Reviews / Live

By the time 'Diving Woman' crashes into its final, thundering chords, we’re no longer inside a venue. We’re in Michelle Zauner’s universe: romantic, weird, luminous, alive.

This was a performance of fragility and control, intimacy and grandeur, warmth and distance, held together by Gibbons’ unmistakable voice.

In a magical set, Jessica Pratt proved that she isn’t a performer in the theatrical sense; she’s a conjurer.

This wasn’t just ANOHNI’s last performance in Australia with The Johnsons. It was an elegy for the Anthropocene.

For roughly an hour and a half, the crowd was gripped in a vice-like magnetism normally reserved for rituals long deemed forbidden.

It was hard not to feel like this, in a formal concert hall with a full orchestra, was where this band, and these songs, truly belonged.

Beneath the chaos, 'Beetlejuice The Musical' invites us to consider the afterlife, offering a whimsical yet poignant reflection on how we navigate life.

“Now seems like a good time to tell you that this is our 50th time playing in Melbourne.”

For the first time in Adelaide, the Disney production invites you to Be Our Guest.

Visuals? Not essential. Giant screens? Meh. All you really need is the legendary Billy Gibbons and his guitar wizardry.

The lights went up on a crowd clearly coming down off 90 euphoric minutes of immersive brilliance.

As what was ostensibly the last Bluesfest wraps up for 2025, it's clear there's still life left in the inimitable event yet.