The endlessly iconic FATBOY
is bringing his biggest party yet to Mt. Duneed Estate this March
21 March
23 March 2024
Victoria
Hiatus Kaiyote ‣ Pond
MJ Lenderman & The Wind
Empress Of ‣ Kaiit ‣ Floodlights
Marcellus Pittman ‣ ORB
dameeeela ‣ Osmosis Jones
Guitar Wolf ‣ Pureblast ‣ Armlock
Chee Shimizu ‣ Twine ‣ Eggy
Big Yawn ‣ Empress ‣ Miles Nautu
Proto Moro ‣ Pop Filter
Annie-Rose Maloney ‣ Mika James
Think About You ‣ Follow The Robin
Npcede ‣ James Range Band
JIMEOIN
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Another 30 days have rolled around which means your favourite monthly rag is here, full of even more juicy, finger-lickin, pageturnin’ stories from our own backyard. We thought it
couldn’t get
SOCIALS
any better than this
but we outdo ourselves every time! I can’t wait for you to check out who we’ve been chatting to this month.
Æ To get the party started, Fatboy Slim is set to arrive on our shores to bring us his biggest Aussie shows yet; dancing the night away with special guests DJ Seinfeld, CC: DISCO and Jennifer Loveless. He chats about his eclectic journey towards international fame and what really gets a crowd going.
In sad news, Aussie duo Holy Holy are hanging up their halos after more than a decade, but won’t be leaving without saying goodbye; announcing a hiatus tour in May–June this year.
March is the month of Neurodiversity Celebration Week (17th–23rd) and International Women’s Day (8th) and, fittingly, all our other features for this edition are written by or about women. Celebrating the art, work and passion of the brilliant women and neurodiverse folk in our region.
Jenn Leonforte is a local sound engineer and designer, diagnosed with autism, Postural Orthostatic Tachycardia Syndrome and Ehlers-Danlos Syndrome.
Georgia Fields was recently diagnosed with autism and shares her story navigating accessibilty in the music industry, alongside local theatre practitioner, writer and actor Ash Pyke.
Choreographer Rebecca Jensen and performer and composer Aviva Endean are bringing their dance work Slip, where image, sound, and time untether to consider our entanglement in acts of delay, deferral and doubt.
Local music-lover and founder of Waste Free Events, Jess Hobbs, discusses the importance of sustainability in the music industry and we sat down with polaroid photographer extraordinaire, Kell Blackmore, who lovingly captures the magical moments of our local music scene with her Silver Fox.
Scrumptious sounds in our album reviews this month arrive from Miami Horror, Bloodywood, Church Tongue, Thndo and Jisoo and our venue spotlight has just as yummy stuff for your belly with Two Sisters Cafe, At the Heads, Mr Peacock and Last One Inn.
Summer may be over but the fun has just begun, grab a drink and a light snack and sit down with Forte Magazine xx
Our magazine is published on the lands of the Wadawurrung People of the Kulin Nation, and we wish to acknowledge them as Traditional Owners. We pay our respects to their elders, past, present and emerging.
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Our March cover is Fatboy Slim, as part of his LOVES Australia Tour
FRANKIE Editor
“For fans of The Cure, Fuzzrays, Le Tigre, Floodlights with their 90s post-punk, alt-rock sound, this track has
“When
Partnerships & Campaign Manager
“Just a light, fun and ever-so silly dance number. Check out their video clip, they look like they had a wonderful time.”
GOOM FEST 2025 IS RESCHEDULING, KEEP AN EYE ON APRIL
Don’t freak out! Goom has locked in the new dates; April 5-6.
Taking to Instagram in February, Goom Fest organisers cited recent weather conditions and current fires around Victoria as reasons for the change in date. If you have a ticket already, you don’t have to do a damn thing, your ticket will roll straight over to the new event date.
OH! THE WOMBATS ARE SUMMERSALTING THEIR NEW ALBUM TO TORQUAY THIS SEPTEMBER
The Wombats, one of the most enduring and dynamic bands to emerge from the late-‘00s indie rock scene, are set to release their highly anticipated album Oh! The Ocean and head out on tour this year
DOPE LEMON DROPS NEW SINGLE FROM ANTICIPATED FIFTH ALBUM GOLDEN WOLF
Dope Lemon, the acclaimed project from Australian musician Angus Stone, is set to drop their highly anticipated fifth album, Golden Wolf, this May.
To celebrate the announcement, Dope Lemon treated fans to the album’s second single, Electric Green Lambo, along with a vibrant new music video released in February.
After a sensational 2024, The Sound Doctor is kicking off this year with a jam-packed program sure to get music lovers excited. With a lineup featuring both international stars and Aussie favourites, it’s going to be epic. The year begins with two massive shows. First up, Surfcoast’s own garage rockers The Grogans will bring their genre-blending sound to Anglesea Memorial Hall, supported by local punk-pop group De Porsal. If you’re looking for the perfect way to say goodbye to summer, this is it.
The cozy concert series is all about intimate performances in a stylish setting, and the best part? It’s completely free! But here’s the catch—there are only a few spots available, so you’ll want to grab your tickets before they’re gone. This is your chance to experience live music up close and personal in the luxe surroundings of the TLC Piano Bar. Trust us, you won’t want to miss it.
FLAGGED
The band has announced the release of their highly anticipated eighth studio album, Like Love, set to drop on Friday 4 April. Alongside the album announcement, they’ve unveiled their latest single, ‘Please Don’t Move To Melbourne,’ and revealed plans for a massive Australian and New Zealand tour this coming May and June.
