It feels like Harry Cleverdon’s album, Survival, has been a long time coming. He released an experimental psychedelic album under the moniker SonofHarry in 2023, but Survival is the first released under his own name. It’s also the first featuring the sweet country-folk-pop sound I’ve enjoyed from Harry since 2022. But you know what they say about good things coming to those who wait.
Now that it’s out in the world, I appreciate that Harry took his time. He’s still a young artist, but the experience and wisdom he’s gained through the last few years I’ve spent following his career shows. Songs like the incredibly catchy album opener “House of Cards” and the stirring title track, which you can listen to below, are among the best he’s released. I love the cheekiness of “Empty Bottles,” but I’m also glad Harry balances it with more vulnerable numbers like “Nothing For Myself” and “Superman (Late Night Trance).” He shows more of his heart with “The Best That I Can,” an earnest love song that’s sure to leave most listeners swooning.
There’s also an ease about Harry’s music that only comes with growing comfortable in your own skin. When so many new releases rely on heavy production, Survival comes as a breath of fresh air. Harry’s not afraid to buck the trends and get back to basics with his music. With acoustic, organic instrumentation in support, his sweet vocals are never overpowered. We can hear every lyric, which is such a blessing when the songs are so well-crafted. Listening to these tunes you get the sense that they’d sound the same live as they do on the recording. There’s no tricks or wizardry here, and the music is better for it.
Survival is the perfect showcase for Harry’s talents as a singer and songwriter. The songs are instantly accessible, but spend a little more time with them and know you’ll fall as deeply in love as I have. Stream it on your favourite platform now. You can also hear Harry and other fantastic Aussie country acts on my Spotify playlist, Sounds of Oz Loves Country.
Images used with permission from Lambing Flat Records
St Patrick’s Day came early to Eora/Sydney yesterday with the first ever Misneach festival, a welcome addition to the city’s festival calendar. The brainchild of regular visitor to our shores Dermot Kennedy, the festival was a celebration of Irish culture.
I personally thought my festival days were long behind me, but I’m such a Dermot fan I didn’t hesitate to grab tickets. I did wonder how I could possibly stand for close to 12 hours, but like so many music-motivated decisions I decided I’d figure out the details later. As it turned out, I didn’t have to. With my collarbone not healing as well as doctors would like, I reached out to organisers with my concerns about being jostled in the crowd. Hey presto, my husband I found myself with an upgrade to accessible seating. We were so well taken care of, with access to water and sunscreen and a plum position on an elevated platform directly behind the front general admission. I found the one silver lining to a major car crash! Our prime position helped me brave the 38-degree heat and enjoy all the acts.
That 38-degree heat was certainly a barrier for many though. No one can control the weather, but it’s a great shame because it meant some of the early acts played to just a handful of dedicated music lovers. Some came late, others preferred the ample seating and shade that the Doss House stage provided. If I didn’t have a chair provided, I certainly would have joined them. But I was thankful that I could enjoy those emerging artists in relative comfort.
Even if you didn’t get the red carpet treatment, you were well looked after at Misneach. The Red Frogs team circled the crowd offering free water, sunscreen, and those sugary Allens lollies. Friends reported that the team at the medical centre weren’t just happy to keep medications cold and provide space for taking them; they also allowed offered charging ports for the ounters’ mobile devices. The food vendors catered to every taste and dietary requirement. We were personally thrilled to see Coeliac Australia-accredited food truck Brother Jackson & Co. selling safe gluten-free items. Their festive green-battered chips on sticks were top notch.
FYNCH was the ideal opening act for a festival that aimed to break stereotypes and showcase where Irish music is today. He’s clearly a talented rapper, although I’m not sure the small crowd did him justice. Or perhaps it was the heat. His performance seemed a little introverted, but it’s hard to bring the energy to an empty dancefloor.
After brushing up on the appearing artists before the show, Cliffords were the new discovery I was most excited about. While FYNCH’s set dragged a little, Cliffords seemed over in the blink of an eye. Iona Lynch is such a captivating frontwoman and their angsty rock songs are incredible. If I wasn’t so wiped out, I’d be at the Lansdowne seeing them tonight. They’re incredible: get on to them.
