Renee Naccari has given me goosebumps with her stunning new single “Looking For Myself.” This track builds so beautifully, with lush layered vocals that cast a spell. Aside from its sonic appeal, it’s also got a great message about self-discovery and self-love.
“The backing vocals at the ends of the chorus and song are crafted to envelop the listener in a vast soundscape,” Renee explained. “This emulates the feeling of being alone and lost, with echoes that reflect a large, expansive area. I wrote this song whilst I was traveling alone. During that trip, I truly began to understand myself and confront my past. It was an eye-opening journey that allowed me to find and learn to love myself, a process I continue to engage with every day.”
“Looking For Myself” comes from Renee’s upcoming album 222, which further explores the idea of finding yourself and growing into the person you’re meant to be. Follow her on Instagram to learn more about that album and future shows.
If you’ve ever felt like you don’t quite measure up, I know “Underachiever”, the latest track from East Coast New South Wales singer-songwriter LORNA, the musical alter-ego of Erin Condon, will resonate with you. It’s a gorgeous alt-country/folk ballad that explores the impact of the labels we’re saddled with.
“’Underachiever’ was written at the exact moment I thought my life was over. Following a pretty rough breakup, I had made such a big deal about being alone for Valentine’s Day so I did the inevitable Tinder download and began vetting my next date,” Erin recalled. “This series of events summed up the months following this breakup; completely distraught and looking for any light at the end of the tunnel, even if that light took the form of a complete stranger … just so that you don’t have to buy yourself flowers and a Twix bar from the Coles Express on your way home.”
LORNA will showcase her music, including “Underachiever”, at The Baso in Ngambri/Canberra on August 1, followed by The Victoria in Wiradjuri Country/Bathurst on August 8.
In just a few weeks, Los Angeles duo Teenage Wrist will play their first Australian shows. The band will showcase songs from their three studio albums, including 2023’s Still Love.
“Honestly Australia is a place we never thought we’d make it to,” said the band’s vocalist and guitarist Marshall Gallagher. “But we keep getting all these comments and messages about coming, and somehow we have a listener base there and will be fairly close by in Asia, so we figured this was our opportunity! We can’t wait, it’s a literal dream come true!”
Tickets for all shows are still available, but I wouldn’t wait too long. These venues are so intimate, I wouldn’t be surprised if some sell out.
The end of the working week is tantalisingly close, but it still feels too far away. Never fear! Bobby Uncle’s latest feelgood single “Coffee” is as effective a pick-me-up as its caffeinated namesake.
“I wrote the melodies to the entire track on acoustic guitar around late November,” Bobby recalled. “I had a gig on December 9th and wanted to advertise it on my Instagram by singing an unreleased song. At the time, I only had written lyrics for the chorus as I was anxiously into this girl I was seeing. I laid down the guitar riff in Logic and started filming myself singing over it. I was quite emotional at the time which added cadence to the chorus which I would not have added previously. Fast-forward, the gig was a successful night musically, but not for my relationship with this person. A few days later, I wrote the lyrics for the verses and pre-chorus.
“I started by sound designing the lead synth. I needed something harsh and dark to capture anger and sadness for the central melody but to keep the track happy and upbeat,” he went on to explain. “One of my good mates is a metal drummer and he carefully uses the Toms to create build-up and tension. Hence, the Toms were used in certain sections but predominantly in the chorus where each part is more intense than the next. I mirrored the hi-hats with the acoustic guitar to drive the central groove. The electric guitars provide that summer indie pop feel. The pace of the track of 170 bpm reflects the sensation of taking a shot of concentrated caffeine. I wanted people to hear the track and feel like they needed to move, where it’s uncomfortable to be idle.”
Just like this song, Bobby shows no signs of slowing down. He’ll play the House on Fire show at The Loft in Eora/Ultimo on July 20.
Cast your mind back to 1999. The video that played at the start of last night’s concert made it easy for me, but I’ll give you a refresher. “Mambo No. 5” was Australia’s highest charting single. Cher was on the comeback trail with “Believe.” A young starlet called Britney Spears made a splash with “Hit Me Baby One More Time.” And we were introduced to Macy Gray, thanks to her smash debut On How Life Is.