Hold onto your hats, Aussie rock fans— Cherie Currie, the unforgettable voice of The Runaways, is coming back Down Under for her final Australian tour this September. After gracing our stages once back in 2016, this will be her last hurrah on Aussie soil, and trust us, you won’t want to miss it.
Frankston’s Street Art Festival is ready to transform even more walls in the city centre from 17 to 23 March, with nine more featured artists coming to paint large scale murals and do projection artworks in the city during the week.
Culminating at The Block Party in Stiebel Lane on Saturday 22 Marchthe Frankston Street Art Festival is the epitome of Frankston’s urban arts culture.
Book into a Street Art Walking Tour or follow the map to discover the artworks on your own.
The beloved regional festival will miss another year, following the cancellation of the 2024 event due to low ticket sales. It’s a sad day for music lovers as the adored Groovin the Moo announce a 2025 festival isn’t happening.
The team posted to Instagram, revealing they are taking the time to “find the most sustainable model” for the much-loved Aussie event.
CALLING ALL DOG LOVERS: GEELONG WILL AGAIN HOST A MARKET JUST FOR PUPS THIS MARCH
Little Creatures in collaboration with Pure Paws Dog Bakery is once again hosting the Dog Lovers Market - and boy are our tails wagging over it! Guys. A market just for dogs. Dogs galore. What event could be a more perfect way to spend a Sunday?
Giving you an excuse to get out and treat your loyal and fluffy, four-legged best friend (or simply attend to pat all the pooches if you don’t have your own), Little Creatures has teamed up with Newtown’s dog bakery Pure Paws Dog Bakery once again for a glorious event, celebrating some of the best things in life on Sunday 9 March.
OLD MERVS HIT THE ROAD FOR DEBUT ALBUM TOUR, CATCH THEM IN BARWON HEADS AND CASTLEMAINE THIS JUNE
Australia’s favourite indie-rock duo, Old Mervs, are gearing up to hit the road this year in celebration of their highlyanticipated debut self-titled album, set for release on 21 March 2025. To mark the occasion, the pair will embark on a major tour, bringing their infectious energy to 20 cities across Australia and New Zealand from May to July 2025.
HOLY HOLY HIATUS TOUR FAREWELLS FANS
After more than a decade, five albums, and countless shows across Australia and beyond, Holy Holy have announced they are going on hiatus. Alongside the news, the band has announced a national hiatus tour in May–June 2025
Holy Holy, —comprising producer and composer Oscar Dawson and songwriter and lyricist Timothy Carroll— leave us with a catalogue of five iconic albums, a double platinum single, one platinum and four gold singles, and over 150 million streams on Spotify alone.
BIRREGURRA
Birregurra’s Royal Mail Hotel has found a winning formula for both its locals and visitors, bringing live music back to this small rural town.
The Sunday session, held from 3-5pm, caters to a wide range of audiences, from young families and parents to the older generation, making it an ideal time slot for those who struggle to make it to late-night shows.
PUSH CALLS FOR $6.8M FEDERAL INVESTMENT TO SUPPORT NATIONAL ALLAGES
The proposed funding would go towards a National All-Ages Events Teams program aimed at providing live music experiences to over 120,000 young people, creating 1200 new jobs, and fostering stronger community connections across regional and outer suburban areas.
CRUISING WITH THE GRANDPARENTS CLUB: THE HILARIOUS NEW MUSICAL COMEDY IS DOCKING IN GEELONG THIS AUGUST
The premise? Four lovable grandparents embark on a cruise to let loose and enjoy life away from the demands of family. But, of course, things don’t go as smoothly as planned. From missing their grandkids to sorting out family drama, these grandparents are on a quest to make the most of their bucket-list adventure.
AUSTRALIAN GRAND PRIX’S 2025 MUSIC LINEUP LED BY FATBOY SLIM, TONES AND I, BAKER BOY
The Crown Lakeside Festival returns with a massive lineup featuring Tones and I, The Living End, Spiderbait, Baker Boy and Anna Lunoe performing against the backdrop of Melbourne’s city skyline. The festival is included with Grand Prix tickets, with Fatboy Slim set to close out race day with his signature party-starting DJ set featuring hits like Right Here Right Now and Praise You.
WEEK
Taking place over 14 spectacular and magical evenings, Thursday to Sunday, from 27 March to 13 April, LIT returns with an all-new program of incredible light installations to explore and extended opening hours. Now in its fourth year, this awardwinning light festival is a truly immersive experience, transforming the beautiful riverside location of Wyndham Park in central Werribee into a dazzling, dreamlike canvas.
& BACK AGAIN RECORDS OPENS NEW BRICK-AND-MORTAR VINYL STORE IN GEELONG
Geelong’s music scene just got a whole lot more exciting! After over a decade of diving deep into the world of record buying, selling, and collecting, James Harrison and Jack Robbins are set to open a new record store in Rippleside, and it’s going to be one hell of a ride for vinyl lovers.
ARCHIVE WINE BAR AND LADYGARDEN WINES COLLAB FOR WOMEN IN WINE GARDEN PARTY SPOTLIGHT
This March 9th, join us for a glass (or two) at Archive Wine Bar’s International Women’s Day Garden Party – an afternoon dedicated to celebrating women who are shaking up the Australian wine scene. In partnership with Ladygarden Wines, the event will shine a spotlight on the incredible female winemakers who are redefining what’s in your glass.