Susan O’Neill told us her set was “20 minutes of misery,” but I felt uplifted by her sad songs. She was one of the real surprises for me. While I liked listening to her gentle folk music on Spotify, the recordings can’t capture utterly enchanting she is on stage. Her voice is so unique and beautiful, what a huskiness and warmth that draw you in and leave you hanging on every single word. This was another set over too soon that deserved to draw more of a crowd. If you were there, you know how special it was.
Sorcha Richardson continued to show us just how strong female-fronted music is in Ireland. A singer-songwriter at her core with an indie-rock bent, she oozed cool. She’s another artist that I felt could have benefited from a larger turnout around the stage; it just might have taken that solid performance to the next level.
While the sun was still scorching, many couldn’t resist the allure of Amble. I didn’t blame them. I’d had music from this modern folk act on regular rotation leading up to the festival and they did not disappoint. They seemed to feed off the appreciative crowd who gathered in full voice, waving their Irish flags proudly. I loved hearing those classic Irish instruments like the mandolin and banjo combining with their flawless harmonies. What they do is really special. Like Cliffords they’ll continue the party tonight with their own show at Oxford Art Factory. That one’s sold out; I wouldn’t be surprised if fans nabbed the last couple of tickets after watching them yesterday.
Some may wonder how Australian artist Meg Mac landed on the bill. However, with an Irish mother she was an ideal representative for all the Aussie-born Irish folk here in this country. And you can’t argue with her talent. Watching her set I was reminded just how many hits she’s had over the years. Her voice was utterly flawless and I loved watching her easy camaraderie with her sister and back-up singer Hannah.
The show took a sharp left turn with The Scratch who amped up the energy with their unique blend of traditional Irish folk and heavy metal. That blending of genres sounds like a mess on paper, but I was enthralled. Even though the sets were getting longer by this point, it felt like theirs went by in a heartbeat. If I had more energy, I’d catch them at the Doss House tonight. I know they’re going to raise the roof on that tiny whiskey bar!
I’ve got a confession to make: I was not looking forward to Kneecap. I know they’re on the hottest bands on the planet right now, but after listening to some of their music online I thought this hip hop trio’s longish set might be a slog. It’s just not my thing. I didn’t account for that X factor that comes when you’re seeing an act like this live though. Their set was absolutely off the hook. They whipped the crowd into a frenzy, the likes of which I’ve never seen. The pit looked so much fun, but my broken collarbone was very glad I was well clear of it! Bottom line: I was entertained, and you can’t ask for more than that.
I wondered how Matt Corby might feel following up Kneecap’s wild performance. If he was intimidated, it didn’t show. He just came out and did his thing. What he does, he does so well. Matt’s another Aussie artist that I hadn’t seen up until this point, so it was exciting to finally get there. The set celebrated his evolution, from his folky breakthrough “Brother” to more recent soul releases. Whatever genre he turns his hand to, his musicianship so impressive and his voice is spine-tinglingly good.
My excitement hit fever pitch as The Frames’ set approached. I bought tickets to Misneach knowing only that Dermot would play, trusting him to allow the rest to fall into place. I didn’t expect he’d put my favourite Irish artist and Frames frontman Glen Hansard on the bill. Glen is the only artist that I have carte blanche to simply buy the concert tickets whenever he tours, no questions asked. We love him. And it’s been nine long years since he played in Australia. So much time has passed that Glen realised it was the first time his band was the oldest on a festival set, to rapturous applause. However, age is not wearying this outfit. The Frames are an Irish institution, and anyone who wasn’t already aware of that discovered why through their blistering set. From hard-hitting tracks like “Relevate” and “Fake” to gentler moments like “Star Star” and “Lay Me Down,” it was a masterclass. I only hope this all-too-short set helps Glen remember how good Aussie audiences are and we get the opportunity to see him playing a much longer show here sooner rather than later.
