Eora/Sydney-based pop artist Daphnie has teamed up with New York City’s own Jiwon for a shimmery new single, “stay long.” This cross-continental collab has got all the good vibes you need heading into your weekend.
“We found out about each other through Spotify’s ‘fans also like’ section when Spotify put us on the same algorithm, and instantly hit it off musically,” Daphnie recalled. “Jiwon already had most of the song but needed some tweaks and a verse from someone. He had someone else in mind, but after our first call asked if I’d do it, and I liked it so much that I had my verse written and recorded within the hour after our call.”
Crank this up and I know you’ll agree that it sounds like fate! “stay long” is on all your favourite streaming platforms right now.
After a hiatus of more than a decade, local alternative rock act Highroad No. 28 are back with a new single, “Ache.” With its angsty lyrics and the mix of guitars and synths, it reminds me a lot of the music of cool ‘80s acts like Depeche Mode and New Order. Like the tunes of those iconic artists of the past, I know this track will stick with you.
“Ache is about emotional honesty — the pain that stays from lost love and passion, but also the strange beauty in still feeling something real,” frontman Andrew JC explained.
“Ache” is the first single from Highroad No. 28’s upcoming third album, The Will to Endure, which should drop in December. This song sets the scene for music that’s a little moodier and more mature than what we heard on past releases Unsteady and Steady State and Stumbling to Divinity. However, Highroad No. 28 hasn’t lost the powerful vocals and epic sound that makes this act so special.
Highroad No. 28 hasn’t just experienced a sonic evolution either. Once a collaborative effort with different lineups over the years, Andrew JC decided to record the new album as a solo act, playing all the instruments as well as delivering the vocals to reconnect with Highroad No. 28’s core identity. With the album in the can, he’s preparing to reveal a brand-new live lineup for shows next year. Fans have been waiting since the early 2010s for those performances, so they’re bound to be epic. Follow Highroad No. 28 on Facebook to learn about those shows as soon as they’re announced.
Joe Mungovan takes the idea of suffering from art to the next level with his latest single “Hurts.” While the lyrics of this ultra-catchy indie-rock bop say “I love it when it hurts,” he might have reconsidered the notion after filming the video at Kiama Tennis Court. Take a look and you’ll see exactly what I mean!
“This was without question the most painful release I’ve ever made – and not in a deep, emotional, ‘artist suffers for his craft’ way,” Joe joked. “No. I mean actual, physical pain. I had this brilliant/stupid idea for the visual world: ‘What if I just… got hurt? Repeatedly?’ And, as always, my long-time collaborator and good mate Mikey Conlon laughed and said, ‘Yep. Love it. Let’s make it worse.’ So we did. Sometimes the best creative decisions are also the dumbest.”
So you’ve got to watch, if only so his efforts won’t be in vain! Fresh from supporting The Rubens last weekend, Joe will also play the following headlining shows to support the release of “Hurts.”
Listening to Clare Perrott’s latest single “Biting On the Hand” is like taking a trip back to the golden age of folk. Clare’s effortless falsetto and joy reminds me of Laurel Canyon artists like Joni Mitchell and Mama Cass. Take a moment to step away from modern demands and soak this beauty up.
“This year I really got into thinking about bad habits that I just can’t seem to shake, and with dirty banjo and distorted nylon guitar this song was born,” Clare recalled. “The main message of the song is that we have to let go of things that don’t serve us anymore. I personally keep going back to past mistakes because somehow I cannot let go. We keep biting on the hand that doesn’t help us and going back for more when it only causes sadness and grief.”
Clare will officially launch “Biting On the Hand” at Mojo’s in Walyalup/Fremantle tonight. Tickets are still on sale from Moshtix.
If you’re anything like me, concerts take up a big chunk of your income. I relate hard to all those memes that go around insisting “I’m not rich because I go to a lot of concerts; just irresponsible.” Even when I vow to save money, it doesn’t take long before a new tour announcement makes me cave. And there is always, always at least one show on my Afterpay account.
