Casey DonovanA decade ago the New Year’s fireworks were an excuse to pan how bad television could really be, but then the ABC stepped in, creating a musical celebration, not afraid to lean into covers, but also there to celebrate new Australian musicians.
Over the years it’s also brought in the odd international celebrity, last year’s Robbie Williams performance was a particular coup and this year we welcomed ex-Spice Girl Melanie C. But the magic in the three-hour broadcast is always in the Aussie artists strutting on a million-strong TV audience stage that rarely exists outside of New Year’s Eve or a footy grand final.
This year delivered again in spades. Firstly, we’ve got hosts Zan Rowe and Charlie Pickering, the ABC’s finest MC-ing the proceedings. Recently finishing up her radio duties on Double J, Rowe is even more important than ever for an Australian music industry that needs a champion in the mainstream while Charlie Pickering delivered the pre-cleared comedic lines perfectly. Considering the scrutiny on every word, that’s not a criticism. The pair delivered what was needed for what needs to be the broadest possible audience.
The Queen of New Year’s Eve is clearly Casey Donovan and the broadcast acknowledged that this was her ninth time at the event. For an event that previously shit-canned every performer ever in every idoration of the New Year’s broadcast before her emergence, it’s great praise. She’s a singer that no matter where you stand on the political, religious, racial or age spectrum, it’s hard to find a human to criticise the pipes and her ability to nail whatever song is thrown at her. She brings Australia together. This year, she took on K-Pop Demon Hunters and slayed. But then she’s across the whole broadcast and it wouldn’t be New Year’s without her.
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But this year, she had some competition. If there was a “winner” of the night, it would be Jem Cassar-Daley. A new artist to most, she has been working her way up in the industry (largely in the giant shadow of her father, country legend Troy) but tonight was the night she stepped outside and slayed her entry into the mainstream. When it was announced she was taking on Wonderwall, Australian said “really? she’s going to do that?” before laying back in their seats and having their faces melted by a perfomance that wasn’t just note-perfect, but that made it into her own.
The Cat Empire opened the night and slayed the multicultural music vibe, but nothing could top the horns starting during Hello Hello. It’s hard to live down your big hit, but when it’s that good, who wants to?
Don West would have been a new name to most viewers, but was an inspired choice for the broadcast which reminds us that there’s plenty of “mainstream” friendly Australian artists that just don’t happen to suit commercial radio. West is one of the most interesting artists in Australia today and the inclusion on the broadcast is inspired. What a voice! (and Don…. if you’re reading this, we have been chasing an interview all year!).
Marcia Hines also proved why she was the queen of disco, delivering a suite of hits including her own 70s classic You and proving that it isn’t just the young guns that can prove themselves to a new audience. But then Macarthur Park happens and Casey Donovan rejoins the stage in case Marcia gets too big for her New Years boots. Jokes aside, we’re seeing two of the best female vocalists Australia has ever produced on one stage. If any young artists want a masterclass in vocal technique or stagecraft, this is it.
It’s also worth noting the brilliant Gary Pinto who provided uncredited backing vocals as part of the house band for the night. Gary, known for his solo career but also for his time in CDB with the massive hit Let’s Groove personifies the Australian music industry. A guy who is / has been / should be a star in his own right, but he’s grinding it out on BVs tonight and slaying it because he’s a muso first and a celebrity second. If you’re wondering who that guy in the white shirt was and just how good he is, check out his Sam Cooke cover album from 2022.
Peach PRC brought the vibes for the TikTok generation, but it may have been a mis-step to place her right after Marcia and Casey’s disco inferno. Peach is there for the modern pop vibes, not the vocal gymnastics and it was probably unfair to place the performance where it was in the proceedings. She nailed the brief though and for someone more famous for songs like God Is a Freak and Forever Drunk, she proved that there’s a broad mainstream audience for the pop vibes she can bring. Her cover of Katy Perry’s Firework proved that she does have the chops.
The broadcast stopped to remember the victims of the Bondi shootings in a moment of silence that was an incredibly poigniant moment of torches and candles, followed by an massive performance from Matt Corby of Never Tear Us Apart. The stripped back version not only created a special soundscape, but showcased the incredible power of Corby’s vocal. Known more for his understated folk vibes, he delivered a memorable and powerful performance. He backed it up with his own hits Resolution, Brother and Miracle Love converted many fans tonight alone with Oliva Dean’s Man I Need in a near-perfect set.
Casey Donovan then returned to the stage with Lady Gaga’s Abracadabra, Raye’s Where Is My Husband to remind everyone why she’s the Queen of New Year’s Eve. And no better place to throw accolades on the incredible house band.
Then Melanie C brought the party with her solo hits Never Be The Same Again, I Turn To You and Sweat. But when she invited the torches out for 2 Become 1, then launched into Say You’ll Be There, Spice Up Your Life and Who Do You Think You Are, the added Spice was worth it. Let’s face it, an OG Spice Girl can’t help but impress— it was a worthy way to end the night…. although will likely draw unfair comparisons to last year’s Robbie Williams explosive unicorn performance.
Then 10-9-8-7-6-5-4-3-2-1 and the fireworks explode as we’re here in 2026.
The magic of the ABC’s New Year’s Eve broadcast is that they can celebrate Australian music while bringing people together. Many other hamfisted but well-meaning insertions of Australian music into mainstream media are met with hecklers from the cheap seats saying “Who?” or “Where’s Barnesy?”. And sure, no doubt there’ll be cheap clicks in doing that we’ll see roll out over the next 24 hours from the ABC haters and those that just love being grumpy. But for mine, the ABC thread the needle so well, providing a celebration of our culture through music, not just fireworks.
So after this year, is Casey Donovan still the Queen of New Years Eve? Well…. yes. Nobody has dethroned her, but for our money, Jem Cassar-Daley and Matt Corby should be invited back anytime.
Maybe it’s the New Year’s vibes. Maybe it’s the negronis I had earlier. But if the Australian music industry wants a blueprint of how to put Australian artists on a mainstream radar, this is it.
Bonus points to whoever programmed Rage afterwards. Whitney Houston? Donna Summer? Lionel Ritchie? Eddie Murphy and Michael Jackson’s obscure 1993 duet Whatzupwitu straight into Prince’s 1999 and Tears for Fears Everybody Wants to Rule the World? Genius.
