For the last few days, I’ve been cranking Lustre, the debut album from Aussie rockers The Buoys. There’s not enough women making rock music in the world these days. There are even fewer examples of really good all-female rock acts. But these women are making some of the best I’ve ever heard.
I’ve been rocking out to The Buoys for some time, lapping up singles like “Check Mate”, “Guard My Heart”, and so many more. In fact, I’m not sure I’ve come across a track from The Buoys that hasn’t inspired me to put my fingers to the keyboard and share it with you all. After listening to Lustre, I’m convinced they just don’t have a bad song in them. Sustaining the quality over 14 tracks is no mean feat, but it proves just how good these women are.
I could call out individual tracks, but that would feel unfair to the rest. In actuality, this album grabbed me with the first honest, impactful lyrics of “Settle Petal” and didn’t let go. I was in raptures right until the final singalong notes of “Totally Completely Fine.” And then I hit play again. And again. And again. In fact, I’ve had to convince myself to stop procrastinating and write about this album so you could all get onto listening to it. So do it. Honestly. Don’t waste another moment before getting it on.
Lustre is out now. The Buoys will celebrate its release with shows in the major capitals in August and September. Tickets are on sale now for all of the following dates:
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.
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:
2024 might be the year of The Dreggs. Seven years since releasing their debut single, they dropped their incredible first album Caught in a Reverie. It’s one of my favourites this year. They’ve also just played their first show at the Enmore Theatre, a bucket list venue for the duo from Yarun/Bribie Island. I was so thrilled to be there to share this milestone with the band.
While Friday was The Dreggs’ night, it was really a celebration of local talent. I was unfamiliar with This New Light from Kabi Kabi and Jinibara Country/Sunshine Coast, but he made such a big impression on me. It’s challenging for an emerging artist to fill a theatre with only an acoustic guitar for the majority of the set, but he had me hanging on his every word. His chilled-out folk music was the perfect primer for the evening. He was so sweet too, genuinely humble as he told us how much he’d appreciate us checking out his tunes on Spotify or giving him a follow on Instagram. How could we say no?
I’ve been raving about GRAACE’s music since 2018 (about as long as The Dreggs!), so I was thrilled to finally catch her on stage. Her pop tunes weren’t a natural fit for a night like this, but she owned the stage. I loved watching her dance around as she delivered some of my favourite songs like “Jealous Type” and “Love is Getting Wasted.” Rather than a full band, GRAACE shared the stage with an incredible guitarist. Again, it wasn’t the most natural choice for an alt-pop artist, but I loved seeing her shred. They both got their rock star moment when GRRACE slipped in an unexpected cover of Kings of Leon’s “Use Somebody” that had everyone singing along.
You could feel the energy shift when Then Dreggs’ stepped out. I’m not sure I’ve ever seen such an enthusiastic reception for a local act. Sure, I’ve seen people excited when big names like John Farnham and Jimmy Barnes step out, but those guys are so big that their audience becomes a little diluted by people who’ve simply enjoyed the songs on the radio. When you see an act like The Dreggs, everyone there is incredibly passionate. It’s a beautiful thing to be part of. New songs? Already across them. Old favourites? Everyone was following the band then too so we’re all prepared to sing along to every word.
I knew The Dreggs would sound good, but I don’t think I was quite prepared for exactly how good. The music I loved on their recordings went to the next level on the stage. Paddy Macrae’s banjo was incredible, and the full band brought a new depth to some of those early tracks. These guys are tight. There’s a natural chemistry between Paddy and Zane Harris forged from years of friendship. Their harmonies are second to none. But the whole band gelled together so fabulously. It was a joy to watch the music they created.
They may have a few more rungs on the board than their first support act The New Light, but The Dreggs have a similar humility. They remarked several times that playing the Enmore was something they’ve strived for throughout their career. You could see they didn’t take that moment for granted. They thanked the crowd for their support earnestly and even gifted a fan singing every lyric a merch pack. That pack could have gone to so many people, because every song was a singalong. So many numbers had fans up on their feet, dancing enthusiastically, whether they were on the floor or up in the dress circle. That’s right, even among the seats where people normally want to chill, the show was often a party.
Those party vibes were balanced with sombre moments when Paddy spoke about the duo’s commitment to discussing mental health issues. They’ve explored these issues throughout their time as a band, but perhaps never as eloquently as on the album Caught in a Reverie, a record anchored in grief and what it takes to work through it. It was so powerful seeing these guys using this platform to speak about a topic few men willingly discuss. Hats off to them. Those dark moments were balanced so beautifully with lighter tracks like “She Picks Flowers,” “Keepsake,” and the triumphant final number “Hold Me Closer,” which had us all singing along with its “da da” refrain.
The Dreggs will soon take their show to Aotearoa/New Zealand before closing out the year with a few local dates. Catch them anywhere you can. I promise you’ll have a ball.