I’ve figured out that resistance is futile. The best I can hope for is a great deal. So in that spirit, I wanted to let you know about some of Ticketek’s amazing Black Friday deals because sharing (or enabling) is caring, right?
Full disclosure, I earn a small commission on any of these offers you take up, but I promise it all goes back into funding more concerts which gives you more to read about here. So everybody wins! Some of the highlights of Ticketek’s Black Friday sale include:
Naarm/Melbourne-based singer-songwriter Ellis King has blown me away with her latest single “fitymi.” Standing for “fake it till you make it,” “fitymi” is one of six songs Ellis wrote to process the end of her first long-term relationship. While it came from heartbreak, “fitymi” has a bright, piano pop sound that is bound to put a smile on your face.
“I’ve been trying to push myself to write about different things and also be a bit more reflective. After a big life event, like a breakup, you end up doing a lot of that,” Ellis said. “Thinking about yourself, the effort you put into your life, and where your energy really goes. For me, this song is about realising how much time I’ve spent putting on a face, holding it together, while actually struggling underneath – not wanting anyone to see me as anything other than a perfectly well put together person.”
Ellis will drop all of her breakup musings when she releases her EP Everything That Comes After on February 20.
As you might have noticed, I see a lot of concerts. I adore them, but typically they come and go and I start looking forward to the next one. They rarely leave the sort of lasting impression that has me buzzing several days later. But most concerts are not like the shows Lenny Kravitz has been putting on around Australia. My thoughts are still a little scattered, and even though I consider myself a bit of a wordsmith I’m not sure I have the vocabulary to tell you just how good the Meeanjin/Brisbane show was. But you know I’m going to try.
Although I see a lot of shows, Friday night was my first time seeing Jet. When they were announced as supporting artists I wasn’t sure they’d be the right fit, but I’ll happily eat my words. Their straight-down-the-line brand of rock music was the ideal complement to Lenny’s own rock edge. I don’t think I realised just how many hits they had until they were strung back-to-back. While their discography is rich, a killer version of AC/DC’s “Long Way to the Top” had us all singing along. I couldn’t help thinking about AC/DC’s decision to remove it from their sets as Brian Johnson knew he could never measure up to Bon Scott’s vocals. If Acca Dacca are ever in the market for a new frontman, Nic Cester has the goods. Although I can’t imagine him ever slotting into someone else’s band when he’s created magic with his brother Chris and longtime pals Cameron Muncey and Mark Wilson. There’s such chemistry when they perform and a passion for their craft which shines through.
I just wish my photos did them justice. On arriving in Meeanjin/Brisbane I received an email stating personal cameras wouldn’t be permitted, although phone cameras would be fine. What a frustrating policy that really disadvantages anyone who isn’t close to the stage. The photos my pal Lisa has snapped are a lot better than the ones my Samsung takes, but nowhere near as good as I could have captured with my camera. On the plus side, it did ensure that I really took this show in and lived in the moment.
While I enjoyed Jet, Lenny took this show to a whole other level. One that I honestly wasn’t prepared for. He sent such a strong message with his opener “Bring It On,” from the album It Is Time For a Love Revolution. We weren’t just preparing for the love revolution; it was here with Lenny our leader. I didn’t think it was possible for someone to have so much swagger. In his purple snakeskin pants, denim jacket, and signature dreadlocks, he was every inch the rock star and far cooler than any 61-year-old has the right to be. He was also backed by one of the strongest bands I’ve ever heard. Longtime collaborators like guitarist Craig Ross have come together seamlessly with newer talents like bassist Wolf and drummer Jas Kayser.
Lenny delivered a set for all kinds of fans, the faithful who had waited patiently for his return and the casual listeners who appreciated the radio tunes. I was on my biggest Lenny kick in the early 2000s, so I was thrilled to hear underrated gems of the period like “Dig In” and “Stillness of Heart.” Although this tour was technically meant to promote Lenny’s new album, Blue Electric Light, he was humble enough to ask whether he could play some of the new material. I’d enjoyed the album, but it hadn’t stuck with me like many of his earlier releases. However, watching Lenny perform tracks like “TK421” and “Paralyzed” has given me a new appreciation for them.
