New Museum Powerhouse Parramatta To Open In Western Sydney In Late 2026
- Written by: Staff Writers
Powerhouse Parramatta, the largest cultural infrastructure project in Australia since the Sydney Opera House, will open in late 2026.
The future-focused museum will be a major new landmark for Australia, and a global, cultural destination for Western Sydney. At 30,000 sqm, it was designed by Franco-Japanese architects Moreau Kusunoki (Lead Designer) and Australian architecture firm Genton (Local Architect).
The transformational project is the first state cultural institution to be built in Western Sydney – one of Australia’s fastest-growing and most diverse regions. Construction began more than four years ago, with the main building now complete.
Interior exhibition fit-outs are currently underway across the site. Work is also underway on five major international exhibitions, alongside the development of innovative learning, industry and community programmes.
Powerhouse Parramatta features one of the largest column-free exhibition spaces in Australia. The 18-metre high space spanning more than 2,000 sqm will present Task Eternal, an expansive, immersive exhibition exploring humanity’s enduring quest to defy gravity, take flight, and journey into space. Each exhibition space is designed for a dynamic, changing programme. . . While expanding public access to the Powerhouse Collection of more than 500,000 objects.
The museum will also feature 30 residential studios, bringing together scientists, researchers and artists from Australia and the world, to collaborate with Powerhouse on research and programmes.
A rooftop terrace with Parramatta and Sydney CBD views will feature a productive garden with Indigenous plant species, alongside an observatory with telescopes beneath a retractable roof.
Powerhouse Parramatta will open with net-zero emissions from day one of operations. It’s the first public building in Australia, and the first project in Western Sydney, to be assessed as a 6-star designed project under the Green Building Council of Australia’s new Green Star Buildings assessment tool.
“Powerhouse Parramatta is a new generation museum, conceived to redefine the role of cultural institutions in contemporary life,” Powerhouse Chief Executive Lisa Havilah says.
“Through its infrastructure and programmes, Powerhouse will create a dynamic ecology that will bring together industry and community, present collections, histories, and ideas in new ways. It will be a museum embedded with innate flexibility, with the ability to continuously evolve, changing with the world to ensure that it remains relevant and impactful for generations to come.”
Powerhouse Parramatta is due to open in late 2026.
The Ring In Concert Australia 2026 Tour
- Written by: Staff Writers
‘The Ring In Concert’ is a live-to-picture orchestral experience playing shows in Australia this October and November.
The landmark psychological horror film ‘The Ring’, directed by Gore Verbinski, will be shown on the big screen as a live orchestra performs Hans Zimmer’s haunting score in perfect synchronisation, conducted by Sarah-Grace Williams.
It’s one of the most iconic modern-day horror films, beginning with the bizarre death of a teenage girl, leading journalist Rachel Keller (Naomi Watts) to investigate a mysterious urban legend. In a cabin, Rachel discovers a video cassette, containing disturbing imagery. Anyone who views the tape receives a chilling phone call from an unknown voice, warning “seven days”.
In the liner notes of the original motion picture soundtrack, composer Hans Zimmer describes the score’s minimalist, unsettling approach as essential to the film’s creeping dread, and psychological tension.
Hearing the score performed live alongside the film, audiences can expect a new physical weight and fresh dimension to its pervasive atmosphere.
The Ring In Concert Australia 2026 Tour Dates
27 October – BCEC (Brisbane)
31 October – TikTok Entertainment Centre (Sydney)
5 November – Plenary (Melbourne)
Dermot Kennedy Australia 2026 Tour
- Written by: Staff Writers
Irish singer-songwriter Dermot Kennedy returns to Australia in 2026.
The 'Power Over Me', 'Outnumbered' and 'Better Days' hitmaker will headline concerts in Perth, Brisbane, Sydney, Melbourne and Adelaide.
Last month Kennedy released his third studio album 'The Weight Of The Woods', the record landing at #1 on the UK Albums Chart. The result means Dermot is the first Irish artist to have three albums reach that spot.
"'The Weight Of The Woods' is number one in the UK and Ireland. I wouldn't even be part of that conversation if it wasn't for you guys. Thank you for supporting this new album the way you have. Very very lucky and grateful X."
'The Weight Of The Woods' was largely written and recorded at a studio near Kennedy's home in rural Ireland, alongside close collaborator Gabe Simon (Noah Kahan, Lana Del Rey).
"I've lived with these songs for a long time, and have kept them close, like some kind of promise. I'm so so happy to set them free," declares Dermot.
"I dream that they can bring you some hope; and as always, I hope they inspire you to give and search for love, regardless of the outcome.
"This album means everything to me. I hope it reaches lots of people of course, but truthfully the making of this music made it a success in my mind a long time ago.
"That is my true prize. So I want to say thank you. For all the support over the years. The best truly is still to come ♥️."
Tickets on sale from 11am (local time) on 8 May.
Dermot Kennedy 2026 Tour Dates
Sat 14 Nov - Kings Park and Botanic Garden (Perth)
Tue 17 Nov - The Riverstage (Brisbane)
Wed 18 Nov - Tik Tok Entertainment Centre (Sydney)
Sat 21 Nov - Rod Laver Arena (Melbourne)
Sun 22 Nov - Adelaide Entertainment Centre Theatre
Slayyyter Australia 2026 Tour
- Written by: Gareth Bryant
American dance pop artist, Slayyyter brings her world tour to Australia this winter.
The 'Crank' and 'Beat Up Chanel$' hitmaker will headline concerts in Sydney (x2 shows), Brisbane and Melbourne (x2 shows) in August.
"I'm so excited to finally return to Australia after three years for my headline tour," Slayyyter says. "It means so much to perform 'Wor$t Girl In America' with all my fans down under."
Slayyyter's first Australian shows in three years, 2026 has already been massive for the St. Louis native. She spent two capacity-busting weekends at the Mojave Stage at Coachella.
While in March, she released her third studio album 'Wor$t Girl In America'. "This music was made from a very pure place, chasing songs I wanted to listen to over and over after the studio," Slayyyter says.
