows on the East Coast, in the works, so expect to hear a lot more from these guys in the coming months. Until then, local fans can catch them supporting Mitch Santiago and Nana’s Pie at the Indian Ocean Hotel on September 27.