AN EPIC LOCAL EDITION OF LIVE IN THE PINES IS COMING THIS MARCH WITH SOUNDS OF TORQUAY
Get ready to kick off March in style with an unforgettable night of live music at Live in the Pines - Sounds of Torquay!
On Saturday, March 1st, the 4 Pines stage will be set for a lineup of some incredible local acts, delivering a night filled with fresh tunes and vibrant energy.
BLISS N ESSO ANNOUNCE HUGE TOUR FOR LATEST ALBUM THE MOON (THE LIGHT SIDE)
Legendary Australian hip-hop crew Bliss n Eso have announced their 28-date Party on the Moon Tour for this May –Aug, with special guest on all shows Melbourne rapper, singer and songwriter Ivan Ooze. For over two decades, Bliss n Eso have put on an explosive highenergy live show and the Party on the Moon Tour will be no exception!
EXPLORE THE POWER OF CONNECTION WITH THESE UPCOMING ASIA TOPA HIGHLIGHTS
The Asia-Pacific Triennial of Performing Arts (Asia TOPA) 2025 continues to be a groundbreaking celebration of culture, art, and ancestral knowledge. ASIA TOPA 2025 is a festival that crosses boundaries, honouring cultural histories while looking to the future. Each performance brings together artists from across the Asia-Pacific region, creating unique collaborations that celebrate the resilience, beauty, and strength of First Nations and Indigenous cultures.
FRINGE FESTIVAL ANNOUNCES MASSIVE LINE-UP FEATURING NAI PALM, A REMEMBRANCE RAVE, CREATIVE WORKSHOPS + MORE
The Castlemaine Fringe Festival is back in 2025, and this year it’s set to be bigger and better than ever! For over 30 years, this vibrant festival has been a haven for independent artists, performers, musicians, and creatives, offering a space where innovation and artistic expression can shine. Mark your calendars for the kick-off event: a HUGE, FREE STREET PARTY on Saturday 22 March outside the Castlemaine Town Hall and surrounding streets.
This initiative aims to support established festival organisers in boosting popular music events and bringing even more festivals to music fans across the state. Delivered by Music Victoria on behalf of the Victorian Government, this funding program is designed to provide
Everyone’s favourite affordable coastal music festival is back in 2025 bigger and better than ever. For it’s 19th year, a unique and diverse blend of acts will perform over three days, set around the stunning coastal hamlet. Plus, after a hiatus of nearly a decade, iconic local band The Vasco Era is back, bringing both their classic hits and fresh new tracks to the stage at this year’s Airey’s Inlet Music Festival.
The ChillOut Festival, Australia’s premier regional LGBTQIA+ pride event, is returning in 2025 for another spectacular weekend of celebration, joy, and community in the heart of Daylesford.
Held annually over the Labour Day long weekend in March, ChillOut has grown from its humble beginnings in 1997 to become the country’s largest and longestrunning queer country pride festival.
This year’s spicy festival promises to bring together everything that chilli lovers could dream of—think international flavours, live music, fiery food, and some wild competitions that’ll get your heart racing and your taste buds tingling. Over 70 vendors will fill the festival grounds, bringing a world of flavours to your plate.
acid jazz and house, the breakbeats of hip-hop. “I’m working on a book, charting how I went through all of these bands in my past and, if you listen to the last single of each band I was in, they sort of lead into the next ones sound.”
When asked about his musical evolution, Cook is quick to make a comparison to one of music’s greatest chameleons. “If I was David Bowie, I would still be called David Bowie, but rather than mutating, I just worked with different people. A lot of my musical changes were down to who I was working with, whereas Fatboy is just me. That’s why it’s lasted longer than the other projects, because I find it hard to split up with myself.”
Cook’s distinctive sound is perhaps what’s kept fans coming back for more.
“I think I’ve just got a good ear,” he says thoughtfully. “But the most important thing is I’ve got one foot in both camps. I grew up DJing and got very heavily into club culture and mixing, but I was also in pop bands. A lot of DJs who make DJ music don’t understand pop, and a lot of pop stars trying to make dance records don’t understand dance music. Because I’d done both, it was easy for me to combine the two.”
Perhaps the key to Fatboy Slim’s success lies in his ability to be himself and experiment without constraints. “I think I’m best left to my own devices with no one saying ‘you can’t do that,’” he reflects. “When it’s just me, I can carry on with those stupid ideas I have, and no one reigns me in. That’s when I’m at my best. That’s when I’m cheeky, experimental, and catchy. I love a good hook, and I think that’s what people latch onto.”
Cook recalls a time in his youth working at a record store, the only “honest job” he’s had, he says. “If the record didn’t have a hook, they didn’t buy it because they couldn’t sing it to me. That stuck in my head.”
Cook’s energy is deeply connected to performing on stage. “The energy of the crowd truly fuels me,” he says. “People ask, ‘How does a 61-year-old have such energy?’ I get it from the crowd. I get so overexcited watching them. They’re a part of it—it’s a conversation that goes on. And that influences the music as well because you spend thousands of hours onstage watching people react and seeing what gets them going. A lot of the time, I try out new stuff on the crowd and figure out what works.”
During the pandemic, when live performances were off the table, Cook found that the absence of an audience changed everything. “Trying to do livestreams and DJing without an audience,” he admits. “It ceases to be DJing; it’s just a middle-aged man playing records. The audience makes the show.”