"By approaching it that way, I rediscovered how much I love making music. The prompt wasn't thinking about hits, or algorithm music.
"I began asking myself: If I died tomorrow and had one last thing to contribute, what would it sound like?
"Slayyyter began as an alter-ego, but is almost more like a nickname now," she continues. "There's less persona and fantasy. That's not me. Jean shorts, Budweiser, wearing grills – that is me."
Tickets on sale from 12pm (local time) on 8 May.
Slayyyter 2026 Tour Dates
Sun 9 Aug - Enmore Theatre (Sydney)
Mon 10 Aug - Enmore Theatre (Sydney)
Fri 14 Aug - The Fortitude Music Hall (Brisbane)
Mon 17 Aug - Forum Melbourne
Tue 18 Aug - Forum Melbourne
Review: Hawthorne Heights @ The Brightside Outdoors (Brisbane)
- Written by: Kerry Rowe
Ohio icons Hawthorne Heights have joined the mass of international artists taking a long-overdue trip back down under; this time in celebration of the 20th birthday of their classic and career-defining record, 'If Only You Were Lonely'.
Tuesday night (28 April) was the final leg of the Australia tour, the headliners join by New Jersey post-hardcore/ emo-core legends Armor For Sleep and adored pseudo-local rising stars hailing from Melbourne (by way of Darwin) Tapestry.
Front-loading the review is Tapestry; I love the gorgeous men who share the stage together under this moniker.
I was lucky enough to play alongside them on their first east-coast tour some ten-odd years ago. Being there from the start and seeing the evolution and growth fills me with a sense of pride I would imagine akin to that of a proud parent.
Tapestry's time onstage is short, sweet, and sets the tone for what's to come. The swooning, crooning, and majestic vocals of frontman Tom Devine-Harrison strike the right chord.
He demonstrates his impressive range, from ethereal to aggressive, putting on a masterclass in refinement and technique – besting some great proportion of road-hardened veterans within this and adjacent genres almost effortlessly.
Fans of Tapestry will attest to the tight delivery of the band's musicality; executed with gusto, flair and bravado of artists that want it – and want it bad.
There's no cliche stage move synchronisation or over-the-top stage production to mask poor performance; just honest, natural, and from-the-heart energy that truly feels authentic and personal.
Playing a curated collection of their fan faves and cult classics, such as 'The Pain You Desire', 'The Love You Deserve', 'Retrospect', and their newly-released single 'Bedsheets', they close their set with 'I Don't Belong Here'
Based on the crowd's engagement, enthusiasm, and willingness to lend their voices in sub-par weather conditions, it's obvious that if more touring is not currently on their agenda for the remainder of the year, it should be.
The soaring crescendos, tight and subtly technical downbeat, and emotional energy is something this band owes it to the public to continue to share far and wide.
Full disclosure: I had not thought about Armor For Sleep in years before the announcement of this tour. Even fuller disclosure: I was grossly unimpressed with myself for failing to remember one of my absolute favourite pop-punk-emo acts from this era.
However, I do find some solace in them having never actually joined the Australian tour circuit in their quarter-century career, meaning that while forgetful, there is good reason they may have fallen off my radar. Oh, and the whole 'mostly been broken up since 2009' also likely played a significant part.
They did not disappoint. In my first outing to the newly refurbished Brightside Outdoors, this emotional set had me well and truly in my feelings. What was once a dank and uninspired car park, is now home to a live music venue I could have only imagined during my club-rat era.
Seeing this Valley staple being graced by the ebbs and flows of a band that were fundamental in developing my music preference takes it one step closer to a surreal moment.
As is often the case with artists exhausting all aspects of their musical proficiency, stage antics are far from the drawcard to this live experience with fans, the audience opting to be engulfed in the sweet (and sad) euphoria of the emo-legends.
Bursting out of the gates with 'Stay On The Ground' (a personal favourite, and contender for overall highlight to the evening) and 'Remember To Feel Real', Armor For Sleep show no signs of disappointing even the most diehard of fans.
'Awkward Last Words' phenomenally sets the tone for the evening with its slow, morose intro before rapidly exploding with the ever-in-vogue two-step and almost-expected sing-alongs, climaxing in the chorus.
In what seems to be a theme with this band in particular, I was pleasantly shocked at the commencement of 'Basement Ghost Singing' – a track layered with sharp-delays, creating sonic depth and intrigue that takes me immediately back to the days of owning an Epiphone Les Paul in the granny flat, trying to figure out what thrifted effects pedals could possibly recreate the sound I had recently heard.
Moments like these one of the biggest drawcards to these dare-I-say heritage-listed artists. While revelling in the music that acted as a foundation to your youth is an emotional roller coaster in of itself, being teleported back to these specific memories that have lain dormant for decades is something I challenge almost any other form of art to inspire.
In case my self-actualisation hadn't done a number on my psyche, Armor For Sleep close out with not only 'The Truth About Heaven', but arguably their pinnacle; their claim to fame; their zenith; 'Car Underwater'.
While quote-unquote whiny vocals, on-the-nose lyrics of sadness and a good share of palm-muted guitars may not be everyone's cup of tea, it sure is my swig of lager and I think a wander to the bar will give me the necessary strategic advantage to wipe these emotional tears from my eyes.
In what's become a trend of this review; I'll level with you. I didn't like Hawthorne Heights in their prime, peak, or whatever you want to call the MySpace emo era. No, they were in fact, too emo for me (he says with a Placebo tattoo adorned on his body).
You see, there were the emo kids and the screamo kids. There was the Hawthorne Heights and Dashboard Confessionals crowd, and there was the From First To Last and The Used crowd. Sure, retrospectively it's different flavours of the same ice cream, but at the time, they just didn't quite hit the mark for me.
That's absolutely not to say I didn't appreciate the talent and respect the musicianship at the time, however I wanted chocolate and they were serving strawberry.
I'm the first to admit that I may have been late in the full development of my frontal lobe and now (hopefully) representing the sharpest I may ever be, I tell you that Hawthorne Heights deserve every ounce of their success.
