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Bluesfest 2026 Cancelled – But Is It Also Liquidated?

Australia’s live music industry has been dealt another blow with the sudden cancellation of the 2026 Byron Bay Bluesfest, just weeks before the iconic event was set to take place over the Easter long weekend.

Bluesfest’s social media has announced…

After 36 years as Australia's most awarded festival, we are deeply sorry to share that Bluesfest will not proceed in 2026.

Rising production, logistics, insurance and touring costs, combined with a challenging environment for major live events, mean it is no longer possible to deliver the festival to the standard our audiences, artists and partners expect.

A liquidator has been appointed to manage all financial matters. Ticket holders, including parking pass customers and campers, will be contacted directly with information about the claims process and any potential refund arrangements.

To our fans, artists, partners and the Byron Bay community, thank you for 36 unforgettable years. We are incredibly grateful to everyone who has been part of the Bluesfest journey.

Bluesfest had assembled a high-profile 2026 line-up featuring acts such as Split Enz, Earth, Wind & Fire, Sublime and The Black Crowes.

The news comes as a shock for fans given Bluesfest's complicated recent history.

In 2024, festival director Peter Noble announced that the 2025 edition would be the event's final instalment after more than three decades.

Yet following strong attendance at the 2025 festival – reportedly drawing more than 100,000 people – organisers reversed course and confirmed a return for 2026. Now, the abrupt cancellation has left the future of the beloved festival uncertain.

Local stakeholders have already begun raising concerns about the cultural and economic impact for the Byron Bay region, where Bluesfest traditionally brings a significant tourism boost and supports hundreds of temporary jobs across hospitality, production and event services. 

Of note, the official announcement introduces the words liquidators and 'potential' in front of the concept of ticket refunds, which clearly indicate a winding up process – far more consequential than a standalone event cancellation.

It is not clear whether any liquidation action refers to a cocooned 2026 event or the Bluesfest enterprise as a whole. This is a developing story.

- written by Jesse Chaffey with Howard Duggan

Luude Australia 2026 Tour

Australia, your favourite local drum n bass electronic star is headed home, with Luude to tour nationally this winter.

The man responsible for mega dance-floor collaboration 'Down Under (feat. Colin Hay) plus remixes of 'Big City Life' (Mattafix) and 'Oh My' (sampling Moby) will headline concerts in Sydney, Perth, Melbourne, Adelaide and Brisbane this June.

Luude has amassed over one billion streams across his catalogue on Spotify alone, alongside multiple multi-platinum certifications worldwide.

His collaboration with Bru-C on 'TMO' reached the UK Top 50, while the Moby-sampling 'Oh My' cracked the UK Top 100, cementing his position as one of the leading global forces in drum and bass.

Before hitting Australian stages, Luude will embark on his 2026 EU/UK tour, performing some of the biggest shows of his career to date, further solidifying his reputation as one of Australia's most successful global electronic exports and setting the stage for a highly anticipated homecoming.

The tour features a stacked all-Australian support line-up with PRIZEFIGHT B2B Charlie Shell alongside Foura.

Melbourne-based producer PRIZEFIGHT has built strong momentum across Australia's bass and club circuits with heavy-hitting productions and high-energy live sets.

While Charlie Shell has emerged as one of the country's fastest-rising club names following the viral breakout success of 'Hitz 4 The Hood', earning widespread DJ support and dance-floor traction nationwide.

Foura completes the bill, who continues her rapid ascent as one of Australia's most in-demand selectors, known for commanding festival appearances and dynamic, crowd-driven performances – making the tour a powerful showcase of homegrown next-generation talent.

Tickets on sale from 4.30pm AEDT on 18 March.

Luude 2026 Tour Dates

Sat 6 Jun - Roundhouse (Sydney)
Sat 13 Jun - HPC (Perth)
Sat 20 Jun - Timberyard (Melbourne)
Fri 26 Jun - Hindley Street Music Hall (Adelaide)
Sat 27 Jun - The Fortitude Music Hall (Brisbane)

Primal Festival Feeling: Meg Washington On Why The Gum Ball Fits Her New Album 'GEM' Perfectly

Some festivals are built on scale. Others are built on spectacle. The Gum Ball, returning to Dashville in the Hunter Valley over the ANZAC long weekend 24–26 April, has built its reputation on something rarer: community.

Last year's 20th anniversary was officially the biggest in its history. A bumper crowd rolled into the Lower Belford bushland site on Wonnarua Country to mark two decades of music, memory and mud.

What began in 2004 as a young Matt 'Magpie' Johnston asking his parents if he could host a festival in the front yard has grown into a 3,000-capacity cultural institution.

Still family-run. Still rooted in permaculture principles. Still insisting that people "enjoy music the way nature intended".

For Meg Washington, that ethos makes sense. Washington joins the 21st birthday line-up alongside King Stingray, Don Walker, Christine Anu, Kingswood, These New South Whales, William Crighton, The Vasco Era and Jazz Party, among dozens more.

It's a bill that moves comfortably between Australian music royalty and emerging regional talent. It also speaks to Dashville's refusal to chase trends. Forty acts. No gimmicks. No algorithmic programming. Just musicians handpicked by musicians.

Washington's fifth studio album 'GEM', released in 2025, leans into nature and human nature with a clarity that feels at home in a bushland amphitheatre.

When we speak, she's walking her son to the barber. It's Saturday morning domesticity. She's relaxed. Thoughtful. Happy to let the conversation wander.

Since COVID, she says, regional touring has felt different. "There is a very rich vein of Australians who live outside the metropolitan areas, but are still very plugged into the culture and what's going on," Meg explains. "It's been very invigorating and energising to experience that."

The Gum Ball thrives on that energy. As the broader festival industry contracts under rising costs and corporate pressures, Dashville has quietly endured. Its survival is a tip of the hat to a loyal community that believes in grassroots music.

It's also a reminder that the appetite for live connection hasn't disappeared. It has simply recalibrated.

'GEM' is an album that embraces imperfection. Washington describes much of contemporary music as "machine-made perfection", quantised and symmetrical, snapped to a grid.

In response, she and iconic collaborator Ben Lee sought to use as few machines as possible. The result is psychedelic country that feels textured and alive.

"We tried to embrace the natural imperfection in human-made music," she says. "I don't know if I'd say it's needed. I hope it's needed."

That hope resonates at Dashville. A festival run by a small team on family land cannot compete with corporate behemoths on scale. It competes on feel.

The amphitheatre is carved into the bush. You camp among gum trees. Kids roam. Markets and workshops spill out alongside the music. It is immersive without being overwhelming.

Washington laughs when we drift into philosophy. "Is music filling up time with sound? Or is it something else?" she asks.

It's a deceptively simple question. In an age of AI playlists and auto-generated tracks, it feels pointed.

At Dashville, music is not background. It's centrepiece. It opens conversations. Washington has even performed at business events where leaders include music to make discussions more open.

"I think there's a lot of applications for music beyond the classic audience-performer relationship," she says. "There's more utility in it as an art form."

That idea – music as a facilitator of connection – threads through The Gum Ball line-up. Christine Anu brings her enduring voice and message of unity. With 17 ARIA nominations and the timeless 'My Island Home', her Friday night sing-alongs promise collective release.

Don Walker, founding member of Cold Chisel and writer of 'Khe San', 'Flame Trees' and 'Cheap Wine', adds literary gravitas and grit.

King Stingray return as headliners in a full-circle moment; the Yolŋu surf rockers who once played as relative unknowns now carry ARIA and Australian Music Prize wins, yet come back to the grassroots stage that embraced them early.

Washington is genuinely excited about sharing space with them. "I've loved Christine Anu since I was a kid," she says. "King Stingray are one of our most iconic rock & roll groups."

After stepping back from performing during COVID and focusing on projects like the musical adaptation of Paul Kelly's 'How To Make Gravy', which she co-wrote and co-produced, festivals feel newly charged.

It's another example of Washington blurring lines between mediums. Acting, singing, writing – she doesn't separate them. "It's all composition," she says. "What exists? What's missing? What do I need to provide here?"

At The Gum Ball, what exists is a ready-made community. What's missing, perhaps, is the reminder that live music is a shared act of trust. The programming leans local. In 2026, it's purely Australian.

The breadth is striking. Psychedelic Zamrock via Immy Owusu. Newcastle country folk from Bob Corbett & The Roo Grass Band. Disco rock lords Jay Squire & The Loveliners. Alice Springs' Gleny Rae with The Country Ace Soul Band.

Ungus Ungus Ungus rolling in from Victoria's gypsy lands. Emerging voices like Izzy Maeve & The Wizards and Kev Sev sit alongside seasoned performers like Pinky Beecroft and Marvell.

Washington's 'GEM' feels attuned to this layered environment. Its psychedelic flourishes sit comfortably alongside country roots. Its themes of nature mirror the setting. Its embrace of human imperfection aligns with a festival that has never chased slickness for its own sake.

As we wrap up, she talks about missing "that unmistakable energy" when everyone steps off their tour vans into the festival air. "It's so primal and powerful," she says.

That word – primal – lingers. The Gum Ball has always leaned into the idea that music began outdoors. That it pre-dates language. That it does more than fill silence.

In 2026, as the industry grapples with artificial intelligence, corporate consolidation and the fragility of touring circuits, Dashville's 21st birthday feels quietly radical.

It insists that people will still travel from across Australia to pitch a tent and stand in a clearing for three days of sound. It insists that discovery still matters.

That emerging artists deserve the same stage as established names. That audience development happens when kids watch their parents dance under trees.

For Meg Washington, returning to festivals after a period of reflection and film-making feels like stepping back into something elemental.

'GEM' may question the grid of modern production. The Gum Ball offers a physical grid of grass and gum leaves. Both invite you to slow down and listen for cracks. For breath. For humanity.

From little things big things grow. Dashville's front yard experiment is now a 21-year-old institution. Meg's new chapter meets it in the bush. And for one long weekend in April, music will once again feel less like content and more like connection.

The Gum Ball takes place at Dashville Lower Belford (Hunter Valley) on 24-26 April, 2026.

The Gum Ball 2026 Line-up

King Stingray
Christine Anu
Don Walker
Meg Washington
Kingswood
These New South Whales
William Crighton
The Vasco Era
Jazzparty
Davey Lane
Mylee Grace
Bluebottle Kiss
Immy Owusu
Sub-Tribe
Brown Spirits
Little Green
Marvell
Pinky Beecroft
Burger Joint
Mess Esque
William Alexander Presents A Diggers Tribute
The Roadtrippers
Joan & The Giants
Dana Gehrman
Alter Boy
Milly Strange
Warbaby
Timothy Nelson
Bob Corbett & The Roo Grass Band
Holiday Mystics
Jay Squire & The Loveliners
Col Ray Price & Nundle Five
Gleny Rae & The Country Ace Soul Band
Joel Leggett
Apocolypse Joe & The Coyote
Ungus Ungus Ungus
Benji & The Saltwater Soundsystem
Regikay
Fähm
Chain Daisy
Kev Sev
Izzy Maeve & The Wizards
Dashville Progress Society
Mc Ben Quinn

Regurgitator Lean Into Family Three Decades In While Still Hunting The Best Noodle Shops In Australia

Regurgitator's Jukeboxxin' tour sounds deceptively simple: a run of shows built entirely around the band's singles.