When it comes to his music, Cook has always embraced a distinctive sound—“a bit acidy but accessible,” as he puts it. “I call it dirty but catchy. That’s what I’m aiming for.” Though he’s well known for hits like ‘Right Here Right Now’ and ‘Praise You’, he loves to switch things up. “That’s the beautiful thing about being a DJ, you don’t have to play the same set every night or your own songs every night, it depends on the mood.”
Cook’s musical influences go way back, and he has fond memories of his first vinyl purchase. “Suzi Quatro—it’s a filthy, dirty, sexy record by a female bass player, who was probably the object of my early teenage fantasies. I still love that record to this day,” he says.
And when I mentioned a similar obsession with my own muse, Viv Albertine, he lit up;
“The Slits were one of the first bands I saw live, supporting The Buzzcocks in Croydon in ’77. She [Viv] dropped her plectrum, and I kept it for years. I wish I could find it for you now.”
As for the name “Fatboy Slim,” it’s rooted in his love for old scratchy blues records. “If you were a fat blues singer, you were called Slim,” he explains. “I had records by Memphis Slim, Pinetop Slim, Bumblebee Slim, and Fatboy Slim just sounded like the oxymoronic blues singer who could never exist. It had a great ring to it.”
Cook is heading out on a national headline tour this month, hitting Perth, Sydney, Bowral, Barossa Valley, Mount Cotton and Mt Duneed Estate in Geelong.
“Come along, bring your dancing feet, leave your inhibitions at the door; though I know you Aussies are good at that, and let’s celebrate love and life together through the medium of very loud music.”
FATBOY
SLIM
WHERE: MT DUNEED ESTATE, VIC
WHEN: 22 MAR
WORDS BY FRANKIE ANDERSON-BYRNE
Jenn Leonforte didn’t set out to become one of the most passionate and uniquely talented sound FX engineers in the industry. In fact, her journey began with an unexpected twist.
Æ In high school, Jenn had planned to pursue psychology, but a last-minute panic led her to change direction. She chose a fine arts degree in film and TV media, but it wasn’t love at first sight with cinema. What began as a casual interest would quickly evolve into a lifelong obsession, sparked by the discovery of one key fact: sound is everything.
Her first year in film school was filled with cinephiles—people who dreamed of directing, writing, producing. But when it came down to it, Jenn saw that no one wanted to hold the microphone. So she did. What began as a reluctant task soon revealed a deeper connection to the invisible world of sound.
“When things sound bad, they look worse, and the audience can’t suspend their belief and immerse themselves in a film,” she says. “We make it sound like it was there in the first place.” This revelation led Jenn down a path she hadn’t expected. While others turned away from sound, Jenn dove in. By the end of her first year, she was already boom operating and location recording for films made by second and third year students. She moved through her degree with ease, even teaching classes.
But there was a catch. The physicality of boom operating began to take its toll on Jenn’s body. She lives with Postural Orthostatic Tachycardia Syndrome (POTS) and Ehlers-Danlos Syndrome (EDS).
“EDS is impossible to find on imaging and tests because you don’t know what you’re looking for. Plus, Hypermobile-type 3 is the only one out of 13 where you can’t get a genetic test for it because they haven’t found the gene yet. When Jenn was 10 she had a nosebleed every day for a year. At 12 she was so bloated and distended she looked pregnant and she got a headache that hasn’t left since. At 18 she discovered she had vaginismus and pelvic floor issues, and her disability means she is unable to drive or stand for long periods of time.
“Pain is a language, there is no way for your flesh to communicate with your spirit but it is the oldest relationship we have.”
“The way your body feels can absolutely be tied to your emotions, but when you have a condition that creates pain in every part of your body you don’t know which is which. Autism forces you to disconnect to your body when you’re young due to realising “I lose love when I have these needs” so your body has to scream even louder for you to hear it.
“But it’s not a true measure of injury or damage and it doesn’t determine how afraid you should be.”
She had to adjust, shifting her focus to post-production sound design, an area that allowed her to engage with sound in a more creative and physically manageable way. But this wasn’t the only evolution Jenn would experience in the industry. She soon found herself in a world that, though full of talented individuals, was often rooted in traditional gender roles.
“The sound industry is archaically male-dominated,” she reflects.
“The women, though more ethnically diverse, often end up in production management or dialogue editing. The big, bold sound design—the stuff I love—is still predominantly male.” Despite these challenges, Jenn thrived. She found her passion in sound effects, though isn’t a fan of foley. “I prefer the more subtle, everyday sounds,” she says. “Doors, gates, wind, phones, toasters— those sounds we take for granted. That’s where I find my joy.”
Her sharp ear and attention to detail are what set Jenn apart. Her autism, which manifests in echolalia—repetition of sounds—made her uniquely skilled at remembering how everyday objects sound.
While the industry around her was evolving, Jenn’s journey was also deeply personal. In the years after graduating, Jenn worked on shows like Five Bedrooms, Harrow, and The Strange Chores gaining experience that helped her refine her craft. Yet, it was the quiet, unnoticed sounds—the creak of a door, the hum of an appliance—that fascinated her most.
“It’s low-stakes work, but those sounds make or break those little moments in a film.”
Despite her immense talent, the sound industry remains challenging. Directors often say sound is “50% of the film,” yet, as Jenn notes, the budget, time, and recognition don’t always reflect that. “They say sound is 50%, but they don’t back that up with time or money,” Jenn says. “Without sound, the film doesn’t feel finished. It feels uncomfortable, amateur. But sound can make up for a lack of budget. If you don’t have a polished soundscape, it doesn’t feel intentional. It doesn’t feel like art.”
