Shaun's been writing with The Music since 2015 and in that time has written on everything from high art to hip hop, from spectacular jazz in grand arenas to burgeoning bands in back rooms at pubs. He's mapped the rise of such acts as Winston Surfshirt and Noname, reviewed musicals, theatre shows and a tonne of music including the reunions of Wu-Tang Clan and TLC.
His one claim to fame is a short-lived time as singer in a band that Julia Jacklin opened for before she was famous. He's interviewed the Tibetan Prime Minister and a radio comedian he can't remember the name of. Outside of reviewing for The Music, he is a full-time English teacher, part-time poet and avid music and literature aficionado/desperado.
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moktar's set provided a reminder of what club music can do: bridge worlds, shake assumptions, and, above all, make people move.
Black Star isn’t just music; it’s a living archive. A communion. A reminder.
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.
Headliner Dermot Kennedy shone in the way he always does, making sure the spotlight didn’t just fall on him but on everyone around him.
The night showcased New Order’s enduring ability to craft propulsive electronic music, and keep audiences singing along.
Ganavya wove an atmosphere of transcendence in Sydney, inviting the audience into a world where poetry and music became one.
Jordan Rakei's Sydney Opera House debut was a culmination of everything he has worked toward: a masterclass in musicianship, storytelling and soul.