While that footage took us on a trip down memory lane, it didn’t quite capture what made listening to music in 1999 so special. Radio and television programs like Rage and Video Hits were a springboard for discovering albums. Once you’d buy one, it would live in your stereo until your next purchase. We didn’t have Limewire yet, let alone Spotify, so you’d immerse yourself in a record for much longer before moving on to the next. I hadn’t picked up On How Life Is for years, but when I revisited it a couple of months ago I found I still knew every word. After a quick refresher, I was pumped for Macy’s show at the Art House in Wyong.
I’ve got to say, what a thrill it was to see an international artist of her calibre at our intimate local theatre. It holds just 500 people; there are no bad seats. It’s a special place where you feel like you can make a real connection with the performer and their fans. I can only hope Macy’s appearance paves the way for more massive acts so close to home.
Macy was here to celebrate the 25th birthday of On How Life Is, which she played virtually front to back in the first part of the show. Of course she’d leave us waiting for her monster smash “I Try,” and the album’s final track “The Letter” was such a natural closer that would need to wait too. But otherwise the nostalgic tracks flowed easily from one to the next. Macy stopped briefly to introduce us to her incredible band, and invite us to yell our own names so she could get to know us too. There was an off-the-wall story about meeting a koala on the streets of Wyong, who promptly jumped for her when he heard she hoped to meet a kangaroo. It was weird and wonderful, and totally Macy.
I’d be remiss if I pretended that it was a perfectly executed show. Without any backing singers, moments exposed weaknesses in her vocals, especially the stripped-back ballad “Still”. But Macy’s vocals have never been flawless. They’re richly textured, and while some parts may be a little weaker than they once were other parts of her voice left me speechless. Every song she delivered with such heart and conviction and joy that it was difficult to fault even the imperfections.
I knew Macy planned to sing songs from On How Life Is early in the show, but I was intrigued by how she’d fill the back end. As she launched into the jazz standard “Sunny,” I knew we were in for some surprises. I strapped myself in and enjoyed the ride. Her unexpected cover of Radiohead’s “Creep” was a delight. Her bandmates had a time to shine with a drum solo and a 90s-inspired DJ set which gave Macy time to change from one fabulous outfit to the next. She told us that tonight would be a “fuck everything” night and encouraged us to forget about the rules and what other people might think of us before urging us to our feet for “Sexual Revolution.” I, for one, took her words to heart. I’m not sure I’ve ever felt more free.
Listening to the cries of “Finally” when Macy played “I Try,” I’d wager a few people bought tickets on the strength of that song. I personally can’t imagine seeing a show for one song, but tracks with that kind of power and potency so many years after their release are rare. It’s a special song, and while I’d heard many favourites that night, I loved being a part of the sing-along that clearly touched Macy’s heart.
I thought she’d move straight on to “The Letter” and we’d be done, but Macy had other ideas. While the night traded heavily on nostalgia, Macy was proud to show us she’s still got some fresh tunes. She played us a little of her latest single “I Am”, then taught us vocal parts and dance moves before leading us in a somewhat chaotic (our fault!) but fabulously fun version. The song is so catchy I heard people singing it as we left the theatre! Macy sent us on our way with “The Letter”, the final track from her landmark debut, such a feel-good ending for an excellent night out. It ensured I wasn’t left wanting in this show that was 25 years in the making for me. Macy was everything I hoped for: a magnificent, colourful (in every sense of the word), talented delight. I am so glad I finally got the chance to see her in all her glory.
Macy has just a few more dates left on her Australian tour. Catch her anywhere you can:
Since coming down with Covid last week, I’ve been forced to take it easy. Plans with family and friends were cancelled, work was put on the back burner, and I’ve focused on taking it easy. While cancelling plans is disappointing and being sick is never exactly fun, I’ve also kind of relished kicking back. So I’m really vibing with “Fast Lane,” the latest track from Boorloo/Perth-based indie/alt-rock act Yawn Vibes, which explores the idea that small, seemingly ordinary moments hold the most significance in a fast-paced life.