The power of sound became even more apparent when Jenn worked on the horror film Talk to Me. “They had problems with the score, so we focused on the sound design first,” Jenn recalls. “They asked, ‘How do we make this as scary as possible without music?’ We did it with sound. It shows how powerful sound can be—it can create atmosphere, tension, emotion, without a single note.”
Last year Talk To Me won the AACTA for best sound in a feature, supervised by Emma Bortignon. Leonforte also worked on Late Night with the Devil and Of an Age.
“I love being at the end of the film process because you get to see a director fall in love with their project again.
While her work is largely invisible, it’s indispensable. “People often don’t think about sound, but they know when it’s wrong. Our work is so subliminal—it bypasses the conscious brain and tells people how to feel. It’s the invisible art.”
Jenn Leonforte’s journey—one that intertwines her love for sound with the realities of living with a disability—proves that even in a world that often overlooks the unseen, the quiet work of a dedicated artist can leave a lasting, powerful impression.
WORDS BY MOLLY ENGLAND
Two brains are better than one. Especially when
hardwired to bloom creative, sparkling stringquartet compositions and rowdy, beautiful theatre.
Æ Georgia Fields and Ash Pyke are two such artists whose creative practice is emboldened by their neurodivergence.
When someone qualifies their “cool-normal hobbies” to include re-compositions of David Bowie’s entire Ziggy Stardust album for a string quartet, you have to believe that their creative mind is never at rest. For Georgia Fields - songwriter, performer, composer and sonic-shapeshifter – her neurodivergence is her artistic strength.
As I speak to Georgia, she has just started her String Theory tour and is on her way to Boon Wurrung Country to perform. She’s orchestrated a mix of quartet compositions, both of her own work and covers that will be performed across the nation. In each state, she’ll be teaming up with local strings aficionados (some of whom she’s never met) to perform these pieces for local audiences.
Georgia glows as she speaks about her love for performing. This adoration for the act of playing music and performing complex work is completely different to the social side of the music industry. Switching between requirements of a performance, being hyper-focused and losing yourself in the music is a stark contrast to chatting at soundcheck, meeting people at the merch desk, and the effort demanded from the visual and audial stimulations of a new place “It feels like you are performing from the moment you get out of the car at the gig, but that’s the nature of the beast”.
The accessibility of gig culture from a sensory perspective has room to grow. Neurodivergent performers are asking for their needs to be met. For Georgia, this looks like pictures of the venue prior to her arrival and a quiet space for her to zen out before performing. These needs are requirements that enable Georgia to gift us with her music, beautiful enough to make George Martin weep.
For local mermaid/writer/movement director/builder of artistic empires Ash Pyke, the creation of live theatre is found in the cornflowers and the coffee.
Ash is part of a team of brilliant creators including Jolyon James and Nate Gilkes, all of whom are parents of neurodivergent young people or a part of the community themselves. “Because we’re all living in these houses with these amazing young people, and then we’re making work for them – it’s so cool. People with diverse brains, especially teenagers, it’s big”. The theatre spaces Ash is creating and cultivating are bold and beautiful, investing in art that allows accessible spaces for other young neurodivergent creatives to be validated, enjoy the theatre and feel seen.
It was this sort of theatre, Jolyon James’ Robot Song, which was the catalyst for Ash’s diagnosis process and identification as a neurodivergent creator. Ash shines as she thinks on Juniper, the protagonist of the show. “I’d never identified with anyone more in my life!”. When I commented on the interesting paradox that it was not medicine that diagnosed Ash, but theatre, she reminds me, “It’s always art, baby, it’s always art.” And she’s right – there is an intrinsic creativity required living the artist lifestyle. For neurodivergent folk like Ash, that part of her brain is not a nine to five kind of deal, but a twenty-fourhour convenience store of theatre-making magic.
While the world of theatre and artistry offers a smorgasbord of creative problem-solving opportunities and alternative approaches to artistry, there are still everyday struggles and stereotypes that make accessibility in creatives spaces more tenuous for neurodivergent makers. “You can only control your own experience,” Ash recounts. “There’s a beautiful permission in recognising that when
you advocate for yourself and receive pushback, it’s probably not the right room for you”.
These creative spaces are being curated in a more accessible way through relaxed performances, where the technical elements of the show are softened, and the house lights are up. There’s a paradox to a relaxed performance though. As a ‘neurospicy’ performer, changes to the technical aspects of the performance can be disorienting. “The relaxed performances for me as an autistic performer are the most stressful. My heart races, I’m distracted as I can see everyone, I forget lines and I’m out of my body.”
Ash and her team are finding a middle ground between these experiences, crafting theatrical experiences that are safe for both neurodivergent audiences and performers.
“Jolyon embeds relaxed performance circumstances into the show itself”.
Audiences are given the freedom to move, wriggle and make as much noise as they need. “We meet them in the middle” Ash explains, “It’s integral to have young audiences feel like they can embody their space at the theatre”. Feeling safe and welcome in the theatre is powerful. “It doesn’t matter who you are or where you are from, everyone needs to be in the theatre. Because people heal in the theatre. They learn about themselves in the theatre. They grow, in the theatre”.
I couldn’t agree more.
Neurodiversity Celebration Week is held from 17–23 March.