I discover some amazing artists through this blog. I hear about their shows and think they’d be great live, but I often don’t actually make it to the gigs. Then there are the rare artists like Donovan Woods, who capture my heart so quickly that I know I need to be there. That’s how I found myself at new inner-city venue Darling Nikki’s on Friday night, just a couple of months after hearing his music for the first time. As I looked around at the blokes dressed in flannel and trucker hats, emulating Donovan’s signature look, I knew most people had followed his career for a lot longer. But I always say, it doesn’t matter when you find an artist; just that you do.
Darling Nikki’s was a last-minute venue option after The Great Club’s (hopefully temporary) shutdown. It’s wonderful that Darling Nikki’s stepped up, but I couldn’t help but think of what might have been. While I hadn’t yet been to the Great Club, a friend praised its relaxed vibe, with plenty of seating to chill. That was the kind of atmosphere that an artist like Donovan really needed. Darling Nikki’s small standing-room venue would be ideal for an up-and-coming rock act, but it didn’t feel right for gentle folk music.
You could have been forgiven for thinking Hayley Warner was the main event, rather than the support act. She got a rapturous response when she took to the stage, although she was quick to tell us that many of those cheering loudest were her family members and friends. Personally I was pretty excited to see how this artist, who I remember fondly from Australian Idol in 2009, had blossomed. She was an angsty teenager then, delivering some of the best rock music the competition’s ever seen. The years have mellowed her music, and helped her become one of the best songwriters I’ve heard in some time. I loved her originals, some of which you might have heard. A little Katy Perry hit called “Never Really Over” by any chance? Hayley’s been living in Los Angeles for the last 12, writing tracks for other artists like Ms. Perry, and being “miserable,” as she joked, perhaps not entirely tongue-in-cheek. Clearly she relished the opportunity to be here at home, playing for loved ones, making jokes that might not have been as well received Stateside, covering songs that the Americans simply don’t know. She encouraged us to sing along to John Farnham’s “Burn For You” and Tina Arena’s “Sorrento Moon,” soaking up that Aussie enthusiasm. When she announced her final song I had to check my watch. Surely she wasn’t done yet! We were having so much fun.
The fun ramped up when Donovan Woods took the stage. That might seem a strange word to use for an artist who makes fairly mellow folk music, but this was one of the most fun gigs I’ve attended in some time. I knew the music would be amazing. Donovan’s recordings are pretty stripped back, so I knew just hearing him sing his songs with an acoustic guitar was my idea of a good time. What I didn’t prepare myself for was just how funny it is.
After wrapping up the first song “It’ll Work Itself Out,” he told us that would be the show. Just some gentle guitar music, some whispery singing, maybe he’d grab the other guitar but that was as dynamic as things would get. So if we wanted to get out now, he’d understand. Of course, no one headed for the door. I hung onto his every word as he played his music. But I enjoyed his hilarious repartee between tracks every bit as much. If this music thing didn’t work out, he could have easily had a career on the stand-up circuit. At one point he asked us whether he was talking too much, but my favourite gigs are always those ones where the artist shares themselves, not just the music. I found myself gaining an even deeper appreciation of songs like “Man Made Lake” and “Leave When Go” after hearing the stories behind them.
I grasped my husband’s hands just a little bit tighter as Donovan played favourite songs like “Seeing Other People,” “Last Time I Saw You”, and recent single “Back for the Funeral.” I know I’m fairly new to Donovan’s music, but I thought it was an incredible set that really celebrated his discography, including the soon-to-be-released album Things Were Never Good If They’re Not Good Now, (not Get Loose as it might have been! If you know, you know). Given that Donovan was touring solo, I expected we’d miss his gorgeous duets, so I was thrilled when he called for a volunteer to sing “I Ain’t Ever Loved No One” with him. I was even more chuffed to discover that volunteer, Talia (so sorry if I’ve spelled your name wrong!) was incredible. The best one yet, according to Donovan. What a special moment in an evening that was already so special.
Normally once an artist has several albums under their belt, you’ve missed the opportunity to see them play an intimate show. But Donovan hasn’t quite broken through here, so I got to be in a crowd of no more than 80 dedicated fans who soaked up every moment. Up close and personal with one of the best songwriters on the planet. I can’t think of a better way to spend a Friday night.
I know I’m a bit late to the party, but have we all listened to Fanning Dempsey National Park’s debut single “Disconnect” yet? The brainchild of Bernard Fanning and Paul Dempsey, I thought this new act was likely to be good, but I didn’t quite prepare myself for how good. Clearly, because otherwise I absolutely would have listened sooner! I’m going to be bold and say it might just be better than anything either of them have released before.
“We agreed straight away there’s no point doing something together if it’s going to be what people think it’s going to be,” Paul explained. “It’s not the two of us with acoustic guitars singing campfire songs.”