And then there was Dermot Kennedy, the man who brought it all together. It might just be the post-concert excitement talking, but I think he might be getting better. Or perhaps the gravity of seeing the festival he conceived brought to life gave him a little extra gas in the tank. But either way, he was in such fine form last night. His hour and a half set celebrated his albums Without Fear and Sonder, gave a nod to his first recordings, and acknowledged where he’s heading with the debut performance of “Let Me In.” It’s only been out in the world for a few days, but the choir of audience members joined him singing it as confidently as they did any of his past singles. This is the power of Dermot, a man who inspires such passion with his poetic, emotional music. He delivers a big show now with colourful screens, a full band, and backing singers, but that poetry, that heart, remains at the centre of what he does.
Dermot doesn’t usually do encores, but he made an exception this time, reuniting all the event’s musicians to join their voices and ours in the traditional Irish farewell, “The Parting Glass.” We didn’t take any photos, preferring instead to just drink in the moment. What a special way to say goodbye to the first ever Misneach.
Dermot said he’d see us all next year, so I guess my days of festivals aren’t far behind me at all. I won’t be able to rely on the accessible seating next year, but I had so much fun that I’ll willingly brave the crowds. Hopefully the weather is a little kinder to us in 2026!
Ziggy Alberts has crammed an awful lot into his 14 years in the music industry. He’s won APRA Awards, racked up more than a billion streams, and played shows all over the world. While others may be daunted through their journey, it seems like nothing phases Ziggy. His signature chill shines through his recently released seventh album, New Love.
I’ve always appreciated Ziggy’s music, but this collection of songs is the first I’ve really taken into my heart. I think it’s the focus on relationships and romance that resonates most. Easy love songs make up the bulk of the music here, and they’re beautiful. It’s refreshing to hear songs about love that’s uncomplicated and without drama. As a 40-something who’s spent decades with the one man, songs like “I’m With You” and “Confessions”. And even if your personal life looks different, hearing the heartfelt lyrics delivered with such emotional sincerity brings comfort.
Ziggy punctuates his beautiful music with philosophical insights that might sound naff coming from someone else. But coming from this Kabi Kabi and Jinibara Country/Sunshine Coast-raised talent, it just makes sense.
New Love is such an enjoyable listen. Its songs are mellow and gentle, without sharp edges. Ziggy’s voice and the strum of his acoustic guitar will soothe you. Great art doesn’t always need to challenge the listener or the status quo. Sometimes, as is the case with this album, simply making listeners feel good is enough.
New Love is out now. Ziggy is playing plenty of shows around Australia and beyond to support its release but tickets are selling out fast, so get yours while you can.
Sienna Tenn casts a spell with her beautiful debut EP, memory lane. This seven-song collection provides a glimpse into the talents of this Meeanjin/Brisbane talent who isn’t afraid to do it all.
On memory lane, we see Sienna taking full control of her artistry. She’s the singer, songwriter, multi-instrumentalist, and producer. Everything you hear is a realisation of her vision. She seems to trust it completely, taking sonic risks that other artists may not attempt in their first outing. I appreciate that Sienna doesn’t play it safe.
I knew I was listening to something unique from the dreamy opening track, “reverie.” This gentle pop lullaby beautifully showcases her voice and gift for creating lush soundscapes. The ambient vibes continue in the title track “memory lane.” I think it’s the EP’s strongest song, with compelling lyrics that encourage listeners to take a trip back to the past with Sienna. The next tracks “it’s always you,” “should’ve been mine,” and “attached” take a similarly nostalgic tone with wistful lyrics that reveal yearning for a relationship long gone. “lilac love” is a beautiful goodbye to the past. Again I was struck by the lyrics which draw an intimate picture of the relationship even as Sienna wishes her former flame well. It naturally brings us to the present for the closing track, “these are the moments.” Sienna and her listeners aren’t spending time in the past any more. The yearning is gone, replaced with an acceptance. The loss still lingers, but that’s okay. It’s a beautiful place to end the story.
memory lane is an impressive debut EP from Sienna Tenn. It’s not as polished as many pop recordings, but I appreciate listening to music without the veneer. Slick production can sound pleasing to the ear, but we should experience music with much more than that. Press play and engage your heart instead.