Honestly though, Lenny could have sung the phone book and I would have been happy. His voice is so strong. He handled everything, from the hushed words of “Believe” to the falsetto notes of “It Ain’t Over ‘Til It’s Over,” with so much ease. He’s got serious musical chops, whether he’s on his signature electric guitar, bass, or keys. And then there’s that swagger. I have never witnessed such a sexy performance. His power is undeniable. I am so glad I saw Lenny with my best gal pal instead of my husband, because I knew she was getting just as much out of this performance as I was. He had us squirming in our seats, and loving every single second, when we weren’t on our feet.
I experienced plenty of lust, but also plenty of love. Lenny’s songs celebrate it while encouraging that love revolution. With Lenny out front leading us all in song, you start to believe it’s possible. That spirit of love culminated in the epic encore song, “Let Love Rule.” It’s ironic that it was in this magic moment that a “fan” decided to rip dreadlocks from Lenny’s head. Seriously girl, what were you thinking?! That behaviour is deplorable. It also shows Lenny’s consummate professionalism that I didn’t even realise it happened until I watched his reels the next day. What I saw in that moment was a man who wanted to connect with his audience taking a lap around the perimeter of the auditorium so he could get as close to as many people as possible. He took his time, saying hello, shaking hands, and encouraging us all to sing those three important words: Let Love Rule. It was beautiful, a lasting memory that capped off one of the greatest concerts I have ever attended.
Lenny assured us he’ll be back soon. I already can’t wait. Before that though, he’s got just three shows remaining on this Aussie tour. Trust me, you will want to catch him if you can.
Floodlights may be one of the most exciting acts you’re yet to hear about. Allow me to change all that and introduce you to their latest single “Tricky.” It’s an anthemic rock song that reminds me a bit of The Killers or Arcade Fire. It’s so polished, yet it doesn’t sacrifice the heart.
“It’s the first love song we’ve written” explained Floodlights’ frontman Louis Parsons, “Although it still sounds like us, we did want ‘Tricky’ to be something that felt new. We leant more on synth and rhythm to drive this track which helped to create that feeling of euphoria that comes from letting go of the past and embracing the future.”
After wowing crowds in the UK while supporting our own Amyl and the Sniffers, Floodlights are back home playing local gigs. They’re destined for stadiums, so make sure you take the opportunity to see them at these smaller venues while you still can.
Local singer-songwriter DINGO, the musical alias of Brandon Dodd, celebrates life on the road with his latest single “Nightwire.” You don’t have to live the life of a travelling musician to appreciate it though. I can imagine cranking this on my next road trip.
“I am so excited to be releasing my new song ‘Nightwire’ into the world,” DINGO said. “This song is so close to my heart and represents all the freedoms I love about living the life of a travelling musician. Produced by incredible engineer/producer Jordan Power [Powderfinger, The Living End, Lady Gaga, Bruce Springsteen], it’s such a thrill for me to be able to share this with everyone!”
“Nightwire” comes from DINGO’s sophomore album, which we should hear in the first half of 2026. He’ll preview songs from this release at his upcoming shows:
There’s a beautiful intimacy about the music Bud Rokesky’s making. As you listen to his voice, it’s easy to believe he’s speaking directly to you. I was wowed by his song “Newtown” back in April, and I’ve fallen in love all over again listening to his latest single “Hey Now.”
“’Hey Now’ is about the push and pull of love when it’s at its most fragile – those moments where you’re close in heart but far apart in every other way,” Bud explained. “I wanted it to carry the ache of trying to hold on when things feel out of your control, but still leave room for people to hear their own story in it.”
Bud’s press release mentions all of the amazing festivals and tours he’s been a part of, but what comes next is a bit of a mystery. When he’s making music this gorgeous though, I’m on the edge of my seat anticipating whatever comes next.