GEORGIA FIELDS
ARCHIE’S CREEK HOTEL, ARCHIE’S CREEK SAT 15 MAR
PENINSULA HOT SPRINGS, FINGAL SAT 22 MAR
Everything that has a beginning, has an ending: After more than a decade of impactful music,
There seems to be an audience of people who appreciate music in that region.
“We know when we perform in Torquay the room is going to be full and it’s going to be fun. There is something really cool and special about doing little club shows on a big run because some of the big shows like Sydney, Brisbane and Melbourne where you’re in these huge rooms are certainly exciting, but that also means that you’re a bit more in your head.
“When you get into these little club rooms and the ceiling’s low and the people are right there, you can reach out and touch them and see every expression on their face, it’s an excellent experience.”
And it is the experience of playing live shows,and connecting with audience members that has remained such a vital aspect of the way Holy Holy make and share music.
“We’ve had a pretty intimate relationship with our fans,” he says. “After every show Oscar and I go out and sign merch, through meeting all these people, we hear all their stories. We’ve heard so many stories of people being born to Holy Holy music and people passing on to the next world to Holy Holy.
“These connections have made writing the music so much more powerful for us. With everything Oscar and I have in store going forwards we could have just slipped away without saying goodbye and thank you, but it wouldn’t feel quite right just to slip away without being honest with people.”
This integrity is obviously something of importance for the band, but it was when I provoked Carroll into the consideration of the legacy that Holy Holy might have left, or want to leave behind, that he unfurled what it is that has propelled the band up until this point.
“I always resonated with the analogy of working with clay. At first your creative project is nothing, or it’s just materials. Then it becomes something as you mould it. Then it hardens and you arrive at a point where you can’t keep moulding it.
“In that moment of tension, a magic appears. We experienced that consistently in the studio, and those times were really exciting and precious. But to see those ideas translated into being on stage and having a room full of people holding each other and singing along to our songs, as we all feel connected in that moment acts as a very, very deeply meaningful and deeply special experience to have had.”
Although Holy Holy feel privileged for the time they’ve acted as a band, there remains an ebb and flow, that in the essence of it reflects a full spectrum of experience that comes with the inherent human-
“We’ve also had moments of doubt. Moments of being like ‘Oh my God, like, what are we doing? Does anybody actually reonate with what we are doing?’ There was certainly a sense of imposter syndrome, and yet I’m still super proud of everything that we did.
“It’s funny talking about legacy though, because there’s an aspect of relating to that where we will never really know what Holy Holy has meant to people.”
This tour will be a special, and likely moving one. After many years of collaborating with other artists and musicians, you can expect to see a swathe of guests rounding out the stages at various shows, as well as a sonic depiction of their discography.
Tickets for Holy Holy’s A Grand Hiatus Tour are now on sale.
THEATRE ROYAL, CASTLEMAINE 15 MAY TORQUAY HOTEL, TORQUAY 16 MAY
WORDS BY FRANKIE ANDERSON-BYRNE
Kell Blackmore’s photography offers a unique window into our local live music scene, capturing intimate, fleeting moments of performance with her trusty Polaroid camera. Her passion for both music and photography blends seamlessly, offering a creative niche that celebrates the rawness of live gigs while embracing the tangible nature of instant film.
Æ
“I’ve always loved going to gigs and I look up to the photographers,” Kell says, noting that her early influences included the legendary Linda McCartney. “I love the 60s, so Linda is a huge reason I picked up the camera. I went to her exhibition in 2020, and she’s a brilliant 35mm photographer, which I have tried and failed at many times, but her Polaroids just really captured me because it’s something tangible to show for her work.
“Polaroids are instant film; it’s that marriage between the instant gratification we get from phones, but with the imperfections,” she explains.
“Sometimes it doesn’t roll out properly, or doesn’t focus on the things I want it to focus on but that’s the beauty of it. I know it’s not perfect because I’m not a perfect artist, so I really lean into it.” Her journey into photography began somewhat unexpectedly with a cheap refurbished Polaroid she’s dubbed Silver Fox.”I have so many talented mates who do such good music and are such cool live acts, and I wanted a photo album for myself.”
Three years later, Kell has found her niche in the Geelong live music scene. “It turned into something I could really do and battle with all the 35mm and digital photographers at Barwon Club to get my shots. Having a camera in my hands makes me feel like I don’t have to do anything else but watch the band and capture it.”
When shooting, Kell is deliberate with her approach, especially since each roll of Polaroid film only has eight shots. “You have to make them count. But I’ll do more if I feel like it, and I don’t think about the cost; it’s not a waste if I like it.”
“I love to give a little to every band, regardless if they’re paying me or not. It’s such a nice thing to have and to do for others. It’s an unintentional creative collaboration.”
Kell and her partner Willem, who is also part of their band ‘Winsky’ and production company Creepy Baby Productions, often work together on projects for local bands.
“It’s been surreal having people pay for my Polaroids and use them for an album cover. Making something for someone else is so scary and being involved in that process of an artist, I still pinch myself because it’s forever, it’s permanent.”
One standout moment in Kell’s career was photographing Angel Alsen at the Mona Foma Festival. “A lot of my photography I get by pushing in and making myself known. I’m very lucky as a musician myself, having my foot in the door a little more, and I fully acknowledge that privilege because I know what it’s like to be a woman in any form of art, and it’s a bit more difficult to be heard and taken seriously.”
“I know what it’s like to be a woman in any form of art, and it’s a bit more difficult to be heard and taken seriously.”