It’s been 11 long years since The Audreys’ released their fourth album ‘Til My Tears Roll Away. After the death of founding member and guitarist Tristan Goodall in 2022, many wondered whether that album would be their last. But now the patience of fans has been rewarded with a beautiful new album, Ruin & Repair.
This release builds on the promise of two stellar singles, “Second Hand Boots” and “Beatles V Stones.” Both songs tell the story of love stories that are as flawed as they are important, destined to end but life-changing while they last. There are many more songs of imperfect love here. “Subterranean,” with its evocative lyrics painting the picture of an all-consuming relationship, drew me in. “Sober” is also stunning, a heartbreaking ballad that charts how an overreliance on alcohol can undermine a connection. Songs like “Beyond Compare” and “Norfolk Island Pine” bring some balance with their stories of love that feels healthier and steadier, at least for a while.
The Audreys excel at creating delicate folk songs, but this album sees them taking a few risks too. “To Want To Be Loved” shows an irresistible rock edge that reminds me of The Cranberries or Cowboy Junkies. “Seen The Last of You” is a simmering, sultry blues number bound to get underneath your skin.
No matter the genre, Taasha Coates voice anchors this music. It’s so warm and compelling, the perfect foil for the uber-talented musicians she surrounds herself with.
The release of Ruin & Repair marks the start of a new chapter for The Audreys. While this band will be forever changed by the loss of Tristan, this album shows they’re still a creative force capable of releasing some beautiful music. Take the time to get to know it this weekend, then make sure you get your tickets for one of their upcoming shows.
Theatre fans in Australia have been spoiled of late with outstanding major musical productions playing our stages for the first time. They don’t always find their audience; the premature closure of Dear Evan Hansen is a prime example. But I do hope that the industry continues taking chances on “fresh” works. The latest is Hadestown, which took home eight Tony Awards in 2019 including best musical.
I must admit, that was nearly all I knew about Hadestown, but it was enough to encourage me to grab some tickets. Sure I knew it was based on Greek myth and was aware of the roles its original Broadway cast assumed, but I was essentially flying blind. I love experiencing art like that, letting myself get swept up in the story and songs.
It’s very easy to get swept up by Hadestown. The characters break the fourth wall from the start, encouraging you to become part of their world, or should I say worlds. The mortal world feels like a New Orleans speakeasy, vibrant and full of life, a stark contrast to the cold dictatorship of the Underworld. Against these backdrops, the love story of Orpheus and Eurydice plays out.
If you know your mythology, you know exactly how it plays out. If you’re paying attention to the songs, you know how it plays out. And yet, when this production reached its climax, you could hear an audible, collective gasp. We weren’t ready.
Any production that can draw its audience in as Hadestown does is a winner in my book. I was so emotionally invested. While the Broadway bones play a role, so too does what the Australian cast brings to it. What a special collection of artists they are. Christine Anu is the only big name, returning to the theatre stage so many years after her debut in Rent. Her Hermes is undeniably Aussie, warm and wise. I appreciate that she stamped her own mark on the role rather than simply following Broadway legend Andre De Shields’ lead. Abigail Adriano and Noah Mullins are so compelling as Eurydice and Orpheus, playing their roles with earnest, youthful enthusiasm. I doubted anyone could embody Hades as well as Patrick Page, but our own Adrian Tamburini gives the Broadway icon a run for his money. Elenoa Rokobaro is such an incredible chameleon as Persephone, sunshine and fire depending on what the scene needs. And that voice! Speaking of voices, the Fates gave me chills every time they launched into their exquisite harmonies.
While most musicals hide their musicians in an orchestra pit, Hadestown makes them part of the show. They add to that speakeasy feel, showcasing their incredible talents on the stage and interacting with the rest of the cast.