If you explore their catalogue – not only 'If Only You Were Lonely', but the one record prior and half-dozen post – they are lined with not only some timeless classics, but some deeply underrated B-sides. While the argument could be made their first two records house the majority of these hits; luck is on our side as this defining era is what we're all here to celebrate.
Starting with a bang and some considered and curated stage production and design, Hawthorne Heights follow the trend of the evening, commencing with energy and vigour as they deliver 'This Is Who We Are', before rolling on into 'We Are So Last Year'.
Classic tracks like 'Pens And Needles' and 'Saying Sorry' – two more highlights of the evening for this reviewer – take me back to passing around copies of Blunt or Alternative Press in the '00s (to the ridicule of teens who'd not explored the depth of music beyond their parents AC/DC and Cold Chisel cassettes – no shade; both of those bands absolutely rip).
Where modern music is forever pressing for harder, faster, more technical or the next 15-second snippable moment, the innocence of riffs and rhythms that could have found themselves at the hands of many-a talented and enthusiastic would-be musician is humbling in a way I hadn't expected it to be.
The riffs are catchy, the performance is tight, there are no jaw-dropping solos or swept arpeggios, and you know what, that's totally fine – more so than that even.
Lead vocalist JT Woodruff is impressively tight and consistent throughout – flawlessly executing not only an impressive vocal performance, but maintaining the musical foundation through his guitar performance.
These songs – like a plethora from this era – are dynamic, rhythmic and plain, old fun. They incite sing-alongs, bouncing bodies and flailing arms, and some of the most mediocre dancing I've laid eyes on (or partaken in).
Sure, something could be said to the lyrical content that was unescapable throughout this paramount of very-public depression that ravaged suburban malls worldwide, but hey, suck it up; embrace the emo; and remember there's every chance at least one of these songs has 'saved your life' (or at least been used as some petty ammunition as you navigated the puberty blues).
Of course, highlights of Hawthorne Heights culminate in some of their biggest hits rounding out the evening. 'Dandelions' (a sneaky 2023 addition to this nostalgic set list), 'Niki FM', and finally; the one, the only, 'Ohio Is For Lovers'.
The Brightside is the only venue truly fitting for the spectacle of this evening. For those who've partied within the walls of this former church until lockout is in full effect and you're searching for somewhere to keep the party going as you watch the sun rise; tonight has been a soundtrack to your formative years.
As the euphoric melancholy of another gig down, more acts you never thought you'd see live being accomplished, the eerie discomfort of the Valley on a Tuesday evening greets you upon exit.
However, just remember how happy the 12-, 13-, or 14-year-old version of yourself would be at you going to the emo club on a school night, having a few beers, and seeing Hawthorne Heights live and in the flesh playing their bangers for you and a few hundred of your new friends.
Iron Maiden: Burning Ambition Film Review
- Written by: Matt Innes
A new feature-length documentary, 'Iron Maiden: Burning Ambition' is unequivocal essential viewing for the global legion of Iron Maiden faithful.
It is the ultimate story of how the Beast got its horns.
The documentary covers a large swarth of well-trod Iron Maiden lore, from their scrappy East End beginnings and fronting the new wave of British heavy metal (NWOBHM) to eventually ruling as one of the biggest bands in the world.
However, it's abundantly clear from the outset that this film is not about the band. At its core, it's a heartfelt love letter dedicated to the fans.
Bookended by a quote from frontman Bruce Dickinson, 'Burning Ambition' asserts that Iron Maiden fans are not only part of a global family, but the sole reason for the band's longevity and continued success.
As such, although the film features plenty of audio commentary from various band members, including Dickinson and bassist/ band leader Steve Harris, they never once face the camera.
Instead, screen time is heavily devoted to interviews with everyday fans who form a broad cross-section of society.
People from all over the world and all walks of life who find common ground as members of the Maiden Family, each with their own story of how Iron Maiden's music has impacted them.
Among the notable talking heads are actor Javier Bardem, Rage Against The Machine guitarist Tom Morello, Metallica drummer Lars Ulrich, Chuck D of Public Enemy, and owner of Metal Blade Records Brian Slagel.
The other star of the show, of course, is the immortal Eddie, easily the most recognisable band mascot in rock music.
As well as exploring his original design and purpose, Eddie appears in several impressive CGI sequences that accompany the storytelling and give the film that signature Iron Maiden aesthetic.
The audience is also treated to a visual delight of documented and previously unseen footage of Iron Maiden's rise to prominence, including recordings and photographs from the band's personal collections.
'Burning Ambition' aptly invokes the standard tropes for any rockumentary, keenly tracking Iron Maiden's trajectory over the past 50 years through all their trials and triumphs.
However, in condensing the band's extensive career into just under two hours, there are some gaps in the storytelling, such as original vocalist Phil Di'Anno's death in 2024.
Ultimately, 'Burning Ambition' leaves the viewer – be they avid Iron Maiden fan or otherwise – with an overwhelming sense of positivity and fulfilment.
For the casual observer, it's a serviceable rockumentary that does justice to an undisputed icon of heavy metal. For the Maiden faithful, it's validation for their years of loyalty.
If you don't get to see Iron Maiden on their Run For Your Lives 50th anniversary Australian tour in November, you cannot miss this film. Up the Irons!
Tickets to the movie are on sale.
'Iron Maiden: Burning Ambition' releases in cinemas nationally from 7 May.
Review: Mumford & Sons @ Qudos Bank Arena (Sydney)
- Written by: Rhi Trowbridge
They say to write you need to read. To play you need to listen. To live you must learn.
However, in the matter of living, no life can be truly fulfilled without the experience of a Mumford & Sons' live performance.
Last night (29 April) Sydney's Qudos Bank Arena, under the caress of fairy lights, shape-shifted from its usual 21,000-person venue to that of a small-town country barn.
Mood-lit by a row of lights and warm backlit lighting, people travelled from all over to rendezvous for a night of boot scooting, twirling and voice hurling.
Supported by the incredible Hudson Freeman and Australia's own Folk Bitch Trio, both acts mustered the audience into place, setting the scene for a night of vocal and musical virtuoso.
By completion together, Hudson Freeman and Folk Bitch Trio awed the people with airy, cloud-chasing melodies and harmonies that caressed the strings of every note plucked and riffed.
Folk Bitch Trio - image © AH Imagery
Their talent is something that won't soon be forgotten, probably having already nestled into the fold of everyone's mind before exiting.
Shushing and awing the audience without stepping foot onstage, Mumford & Sons corralled bubbles of anticipation while Johnny Cash's version of 'Ring Of Fire' set the air for the evening.
The English folk-rock band began with 'Here' and crowd favourite 'I Will Wait', which saw them backlit by dusty orange tones that evoked memories of Australia's outback.
It was during the latter that Marcus Mumford set the expectation for the night, demanding people stand and dance, noting: "F... the person behind ya," but also playfully asking to be respectful.
Beside members Ben Lovett and Ted Dwane, the band galloped through their discography, touching on songs like 'White Blank Page', 'Icarus' and 'The Cave'. As a special treat to the Sydney audience, the band introduced Australian singer-songwriter Gretta Ray to sing Gracie Abrams' part of their song 'Badlands'.
Mumford & Sons - image © AH Imagery
With heart-thumping beats, somersaulting trumpet, trombone and jovial banjo riffs, it was impossible to not dance or sway all evening.
Just when you thought there was an end to the surprises, Marcus merrily took-off through the crowd. Dashing through the side of GA floor, up through rows of A Reserve seating, down back to GA floor before carving a way through the middle to the stage, all while performing 'Ditmas'.
A feat you would never expect, yet the audience was amused, with a crowd of people seen bouncing and clearing space as Marcus darted through. It truly was as if the GA floor was the setting of a barn dance.
With deep respect for them as performers, Marcus had not a struggle getting an arena of people to fall silent while he, Ben and Ted circled a singular mic on their B-Stage to perform 'Timshel', 'I'll Tell You Everything', 'Rubber Man' (with the feathery support vocals of Folk Bitch Trio) and 'Ghosts That We Knew'. If a coin had been dropped, it wouldn't have been heard.
Mumford & Sons - image © AH Imagery
Along the barricade of their B-Stage, the audience crooned and marvelled in a moment of wonderstruck, but they were whispers. It was as if a spell was sprinkled around the arena and in tandem, everyone knew this was not the moment for an audience's vocals to support but to rest, to listen.
As they finished up their set, the band sprang into a foot-stomping, banjo-led performance of 'Little Lion Man'. It was here Marcus expressed: "If this song belongs anywhere, it's Sydney, Australia."
The crowd took on various parts as back-up singers as the veil shifted and scenery altered – Qudos Bank Arena didn't just feel like a barn dance anymore, it felt like the local pub on a Friday night while the indie musicians performed and the crowd paused their drinking to belt: "I really f...ed it up this time." Marcus couldn't have been any more correct – this song was Sydney's moment.
Mumford & Sons were able to expertly execute an evening of intimate, moving performances that left you feeling like you were simultaneously in a barn in the middle of Australia dancing and hollering, yet encased in an immense, emotive, arena-sized group hug.
Mumford & Sons - image © AH Imagery
The skill and confidence to transform an arena into an intimate performance cannot be understated – with phones in the air and an audience that mirrors waves in their movement, their superiority as performers was on full display.
They closed out by telling the crowd that if there is demand they'll come back; it's undeniable that after Sydney's turnout, they'll be back sooner than they think.
Anywhere Festival Goes Where No Theatre Festival Has Gone Before... And Beyond!
- Written by: Grace Stokes
'All the world’s a stage' is one of the most famous lines in the history of performance, but for one man, it’s reality.
Paul Osuch made a life in theatres around the world, shaping his craft until the gum trees released their siren call, bidding him back to the golden streets of sun-blessed Brisbane. When the lovely lady resisted his attempts to establish a traditional theatre, Osuch had a much bolder idea – bring the arts to the streets. Thus. . . Anywhere Festival was born.
“I'd been overseas for years in London, as a director and playwright, in numerous non-traditional spaces,” Artistic Director and CEO Osuch tells tales of origin. “I came back to Brisbane in 2010, and tried to set up a theatre for about 10 months. Then I went, why am I trying to set up another La Boite?”
“Most of the year in Brisbane, the weather is pretty good, so I considered not being in a structured environment. Then there were three things – can we insure it, will acts want to do it and will traditionally conservative Brisbane audiences get into it?”
“Artists I was working with years before were looking for opportunities, so it came down to audience stigma. The first festival we did was the flood year, raining January to April. In May, when the festival was due to start, it stopped raining and we had a fantastic festival, which has been the pattern every year since,” Osuch remarks casually, as if near disaster was never truly a consideration.
Fifteen years later, Anywhere returns for another bountiful year full of performances as quirky and unconventional as the spaces they’re performed in. Osuch muses on the philosophy of bringing art to the masses in such an accessible format.
“I've seen some amazing performances in actual theatres, like Kenneth Branagh, Helen Mirren and David Tennant. But the thing that I really love and I find people connect to, is this idea of being invited into a space with a sense of community. Maybe it’s a space they've driven by, or collected a coffee from, with other locals.”
'Airtight'
“Now with the price of fuel, instead of having to worry about all those costs, why not just wander on down somewhere in your own suburb? We find people make all these connections with other people that they didn't realise live quite near them, while also getting to experience a great show and a new space.”
From the early days to now, finding locations for the festival’s performances has been a complex point of enjoyment for Osuch.
“Every year is completely different. People say, ‘Oh yeah, we've got a house. We'd be happy to host a band,’ and we’re really flexible. We don’t have the pressure points of a 20,000-person festival in one place. We have people that have worked with us before and we listen when artists say they want to perform somewhere, like an old abandoned paint factory.”
Osuch remarks on some of his favourite locations, however you get the feeling each of the festival’s spaces hold their own unique charm.
“We actually created our festival hub at an old Taubmans paint factory in Yeronga. It’s such a unique location with warehouses and external spaces. This year, we’ve got 37 performances there over 3 days. It’s been a real audience favourite.”
“I also love concerts in people's houses and backyards. It’s such a different experience being welcomed into someone's home and meeting their neighbours. The shows at the Planetarium are also incredible. This is the fourth year K Mak and Angel Strings have come back. K Mak just did Edinburgh Fringe and they did a stupid number of performances, 3 performances a day, somewhere around 90 total.”
Most of the 2026 festival’s shows are new, so what can be expected is hard to define. Osuch, however, already has a few sticking in the back of his mind to check out.
'Mythical Creatures'
“Definitely ‘Airtight’. I've spoken with the writer Indiah Morris, who has won many awards. I'm really excited for her to perform again. ‘Airtight’ is a piece of theatre about a Tupperware party and there’s only ten tickets per show, so it’s as if you're actually going to a Tupperware party which all goes wrong.”
“'Smile: The Story Of Charlie Chaplin' is another fantastic show at New Tricks Gin Distillery in Albion, along with 'Wine Mum Anthems' which is fun for everyone. Euphoric Flow’s 'Mythical Creatures' out at North Shore is a really immersive work as well.”
Having been in so many spaces and witnessed so many shows, Osuch remarks on a memorable moment that deeply moved him, proving true performance can really be anywhere with an audience and an artist.
“I think back to one year where I went to Anje West’s 'Record Parlour' in her house. She always sings songs that mean something to her, and she did a Suzanne Vega song that I’d only ever heard Vega do years before. It had been a tough end to the festival and I was a little fragile. West’s performance was absolutely spine-tingling.”
As the festival traverses substations and warehouses to libraries and wine cellars, Osuch speaks of the greatest lessons he’s learnt.
“People talk about community as a big thing, but I’ve realised community is lots of little things. I can go to a show with 30 people and that’s a little community of connected people. It’s those connections that make it really magical. Live performance in particular has those intangible connections you make that you couldn't plan for.”
As the visionary looks to the future, he sees an ever-expanding stage, the potential for opportunity exciting his beating heart yet.
“We're really happy that this is our first year of a new four-year agreement with Arts Queensland and three more years with Brisbane City Council. We talk about making Brisbane the stage and we want to broaden that and see where that can go. Even more broadly, we’re talking about plans for Anywhere to become a national festival and see how different pieces are able to connect. I’m excited for the next few years,” he says, with an ever-present twinkle in his eye.
Anywhere Festival Brisbane is on from 1-31 May.
Review: Mia Wray @ Oxford Art Factory (Sydney)
- Written by: Grace Stokes
The best day of the year arrives as Mia Wray takes Sydney's Oxford Art Factory in the grip of her powerful vocals, fresh off the back of supporting Ed Sheeran's tour.
New Delica kick off the night (24 April) with a smooth soul feel. The keys player screams out impressively on his Hammond and it's splendid. "The more you have the more you lose," frontman Pat Coyle sings as the band stab in unison with the flashing yellow lights.
We put out an album in September called 'Stonewater'," Coyle introduces the next track as the lights gently drape the backdrop in gold, Coyle singing accompanied only by guitar. The band suddenly kick in fast gospel style as Coyle shakes his tambourine viciously. It's a standout moment.
"This is about meeting a very strange woman in the hills of country Victoria," Coyle shares before blasting on his harmonica. He gets the audience to hold hands for 'Down To The River' and it's beautiful under purple lights.
'Don't Forget Me' is the boppiest number as Coyle blasts a sweet tune on his harmonica. The next track features a great build as the band transition seamlessly into the next track. A harmonica solo is another highlight as the crowd clap along, and it's a perfect opening act.
Mia Wray enters under red lights, commencing with a vocal enshrouded by thick sounds of affected bass and single guitar strums. Wray's vocals are truly indescribable and utterly spine-tingling. Power and composure meet perfectly.
The hypnotised crowd erupt at the song's conclusion, and that track alone was worth the price of admission. "Are you ready Sydney?" Wray asks for 'Tell Her', leading the crowd under sweet pink flashing lights.
"You guys feeling good," Mia asks to roars before 'Ghost In My Machine', another expertly crafted song. Wray then takes her acoustic guitar, as her voice flows out somewhere between the power of Adele and the grit of Linda Perry. Every song is perfectly sentimental.
Wray drops it right back for the last chorus before building into sonic euphoria. The red Gretsch chugs along to introduce 'One You Want', Mia belting with power and charisma.
'Rerun' is a boppy sing-along under gold lights that has the packed room moving, before Wray moves to the keyboard. "Oh look, drama," she jokes as a spotlight shoots down on her. "I hope this looks good. It feels good," she remarks.
"All I thought of just then was Ed Sheeran and I can't sing this about Ed," Mia confesses before 'What If'. It's an emotional highpoint, Wray giving her vocal all.
"My band's gunna take a little break while I serenade you gently," she smiles. "The only story I have about Ed is, I've loved him forever and I met him at The Riverstage in Brisbane years ago.
"I practiced meeting him on his tour, I rehearsed it, and then I saw him in the corridor. I was awkwardly waiting for a pause in his conversation, and he just says, 'we're gunna go to the sauna later if you want to come'." The crowd laugh together at the awkward absurdity.
'Where I Stand' is gentle and a nice reprieve from the fast pace, before 'Monster Brain' features some impressive long notes.
"Do you know who followed me?" Wray shares proudly. "Jennifer Coolidge! So if there's musicians in the room, doing your thing on social media, you never know who's watching. Jennifer was on her white couch watching my video just going, 'yeah!'," Mia mimics Coolidge's famous voice.
'Not The Same As Yesterday' has nice high notes, while 'Not Enough' has a sentimental edge, as the reverbed guitar provides a lush backdrop. 'When We Were Young' launches in with fat synths and a whole lot of energy under orange lights, before 'The Way She Moves' is thick and moody under blue lights, Wray giving her characteristic all, before the obligatory stage exit.
'Down In The Valley' opens the encore with a soothing splash of hope, before 'Evidence' ends the show on a mysterious note.
Mia Wray is a charming raconteur, a damn fine songwriter and one heck of a voice. Catch her while you still can, because it's likely this songbird is going global.
Review: Memphis May Fire @ Northcote Theatre (Melbourne)
- Written by: Connor Mackinnon
Last Friday, Memphis May Fire arrived in Melbourne at Northcote Theatre (24 April).
Opening duties fell to Sienna Skies, who wasted no time igniting the room with their mix of rock, punk, and hardcore. Frontman Thomas Pirozzi led the charge, working the crowd from the first moment as their crushing breakdowns and high-energy delivery took hold.
The set drew from across their catalogue: 'Truest Of Colours' (2009), 'The Constant Climb' (2012), 'Seasons' (2015), and 'A Darker Shade Of Truth (2016)'; while also spotlighting newer tracks like 'Elated' and 'Brick'.
They kicked things off by getting the audience swaying side to side before launching into their opener. Early in the set, Tom spoke about the importance of live music, a sentiment that clearly landed with the crowd, before they tore into 'Cut Me Off'.
Sienna Skies - image © Connor Mackinnon
A standout moment came with the debut of an unreleased track, 'Pillow Talk', which the band jokingly suggested fans record if they wanted to hear it again before release.
'Elated' and 'Don't Let Me Go' kept the energy high, before they closed with 'Mess'. This was my first time seeing Sienna Skies live, but their tight execution and confident stage presence was something to behold.
Next up, Blessthefall brought their signature mix of metalcore and post-hardcore. Led by vocalist Beau Bokan, the band delivered a set that balanced polish with intensity.
Despite their long career, this was my first time seeing them live – and (again) they didn't disappoint. With a catalogue stretching from 'His Last Walk' (2006) to 'Gallows' (2025), they had plenty to draw from.
Their entrance was all atmosphere – dim lighting and a slow build before erupting into an explosive opener that instantly had the crowd moving. Highlights included 'Hollow Bodies' and 'Gallows', with Eric Lambert and Jared Warth adding extra weight through backing vocals and stage presence.
Blessthefall - image © Connor Mackinnon
'Venom' followed, and during 'Wake The Dead', Beau called for more crowd surfers, even sparking a wall of death. The defining moment came during their final song, when a wheelchair crowd surfer was carried above the audience – an unforgettable and genuinely powerful scene.
Headlining the night were Memphis May Fire, who delivered a crushing set that blended metalcore with elements of post-hardcore, alternative metal, nu-metal, and southern rock.
Frontman Matty Mullins commanded the stage, backed by the driving force of guitarist Kellen McGregor. Drawing from all eight of their albums – from 'Sleepwalking' (2009) to 'Shapeshifter' (2025) – they held the crowd from the moment they appeared.
A long time since I've seen them live, it's clear they've continued to refine their live show. Just a couple of songs in, Matty told the crowd that Melbourne feels like home, and the reaction in the room backed that up completely.
Memphis May Fire - image © Connor Mackinnon
He also mentioned he'd been in the city several times in recent months across different projects, reinforcing that connection. A major highlight came with 'Overdose' from 'Shapeshifter', a track Matty shared holds personal meaning.
Before the encore, the wheelchair crowd surfer made a triumphant return adding to the sense of unity that carried throughout the night. They closed with 'Chaotic', leaving the crowd roaring for more.
Daya Australia 2026 Tour
- Written by: Staff Writers
US pop powerhouse and singer-songwriter Daya will make her return this July-August for her debut Australian headline tour.
Daya brings her bold new era and album, ’Til Every Petal Drops’, to our shores. . . Performing a run of intimate headline dates, following a period of significant artistic evolution, couple with new music that sees her exploring deeper themes of self-discovery, love, and identity.
She first broke through in 2015, with the triple-platinum debut single ‘Hide Away’. The track propelled her into the global spotlight at 16 years old. Then, less than a year later she released her now gold-certified debut album ‘Sit Still, Look Pretty’.
In the decade since, Daya has continued to push genre boundaries and collaborated with the likes of Dom Dolla, Griffin, RL Grime, Illenium, Anyma, and The Chainsmokers.
And now, she’s got a second album under her belt.
“I have a deeper sense of myself as an artist,” Daya says. “I’ve evolved so much and I’m exploring everything I can. I’ve embraced who I am at this point of my life, and I’m confident and excited for the world to hear it.”
Listeners can see themselves in Daya’s songs. She tunes into pure emotion, and channels her unfiltered feelings into both anthemic and intimate, genre-blurring tracks. In ’Til Every Petal Drops’, Daya steps into a more experimental and expansive space. She blends electronic textures, soulful melodies, and introspective lyricism into a darker, more ethereal and deeply human body of work.
Daya Australia 2026 Tour Dates
28 July – Rosemount Hotel (Perth)
30 July – Corner Hotel (Melbourne)
31 July – Factory Theatre (Sydney)
1 August – The Triffid (Brisbane)
DMA'S Australia 2026 Tour
- Written by: Staff Writers
After their one-off Sydney show in March honouring the 10th anniversary of their debut album 'Hills End', Aussie indie rockers DMA'S return for an east-coast tour late 2026.
The tour will land in Brisbane, Melbourne and Sydney late November, early December, with the band hearing their fans by incorporating a special 'Hills End' anniversary set.
The band have also shared another preview of their fifth (self-titled) studio album due this winter (7 August; pre-order it) with the single Heatin Park (that follows previous single 'My Baby's Place'), whose music video was filmed across the UK and Melbourne.
A band who have graced such illustrious stages like Glastonbury, Coachella, Lollapalooza and Splendour, DMA'S wrote their new record between their own studio in Glebe, Sydney, and LA.
DMA'S co-produced the record with Grammy-nominated producer Lach Bostock (Mansionair), with help from Jimi Somewhere and Styalz Fuego. It showcases the evolution of their signature anthemic sound with fresh sonic textures.
After the release of 'Hills End', the last decade has seen the band release three further albums: 'For Now' (2018), 'The Glow' (2020), and 'How Many Dreams?' (2023), their catalogue of hits also including 'Silver', 'Tape Deck Sick' and 'In The Air'.
In 2023 the band were awarded Best Group at the ARIA Awards as well as winning the Hottest 100 Like A Versions of All Time for their cover of Cher's 'Believe'.
Tickets on sale from 1pm (local time) on 1 May. Melbourne tickets available here.
DMA'S 2026 Tour Dates
Fri 27 Nov - The Fortitude Music Hall (Brisbane)
Sat 28 Nov - Royal Botanic Gardens (Melbourne)
Thu 3 Dec - On The Steps at Sydney Opera House Forecourt (Sydney)
Review: Pretty Woman: The Musical @ Crown Theatre (Perth)
- Written by: Joshua Haines
'Pretty Woman' landed on the streets of Perth in a sea of red, for the bold and brassy premiere at Crown Theatre.
The production had a powerful start, with strong set design and stage mechanics partnered with an energetic ensemble, culminating in a very warm welcome to Perth darling Samantha Jade, as her character Vivian Ward appeared on stage.
Samantha Jade (Vivian Ward) and Ben Hall (Edward Lewis) had insane chemistry on stage, and it was felt throughout the audience with gasps, and giggles. Individually, each performer’s voice was powerful, holding high and low notes with ease – a testament to their years spent in the craft. Jade’s presence was palpable, and magnetic, really representing her powerhouse talents and skill. Hall had a low, husky timbre to his voice that mesmerised and sent goosebumps down the spine.
'Pretty Woman' could be a static performance at times, but as far as stage direction is concerned, this amplified storytelling and focused the audience on key plot points. Because of this, the second act did not feel as crowded – where at times all plot and resolution can be shoehorned in, 'Pretty Woman' creatives did a brilliant job in bread-crumbing the story throughout. This is especially important if, like me, you have not seen the movie that the musical is inspired by.
Michelle Brasier (Kit De Luca) did not just shine, but went supernova with her performance of 'Rodeo Drive' – her range and skill rivalling Kelly Clarkson and Jennifer Hudson. Tingles! Bobby Fox (Mr Thompson) commanded the stage with 'On a Night Like Tonight', with an ensemble that was giving pitch perfect a cappella.
From one overture to the next, 'Pretty Woman' was a high-octane performance with exceptionally talented singers – most notably were Rebecca Gulinello and Callum Warrender who, in the second act, SHOCKED audiences with the power and range of their operatic vocals as they re-enacted scenes from 'La Traviata'. An honorable shout-out goes to Jordan Tomljenovic who, for me, stole the show as Giulio the Bell Hop. It did not matter where you sat in Crown Theatre, you could see his smile, his character was magnetic and was a brilliant staple throughout the performance to bring light and brevity.
At times, the performance read like 'Sweet Charity' in theme, and 'Legally Blonde' in show-value, both featuring a plucky strong lead working to change their circumstances – a universal trope that any audience can connect to (including the experience of slimy men who think destroying dreams is a personality trait). For those who may not be familiar with the film storyline, the musical can lead you down a garden path at times, but by second act, you’re back on track.
Overall, the production of 'Pretty Woman' was a fun and energetic night out, with well-positioned jokes, strong emotional scenes, and talented performers from centre stage to ensemble. 'Pretty Woman' was pretty amazing, and should make your dream list for a fabulous night out!
Five: The Bad Boys Of Pop Return Down Under To Australia
- Written by: Fran Gibson
Nineties British boy band Five are reunited and returning to Australia next month for the first time in 26 years.
If Westlife – with their suits, stools and coordinated standing on the key change – were the clean-cut prefects of the late '90s/ early '00s boy-band scene, then Scott, Abz, Sean, Ritchie and Jay – collectively and somewhat unimaginatively known as Five – were the bad boys.
Despite their ages now ranging from 44 to 49, they remain "five bad boys with the power to rock you" (IYKYK). "We're very, very happy to be coming over," Scott says.
"The fact that we're coming over to Australia after 26 years and playing arenas is absolutely incredible. We feel very, very lucky."
Launched in 1997 by the same team that gifted the world Spice Girls, Five were an instant success selling 20 million records and hitting number one with (among others) Queen's anthem 'We Will Rock You', a feat (it feels disrespectful to even acknowledge) Freddie and the lads failed to achieve first time 'round.
For five years, the hits kept coming: 'Slam Dunk (Da Funk)', 'Everybody Get Up', and 'Keep On Movin'' to name but a few.
Then there are the two that got away. Five passed on 'Bye Bye Bye' – their loss was NSYNC's gain – and couldn't persuade Max Martin they were a better fit for 'Hit Me Baby (One More Time)' than some small-town nobody (at the time) called Britney Spears.
"We'd had number one singles. We'd cracked every territory around the world," admits Jay. Adds Ritchie: "We just couldn't take in quite how successful we were."
However in 2001, shortly after the release of their third album 'Kingsize' (bad boys indeed), the wheels came off. Ritchie explains. "A big part was imposter syndrome. It was too much, too fast, too soon."
Physically and mentally burnt out, they acrimoniously split. "We were working 17-, 18-hour days, with only 2 days off a year. You're going to fall out with anyone if you're in their space all the time," Ritchie says.
In the intervening years, Abz farmed in Wales. Ritchie ran a restaurant in Sydney. Jay placed third in 'I'm A Celebrity Get Me Out Of Here' (2007 season).
Scott had a crack at music management. "I thought I knew loads," he says. "Turns out I know nothing. I'm better holding the microphone than telling other people to sing into it."
Two previous attempts at a Five reunion came to nought. It wasn't until Scott gathered all the members together in an Airbnb and they focused on rebuilding their bond as friends that the idea of taking this show on the road came to fruition.
A sell-out UK and Ireland tour at the end of last year proved Five can still make you get down.
Maybe it's the decades of media training, but they genuinely seem delighted to be back, gushing over their management team and live band. "It's better [second time 'round] in every way, shape or form," Ritchie says.
"I think a large part of that is that we're not absolutely worn out and exhausted. There is this camaraderie in a kind of beautiful, healed sense when we take to the stage; we are taking it as a complete package that's united and going out to rock the crowd."
If they could go back to any moment over their long and storied careers, what moment would they choose?
Sean: "Being in my bedroom when we lived in the house together when we first signed the record deal."
Jay: "The day before our first single 'Slam Dunk' was released. We stayed at a hotel in Marble Arch [London] the night before, and we went out the next day to see the single in the record shop." Ritchie: "It was mid-shelf and we moved it to eye-line."
Abz: "I'd go back to 1997 and do it all the same but different." Jay: "Really, honestly, not to sound cheesy, I would be right here where I am now."
Scott: "This moment in time. It feels very, very special. We feel very blessed."
Five 2026 Tour Dates
Wed 13 May - Perth HPC
Sat 16 May - TikTok Entertainment Centre (Sydney)
Wed 20 May - Brisbane Entertainment Centre
Sat 23 May - Rod Laver Arena (Melbourne)
Review: RBG: Of Many, One @ Adelaide Festival Centre
- Written by: Kara White
A simple set; a spotlight, a single chair, and one figure – Heather Mitchell – a lone silhouette held in the quiet tension of the stage.
To write a work tracing the life and legacy of Ruth Bader Ginsburg, a woman who reshaped the very architecture of the American legal system, is no small ambition. Yet playwright, Suzie Miller, meets it with precision and perfection. Following sold-out seasons across Australia and a chorus of acclaim, the State Theatre Company of South Australia’s Adelaide performance of 'RBG: Of Many, One', arrives not burdened by expectation, but buoyed by it, and proves itself entirely worthy of the weight.
Heather Mitchell stands alone at the centre of the stage for the full hundred minutes, accompanied only by the quiet intrusion of a stagehand in darkness, slipping props in and out like passing thoughts. What unfolds is a performance of striking virtuosity and quiet devastation – a woman of such character it feels almost impossible to act out, let alone match. At times, you have to remind yourself you are witnessing an act of portrayal rather than a lived life, her performance is so vivid. From a young girl to the fragility in her old age, she traces the arc of Ruth Bader Ginsburg with raw emotional depth and precision, capturing not just the interchangeable moments in history but her inner life. Its weight, its clarity, its contradictions, as though it were drawn from her own emotional memory rather than a studied caricature in a script. While remaining deeply candid in her main-character role, Mitchell accurately responds with sharply observed impersonations of Obama, Clinton, and Trump in a series of lived political echoes.
In her hands, she holds a spiked, yellow-jewelled Banana Republic bib necklace – a replica of the one the judge herself wore while delivering both blistering dissents and measured judgments. These collars were never just adornment but rather, quiet acts of defiance; a way of carving identity into the uniformity of the robe, refusing the weight of a tradition cut to fit only men. They were the marks of her trade. She kneels down and places it eloquently into the imagination of a woman in the audience, asking her own judgement. In that small, astute gesture, we are reminded again of how this world was seen through a woman’s eyes – the very lens through which her life’s work was forged.
A young Ruth Bader Ginsburg grew up with a deep admiration for opera, a passion that followed her into adulthood and, in time, into cultural iconography. Beyond her role on the board of the Washington National Opera, she even stepped briefly onto the stage herself, appearing in small cameo roles. Paul Charlier’s score threads through her life like a memory made sound, weaving fragments of Verdi and Puccini into the shifting landscapes of her becoming. In a scene set within the stark simplicity of a gym in old age, her strength still quietly unyielding, the tone fractures and playfully moves into a cheeky collision of Mozart’s 'Magic Flute' and a nod to the rapper The Notorious B.I.G., whose name becomes entangled with her own as the 'Notorious RBG' – an accidental pop-culture mythology.
Throughout, Wagner’s Tristan und Isolde hums beneath the work, unresolved and aching just as the opera itself was written, refusing closure until its finale. In the movement before the curtain falls – “Mild und leise wie er lächelt”, gentle and soft, how he smiles – she takes her final breath with a world changed under her judgement.
After the show, what remains is a quiet sense of something fully seen. Through Suzie Miller’s writing and Heather Mitchell’s performance, Ruth Bader Ginsburg is held not only as history, but as presence – alive in voice, gesture, and conviction. The stage, crafted by David Fleischer and lit up by Alexander Berlage, strips everything back until what is left feels both intimate and immense; a life shaped by persistence, love, and an unrelenting belief in justice. As the spotlight fades on the prolific character, it is not closure that settles, but a lingering clarity of a woman who changed the world, and a world changed by her.
La La Land In Concert Australia 2026 Tour
- Written by: Staff Writers
The live-to-film celebration of ‘La La Land In Concert’ is coming to Australia.
Film and music lovers are invited to celebrate the tenth anniversary of the 2016 Academy Award-winning film ‘La La Land’, starring Ryan Gosling and Emma Stone, written and directed by Damien Chazelle, in a live-to-film concert experience.
’La La Land’ took home six Oscars, including Best Original Score and Best Original Song (‘City Of Stars’). The film showcases the captivating story of a promising pianist and aspiring actress, who cross paths and fall in love. . . While attempting to harmonise their career journeys in the city of stars.
’La La Land In Concert’ will feature a full orchestra and jazz ensemble, accompanying a screening of the film. Audiences can look forward to all the vivid musical moments central to the film, traditional jazz, upbeat orchestral numbers, and intimate, melodic piano themes.
The film’s composer Justin Hurwitz will conduct the orchestra at the Sydney show, while George Ellis will conduct in Melbourne and Brisbane.
La La Land In Concert 2026 Australia Tour Dates
30-31 May – Darling Harbour Theatre (Sydney)
3 June – Brisbane Convention & Exhibition Centre
6/8 June – Hamer Hall (Melbourne)
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