“This song was written at the start of the Covid-19 Pandemic, probably while I was at work on a lunch break and reflecting about how much my life had changed in such a short period of time,” lead singer Taylah Grundwaldt recalled. “I started swimming at the local pool a few months prior to the pandemic and quite literally never made it into the fast lane. The Covid pandemic hit, and I had to figure out how to take each day one step at a time and not get overwhelmed. It’s a song about how much the simple things matter when life escalates at a rapid pace, and how sometimes you find yourself cleaning rubbish at work in the middle of a global pandemic and wondering how life keeps going, time keeps moving, and how you’re still able to function when the world seems big and scary I guess.”
“Fast Lane” gives us our first taste of Yawn Vibes’ upcoming debut album, Never End. Recorded in between the 2022 lockdowns, the album explores themes of “togetherness, friendship, and solidarity throughout time and location,” according to a recent press release. Follow Yawn Vibes on the socials to learn more about it ahead of its release.
Naarm/Melbourne-based punk outfit Bukowski have just dropped their latest single “Superweak,” and you should definitely take a listen. It explores the effects of anxiety, overthinking, and people-pleasing. If you’ve ever struggled with that kind of behaviour, I know this track’s going to resonate with you.
“I found myself constantly trying to please people in my life and being apologetic about who I was, even if I didn’t think I did anything wrong,” frontman James Karagiozis reflected. “That constant battle would hurt me, but I would never outwardly show it or discuss it. Superweak? Maybe. But at least I’m trying to ventilate those thoughts from my anxious/overthinking brain.”
It’s exciting to hear more new music from Bukowski, since their previous single “one hundred seconds” was their first since 2021. It seems the drought has well and truly been broken, with the band promising more new releases and announcements throughout 2024.
“Melt” is a slinky, sultry little number from Meeanjin/Brisbane-based female-led act Menajerie. Its neo-soul sound and exquisite harmonies really cast a spell.
“’Melt’ is about that kind of love that turns your insides to liquid gold,” enthused vocalist Gracie Mack. “I wrote the song in the early stages of a romance that felt really healing and special. Melt kinda feels to me like a mushy love song parading as a neo-soul groover. It’s enchanting, joyous and a bit sexy”.
Eora/Sydney-based singer-songwriter Will Baker has just released his impressive new track “Eddie.” It’s got such an accessible pop-rock sound with some really quality lyrics exploring the way our relationships with people can evolve over time.
“’Eddie’ is about watching people you grow up with turn into people that they said they would never be,” Will explained. “I wrote this song one night with my drummer Giac. We were in love with it straight away. Was a super easy process and a song that the whole band looks forward to playing every gig. I remember wanting to write a song about one of my mates who was going down a bad path.”
The music video, which Will directed with Harry Corcoran, was inspired by classic music of the 1970s.
“The music video was nuts. The theme was very rock n roll which we all bought into very well. First time I’ve ever worn makeup as well,” Will laughed. “Loved every second of the shoot day.”
If the quality of this song is any indication, we’ve got some exciting music from Will to look forward to in 2024.
After impressing me with upbeat numbers, GRAACE is stripping things back with her latest single “Her.” It’s a vulnerable ballad about the challenging feelings that can surface when your ex moves on.
“After a breakup, it’s common to feel the need to check in on your ex as they move on, eventually realising you’ve been replaced,” she said. “Comparing yourself to their new partner, you might view them through rose-tinted glasses, leading to a mix of jealousy, self-doubt, and infatuation. Unsure if you’re jealous, aspire to be like her, or desire to be with her, this universal experience often results in becoming more invested in her than your ex”.
“Her” comes from GRAACE’s new EP afterimage, which drops on August 16. She explained the EP’s concept, noting “Just as an afterimage is the lingering impression of an object seen after closing your eyes, afterimage captures the essence of carrying past relationships into new experiences, incorporating the lessons, heartbreak, and love from those encounters”. Fresh from supporting The Dreggs, she’ll play a string of headlining shows in the capitals to promote its release.