There’s so much to love about Hadestown, I sincerely hope that Eora/Sydney and Naarm/Melbourne audiences get behind it. I understand that the cost of living is high and there’s so much competing for your entertainment dollars, but it’s one of the most impressive works I’ve seen. Don’t let this one pass you by.
When I saw the then newly reunited Southern Sons perform at 2019’s One Electric Day, I begged for a tour. This iconic Aussie act disbanded when I was 14, so I was too young to catch them in their heyday. Their short set at One Electric Day was well … electric … but it left me wanting more. Last night, more than five years after those shows, my patience was rewarded. With a gig in my local area no less!
This isn’t quite the Southern Sons of old. Phil Buckle never rejoined his bandmates and with Virgil Donati overseas, the uber-talented Pete Drummond has taken over drumming duties. But that core trio of Reggie Bowman, Geoff Cain, and frontman Jack Jones ably steer the ship. Their camaraderie is evident, both with each other and new kid Pete. Even though there’s one less member, the Southern Sons sound has lost nothing. Their sublime harmonies, incredible musicianship, and Jack Jones’ incomparable voice shone through in every number.
As a fan, I relished the opportunity to hear a longer set. While I’ve seen Jack play countless times, it’s always been acoustic. He needed to wait to reunite with his bandmates and be amongst fans to bust out some of my old favourites like “Hold On to the Memory” and “Sometimes”. It’s funny how you can hear songs after so many years and find yourself singing along, even though you haven’t thought about their lyrics for years. Those deeper cuts provided some of my favourite moments, but of course I loved the bigger hits. Being amongst fans who could sing along to smashes like “Lead Me to Water” and “Always and Ever” more confidently than the recent crowd at Avoca Beach Theatre was fabulous. That solo Jack Jones gig was totally stripped back, but in this bigger show Southern Sons used technology to great effect. With screens and audio, we experienced Colin Hay joining the band for “Don’t Tell Me What’s Right” and John Farnham joining Jack for the duet that should have been, “Burn For You.”
I worried that during a full band show, Jack may not have been able to chat as easily with the audience as he did during the Avoca Beach Theatre gig. So I was thrilled to see him take a seat, grab an acoustic guitar, and regale us with some stripped-back songs and stories. He’s such a charismatic storyteller that I hung on his every word, even though I’d heard the tales before.
Jack’s chattiness has always charmed me, but I was less enamoured later in the set when he talked about his surprise that he hasn’t been cancelled, the way he walks that line, before chatting about how “chicks don’t have ding-dongs.” Of course, he’s entitled to voice his beliefs, but the casual transphobia left a sour taste in my mouth. The laughter that erupted from the crowd suggests I was in the minority, but I would have appreciated more music from the early 1990s and less of the era’s opinions. Honestly, it was a bit hard for me to regather my enthusiasm after that and sing along to “Heart in Danger.” I can only imagine how it might have hit any members of the trans community who may have been present.
It’s amazing how just a few sentences can mar a generous set that stretched on well past the promised hour and 45 minutes. Southern Sons didn’t put a foot wrong until they did, and it’s a shame that’s what I’m likely to remember most about this long-anticipated gig.
Southern Sons continue their 35th anniversary tour in Thurrural/Thirroul tonight. Limited tickets are still available for the following shows:
Proving that music really is the universal language, Charles Maimarosia has captured my heart with his sophomore album Hote’ Hote’. Born in the Solomon Islands and now based in Naarm/Melbourne, Charles celebrates his Are’ Are’ roots with this special collection of songs.
From the bold native drums of album opener “Parani O’o,” this album makes one thing clear: this isn’t like anything else you’ll hear 2025. That might be a bold statement to make in February, but I can make it confidently knowing that it’s such a rare gem.