Kell’s journey with Polaroids began as a teenager. “I always wanted a Polaroid. I got an INSTAX one for Christmas at 16 but I waited until I found the right camera to really jump in. It just happened to be in Geelong. I call her my silver fox. Some people think it’s a toaster,” she laughs.
“It takes about 15 minutes for a Polaroid to develop now. Being able to shove them in for 15 minutes, let it cook, and show someone on the night—it’s magical.”
With almost 1000 photos in her collection, Kell cherishes the variety in her work. “Black and white, warm, cool, monochromatic, circle Polaroids, it just depends on how old and good the film is. I feel so lucky to have all my mates down on film for life.
Her work has also given her a unique perspective on the evolution of music in the region. “I’ve noticed a lot more diversity in what is being played over time. You see a lot of angry music, punk, but I’m starting to see a lot more people feeling more comfortable with pop. Geelong really has everything though.”
For Kell, the combination of photography and music continues to fuel her passion. “I love seeing the bare bones of it when it hasn’t fully developed. It feels good to have a job to do while enjoying someone else’s art and being a part of it all.”
Do
WORDS BY JESS HOBBS
you hear Trump’s orders to reverse bans on plastic straws and think “WTF?! Is there anybody out there that cares about our planet anymore?”…or is there any point even trying?
Æ Well, the answer is yes, and here’s some good news to back up why.
There is a global movement happening right now and we have some strong roots planted right here in our backyard.
I was proudly born and raised in Geelong, grew up reading Forte Magazine and even wrote for them as a teen, I loved checking out gigs at the BC and Rebar back in the day (today’s Sporting Globe, for the youngster’s out there) so it’s safe to say I’m a music lover.
This love inspired me to pursue a career working in the music scene. Though, these days I spend more time talking about bins and encouraging keep cups than I do about music. I’ve now embraced my desire for waste…or rather the desire to reduce waste. I run Waste Free Events, a business that supports schools and community groups to run events with little or no waste.
When I’m not sorting bins I love seeing live music or drooling over coloured vinyl. Yet given that the Music Industry is known as being one of the largest contributors of global carbon emission rates, I struggle with the feeling of being a hypocrite supporting an industry that has so many negative impacts. This is why when I first discovered Green Music Australia it was like a tiny little rock angel appearing in my emo world. Suddenly I had hope. Can I be an eco-warrior and not feel guilt about seeing live music? Can I help encourage and support change in the music industry? Yes! Yes I can!
Green Music Australia (GMA), are a registered charity using the platform of our influential music scene to create a greener and safer future. I signed up to volunteer and became a member of GMA and I was opened up to a world of like-minded individuals, businesses, organisations and artists, and suddenly my despair was balanced with vision and action.
Green Music Australia has been around since 2012 and have led many campaigns over the years targeting the big issues that are relevant to musicians, fans and industry professionals. In 2015 they launched a BYO Bottle campaign which Jack Johnson, then championed in 2019 to minimise the amount of single-use plastic water bottles at concerts and festivals. This is an issue that is still being tackled today.
NO MUSIC ON A DEAD PLANET (NMOADP) is the current campaign being promoted by Green Music Australia. It’s a simple slogan and yet it is hard to deny its power. Ultimately it’s a reminder that there’s no point doing anything unless we also protect our environment. It might sound dark to some, however I find it motivating and love that it gives a sense of urgency.
NO MUSIC ON A DEAD PLANET was originally started by ‘Music Declares Emergency’ in the UK. Like Green Music Australia, MDE is a registered charity founded by a group of artists, music industry professionals and organisations.
One artist who has joined this campaign and is making dramatic changes to the way they tour is Billie Eilish. She was one of the first well known artists to wear a NMOADP t-shirt to the American Music Awards back in 2019. Billie ensures her tour considers and implements the most sustainable options for travel, energy, merchandise, catering…you name it. This is possible due to the great work done by Reverb, an American-based NFP creating a more sustainable music industry and empowering millions of individuals to take action toward a better future for people and the planet.
Reverb has teamed up with Green Music Australia on Billie’s current Australian tour. Every concert has an “Eco Village” where fans can learn how they can make positive changes for the environment.
To see an artist as successful as Billie Eilish using her platform to speak out on climate issues is powerful as its something that she truly stands for and something that I have seen first-hand. Only a fortnight ago I was on a zoom call with Billie’s mum who was meeting with volunteers to give us the background to the campaign we would be promoting on tour.
So if you are like me and love music, yet also want to sleep better at night knowing the world isn’t going to hell, then I encourage you to check out Green Music Australia. You can sign up to receive newsletter updates or even volunteer for them.
I have three teenage children and I often wonder how much influence I am having on them. I see the impact my parents had on me. In particular my mum. She taught me to live simply, to not waste things, repair everything, don’t live beyond my means and she still volunteers to this day.
I don’t see volunteering as giving away my time for free. I see the opportunity that I gain. The experiences that I get, the knowledge, the friendships and an added bonus that I know I’m contributing positively to the planet. I am yet to see what impact I’m having on my children but I can already see glimpses.
In the dynamic dance work Slip, sound, image, and time become untethered, creating a captivating exploration of the complexities of our modern reality.
Æ The piece investigates acts of delay, deferral, and doubt, linking the illusionary world of sound design in film to the processed nature of the information we consume. Originally created for the Keir Choreographic Award in 2022, Slip has since evolved into a fulllength work, continuing to engage audiences with its blend of wit, playfulness, and philosophical musings on contemporary existence.