Bernard says “Disconnect” is about “The idea of having to walk away from something that you love because it’s become unmanageable. ‘Disconnect’ always had a lot of ‘serious moonlight’ energy, right from its beginnings. The swapping lead vocal plays with the idea of connecting and disconnecting by juxtaposing the confidence/ indecision with each consecutive line. We originally wanted to use sax on everything. After we roughly finished a demo we’d say, ‘What else does it need?’ The answer was inevitably more sax.”
That fantastic saxophone comes courtesy of Ron Dziubla, one of the world’s best session musicians. If that name doesn’t mean anything to you, just take a look at some of the music he’s played on. Tracks from Chris Isaak, Ricky Martin, Christina Aguilera, George Benson, The Crystal Method, and heaps more.
This is just a taster of all the exciting stuff in store for Fanning Dempsey National Park. They’ll release an album, The Deluge, on August 2, which I can’t wait to hear after playing this single obsessively (seriously, I’ve played nothing else since I started writing this article). They’re also heading around the country playing capital city shows in intimate theatres. Tickets are on sale now and probably won’t last long once everyone hears this track!
Sam Fischer’s homecoming tour is just around the corner. Now based in Los Angeles, there just aren’t enough opportunities to see this local success story in our backyard. He’s back on our shores to promote his fabulous debut album I Love You, Please Don’t Hate Me, which I’ve had on repeat for the last week on so.
If you haven’t already taken a listen, make sure you do. You’ll be hard-pressed to find a better pop album released in recent years. It features some fantastic collaborations with Demi Lovato, Meghan Trainor, and Amy Shark and some incredible solo material. The title track and “Watching My World Fall Apart” have become firm favourites for me.
You can almost guarantee that Sam won’t be playing such small intimate venues next time he’s in town. Take the opportunity to see him up close and personal while you can and snap up one of the last remaining tickets for these shows:
Lauren Daigle is a true force of nature. Very few Christian artists have ever been able to cross over into the mainstream charts, not just in their homeland but all around the world. “You Say” was her biggest hit here, propelling her 2018 album Look Up Child into the ARIA top 50. And in case you missed it, she’s coming out way.
Lauren will play four capital city shows in Australia this November after dates in New Zealand on her Kaleidoscope Nights tour. Expect to hear all your favourites from Lauren’s albums, including her self-titled third album released last year. Tickets are on sale now but will not last, so get onto it!
Eskimo Joe haven’t released a single since 2021, but listening to their latest track “The First Time,” it’s like they never left. This song feels so familiar yet fresh. It’s got me all nostalgic about their music, but also excited about everything that’s still to come.
“We really look up to bands like the Rolling Stones and U2 – those guys who keep touring and creating music over and over again,” explained the band’s bass player and vocalist Kav Temperley. “It makes us proud of our musical journey and the people who have taken our songs into their lives. Eskimo Joe is still the three core members. It just wouldn’t be the Eskies without the three of us in a studio or on stage making music together – our friendship is as much a part of the band as the music itself. After an amazing 2023 of playing some huge festivals, there’s this indescribable energy when a massive crowd is singing your songs back at you. We wanted to capture that energy and infuse it into our recording. So, in the first week of January this year, over five days we wrote and recorded ‘The First Time’ at my studio in Fremantle.”
“We wanted to write something that set out to encapsulate the bittersweet feeling of nostalgia, that looks back through rose coloured glasses conveniently forgetting the heartache and sleepless nights that came with a certain place and time in our lives. It’s easy in the loneliest moments to look back and take comfort in those memories secretly holding onto that feeling like an addict. The song is also a realisation that holding onto the past might also be holding you back from the present. The subject is nostalgic but so is the sound of this song, it sounds like it could have sat perfectly on the Black Fingernails album.”
“You put so much energy into each song, you build it up, tear it down, build it back up again until it matches the band’s vision. I love the energy in this song and the sentiment, and I’m stoked that we get to release it out into the world,” added lead guitarist Stu MacLeod.
Drummer and guitarist Joel Quartermain is equally enthusiastic, noting, “Once it’s out in the world, a song truly exists. Hopefully people connect with it.”
Eskimo Joe will play Lookout Festival, alongside choice international acts Live and Incubus, before headlining an acoustic theatre tour. Expect to hear all your old favourites and choice new cuts like “The First Time” at the following shows.
After releasing seven albums and bagging a stack of awards in his native Canada, indie-folk artist Donovan Woods is finally making his way to Australia. He’ll play seven shows in intimate venues around the country in the middle of the year.
The tour announcement encouraged me to take a deep dive into Donovan’s music. I’ve had “Truck Full of Money” on my Spotify list of favourites for some time, but for some reason I hadn’t really explored his music before now. On one hand, I am so glad that I did. It’s incredible. And it just keeps getting better; his new track “Rosemary” is exquisite. On the other, now I’m sweating on my husband finding a new job before tickets sell out!
Donovan has partnered with Support Act and pledges to donate a dollar from every ticket sold to supporting music industry professionals in this country with crisis relief, mental health, and wellbeing assistance. He’s also got another album on the way in July, so expect to hear new tracks and plenty of your old favourites at these long-awaited shows:
