After impressing me with “In the First Place,” Tarntanya/Adelaide-based rocker Emerauld hasn’t taken her foot off the pedal. If you loved her bold energy on that single, I know you’ll appreciate her latest effort, “Loud Mouth.” Emerauld dials up the angst again, channelling it into an anthem for speaking up against the injustices in the world. She wrote this song during a “political and emotional breaking point” when she felt overwhelmed by constant negative news cycles about everything from genocide in Gaza to hate crimes against marginalised communities.
“I want people to come away feeling like it’s okay to be loud, to be angry and to demand change,” she insisted. “There’s always going to be terrible people in the world, but their bitterness doesn’t have to drag you down. Make noise, take up space and speak up for what matters.”
Andrew Swift has been dropping optimistic tracks like “Nothing Better” lately, so his latest release “See You At the Bottom” is a bit of a change of pace. It’s still got that infectious feel-good country-pop-rock sound that he does so well, but its lyrics are a bit grittier and more vulnerable.
“I’ve been writing songs lately about how good things are now, but they haven’t always been,” he acknowledged. “I started songwriting as a teenager, dealing with depression. It helped me express what I couldn’t say out loud.”
Unlike his earlier therapeutic material, writing “See You At the Bottom” was a collaborative effort with fellow Aussie Blake Dantier and UK-based Craig Taylor. The trio worked over Zoom and three time zones to make it happen.
“We managed to find a time that worked for all of us in December of last year and got into it,” Andrew said. “It came together pretty quickly and it was pretty obvious to me that it would definitely be making it on to the next record.”
That record is Lucky Stars, Andrew’s fourth album, which is slated for an October 17 release. Andrew has plenty of shows around its release, so get out and support him anywhere you can.
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.
We’ve all dealt with people who’ve been less than honest with us. When these folks cross our paths we’ve got two choices: we can dwell on it or we can dance it out with a fabulous track like Lucinda Poy’s latest single “Liar.” Its lyrics cut deep, but its shimmery indie-pop sound is bound to make you feel better about the situation.
“Sometimes the people you trust aren’t who you think they are. What made them lie to you, and why did they keep you in the dark? Does it make them a bad person?” Lucinda questioned. “Seeing another side to someone is terrifying, and it can happen in a heartbeat.”
After selling out in its debut year, HOWLIN’ COUNTRY is heading back to Mulubinba/Newcastle in February 2026. The line-up is stacked, with the city’s own country megastar Morgan Evans playing alongside American country acts Lainey Wilson, Flatland Cavalry, and Kaitlin Butts. He won’t be the only Aussie on the bill, with Adam Newling and Tyla Rodrigues also representing the best of local country.
“It’s great to have HOWLIN’ back for another year,” confirmed promoter Moe Matthew. “From day one, the festival was built to support our local music scene, artists, and businesses. Each year, we put a strong focus on showcasing homegrown talent, and having Adam Newling and Morgan Evans on the lineup this year really captures what HOWLIN’ is all about. We still have a few more artists to add to the lineup, but so far it feels like it’s shaping up to be a fun day out in an awesome city, and one you can enjoy with the whole family. ”
HOWLIN’ COUNTRY hits Newcastle Foreshore on February 14, making it the perfect Valentine’s Day event for all the country-music-loving couples out there. Tickets are on sale now from OzTix.
Shifting gears from a couple of weeks holidaying around Japan to the nine-to-five grind isn’t easy. There are inboxes to clear, responsibilities to catch up on, and a whole lot of noise in my brain. It takes something special to cut through, but I found it in “Bigger Man,” the latest track from Abbey Lane. This fabulous indie-rock single has heightened my anticipation for her forthcoming EP, which drops on September 25.
This single is actually an amalgamation of a bunch of scrapped songs Abbey penned over the years. She’s taken the best bits and created a cohesive anthem for anyone who’s ever decided to move on from a relationship rather than change to fit it. Her voice is so compelling and I know the drum rhythms will have you tapping your toes along to the beat.
When people heard that I was heading to the Mayday Parade, Jack’s Mannequin, and Home Team show the day after returning from Japan they said I was crazy. But I’ve always believed you can sleep when you’re dead. And considering I love Jack’s Mannequin so much that I’m heading to the United States to see them on the Holiday from Real cruise in February, there was no way on earth I’d miss seeing them so close to home!
Running on pure adrenaline, I was psyched for this incredible triple bill. I wasn’t really familiar with The Home Team, but they quickly won me over with their energy and genre-bending sound. They’ve definitely got pop-punk at their core, but they know how to rock hard and bring some dance-funk into the mix. It’s such an unusual blend, but I was definitely here for it. Brian Butcher is one of the most charismatic frontmen I’ve ever seen. I could barely take my eyes off him, which is saying something considering the moves that guitarist John Baran and bassist Ryne Olson delivered. All without missing a note! Formed in 2013, The Home Team are one of the newer acts on the pop-punk scene. Brian seemed in awe of the moment, marvelling that their music has taken them to Australia and noting that their gigs back home are much smaller. They’ve definitely got the goods to play those big stages though. Their 10-song set was more generous than most afforded to opening acts, but I was entranced from start to finish. I’d see them again in a heartbeat.
Seeing how much time The Home Team had only made me more psyched for Jack’s Mannequin. It’s always a gamble to attend a show when you love the support act more than the headliner. You can easily be shortchanged. But I was treated to an hour of fantastic music from this band that means so much to me. I wasn’t there when Jack’s Mannequin had their time in the sun. Andrew McMahon’s music was a pandemic discovery for me, one that brought a rainbow of colour during a really dark time. So this was my first opportunity to see him in full-band mode and I relished it.