On paper, it reads like a tidy retrospective. In practice, it's become something far more ambitious – and far more exhausting.

"This is literally the longest show we've ever played," co-frontman Quan Yeomans says, half-amused, half-disbelieving.

"It’s astonishing because people still kind of stand around for it. I'm amazed. It’'s almost two hours long. It's nuts."

At nearly one hour and fifty minutes, with no interval and no costume-change theatrics to break it up, Jukeboxxin' demands stamina.

Yeomans admits he'd promised himself he would train for it. "I kind of said I'd prepare myself for it and didn't get 'round to doing that," he laughs. "So I'm just kind of preparing myself as we go."

Surprisingly, it hasn't been as punishing as expected. "When you do 45-minute shows, you throw a bit more at it and scream a bit more.

"Whereas these longer ones, it's got a nice modulation through the show – it goes from high hectic to quite mellow. So it's not too bad."

"I hadn't seen [former drummer Martin Lee] for 25 years. I gave him a huge hug. We met the next day and had coffee for three hours." - Quan Yeomans

With more than three decades behind them and "like, 54 singles or something ridiculous," the band had to be ruthless selecting the set list. "There's no way we could do that. So we just picked the ones we didn't hate, essentially."

That blunt filter has brought some long-shelved tracks back to life. Songs like 'Happiness' and 'Superstraight' have slipped comfortably into the set, helped by the addition of guitarist and keys player Sarah Lim.

"With the second guitarist, you can get a lot more of the intricate guitar parts in there," Yeomans says. "Some of them were actually a nice surprise."

Others were avoided for years for more personal reasons. "There's songs we haven't played for a while because of emotional connections – ones about ex-girlfriends and stuff like that – but they seem to work fine."

Time, it seems, dulls the sting. The process of revisiting songs written in his 20s and 30s creates a strange psychological distance for Quan.

"You don't really feel like the person who wrote those songs anymore," he says. "You feel like you're covering someone else's music. You're a cover band of your own band."

That dislocation doesn’t necessarily diminish them, but it does shift the relationship.

"When I play some of those earlier tracks, I do miss how experimental and how little of a f... we gave back then," he reflects.

"I kind of wonder why I gave up and went towards more pop, formulaic writing. You write less interesting music as a result of that."

In the band's earliest days, chaos was fuel. "When you first start out, there's tension and you're bouncing off people you don't really know. There's a lot of friction, and that makes you do weirder stuff."

Weirder chord progressions. Stranger structures. Songs that, even now, surprise him.

"Look at something like 'Miffy's Simplicity'. You go, 'why did I write like that?'. I have no idea how I came up with those songs. It's really strange."

That same tension that feeds creativity can destroy longevity. "A lot of bands start out chaotically. There's fighting in the studio and that energy works its way into the records, but taken out on tour, that's why most bands implode."

Regurgitator didn't, and Yeomans thinks he knows why. "The reason this works so well for so long is that our personalities kind of got more in the groove with each other and more family orientated."

That sense of family has only deepened with time. The addition of Lim has amplified it. "It's like finding a family member, really," he says.

"She's got incredible stage presence. She brings this great energy. We find noodle shops together – it's all about the noodles for us."

Her presence isn't just cosmetic. Quan is already thinking about how she'll shape the band's next record. "We'll definitely have to factor her into it. Hopefully something interesting will come out of that."

Growth has also meant reckoning with old ghosts. Recently, Yeomans ran into former drummer Martin Lee – whom he hadn't seen in more than two decades – completely by chance on a Melbourne street.

"I hadn't seen him for 25 years," Quan says. "I gave him a huge hug. We met the next day and had coffee for three hours. It was just a lovely way of closing that strangeness that had been between us for that long."

Age, perspective and sobriety have reshaped the internal dynamic too. Bassist Ben Ely recently stopped drinking. "Honestly, his anxiety levels have gotten a lot better," Yeomans says.

"You don't realise when you're touring around what psychological problems you're covering up with drugs and alcohol and music."

There's a calm now that didn't exist in the '90s. Fewer implosions. Fewer ego wars. More intention.

Out front, the crowd tells its own story. At any given Jukeboxxin' show, Yeomans can see three generations. Parents reliving their youth. Teenagers discovering the band for the first time.

"They're not nostalgic about the music," he says of younger fans. "They're experiencing it for the first time. That's really cool."

Yeomans recently started a screenwriting diploma at RMIT and found one of his teenage classmates had one of Regurgitator's songs on a playlist, with no idea who he was.

"That randomness about it. . . I love that," he says. "You see what we saw when we were young. That discovery."

Watching that coexist with the 40- and 50-year-olds in the room is surreal. "For them, it's placing them back in their youth. For the younger ones, it's new. I really love that diverse reaction."

If there's a through-line across the band's career, it's humour. Not novelty for novelty's sake, but humour as survival. "The world is so f...ing crazy," Yeomans says.

"The only thing you can do is look after the people around you and just have fun and try and maintain a sense of dignity through humour."

Regurgitator has always poked at society; sometimes with a jab, sometimes with a wink. "You want to be a little bit of an antidote," he says.

"Make fun of yourself, make fun of the world, make fun of the mad men out there, and hopefully alleviate a little bit of that stress."

That ethos extends beyond the stage. Yeomans still believes in community spaces, the kind that shaped him.

"I always wish there were more mid-size venues that didn't have to struggle to pay their insurance," he says. "Without that, you have a really weak scene."

He lights up talking about grassroots spaces like Singing Bird Studios in Frankston, an all-ages punk hub run by one dedicated local,  that birthed the bands The Belair Lip Bombs and The Gnomes.

"There's kids running everywhere, metal bands rehearsing next door, a studio you can book for hardly any money. It's those kind of things that are missing. That's what gives it heart."

Heart is also what separates art from algorithm. Yeomans is blunt about the current cultural moment. "That's why AI sucks," he says. "You can't see the artist in it."

Regurgitator's sound, he argues, was built on failure, trying to emulate heroes and falling short in interesting ways.

"We'd try and write a Prince song and come up with something vaguely like him, but really B-grade and with bits of ourselves through it; and that's how you create something authentic."

After 30 years, they're still doing exactly that – failing, experimenting, finding new angles on old songs – and somehow, against all odds, people are still standing there for the full two hours.

Regurgitator 2026 Tour Dates

Fri 13 Mar - Marlin Tavern (South Coast)
Sat 14 Mar - The Baso (Canberra)
Sun 15 Mar - SS&A Club (Albury)
Fri 20 Mar - La La La's (Wollongong)
Sat 21 Mar - King St (Newcastle)
Sun 22 Mar - Crowbar Sydney
Fri 10 Apr - 170 Russell (Melbourne)
Sat 11 Apr - The Croxton (Melbourne)
Fri 17 Apr - Tanks Arts Centre (Cairns)
Sat 18 Apr - The Warehouse (Townsville)
Sun 19 Apr - McGuires Hotel (Mackay)
Fri 24 Apr - The Tivoli (Brisbane)
Sat 25 Apr - The Princess Theatre (Brisbane)
Sun 26 Apr - The Empire Theatre (Toowoomba)
Fri 1 May - Liberty Hall (Sydney)
Sun 3 May - Blue Mountains Theatre

Review: 2026 WOMADelaide @ Botanic Park (Adelaide)

There has been an abundance of festivals in the co-called Festival State in recent times.

Over the previous weekend there were satellite events Nice Day To Go To The Club in Port Noarlunga, and A Day In The Gully in Tea Tree Gully as well as Pirate Life's Eleventh Birthday Party, plus the opening of Adelaide Festival featuring a concert by Pulp.

Those one-offs are eclipsed by the mammoth four-day slog that is the annual WOMADelaide (6-9 March) that sees an annual pilgrimage to Botanic Park and an exploration and immersion into a world of music and dance (a coincidental MAD anagram usually attributed to the wider range of Adelaide events occurring in March). 
   
There is a degree of FOMO, but the programming is unfortunately always going to be problematic and you may have to forego the 'frills' (performative sideshows, extraneous talks and 'art'), but these subtleties add to the weekend as a whole.

Dressed in zebra-themed outfits, roving performers Born In A Taxi perform as pre-show entertainment before Jamie Goldsmith's Welcome to Country on Stage 2 precedes Sam Beam's sole performance as Iron & Wine.

Born In A Taxi – Zebras - image © Michael Selge

Facing the full glare of the sun, Beam looks out into the first big gathering of the festival, commenting: "Holy cow Adelaide. How's it going. Here we go." He doesn't waste the time he has onstage, starting with his cover of 'Such Great Heights' and limiting his in-between song commentary.

With a relative intimacy in this is endearing performance by an acoustic troubadour, it is an attentive audience he acknowledges with "you can't say a festival crowd will usually listen to a creepy quiet song about mum," following the measured pace of 'Upward Over The Mountain'.

'The Trapeze Swinger' is an epic performance and afterwards he comments: "A lot of words, I hope you caught every one." Latterly he gets looser, admitting that a new song ('Singing Saw') has not quite sunk in yet. After 'Flightless Bird, American Mouth', which starts a cappella, he tells us: "I'll do one more and set you free," and plays an earlier request of 'Naked As We Came'.

Iron & Wine - image © Michael Selge

On the Foundation Stage, Cuban pianist Roberto Fonseca and his six-piece band (including horns, percussion and upright bass) perform 'La Gran Diversion' as somewhat of a tribute to his forebears, the Buena Vista Social Club, inviting audience participation during 'Mani Mambo' (a 'Hey Jude' sing-along).

This performance is a testament to Fonseca's and the band's improvisational skill. By the time they finished, it felt like they were only just getting started.      

Ireland's Beoga were fresh from playing with Ed Sheeran in Adelaide the night before, although he wasn't the surprise guest some were hoping for. Instead we got Linda from the audience on cowbell in amongst a set of squeezebox and violin joy that included a cover of Sandy Denny's 'Like An Old Fashioned Waltz'.

On the other side of the festival site in the Frome Park Pavilion 6, Ukraine's (via Berlin) Ganna Gryniva's performance of beats, vocal loops and manipulation of sound was a dance party one moment, a wave of electronic ambience in the next, perplexing an audience pulled in by hardcore beats, but then treated to traditional lullabies.

Beoga - image © Michael Selge

As headliner on the opening night, Jovanotti did a good job of entertaining the Italian expats and community but his energetic onstage antics and inclusions of snippets of Men At Work's 'Down Under' and 'Blue Suede Shoes' amongst his Italian language back catalogue didn't manage to maintain a wider festival audience for his entire set.

The coincidental smooth, jazzy Brazilian rhythms of Alcides Neto on Zoo Stage 4 served as a more appropriate lead in to the final live performance of the evening on Stage 3 from minimalist stalwarts The Necks.

Jovanotti - image © Michael Selge

Tony Buck on drums and percussion, Lloyd Swanson on upright bass and Chris Abrahams on piano exercise restraint with a single, slow building improvised, shared composition, not perfect but in the moment and never to be repeated.

More photos from Day One.

On Saturday, the sun is out but only just, a welcome change regarding the extreme heat of previous years that affected timetable and stage changes over the weekend.

This year is not without similar rearrangements stemming from recent conflicts in The Middle East resulting in artist cancellations and fortuitously additional performances being programmed for originally one-show-only performers.

Opening the early afternoon days proceedings on Saturday on Stage 2 is the self-proclaimed "skinniest Samoan", Bobby Alu interjecting humour between sweet vocal melodies and funky rhythms that serve as a joyous start to the day.

He regales us with stories of meeting an unknown uncle and family while on tour with Xavier Rudd in America and the speed with which this information reached his mother – "Samoan gossip is faster than the internet. . . whatever goes on tour goes online."

Bobby Alu - image © Michael Selge

French acrobatic company Cie Hors Surface performance of 'Home' is an incredible display of tightrope walking and trampoline navigation situated near Stage 3 before the performance on that stage by Ghana's Alogte Oho & His Sounds Of Joy.

The band win over the audience with a dynamic vocal and percussive showcase that, as we are told by a band spokesperson, takes us to Ghana without a visa.

Three piece My Baby fill Stage 2 and the surroundings with the Delta blues slide guitar of Daniel 'DaFreeze' Johnston anchored by the locked-in groove of drums and bass of brother and sister duo Joost and Cato van Dijick.

In between her siren-like vocals, Cato tells us "it's not about how good you can dance. It's about how fast you can dance," driving the audience into a frenzy as they up the BPM, transposing EDM to the Mississipi Delta resulting in a high-energy performance without the need for a remix that builds to a climactic peak. For some, it's definitely not too early in the afternoon for this kind of rave.

My Baby - image © Michael Selge

In contrast to My Baby's fast paced, hypno rhythms, on Stage 3 Derya Yildrim and Grup Simsek, perhaps dressed as they would have in the '70s, play music derived from that time, spaced out psychedelic Anatolian folk music, a form of late afternoon respite.

On the Foundation Stage, Japanese rappers Kojoe and Hikaru Tanaka collaboration with the Australian Art Orchestra yields a series of jazzy, exploratory improvisational pieces culminating in a variation on 'Moon River'.

A torchbearer for the late '60s soul sound, the charismatic Jalen Ngonda's performance on Stage 2 is a revelatory ,moment from the get go, which he acknowledges with: "We're just getting started. We're just pulling out of the driveway."

A standout is his solo rendition of Bacharach and David's 'The Look Of Love', which is a good indication of where he is coming from.

Jalen Ngonda - image © Michael Selge

There is great anticipation for the iconic Yothu Yindi on the Foundation Stage and their set opens accompanied by an opening text crawl (a la 'Star Wars').

The collective last played the festival in 1993 and this performance is a celebration of their groundbreaking second album 'Tribal Voice' more than 30 years on, with 'Treaty' being the undoubted song that everyone was waiting for.

If you wanted a good vantage point to see Grace Jones then you were going to have make sacrifices regarding other concurrent performances because a huge crowd was assembling a significant time before she came on.

The wait was compounded by a delayed start heightening the tension that was added to by a voluminous pulsing bass drone for several minutes before the black curtain dropped to reveal the stage.

Sat in a throne-like, high-back plush chair on a raised platform presiding over the band, Miss Grace Jones opened the final show of her Australian tour, a greatest hits run-through with 'Nightclubbing' setting the tone perfectly.

In between songs she remains on the mic, giving us an amusing stream of consciousness, running commentary while she changes costumes in the darkened backstage, a disembodied voice commenting: "I can't see sh.t."

Grace Jones - image © Michael Selge

The musical performances, including 'Warm Leatherette', 'My Jamaican Guy' and 'I've Seen That Face Before (Libertango)', were exemplary with Grace getting piggybacked off the raised platform before the latter.

As charming and provocative as ever, even the non-musical portions of her show are entertaining as she makes playful demands throughout the show for wine and a spit bucket (at one point she lifts up some carpet at the front of stage, tell us not to look then spits excess saliva underneath before continuing the performance).

Following on from new song 'The Key' and 'Williams' Blood' from her 2008 comeback, there's an about turn with a delicate 'Amazing Grace' before a nearly unrecognisable radical reinterpretation of 'Love Is The Drug', a pounding, droning rendition during which she conducts an audience choir.

During 'Pull Up To The Bumper', Grace ventures front of stage and into the photo pit, straddling the shoulders of an unassuming security guard and 'rides' him along the length of the front row.

She returns to the stage and asks "you wanna go home?" to which the audience respond, "no!". She alters the question slightly: "You wanna go home with me?" and the audience gives a resounding "yes!" leading into the final song, an extended outro of her signature tune 'Slave To The Rhythm', Grace spinning a hoola-hoop for the entire duration, no mean feat for a 77 year old.

Even with two days left of the festival to go, we all know this is a performance that will not be topped.

More photos from Day Two.

On Sunday, on Stage 2, Meganesia give a West Papa New Guinean showcase of percussion-heavy song and dance including a heartfelt tribute to the late Archie Roach; their set includes cameos by court jester-like physical performers.

On Stage 3, Nusantara Beats' captivating performance is lead by the psych-surf guitar twang and alternating chicken scratch style playing by Jordy Sanger while the mesmerising Megan De Klerk sings dancing with vigour. It's a shame I would not be able to fit in a repeat viewing the following day. 
   
The Dzambo Agusevi Orchestra were spread across the Foundation Stage, their horns buzzing energetically – on tubas, trumpets, drums and vocals – the players in jeans and white tees exuded a great sense of kinetic energy that came across as some kind of mash up of a marching big band and a crazed mariachi band.

Dzambo Agusevi Orchestra - image © Michael Selge

Over on Stage 7, Annahstasia's gentle vocals and solo acoustic guitar accompaniment was joined by the ambient noise of bat cries that she called her "chorus of bats". It was reminiscent of haunting, moody Laurel Canyon folk.

She informs us that 'Garden' is an unreleased song and appropriately pairs the songs 'Saturday' and 'Sunday' before ending with the deliberately self-reflective 'Villain'.

On the nearby Pavilion Stage 6, The Lazy Eyes win over their audience early on with joyous, psychedelically-charged noodling that echoes the output of both Tame Impala and King Gizzard and the Lizard Wizard, but a cover of the Bee Gees' 'More Than A Woman' might give you a better indication of where they are coming from.

Siblings Xylourides on Zoo Stage 4 give their second performance for this festival and it is a chance for those seated at the first show to really get into the groove, the audience down the front dancing in a style it would not be entirely accurate to call a 'circle of death' (as this is folk and not metal).

The Lazy Eyes - image © Michael Selge

Unfortunately the full glare of the sun was bearing down on Stage 2 and Ganavya, but her performance accompanied by harp and upright bass was flawless as she lead us through a series of devotional-styled pieces, announcing along the way that she is 12 weeks pregnant and explaining the changing meanings of these pieces over time in her life.

This was spiritual jazz with a conversational delivery, and in between her vocal contributions she takes in the performances of the instrumentalists as much as any audience member might.

She ends with a moving recitation of the poem by Marcellus Khaliifa Williams, 'At Last ... Another's Heartbeat', a fine example as any of her tradition of making songs out of the poems of today.

On Stage 3, Orange Blossom's set consists of intense and dramatic, densely layered cinematic music, the band members characters in an undefined narrative. The violinst, PJ Chabot, is constantly pacing the stage waiting for the moment to release his pent-up energy.

Their penultimate song is a pounding cacophony, singer Hend El Rawy giving a banshee wail while drummer Carlos Robles Arenas holds aloft a Palestinian flag for the first half of the song. They rein it in for their final song, bringing it full circle by returning to the filmic style they commenced with.

Orange Blossom - image © Michael Selge

Oumou Sangre, while not exactly a wind down from Orange Blossom, gave an enjoyable, more traditional styled performance that was appropriate to cap off International Women's Day.

More photos from Day Three.

On Monday afternoon, on Stage 2 Annie & The Caldwells kick off the final day of the festival with some gospel for "y'all", their weathered, soulful vocals bringing God to Botanic Park with a fitting, funky instrumental accompaniment.

Stage 7 is possibly not the most appropriate setting for the performance by the Nordic choral a cappella group Akervinda, given the ubiquitous squawking bats but over the course of their set regaling us with spells, the bat chatter gradually becomes ambient background noise.

Annie & The Caldwells - image © Michael Selge

On Stage 2, Obongjayar is another artist suffering the full glare of the midday sun, but he weathers it well and gives his all with the energy and dynamism of James Brown and Fela Kuti. 

There are calls for 'Adore' through his set and he leaves this ballad to nearly last before treating the audience to one final burst of energy.

On Stage 6, Georgia Knight addresses the issue of the bats early on: 'It's so crazy. . . all these songs are about bats," during a performance of autoharp, whispered little girl vocals and spooky pump organ.

It's no surprise when she exclaims "I never play in the day". Her unsettling delivery pivots into rock & roll briefly during the set and she tells us afterwards: "I love guitar!"

In introducing the band, she singles out her bass player playing live FM radio between songs. With an old telephone hand set cradled between head and shoulder, she takes up the autoharp again to perform a more upbeat tune while the bass player hangs a circle of bells from his bass head to perform a somewhat more celebratory song to bring their set to a close.

Georgia Knight - image © Michael Selge

Stage 2 is where Fantastic Negrito makes his return to the festival, playing a self-styled set of blues that can be described simply using his words "where the Gods of Africa meet the ghosts of Mississippi".

A woman in the audience calls out "we love you," to which he immediately responds: "I love most of you." A thoroughly entertaining on-the-fly performer, he acknowledges his diverse musical output, "Fantastic Negrito is a marketing nightmare".

During a rendition of the traditional 'In The Pines' he praises his guitarist – "It's only his second show with us. I'm beginning to think he might be alright," before asking the young man's last name then admitting "I only met him two weeks ago".

On the Foundation Stage, Marlon Williams and the Yarra Benders take the opportunity, given his exploration of his Maori language in song, to bring a Kapa Haka group Nga Matai Purua to the festival; and for the second half of the set they come onstage to essentially play the whole of his 'Te Whare Tiwekaweka' album.

Before that he plays through some older material including the gothic blues of 'Vampire Again' and the hauntingly beautiful 'Nobody Gets What They Want Anymore'.

Marlon Williams - image © Michael Selge

With only a few hours left until the festival is over, Monday proves to be a day in which the programmers have shoehorned in some artists to play havoc with audience movement between the Foundation Stage and Stage 2.

On the latter, BADBADNOTGOOD put on show demonstrating their exceptional musical prowess, drummer Alexander Sowinski acting as MC while the band play "giving positivity and joy".

After their set, it's a scramble to get as close as possible to pole position for the final performance on the Foundation stage, Arrested Development. Having had a roll call of membership over the years, Speech still fronts the band along with One Love. 

The set they perform is dominated by their debut album, the 'big' songs from that album held back until last after a 'Jump' medley (Kriss Kross and House Of Pain).

Arrested Development - image © Michael Selge

Initially with few 'names' to pull a wider audience to the festival, it appeared this year WOMADelaide was going to be little more relaxed, but early headliner Grace Jones (the undeniable highlight of the whole weekend, although appearing at the midpoint) drew all and sundry with no real competition during her set time.

However, as always there were acts you went to by whim or wandered by that drew you in during their performances. This was yet again another successful year.

More photos from Day Four.

Ella Mai Australia 2026 Tour

English R&B singer-songwriter, Ella Mai returns to Australia in 2026.

The Grammy Award-winning artist, who has also won three Billboard Music Awards, will headline concerts in Sydney, Melbourne and Brisbane this June.

It'll be the 'Trip' and 'Boo'd Up' hitmakers first Australian shows since her 2023 sold-out tour.

Last year, Ella released her third studio album 'Do You Still Love Me?', which features the singles 'Little Things', 'Tell Her' and '100', and was produced by Mustard (YG, Ty Dolla $ign, Kendrick Lamar).

"This is for the lovers, right in time for love day and right on time for scorpio making season 💛. . . I can't wait for you to take a deeper dive into my world. These are my love letters," Mai posted last year.

'Do You Still Love Me?' is the follow-up to Ella's 2022 album 'Heart On My Sleeve', which features the cuts 'DFMU', 'Leave You Alone' and 'Trying' as well as the Roddy Ricch collab 'How'.

In addition to her music endeavours, Ella collaborated with Pandora on the 'Me' collection, including customisable jewellery.

She also became the Global Brand Ambassador for Lacoste, representing their fashion-sport silhouette alongside icons like Venus Williams, debuting the collection for the cover of Wonderland's 2022 summer issue.

Tickets to the Melbourne and Brisbane concerts on sale from 9am (local time) on 16 March. VIVID Sydney tickets on sale from 9am AEDT on 16 March.

Ella Mai 2026 Tour Dates

Fri 5 Jun - VIVID Sydney @ Carriageworks
Sat 6 Jun - Margaret Court Arena (Melbourne)
Tue 9 Jun - The Fortitude Music Hall (Brisbane)

Christopher Hall Sprinkles A Little Pizazz Over Australia

Showman, jester, attention chaser – come with Christopher Hall for a little bit of 'Pizazz'.

Christopher took to Instagram and TikTok during lockdown, and started to release a series of sketches. He's built up an impressive following and a number of characters, as well as a sketch series called 'Background Singers' with his sister which has millions of views and has spawned some iconic collaborations.

This year, Christopher brings stand-up show 'Pizazz' around the country – and with it, a high possibility of an outbreak of dancing.

Here, we chat to Christopher about the show and his relationship to performing and comedy.

Firstly, for any newbies to your comedy – how would you describe what you do?

I've been told my live show feels like gossiping on a couch with a friend. I love making my audience feel relaxed and united and free enough to laugh manically with their pals. Lots of sarcasm, lots of personal stories and lots of 'I do that too' from the crowd.

You’ve got more than half a million followers on TikTok. What has it been like to build this over the years and what’s the most rewarding thing about what you do there?

It's been incredibly fun and rewarding to have a creative outlet that I am completely in control of. It's allowed me to develop ideas and stories and characters over time, and be able to find an audience that really gets what I do which is such a great feeling and exchange.

You’ve taken your comedy all over the place. How does it feel to have success in this sense – being able to tour and present material to people in many different places?

This is so mind-blowing having an audience in places all over the world. Last time in Australia was so overwhelming, realising that people so far from home were like 'we love this, come back'. I'm super grateful to be able to travel and perform, it's such a dream.

Was this kind of thing something you have always wanted to do? Tell us a bit about your background in performing, or even just your passion for it and where it originated.

I've always had a passion and a desire to perform. I started dancing from a young age and went to Musical Theatre college at 18. Danced and sang for my 20s, and always had a desire for comedy but didn't think it was my path. I'm so glad I started posting my sketches and finding my comedy voice! I love performing, love losing myself in the moment and taking the audience along with me, as so many artists did when I was younger.

Who would you say is your biggest inspiration in the field, and why?

I adore comedians like Katherine Ryan, Nikki Glaser and Ali Wong, and growing up I watched a lot of Billy Connolly with my dad. I love watching Grace Campbell, Reuben Kaye, Elouise Eftos and Elf Lyons who I think bring such dynamic extra elements to their shows' performance and all connect with audiences in their own personal unique style.

You and your sister have created something special in your ‘Background Singers’ sketches. What was the first one you did, and jumping to the present, what’s the most surreal collaboration you’ve had through it?

Our first one was for the band Muna. We had no idea anyone would even watch it we were just messing around in my bedroom having fun. We're always so blown away that it reaches so many people and how people love it. All of our collaborations with artists are so wonderful. I remember after we filmed with Dannii Minogue, we were chatting to her and her team for about an hour afterwards and we were like 'this is crazy, now we are just hanging out with Dannii Minogue'. She was so lovely!

You’re bringing ‘Pizazz’ to our shores. What does that entail? What can audiences expect?

A high energy, theatrical and funny blow out, where you can connect with your friends and the audience around you.

When audiences leave ‘Pizazz’, they should be feeling…

On cloud nine.

Christopher Hall Australia 2026 Tour Dates

17-22 March – Criterion at The Garden of Unearthly Delights (Adelaide Fringe)

26 March-5 April – The Greek (Melbourne International Comedy Festival)

9-10 April – Comedy Store (Sydney Comedy Festival)

16 April – Brisbane Powerhouse (Brisbane Comedy Festival)

5 Top Musical Moments In Frozen With Willoughby Symphony Orchestra's Greg Larielle-Jones

Willoughby Symphony Orchestra will present the iconic Walt Disney Animation Studios' 'Frozen In Concert' this March.

The orchestra will present the music from composer Christophe Beck's GRAMMY-nominated score, performed live to the film. . . And led by conductor Jessica Gethin.

For those (somehow) unfamiliar with the iconic story of 'Frozen', fearless optimist Anna teams up with rugged mountain man Kristoff, in a race to find her sister Elsa. Elsa's icy powers have trapped the kingdom of Arendelle in eternal winter.

Here, clarinet player Greg Larielle-Jones lists his five favourite musical moments from the iconic film.

One

'Do You Want To Build A Snowman?'. This song begins innocent and light, but gradually becomes one of the film's emotionally powerful moments. Through shifting tone and the repeated melody, it shows the steady decline in Anna and Elsa’s relationship, particularly after their parents' deaths. Anna’s optimism and longing contrasted to Elsa’s silence and isolation. This highlights Anna’s confusion and lack of understanding about why her sister has withdrawn. Having forgotten Elsa’s powers, Anna only feels loss and rejection. The childlike theme recalls their happy past, while its repetition emphasises the emotional struggle and growing distance between them.

Two

'For The First Time In Forever'. The piece is a clever presentation of storytelling using counterpoint to contrast Anna’s giddy excitement with Elsa’s growing anxiety. As Anna looks forward with hope, optimism and dreams of connection and romance, Elsa fears exposure and the loss of control. Both sisters are focused on the future, but their journeys are clearly different – Anna’s is driven by innocence and possibility, Elsa’s by uncertainty and inner conflict about who she is destined to become. The bright, fast, theatrical music captures excitement of the gates opening while subtly hinting at danger. By balancing joy with tension, the music sets up the characters' emotional states while remaining catchy, energetic and and full of character.

Three

'Love Is An Open Door'. At first glance, this song feels like a classic Disney romantic duet – sweet, upbeat, and full of charm. Its clever lyrics and synchronised movements sell the illusion of instant compatibility. However, its brilliance becomes clear in retrospect. The song intentionally mirrors Anna’s desperation for connection rather than genuine emotional intimacy. Lines about “finishing each other’s sandwiches” hint at superficial bonding, not deep love. Musically joyful but narratively deceptive, the duet serves as a perfect setup for the film’s subversion of the 'love at first sight' trope, making the later betrayal feel earned rather than cheap.

Four

'Let It Go'. This is the defining musical moment of 'Frozen'. Sung as a private declaration to herself, the song captures Elsa’s journey from fear to self acceptance and recognition of her own potential. Through powerful vocals, dynamic changes and storytelling, Elsa releases years of repression. The climatic moment of the piece is poignant yet empowering, portraying great personal strength. By letting go of the past and embracing the future, Elsa becomes a symbol of empowerment and self-belief.

Five

Anna’s first visit to Elsa’s castle of ice. The underscoring when Anna first sees Elsa in the ice castle and introduces her to Olaf has a beautiful sense of their past together. It is full of emotion, with a short reprise of 'First Time in Forever'. Anna’s optimism is initially met with opposition from Elsa, but upon hearing that Arendelle is under ice and snow, Anna tries to convince Elsa her powers and abilities can make a difference. There is a clear moment of ‘maybe’ from Elsa before she closes herself off again.

Willoughby Symphony Orchestra presents Disney's 'Frozen In Concert' at The Concourse Concert Hall on 21-22 March.

RISING Melbourne 2026 Programme

Music, art and performance festival RISING will once again unfold across Melbourne this May-June.

Theatres, town halls, railway ballrooms, civic squares and galleries will be reimagined as sites of shared experiences as RISING welcomes artists and audiences from Australia and around the world. This year there’ll be more than 100 events, featuring 376 artists, 7 world premieres and 11 Australian premieres.

Highlights include Florentina Holzinger’s new epic at Arts Centre Melbourne. . . The Royal Family Dance Crew’s Hamer Hall takeover. . . Flinders Street Ballroom becoming a participatory dance academy. . . The multi-room music marathon Day Tripper. . . And the Australian premiere of ACMI’s The Vinyl Factory.

“Melbourne is a city shaped by music and movement, always moving forward and reinventing, remixing and birthing new sounds and styles from dolewave to bounce, from traditional Wurundjeri dance to the Melbourne Shuffle,” RISING Artistic Director and CEO Hannah Fox says. “Music and dance are universal ancient languages and remain the most loved way we gather as a community – from folk dance to the rave, and from sticky carpets to arenas.”

The Australian Dance Biennale is at the heart of the 2026 programme. It will showcase the strength and diversity of Australian and international dance, and is presented by RISING every two years.

And if dance animates the body, music drives the pulse of RISING. Day Tripper is back as RISING’s festival within a festival, taking over Max Watt’s and Melbourne Town Hall in a multi-room marathon. Brooklyn rap royalty Lil’ Kim takes the stage in a landmark celebration of hip hop legacy. English recording artist, poet and playwright Kae Tempest is joined by visionary poet and musician Saul Williams.

Spiritual jazz pioneer Kahlil El’Zabar brings more than five decades of reinvention – a musician who has played alongside Nina Simone, Paul Simon, Stevie Wonder and Dizzy Gillespie. Plus, Jamaican roots legends The Congos carry the transcendent harmonies of ‘Heart Of The Congos’. New York-born, Berlin-based Discovery Zone threads aching hooks through dreamy digital bricolage.

Elsewhere in the sprawling music programme are the likes of ‘Gil Scott-Heron by Brian Jackson & Yaslin Bey’, Seun Kuti & Egypt 80, composer Raven Chacon, Welsh songwriter Cate Le Bon, TR/ST, alt-country outfit Wednesday, Florence Shaw, Adrian Sherwood and more.

The Vinyl Factory: Reverb at ACMI is a multi-sensory journey into sound, featuring immersive works by Stan Douglas, Jenn Nkiru, William Kentridge, Jeremy Deller Carsten Nicolai and more, diving into different eras and energies of music.

The 2026 performance programme brings a dynamic suite of international and Australian works, interrogating identity, power, history and belonging. Florentina Holzinger’s ‘A Year Without Summer’ is a riotous musical-comedy cutting into medical science, mortality, and the monsters we engineer in the name of progress.

UK producing company Fuel and actor/writer/director Khalid Abdalla brings his anti-biography ‘Nowhere’ to Malthouse Theatre, weaving together the personal and political. Plus, direct from New York, Narcissister’s ‘Voyage Into Infinity’ will transform The Substation into a warehouse-sized contraption on the verge of collapse.

Australian theatre legend Brian Lipson’s ‘A Large Attendance In The Antechamber’ returns for RISING, inviting audiences into the eccentric mind of Sir Francis Galton. The OBIE Award-winning Jenn Kidwell and ASL artist Brandon Kazen-Maddox invite audiences to ‘we come to collect; a flirtation with capitalism’. It’s dark, funny, incisive, and a little bit misbehaved.

Chenturan Aran’s ‘The Supposed To Be’ is a sharp, sci-fi satire exploding the nostalgic drift of migrant storytelling, while theatre collective Infinity presents ‘Monsteen’, a supernatural participatory theatre work created specifically for teenagers.

Melbourne as we know it will transform for RISING as well – with a number of public works and city transformations throughout. The Royal Family Dance Crew will ignite Fed Square at sunset with a free, all-ages party amplifying Pasifika music, dance and culture. Barkindji artist Kent Morris will present Flower Power in City Square, a free-standing sculptural work centred on the murnong (yam daisy). Plus, each night, Hamer Hall’s facade becomes a luminous canvas for Calling Country: The Land Speaks Back, the annual large-scale First Peoples projection.

The First Peoples Melbourne Art Trams will also make a return in 2026, curated by Taungurung woman Kate ten Buuren.

View full programme.

RISING 2026 is on from 27 May-8 June.

Review: Anastasia The Musical @ Crown Theatre (Perth)

There was a lot of excitement in the air for 'Anastasia'’s opening night at Perth’s Crown Theatre, with audience members arriving in Parisian chic – sequins, boas, tiaras, and glam – as a sea of fashionable decades await the Perth Premiere.

Inspired by the Twentieth Century Fox Motion Picture (1997), this rendition serves to ground the initial story in a modern fairy tale – as these stories are about everyone and start from stories of real people. While audiences may expect a creaking, and corpse-like Rasputin – or a wise-cracking bat, the production in fact returned us to the real-world history of the Romanovs and the civil war that changed the Russian landscape forever.

The opening performance introducing the royal family shifted into 'Rumour In St Petersburg' with such a rhythm, and seamless transition, it was like watching a live-action cinematic release. Mechanists expertly shifted set pieces, and backdrops, while using media screens with sweeping animations and visuals by Alexander Dodge and Aaron Rhyne.

At no point did the production slow down, or lose steam – each movement and action was deliberate – and you never wanted to look away!

A poignant piece at the heart of a touching story of identity and self-discovery, was in fact 'Stay, I Pray You'. As Anastasia, Dmitry, and Vlad wait to escape Russia to Paris, they await the last train out – preparing to flee their beloved country, along with many others, seeking refuge and brighter futures. It held such a psycho-social reverberation considering the current state of affairs; the fear, the ache of leaving a home you’ve only known, and with such lyrics as “I’ll bless my homeland ‘til I die”, is a sentiment felt across many generations of people. This moment transitioned into 'We’ll Go From There', where a train carriage apparatus became a character as much as the ensemble.

These moments, tied in with lighting and sound design, brought audience’s attention inward during solo performances, and pushed them out during vastly choreographed ensemble pieces – such as the ghostly visages of Anastasia’s family, to exciting Parisian club numbers.

Image © Jeff Busby

Georgina Hopson played the titular character, most known as Anya. Dressed in beautifully crafted costumes designed by Linda Cho, Hopson delivered a mesmerising performance. . . No, it was enthralling! Her vocal mastery never wavered or was knocked off by choreography. Each note carried your breath away, leaving goosepimples in its wake. With 'Once Upon A December' being my favourite song from the 1997 movie, all I can say is that Hopson could have been mistaken for Liz Callaway.

Robert Tripolino (Dmitry) and Rodney Dobson (Vlad) carried as much camaraderie and mateship as their 1997 counterparts and even strung some brevity along with the narrative. Tripolino’s voice carried, and harmonised effortlessly with Dobson, and Hopson – making 'Learn To Do It' as fun, entertaining, and animated to watch.

Joshua Robson replaces Rasputin as the son of a military man who led the coups against the Romanov family. Robson had such an interesting arc as a character, where he was driven by legacy and expectation, fighting inner and projected demons. Throughout, Robson’s burnished baritone was a powerhouse, and amplified his character’s presence every time he was on stage.

There’s so much more to say, and little time to explain – such as Sophia Bae, Davis Giotopoulos Moore, and Keian Langdon who took the stage as the three leads of Swan Lake, performing strong ballet movement in rhythm and timing to a chorus of vocalists – to the incomparable performances of Rhonda Burchmore (Countess Lily) and Nancye Hayes (Dowager Empress), embodying humour, regality, and magnetism.

What I can say is that 'Anastasia The Musical' is a once-in-a-lifetime performance that holds the same electrifying element audiences saw in 'Wicked', when it first landed in Australia. This is a testament to the creative team, the brilliantly selected cast and orchestral musicians, which resulted in a standing ovation for their Perth Premiere.

Review: Antigone @ La Boite Theatre (Brisbane)

  • Written by: Molly O'Dempsey

La Boite Theatre has officially opened its 2026 season with a triumphant, modern interpretation of Sophocles’ ‘Antigone’.

Originally written around 442BCE, co-directors Courtney Stewart and Nigel Poulton successfully usher the Grecian tragedy into the 21st century. So, be not afraid. This is no 'ye olde tale', it is a sharp-witted and unambiguous story of one woman's courage and defiance in the face of oppression.

The three-person production starring Maddison Burridge as our heroine Antigone, follows the aftermath of her two brothers' deaths in battle. Burridge emphatically showcases Antigone’s strength as she fights her uncle King Creon, for the right to give her outcast brother Polynices a ceremonial burial. Billy Fogarty and Hayden Spencer round out the trio, each bringing light to their roles, in what is a heart-wrenching representation of love and death.

Billy Fogarty (read our chat with Billy) keeps it tight with numerous quick changes, as they embody four distinct characters across age and gender, harkening back to the tradition of cross-gender acting in Ancient Greece. Fogarty approaches each new role with grace, piecing out Ismene’s hidden strength or the monumental presence of the blind prophet, Tiresias.

As King Creon, Hayden Spencer commands the stage and audience with his meta, humour-infused monologues. His staggering height perfectly aids in representing Creon's high political position, only to stand even taller on a custom podium, lording over the audience.

The uncommon doughnut-shaped stage allows the cast to interact with the audience from all angles. It creates significant tension during the high-powered stage combat, for fear of falling in the doughnut hole and meeting an early death. The stage truly presents itself as a fourth character, being manipulated by the cast and adapting throughout the show. It has many secrets to be revealed, which almost make it seem as if the gods are at play and aiding in Polynices’ burial.

‘Antigone’ will not be lost to time, not if La Boite Theatre has anything to say about it. The story of Antigone’s resistance is more relevant today than ever, and La Boite has created an incredibly moving and poignant piece that speaks to women of all backgrounds.

Review: 2026 Golden Plains @ Meredith Supernatural Amphitheatre

When you first step into the Meredith Supernatural Amphitheatre, it feels a little like crossing into another dimension. That's the strange magic of Golden Plains.

Over the course of a weekend, thousands of strangers assemble into a temporary constellation; a living, breathing kaleidoscope of dancers, dreamers and devoted music lovers held together by one, simple philosophy: the festival's famously welcoming No Dickheads Policy.

The transformation of these iconic grounds felt vibrantly vivid (7-9 March). Colours shimmered across the grassy bowl of the amphitheatre; filtered with mirrored sunglasses catching the afternoon sun, glittered cheeks flashing through the crowd, flags and costumes drifting through warm currents of dust and light. Every movement refracted the moment into something new.

This year's eighteenth edition arrived under warm skies and soft, golden afternoons, the kind of weather that encourages long meandering hours sprawled across the hillside.

Image © Ben Fletcher

As always, the weekend opened with ceremony and respect. A Wadawurrung Smoking Ceremony and Welcome to Country grounded the gathering in connection to land we stood on. Smoke drifted across the bowl as the crowd fell into a moment of stillness.

Then came Nolesy's long blink, the small but powerful signal that Golden Plains had officially begun. A ripple of cheers swept across the couch-filled hillside, and just like that, the kaleidoscope began to turn.

The Sup was stirring to life as the first bands took to the stage. Public Figures delivered a burst of wiry indie rock that sent the first ripples of dancing through the colourful crowd, before the afternoon softened into a dreamy stretch of soulful vocals and sun-soaked melodies.

By mid-afternoon the hillside had transformed into Golden Plains' unofficial living room with a sprawling sea of couches, vintage armchairs and inflatable lounges scattered across the grass as groups settled in for the long musical journey ahead. 

Image © Ben Fletcher

Unlike most festivals where space is tightly controlled, Golden Plains embraces this strange and wonderful tradition. Sofas arrive strapped to roof racks, dragged through gates and lovingly positioned across the Sup, turning the hillside into the most comfortable dance floor in Australia.

As the sun dipped lower, delicate electronic textures waved through the air, the crowd settling into a dreamy dusk moment. New York experimental pop duo Water From Your Eyes flowed into something slightly stranger, their warped blend of melody and sound shimmered through the warm air.

Soon enough the mood flipped, with British-Nigerian artist Obongjayar delivering one of the weekend's most striking vocal performances. His voice seemed to stretch and bend across emotional extremes; delicate falsetto one moment, thunderous intensity the next.

It was an epic display of vocal power and a sign that the evening ahead would belong to some truly extraordinary voices.

One of the weekend's most moving moments arrived with Marlon Williams and The Yarra Benders with Ngā Mātai Pūrua. Magical Marlon has a voice that feels both ancient and intimate, capable of filling enormous spaces with enigmatic emotion.

Marlon Williams - image © Leah Hulst

Backed by the powerful harmonies of kapa haka group Ngā Mātai Pūrua, the set took on an almost ceremonial gravity. It felt like we were in the presence of royalty.

Marlon carried himself with the ease of a velvet serenader and the depth of a spiritual storyteller. Gliding across the stage as the incredible rich harmonies rose behind him, with every person in the crowd up off their couches in awe of this performance, songs like 'My Boy' and 'Dark Child' swelled into something felt both deeply personal and beautifully communal.

As the evening deepened, it became clear we were witnessing a celebration of the human voice. Rich, soulful vocals electrified the atmosphere, each performance drawing us all deeper into the dream-state of sound.

Image © Leah Hulst

With anticipation buzzing for BADBADNOTGOOD, we found ourselves getting pulled further into the beaming crowd. Across the hillside, a sea of themed doof-sticks bobbed above the crowd: from fishing rods, glowing kaleidoscopic designs and even a dangling cooked-chook bag. It was a perfect snapshot of playful creativity, where the weird and wonderful took stick form.

As the trio stepped into the glow of the stage lights, a ripple of anticipation moved across the hillside. BADBADNOTGOOD eased us all into a sensational sonic journey, dissolving the boundaries between jazz, hip hop and cinematic soundscapes. Opening grooves stretched into hypnotic improvisations, each musician responding instinctively to the others.

Tracks like 'Time Moves Slow' and 'Lavender' sparked some shoes in the air (a festival tradition to claim a track as your favourite song of the weekend). It was the fluid conversation between piano, bass and drums that held the gleaming crowd spellbound.

Cut Copy - image © Benjamin Fletcher

Then came a shimmering moment of collective nostalgia. As Australian electronic favourites Cut Copy stepped onto the stage to a roar of recognition as the opening synth pulse of 'Lights & Music' rang out across the amphitheatre.

What followed felt like a shared memory unfolding in real time. Frontman Dan Whitford led the band through a glowing catalogue of indie-dance classics; from 'Hearts On Fire' to my personal favourite 'Take Me Over', and of course the euphoric rush of 
'Need You Now'.

Under the night sky, the Sup transformed into a vigorous and vast open-air dance floor. Thousands of bodies moved together in waves, every chorus echoing back toward the stage. For a moment, it felt like the entire amphitheatre was spinning inside the same prism of light and sound.

As the night stretched deeper into the early hours, the energy refused to slow down. The euphoric chaos of Frost Children pushed the energy even further, their hyper-pop mayhem igniting constellations of dancing.

With laughter and late-night shenanigans still kicking on long after midnight, the electricity of Golden Plains had transported us all into its colourful universe.

Frost Children - image © Chip Mooney

Sunday morning arrived slowly, as dusty-eyed festival goers wandered toward their first well-earned coffee. Clusters of friends sat in the grass swapping stories from the night before; from half-remembered dance-floor moments, hilarious adventures and the kind of mischief that Golden Plains holds.

As we all gently stirred back to life, we flocked to the couches for story time with Uncle Barry, whose encapsulating storytelling of the tale of the Three Sisters created a quiet moment of reflection that grounded the morning in culture and connection to Country.

After a much-needed refresh, the amphitheatre began to buzz with energy again as people drifted back toward the stage. One by one, groups appeared in their Sunday best; full-costume ensembles of just about every creature imaginable wandered through the grassy playground, a joyful parade dripping in wonderfully silly creativity.

Image © Leah Hulst

We were well and truly back-in-action as Atlanta punk group, Upchuck, took to the stage with their ferocious set. Their explosive track 'Freaky' sparked the day's energy with a punchy punky hit.

Followed by Derya Yıldırım & Grup Şimşek, the Berlin-based Turkish psychedelic group, eased the afternoon into a hypnotic groove, their swirling rhythms drifting across the now pumping crowd as more people swirled into the outdoor lounge.

DEVAURA then lit up the stage with an irresistibly playful energy, brimming with cheeky charisma, she bounced effortlessly between powerful vocals and playful crowd moments.

With a powerful voice and electric presence, she kept us all grinning from start to finish as she sang into her floral microphone. Standout tracks like 'Vertigo' and 'Shapeshifter' landed particularly well, their bold sound amplifying the playful chaos of the set.

Upchuck - image © Leah Hulst

In between tracks, in a delightfully playful manner, she took a moment to lead an impromptu happy birthday serenade to anyone in the crowd whose special day was "close enough", sending laughter rippling across tickled fans. It was a joyful, high-voltage performance that had anyone listening completely hooked.

Between sets, the festival's interstitial DJs worked their magic, stitching together tracks that kept Meredith's grassy bowl gently pulsing with playful energy. That groove flowed effortlessly into François K's live stems set, his hypnotic layers of rhythm drawing the crowd deeper into dance.

The evening unfolded through a kaleidoscope of sound as the acts of stage moved between genres with effortless momentum; a testament to the incredible curation that Golden Plains is known for.

From Bleak Squad's gritty rap and booming bass that came with jolting electricity to rich, soulful vocals of Jalen Ngonda, whose set had us all swaying on couches as we soaked up the weird and wonderful sights of people playing throughout the arena. 

Jalen Ngonda - image © Benjamin Fletcher

As Ty Segall stormed the stage with a blast of dripping and drenched guitar waves, backed by pounding rhythms. Tracks like 'Manipulator' jolted the crowd into full-throttle chaos, perfectly timed for what was about to come.

You could feel the energy building as we were being lifted into an ecstatic state, each BPM increase preparing us for one of the most iconic acts of the weekend.

As the night pushed deeper, the lit-up playground hummed with anticipation. Groups gathered closer to the stage, sensing something big on the horizon. It felt like everybody at the festival was teeming to witness Basement Jaxx as they delivered a headline performance that felt like a joyous explosion of dance music history.

From the moment the first beat dropped, the amphitheatre erupted. The legendary UK duo had brought a full carnival of energy: dancers, vocalists and pulsing visuals turned the stage into a riot of colour and rhythm.

Going from hit to hit, every new song played sounding more nostalgic and electric. Anthems like 'Raindrops', 'Romeo' and 'Red Alert' had everyone jumping and dancing like their hearts depended on it (safe to say, there were plenty of shoes in the air during this set).

What made the set so special wasn't just the iconic songs, it was the sense of true elevation as thousands of people moved without inhibition, surrendering to the rhythm together.

Basement Jaxx - image © Chip Mooney

Throughout the set they playfully reimagined their own music, layering fresh sounds and new rhythms over beloved tracks while keeping the unmistakable spirit of the originals intact.

Closing with their unstoppable song 'Where's Your Head At', which detonated across the crowd, each echo of the lyrics sent fresh waves of ecstatic movement through the spinning prism of bodies.

As we staggered back to the couches, in a slight state of shock after that highlight-reel-of-life type of performance, all around you could see smiles and delight on everyone's faces.

However, the night wasn't over yet. The party rolled effortlessly into the early hours with Crazy P and Sally C taking the reins. Disco grooves and punchy house rhythms rippled through the dance floor as bodies continued to move long after midnight, the crowd glowing with late-night energy.

Euphoria washed over us all as we grooved together beneath the stars, refusing to let the night end. By sunrise, the pace had softened. People wandered slowly through the campground wrapped in blankets and morning light, the kaleidoscope gradually slowing its spin.

Over the weekend, the Meredith grounds had transformed into a universe of its own; a living mosaic of music, costumes, laughter and connection. A place where genres collided, strangers danced together, and imagination ran wild.

Image © Benjamin Fletcher

A reminder that festivals like this are about more than music. They're about the fleeting, beautiful moments that happen when thousands of people gather together and let the magic unfold.

As festival goers packed up their couches, costumes and doof-sticks on Monday morning, one thing felt certain: the magic of Golden Plains will keep drawing people back, year after year (this reviewer included).

Brisbane's Ad Astra Moves With Purpose As Two Landmark Productions Take The Stage

On a quiet stretch of Brisbane, behind walls that have absorbed a century of applause and rehearsal dust, something deliberate is taking shape. Not loudly. Not arrogantly. It’s unfolding with intention, grounded in the reality of how hard theatre can be to sustain.

For Ad Astra Executive Producer Gregory J. Wilken, this moment feels less like a launch and more like a reckoning. “Theatre is brutal,” he says, without dressing it up. “And survival is the real work.”

Ad Astra isn’t trying to rewrite Brisbane’s theatre story. It’s trying, along with so many other theatre companies in Brisbane, to secure its future. One where artists don’t feel their only option, once training ends, is to leave town. One where professional ambition doesn’t automatically point south. The aim is steadier than that – to build a place where people can stay, grow, and keep making work without constantly looking elsewhere.

That ambition now lives inside a building called Ad Astra, a theatre complex that feels both reverent and quietly assured. Two performance spaces sit at its core. Galaxy, a grand proscenium arch theatre with purple velour seats and wooden armrests that recall another era. And Pluto, a 44-seat black box where the distance between actor and audience almost disappears.

This stage of Ad Astra’s life demands precision. How the work is presented. How the spaces are spoken about. How audiences encounter it for the first time. In an industry this fragile, perception isn’t cosmetic, it’s structural.

Wilken speaks about the venue with a sense of purpose. He honours its history while emphasising the possibilities ahead. “We’re talking about what this building is now,” he says. “And what it’s becoming.”

That future continues with 'Brisbane', staged in Galaxy as the company’s first full-season production. Set in the 1940s, it follows 14-year-old Danny Fisher as adolescence collides with war, grief, and a city reshaped by American forces. “It speaks to a part of Brisbane people don’t always know,” Wilken says. “Even locals forget what this city went through.”

The story unfolds with intimacy, even on a grand stage. That contrast is intentional. “You should feel every eye movement,” Wilken says. “Every breath.”

That approach continues with 'Six Characters In Search Of An Author', Luigi Pirandello’s century-old play that spirals into questions of truth, authorship, and reality. Written in 1921, it feels unsettlingly current. “We’re all questioning what’s real,” Wilken says. “Whose truth counts.”

Galaxy’s old-world elegance sharpens that collision of past and present. “It lends itself to the classics,” Wilken says, “but we’re not interested in museum theatre. We want to make it live now.”

Pluto offers something else entirely. Up close. Unavoidable. A space where, as Wilken puts it, “you don’t get to hide”.

What unites both venues isn’t scale, but intent. Every decision comes back to quality. “Good gets in the way of great,” Wilken says. “If we settle, we never get there.”

The invitation is simple. Come because the work is strong. Come because the space feels alive. Come because Brisbane deserves theatre that trusts its audience.

The hope is that a seasoned theatre-goer walks through the doors and thinks, almost without realising it, this belongs in my rotation. In a city still defining what professional theatre can look like, that quiet shift in perception might matter most of all.

'Brisbane' plays Galaxy (Ad Astra) 19 March-11 April. 'Six Characters In Search Of An Author' plays Galaxy (Ad Astra) 14 May-6 June.

Review: The Whitlams Orchestral @ QPAC (Brisbane)

Brisbane's Grey Street, the thoroughfare which links South Bank, West End and Milton, is pedestrianised with music fans attending two major concerts.

On the southern side, couples walk towards Queensland Performing Arts Centre (QPAC) in their business-casual attire ahead of The Whitlams Orchestral's performance. Whilst punters on the northern side trek towards On The Banks in their festival fits ready for The Streets (6 March).

Inside QPAC's downstairs foyer, the audience is enjoying a nice glass of champagne alongside a signature cocktail. It's all very surreal and sophisticated – there is no 'barricade' or mingling in the mosh, instead there are conversations over a glass of wine in allocated seats.

No one is here on a whim; it's a very calculated affair. The quiet chatter from the audience is accompanied by Queensland Symphony Orchestra's (QSO) quiet harmonies as they tune their strings.

Against the harmonic ambiance, Tim Freedman (vocals), Jak Housden (guitar), Matt Fell (bass, substitute for Ian Peres during this tour) and Terepai Richmond (drums) take their place amongst the sea of musicians.

They begin 'Beauty In Me' with no introduction. The air in the room is drawn thin during this initial performance, and it stays like this until the intermission.

Despite the overwhelming presence onstage, one person is missing from this first song – Alice Freedman. It seems Brisbane, has been robbed of this duet with Freedman's daughter.

Soon after, they transition into the Charlie Medley: 'Charlie No. 1', 'Buy Now Pay Later (Charlie No. 2)', 'Keep The Light On (Charlie No. 2.5)', and finally 'Charlie No. 3'.

Fell, Housden and Richmond make their introductions during these songs, finding a perfect position amongst QSO. After entering the comfortable middle ground of the first set, Freedman introduces the performance of a newer song, 'Nobody Knows I Love You'.

Its introduction is met with a comedic "NO!" from a fellow crowd member, to which Freedman responds with "oh it's happening buddy". The song begins with the soft accompaniment of Freedman's grand piano against his warm vocals.

The stage spotlight is solely focused on Freedman during this transfixing performance as the rest of the band and QSO take a small break. QSO only accompany the song during the commencement of the second chorus, reinstating that it is truly a Whitlams concert.

Unfortunately for the pre-mentioned punter, the next song introduced is another newer one, 'Fallen Leaves'. The lighting perfectly synchronises with the performance onstage, illuminating a green hue across the room.

It's a cinematic 4D experience; the air is mobile with polyphonic melodies, green orbs cascade the theatre as the flute's descending melody drops leaves from the ceiling, and the balcony floor vibrates consistently with rhythmic foot taps.

Just when the climax of the concert reaches its peak, the intermission begins. It's enough of a performance to both want more and have enough to relish in during the short break.

The concept of an intermission during a rock concert is foreign and perplex to this young reviewer. Yet it proves The Whitlams are still an Australian rock band at heart. Each band member has a set list taped on the floor like sheet music to the musicians behind them.

The second set commences with 'Blow Up The Pokies' and it seems the crowd has let loose over the intermission, failing to refrain from cheering at the hit.

The QSO are consistent waves against Freedman, Housden, Fell and Richmond. With each up bow of the strings, the wave reaches its peak as the band rides along before the wave crashes with the down bow.

Soon after, Freedman introduces the Peter Sculthorpe arrangement 'Out The Back', a 2002 testament to the ocean. Freedman tells the story of how the late Australian composer transformed the four-minute song into a seven-minute arrangement one night on the piano. He calls out to the lead clarinet player, claiming, "your legato is unquestionably brilliant," and so it is.

The piece begins with a tense string section, foreshadowing the rest of the song. The drums kick back in with Freedman's vocals, reinstating The Whitlams' leading role onstage. Housden performs a killer guitar solo full of feedback and angst, taking up the limelight of the section.

Shortly after, The Whitlams exit the stage, leaving the QSO to have a moment themselves underneath the spotlight. The crowd's attention is solely on the orchestra, watching as their waves build and crash.

The band enters the stage one final time, holding a glass of champagne each, of course. The piece finishes with a glimmering harmonic; its sparkling aftereffect  illustrates the sun dancing on the Australian ocean shore.

At the end of the set, The Whitlams create a humorous juxtaposition between 'Year Of The Rat' and 'Gough'. The song of angst and war about Prime Minister John Howard is soon outplayed by the ballad for Prime Minister Gough Whitlam.

The serious change in attitude is illuminated during the false introduction of 'Gough', to which Freedman laughs and starts again.

The night was visceral and tasteful – QSO performed a perfect accompaniment against The Whitlams, ensuring the band was the star of the concert.

Review: The Streets @ On The Banks (Brisbane)

The use of the space alongside the Brisbane River in front of the Queensland Performing Arts Centre, On The Banks, is the perfect setting for a steamy March night and the return of Birmingham's favourite rapper Mike Skinner and his group, The Streets.

First though, Shady Nasty turned a lot of heads with their punchy brand of music that is hard to pigeon-hole.

With post-punk instrumentation and a dead-pan monotone vocal delivery, you'd be excused for thinking this band was from the rough streets of London, rather than Sydney.

Maybe that's why it worked so well with so many British people in the crowd, but also, this band are doing something fresh that not only this country is embracing, but as they prepare to embark on a tour of Europe and the USA, they've got a sound that is increasingly universal. A great choice of support act.

Shady Nasty at Melbourne gig (5 March) - image © Danielle Annetts

Mike Skinner and The Streets are no strangers to Australia. They've been known and loved here since their first show, also in Brisbane, at 2002's Livid Festival. Back then, they hadn't even released the album that would feature tonight (6 March).

It's always made sense that 'A Grand Don't Come For Free', their second album released in 2004, should be heard in full, but it seems incredulous it hadn't been performed in its entirety until this tour.

It's a concept album that tells the story of losing a thousand bucks, before evolving into the realness of life, love gained and lost, and the mates that surround us, for good and bad.

It's a story we've all come to know and love along with its fair share of memorable hooks, catchy choruses and the inalienable ability to immerse us in that dingy Birmingham flat with the broken TV as we all sing-along in our best Brummie dialect.

Skinner casually appeared onstage to the strain of 'It Was Supposed To Be So Easy' and it's immediately obvious this isn't the same Skinner we've seen before. This is theatre. This is poetry. This is performance art.

The Streets at Melbourne gig (5 March) - image © Danielle Annetts

The album is faithfully played in order with Skinner remaining in character as the protagonist, just as we always imagined. Wearing a trench coat on a humid Brisbane night probably wasn't the smartest idea, but the pint in his hand was certainly part of the plan.

The jacket came off in the second song. 'Could Well Be In' introduces the love interest into the story, but also the outstanding backing singers for the evening, Roo Savill and Kevin Mark Trail. 

Savill would play the role of girlfriend, Simone, for the evening and provided a perfect foil to Skinner's role, particularly in the 'break-up' song, 'Get Out Of My House'.

Trail would take turns as the mates and brain of Skinner with his pristine vocal and would often be bouncing off Savill as part of the stage show.

The Streets at Melbourne gig (5 March) - image © Danielle Annetts

As the waft of weed filtered through the audience – which seemed largely British with a wide range of ages – Skinner moved through 'Not Addicted' and into the nightclub evoking 'Blinded By The Lights', before flipping a foldback speaker on its end and taking a seat, head in hands.

Skinner continued to deliver the album in character through the drunkenness of 'Fit But You Know It', the anger of 'Such A Twat', and into the heartbreak of 'Dry Your Eyes', the crowd joining in with gusto.

'Empty Cans', all eight minutes of it, wraps the album and the first half of the show before Skinner and his band bow, just as they would on a theatre stage.

This is not just a concert; this is a play and it's brilliant to see Skinner delivering the album in a way that we've always imagined. So, when's the movie coming out?

The second half of the show converted the mood into a party with a best-of-the-rest set that included six tracks from their first album, 'Original Pirate Material', a smattering from other albums and lockdown-breaking anthem, 'Who's Got The Bag'.

The Streets at Melbourne gig (5 March) - image © Danielle Annetts

There were mosh circles, a lot of raucous dancing and then Skinner decided that we were going to "complete Brisbane on the hardest setting".

This very convoluted process included, firstly finding a "box fresh" shoe within the crowd (not an easy task) from which to consume a shoey, before directing the delivery of a beer and a shoe to the mid-point of the crowd as Skinner made his into the crowd, was lifted up by the audience and drank the beer before continuing to sing 'Take Me As I Am' to a delirious crowd as he was transported back to the stage.

This was the Mike Skinner we know and love, but the show was sublime in its balance and delivery.  A fitting show in a cultural space for an adoring audience.

Review: Taylor Acorn @ The Triffid (Brisbane)

Last Tuesday, Brisbane's The Triffid pulsed with the kind of electricity that only a pop-punk crowd can generate.

Taylor Acorn's headline stop (3 March) wasn't just another date on the tour schedule; it felt like a milestone moment, both for her and the fans who have followed her rise from online covers to commanding international stages.

The night was opened by Arrows In Action, featuring band members Victor Viramontes-Pattison (vocals, guitar), Matthew Fowler (guitar), and Jesse Frimmel (drums), who, for a few lucky fans, were found wandering through the beer garden and even stopped for a couple of photo opportunities before the main doors opened.

As they are known to do, they bounded onto the stage with the confidence of a band determined to make their mark. From the first notes of 'Empty Canvas', it was clear they weren't easing the crowd in gently.

Victor's vocals were sharp and controlled, cutting cleanly through the mix, while Matthew's guitar added bright, anthemic layers that bounced off The Triffid's walls. Jesse's drumming anchored it all with tight precision and explosive fills.

Arrows In Action - image © KealiJoan Studios

Later, they played one of my personal favourites, 'Put You Through Me', leaning fully into their glossy, emotionally charged alt-pop sound. The audience, initially cautious in that typical early-set way, quickly thawed, hands lifted, heads nodded, and lyrics were shouted back.

However Arrows In Action's set wasn't just about polished hooks; it was about personality. Jesse, in particular, became an unexpected comedic highlight.

Addressing the crowd, he declared: "We are quite far away from home, thank God. Now, I'm gonna say something that I'm sure you've heard every American band you've ever seen say at a show, but we did not come here to f... spiders."

The reaction was immediate and deafening. He continued: "I have a theory that it's sort of like a peaceful statement to the spider so that they don't, like, kill us. They're like, we didn't come here and f... with you guys, all right? So you f...ing stay over there.

"Have you guys seen American spiders? They're small. This big. First of all, they kill you, but they're not as scary, okay? You're just, they bite you and then you're dying, it's like, okay? You're not scared at all."

Arrows In Action - image © KealiJoan Studios

The absurdity of it, combined with the band's genuine enthusiasm, made the exchange feel less like rehearsed banter and more like a chaotic group chat brought to life. He then proceeded to teach the audience a stomp-clap routine for the bridge of 'Head In The Clouds'.

For that moment, he sang alongside Victor and Matthew instead of playing, transforming the theatre floor into a synchronised percussion section. The stomps reverberated through the venue, turning the crowd into an extension of the band. It was playful, slightly chaotic, and completely unifying.

By the time they played 'Uncomfortably Numb', the collaboration they released with Taylor Acorn, the energy had fully locked in. Even without Taylor joining them onstage, the song felt like a bridge between the opener and headliner, foreshadowing the emotional intensity still to come.

They also treated Brisbane to a debut of a brand-new song, 'Stop Talking', making Brisbane one of the first audiences to hear it live. The track felt punchy and immediate, and judging by the cheers, it won't take long to become a staple in their set lists.

After a brief changeover, the lights dimmed again. Guitarist Ricky Jab and drummer Ethan Harb emerged first, launching into an instrumental intro that simmered with tension and built anticipation.

When Taylor finally stepped into the spotlight, the room erupted. The first full track of her set was 'Poster Child', and it hit hard with its gritty guitars, driving drums, and Taylor's insane vocals cutting through the chaos.

Early on, she addressed the crowd with refreshing honesty: "My voice is hanging on by a literal thread. So thank you so much for singing so loudly with us. It means so much."

Taylor Acorn - image © KealiJoan Studios

The response was immediate, and it was clear that if her voice was fading, the crowd would carry it. However, the set proved there was nothing holding her back and vocally throughout the songs, you couldn't even notice it.

Before performing 'Home Videos', she shared a heartfelt reflection: "All right, so I want to talk a little bit about the next song we're about to play, and it's one that's really, really special to me, and, um, I'm a very nostalgic person.

"I really love '90s music. I know the thing is, '90s, and I feel like it takes me back to a place where it was a lot better than it is right now, and I think we all kind of know what's going on, and it's scary, but we're all here, and we can be present. We can forget about that sh.t for a little bit."

Taylor Acorn - image © KealiJoan Studios

During 'Birds Still Sing' emotion crested again. "How crazy it is to feel like I'm so lost, to be all the way across the world, and I feel so seen. I feel so loved. I just so, I love you so much. I thank you so much for being here today, it means everything to me."

The vulnerability didn't feel performative. It felt lived-in.  For the encore, she returned with 'Shapeshifting' and the explosive 'Psycho', sending the crowd into one final, cathartic frenzy.

As the last notes rang out and the lights slowly came up, The Triffid felt lighter somehow, like the collective weight everyone carried in had been screamed into the rafters.

Taylor Acorn - image © KealiJoan Studios

On a humid Tuesday night in Brisbane, Taylor Acorn didn't just headline a show. She built a temporary sanctuary, loud, nostalgic, and unapologetically emotional, and by the end of it, she'd completely sold out of merch, leaving nothing behind but ringing ears and empty tables where t-shirts used to be.

I have never missed a Taylor Acorn show in Brisbane. From her first one at The Zoo (now Crowbar Brisbane), to her set at Good Things Festival, and now to this sold-out night at The Triffid, she has continuously proved that she is undeniably a show to be at.

However it's more than consistency, it's evolution. Watching her climb from smaller stages to commanding rooms like this feels personal, like witnessing someone fight for every inch of ground and finally stand in it.

Taylor Acorn - image © KealiJoan Studios

She is also one of the very few artists I have ever genuinely cried during a show. Not because the songs are sad in a simple way, but because they feel true in a way that catches you off guard.

There is something about the way you can see it in her eyes while she's performing, the way her expression tightens on certain lyrics, the way her voice cracks, but she pushes through anyway.

She doesn't just sing about heartbreak, confusion, or resilience. She has been there. She is still carrying it, and somehow, in carrying it so openly, she reminds the crowd that it is okay to feel the way you do.

More photos from the concert.

Review: Pendulum @ Hordern Pavilion (Sydney)

For many in attendance, it's the most exciting night of the year as Perth drum & bass powerhouse Pendulum swing Hordern Pavilion within their mighty grip.

The crowd filter off public transport mixed in with Swans fans heading to the first game of the season (5 March), but separation is quick. The Pavilion fills early with a diverse crowd, some in black t-shirts, others dressed to the raving nines.

Ekko & Sidetrack kick the bass right in and regardless of what you're wearing, everyone is here to party. They close out with a remix of 'Still Sleepless' by D.O.D. under pink flashing lights, and the crowd respond in kind.

The air becomes thick with expectation as body heat fills the floor. The main show begins with a bang and images of nuclear waves driving sands. A narrator invites you into "the domain of the untamed," and it's clear the show will be a little theatrical.

"Sydney, are you f...ing ready?" frontman Rob Swire asks, as 'Napalm' descends, the orange stage lights flickering like flames. 'Save The Cat' features a computer screen then city streets, as Swire moves into his first melodic vocals.

If anyone isn't on the train by now, they better get on quick because the crowd is getting rowdy. A country and western mini film plays to start 'Propane Nightmares', as Swire belts "bring it on home!", the crowd joining in unison. The track explodes into red and white flashing lights as temperatures start to rise.

A spoken-word interlude mentions monsters before green and red flashes introduce 'Come Alive'. The pit opens and continues into next song 'Blood Sugar', which has the crowd singing the infectious melody under red lights and orange beams. It flows into their remix of 'Voodoo People', the sound reflecting off the ceiling.

"Hands up Sydney," Swire demands as rocks appear onscreen for 'Granite', the crowd increasingly energetic. The track takes a pause to build, before ending characteristically on a high.

'Cannibal' is full of static sounds, then 'The Island' generates the biggest crowd sing-along so far, the belted Australian voices joining in all their ocker glory. 

'Cartagena' is straight fury as futuristic visuals play, while 'Halo' is heavy as metal under white lasers, Swire letting out a scream. 'Archangel' feels sentimental as Swire taps his Ztar, before a large buildup for 'Witchcraft'.

"Sydney, make some f...ing noise," Swire demands as the track launches into its climax. 'Watercolour' closes the regular set with one of their best, the crowd showing no signs of slowing.

"I can't believe they didn't play 'Tarantula', everyone said," Swire jokes upon the band's return, as they do indeed play 'Tarantula'. Swire incites the crowd to open the biggest pit of the night and it's chaotic, sweaty and supportive to anyone who goes down.

As the last notes echo out and the lights come on, the crowd leave, some to continue the party, others fully satisfied. One thing is certain, no one is unchanged.

Review: Grace Jones @ On The Banks (Brisbane)

Queensland Performing Arts Centre's new On The Banks series has pulled together a stellar line-up for its live concert series running across February and March; with multiple standouts including the one and only singer-actress-model, Miss Grace Jones.

Support act The Illustrious Blacks offer a big reminder of that age-old, gig-going philosophy: always catch the opener because you just might see something amazing.

The New York duo of Manchildblack and Monstah Black's blend of disco-infused funk is a feast for the ears, eyes, dancing feet, and ultimately, the soul.

"We are intergalactic Afro-disco space-punk velocity. We are rising to a higher vibrational frequency," is their opening address, and when they're not making us move, they're out to help destroy "racism, sexism, transphobia, ageism, and all that sh.t"; all while having a righteous pop at the twice-impeached Trump currently occupying the spot as the so-called leader of the free world. "Funk that" they demand and we repeat back. And repeat we did!

"Hello passengers, and welcome aboard intergalactic flight L-O-V-E. . . love," is the introduction to 'Turbulence'; another banger in the canon. The real-life couple later reveal shirts emblazoned with the words 'suck my disco' and enjoy a passionate onstage smooch.

As the rain tumbles down across the South Bank Cultural Forecourt, a long, low, and resonant rumble signals something is stirring behind the dark curtain, and with the words "ladies and gentlemen, Miss Grace Jones," it lifts to reveal the Queen herself, perched on a golden throne high above her band.

Behind dark glasses and underneath impressively-sized headwear (her first of 12 costumes of the evening) she sternly surveys her domain, and it's instantly clear who owns the night.

What follows is a joyous, uplifting, and at times chaotic celebration of music, fashion, and life over 12 songs. The Jamaican, at 77, remains an icon and bosses everything; this is her world and we're just lucky to be a part of it. Everyone be on your best behaviour and better do as you're told.

Opener 'Nightclubbing' is played slowly and sleazily, revealing Miss Jones to be in fine voice, which only gets better the more red wine she sinks throughout the show. 

After 'This Is' she berates the poor sound guy ("The speakers are crackling darling. Fix this darling.") before sharing an anecdote about going to a Gold Coast beach ("I did a lot of screaming. The waves were coming at me.") and questioning a stool's potential durability before risking perching on it.

The excellent 'Warm Leatherette' precedes 'My Jamaican Guy', during which Jones sings upside down from her throne. Whereas 'Pull Up To The Bumper' is later sung from the shoulders of a burly security guard as he is led along the front row of the audience, so the Queen can meet her subjects close up.

By this time, she is all smiles and the love she has for her audience is returned like waves coming at her. After 'The Key', a funky, as-yet-unreleased track, and a rocky 'Love Is The Drug' cover, Jones completes an astonishing set with an extended version of 'Slave To The Rhythm' including a lengthy band introduction – all while doing the hula hoop.

After 90 minutes and a powerhouse performance by one of music's true originals, there's a firm and lingering feeling that we just witnessed something almost impossibly special. 

Amazing Grace. . . how sweet the sound. Truer words were never spoken.

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