As a word nerd, I tend to listen to albums listening for lyrics I can connect with. I couldn’t do that here, as Hote’ Hote’ is recorded entirely Are’ Are’. That approach forced me to listen to the music in a different way than I’m used to. Are’ Are’ is such a beautiful Melanesian language, it becomes almost like another instrument on these recordings. They combine with guitars and traditional Melanesian panpipes to tell stories that you might not understand, but you certainly feel. The stirring “Nanaratana Hu’ A Kurmauri” uplifted me. Laidback “Na A’ Ma Si’ O” transported me to the beaches of Charles’ original island home. “Roropau,” a traditional Are’ Are’ lullaby, soothed me. Individually these songs are beautiful, but listen to the way they weave together and you get a sense of the culture that Charles honours so beautifully.
“The album explores themes of voyaging, family, love, and cultural preservation,” he explained. “It celebrates the beauty of the Pacific, the strength of community, and the stories of my ancestors. It’s also a call for unity and respect across all cultures and generations. And also my own journey from small Pi Pi Su village in Malatia Solomon Islands to Australia and touring the world following and sharing My culture and music from the age of 17.”
Hote’ Hote’ probably isn’t like anything you’ve heard before, but that’s a good thing. Open your ears and heart and let yourself be transported away by this release. Hote’ Hote’ is out now. Charles will bring this music to the masses at the following shows:
It’s no coincidence that Thndo’s released her new album Lessons in Love this Valentine’s Day. While the day might be a Hallmark holiday, it’s also the perfect time to discover this diverse collection of “love songs.”
I put the term in quotes because most songs aren’t love songs in the traditional sense. While they all touch on relationships, they’re not formulaic or overly saccharine. Thndo bares her heart here, exploring the emotions that come when you open yourself up to someone. There’s excitement over infatuation, but also trepidation over being vulnerable. Love comes in all forms, so it’s only fitting that Thndo touches on motherhood with songs like “Another Day” and the incredible closer, “Purpose.” The struggles in relationships are celebrated as part of the story rather than sugar-coated. While Thndo’s not afraid to show the scars, this is ultimately an uplifting collection of songs that offers hope that love can conquer all.
These are songs of real substance, so I wanted to celebrate that first before I mention Thndo’s voice. It’s important to stress that her talent goes much deeper than her vocal chops. But of course, I also have to mention Thndo’s voice. It’s simply one of the best in the country. It can truly do anything, from the upbeat grooves of “Along the Way” and “Bedroom Eyes” to the cinematic ballad “Holding On.” But I love it best in pared back numbers like “Another Day” and “Given Time.” When you strip the music back, there’s nowhere to hide. If there were any imperfections, we’d hear them. There are none. Thndo’s rich, soulful voice is simply incredible.
I liked Lessons in Love from the first spin, but after a few listens I feel deeply in love with it. Press play and let it find its way into your heart this Valentine’s Day. You can see Thndo performing selected songs from Lessons in Love at the following venues:
Fiercely independent, Alexander Biggs is an artist who plays by his own rules. His music doesn’t sound like anything on the radio. He takes his time releasing it, waiting five years after hitting my radar before unleashing his debut album Hit or Miss and another four years before following it up. But today, we get the opportunity to hear his sophomore effort Stay With the Horses.
Of course, when you’re self-recording, self-producing, and independently releasing your music as Alexander does, you have time. To experience life and find inspiration, to experiment with lyrics and sounds, to get it just right. I hear the benefit of time in these songs. They embody the elements that drew me to Alexander’s music years ago. The hushed vocals have such a quiet power, drawing in the listener and creating intimacy. The lyrics are beautiful, poetic, and authentic. The melodies are simple, allowing us to hear the words that Alexander almost whispers.
But don’t think Alexander’s simply delivered more of the same here. This is everything I love about his music, but better. The melodies seem more approachable and a little catchier. You’re still not going to belt out these songs at karaoke, but you might find yourself humming them unexpectedly. His songwriting has evolved too. I found myself marvelling at his way with words, admiring phrases that hit my ears and heart. Alexander has elevated his music without alienating his fans here. That can be a delicate balance, but he achieves it with these songs.
Stay With the Horses is a really special album. It’s music that matters from an artist that isn’t afraid to buck trends or reveal their heart. Listen to it on your favourite streaming services now or purchase a limited edition vinyl copy here.