It was a totally different show than the stripped-back Andrew McMahon in the Wilderness one I saw in February 2023. While Andrew excels behind a piano, I loved watching him prowl around the stage and move into the audience to feed off their energy (no photographic evidence because he moves fast!). Seeing his connection with his bandmates filled my heart. The set list was also fire, featuring personal favourites including “Bruised,” “Dark Blue,” and one of the songs that hit me hardest during the pandemic, “Swim.” I know I’m biased when it comes to this band, but my friend Lisa, who is far less familiar with their music, leaned over to me during the set and said, “They’re fantastic!” Yes, they are. If it were possible, I’m even more excited about my US trip after Saturday’s set.
Understanding my love for Jack’s Mannequin and the travel fatigue I was fighting, Lisa asked me whether I wanted to stay for Mayday Parade. But I never considered leaving. Not for a second. While most of the crowd here no doubt discovered these bands in their adolescence, I’ve been on a bit of a pop-punk/emo kick in recent years that’s seen me diving into a lot of the fabulous music that wasn’t quite mainstream in this country including this band’s back catalogue. It’s a bold move for any act celebrating their 20-year anniversary to open up with a 2025 single, but the rapturous response to “By The Way” showed this crowd was up for anything. And that’s what they gave us, a set that took twists and turns as it celebrated all that makes Mayday Parade such a fantastic act. I was thrilled to hear my personal favourite “Jersey” come out early. As it wasn’t released as a single, I didn’t expect them to play it, but I lost my mind when they did. Along with the deep cuts, Mayday Parade also made sure to celebrate favourites like “Oh Well, Oh Well” and “Anywhere But Here.”
High-energy moments were contrasted with stunning emo ballads like “Miserable at Best” and “Terrible Things.” While they sounded beautiful, I wish they didn’t see lead singer Derek Sanders move to the back corner of the stage to play piano. He was totally obscured by the speakers from my seats on the left. And while I know it’s not very punk to sit at a rock show, I can’t recall another show where the lead singer spent any considerable time hidden away near the back of the stage.
When we did see Derek, he was incredible. I loved watching him jump around with such feeling, vocals never faltering despite his high-octane performance. He also seemed overcome with the emotion of the occasion, noting that Australian cities are among the band’s top markets for new material. I felt privileged to be amongst this crowd who continue to support this band. “Jamie All Over” was the predictable closer, but even though I knew it was coming I had such fun rocking out to it.
I came out of Saturday’s concert without the small shred of voice that I had been hanging on to. It still has not returned. I crashed out in record time once my head hit the hotel pillow. When people said I was insane to even contemplate going to the gig so soon after my overseas adventures, they were probably right. But I would do it all again, because it was incredible. Mayday Parade, Jack’s Mannequin, and The Home Team have just two shows left in Australia. If you’re on the fence, trust me: buy the tickets.
I’m not always a fan of country music. Yet I’m all about “Rusty Nail,” which Yuin/South Coast singer-songwriter Felicity Dowd says is her “countriest” release yet. I think the reason it speaks so strongly to me is because it comes from such an authentic place. Felicity didn’t overthink this one. The organic way it kind of spilled out of her while she sat in a campground before a festival helps it feel so natural, no matter what genre it leans into.
“I cut my foot on a rusty nail was the first line I wrote,” Felicity said. “It was completely random – I was just sitting around before a festival and having a bit of fun writing. Then I realised it actually hinted at something I’d been going through in my life. It started as this random idea, and then the rest of the song just came from there. It was almost reminiscent of Pony or Dolly Parton – that old country vibe. And when I started playing it, I had so much fun. I thought, let’s lean into it. Let’s get some fiddle. Let’s get some mandolin.”
This is also one of the first recordings Felicity’s done without backing vocals. It gives it an extra layer of grit and immediacy that I’m really into. It might be a bit of a left turn for Felicity, but I hope to hear her playing more in this space.
Image used with permission from Bec Gracie Publicity
Mika James wowed me with her joyful single “Nonna’s Trolley” back in March. Now she’s released the follow-up “Strangers in Line,” and I’m every bit as impressed. This track’s a bit bigger, with powerhouse vocals from Mika, but it’s still imbued with the heart that saw her pique my interest the first time around.
“’Strangers In Line’ is about those brief interactions with strangers that make the world feel a little lighter. It’s also importantly about my love of the community within music,” Mika said. “It was written back when I was finishing high school, and my world was made bigger by the friendships I started to make within the music scene. From 16, I was spending most of my weekends playing drums in a band immersed in the punk scene. I had just started to fall in love with the folk world, I was a fan before I knew that was the kind of music I wanted to make. I loved that I could walk 10 minutes down the road on a school night to see a band that I adored. ‘Strangers In Line’ is an ode to the 30-minute beer garden interval between bands where you see all the same people you saw at the gig the night before.”
While “Nonna’s Trolley” sat squarely in a folk-pop space, “Strangers in Line” is a bit harder to categorise. There’s some rock or blues edge to it, a little country twang, and something else I can’t quite put my finger on. I’ve added it to my rock playlist, although I’m not sure that’s the right place for it. Whatever Mika’s created here though, it’s exceptional.
Image used with permission from Riot House Publicity