At the core of Slip is the concept of Foley—sound effects created in post-production to enhance the realism of a film. These sounds, often made using unexpected objects, amplify the visual experience so convincingly that we forget to question their artificial nature. In the same way, Slip explores how our perception of reality has been altered by the constant processing, manipulation, and packaging of everything around us. As choreographer Rebecca Jensen notes, “Foley is happening behind the scenes. At times it seems like an unnecessary layer in post-production. It enhances a lot of sounds that are already there,—footsteps, doors slamming, and makes them more “real” through recreating them with unlikely and unrelated objects like gloves flapping for bird wings, celery for broken bones.”
Jensen’s interest in Foley and experimental sound art led her to collaborate with award-winning musician Aviva Endean, known for transforming everyday objects into instruments to create uncanny sounds. Their collaboration, born from a shared improvisational background, required building a new creative language. Jensen explains, “Aviva and I are both improvisers at heart, so we had to be super disciplined to set all the choreography!”
At its core, Slip is a metaphor for the complex and often opaque nature of modern life. Just as Foley enhances our perception of
sound behind the scenes, much of what we experience today— whether information, media, or products—has been manipulated, processed, and re-packaged for consumption. Jensen likens the Foley process to the way we receive information, saying, “We often think we are receiving, or even discovering something authentic, but in truth, it’s often been tampered with—enhanced—stretched—processed—targeted toward us before we receive it.”
The piece also delves into shifting power dynamics within the performance. Jensen reflects on her relationship with Endean: “Perhaps there is also something about responsibility in this work. I am not responsible for making my own sounds—Aviva conveniently does them for me. At the same time, it’s unclear who is in control as the power dynamic between us starts to shift.”
This concept is woven into both the music and choreography, where tight connections between specific actions and sound effects are slowly unravelled. As the performance progresses, sound and movement begin to de-couple, mirroring the disconnection and fragmentation of modern existence. Jensen draws on James Bridle’s notion of a “new dark age,” where we have more access to information than ever but less understanding of how it works or how much control we have over it. “We feel like in this information era, everything is at our fingertips, but we don’t know as much as we think we know, and we have less control and less access to information than we think we do,” Jensen says.
Visually, Slip creates a disorienting sense of time and place. Jensen wears a medieval gown, evoking the sense of an actor who has wandered onto the wrong set. The work features objects from various eras—keys, newspapers, coins—many of which are becoming obsolete in the digital age. This blend of the old and the new heightens the piece’s exploration of how technology, and the digital world, have transformed our perception of time and reality.
The piece culminates in a haunting reference to Anna Pavlova’s iconic dying swan dance, but in Slip, Jensen’s body is absent, with only her hands remaining visible. “The work ends with an ode to the iconic dying swan dance performed by Anna Pavlova—except my body is not there, only my hands. A nod to hand-tracking technologies and less of a need for the body to be present, as we become more digi, inhabiting the cloud, the ether, and other ‘invisible’ spaces,” Jensen explains.
Throughout the creation of Slip, Jensen embraced a maximalist approach, allowing the work to overflow with layers of imagery, props, and costumes. “I am a maximalist, I like seeing and creating lots of images and using lots of props and costumes, I like audience members to feel there is lots to connect with in a work!”
Ultimately, Slip invites the audience to reflect on the nature of reality in our digital age—how the layers of processing, delay, and deferral shape our understanding of the world. Through its exploration of Foley, sound manipulation, and intricate choreography, the work challenges us to consider the forces that influence our perception, urging us to reconsider the connections we often take for granted. As sound and image become untangled, Slip asks us to untangle our own understanding of the reality we inhabit.
SLIP
WHERE: PLATFORM ARTS, GEELONG
WHEN: 21–22 MAR
WORDS BY CHESTER OGILVIE
Ç MODERN LIVES: PRINTS BY AUSTRALIAN WOMEN ARTISTS 1900s–1960s
Featuring impressions from overseas travels, images of Australian flora and fauna, industry and labour, cityscapes and landscapes, Modern Lives is an exhibition that brings together prints and drawings from the Colin Holden Collection by women artists essential to the development of Australian printmaking practices in the first half of the twentieth century. Several of the featured artists spent time studying abroad, giving them access to experiences of European modernism and new approaches to printmaking.
GEELONG GALLERY 15 MAR–18 MAY
The Flanagan Art Prize was created in 2008 in honour of Noel Flanagan, an Old Collegian and former curator of the Australian War Memorial. Its primary goal is to enrich the cultural experience of St Patrick’s College students and to foster a deeper appreciation for fine art. Winning pieces are permanently displayed in Kennedy House, the College’s administration building. This year will feature the inaugural Young Flanagan Prize and Clontarf Academy Prize.
ST PATRICK’S COLLEGE, BALLARAT 22 & 23 MAR
& GRUNGE
The Castlemaine Fringe Festival is an artists’ paradise where you’re spoilt for choice. What is a small world? Take a breather and reflect on the small things that can inspire big ideas at the 3D exhibition, Small World Sculpture. A fringe cult classic, Grunge Gallery showcases multidisciplinary artists exploring raw and grungy art.
SMALL WORLD SCULPTURE
NEWSTEAD ARTS HUB 8–30 MAR
GRUNGE GALLERY
RED HILL HOTEL, CHEWTON 22 MAR–6 APR
When a near-fatal bus accident left her unable to walk for three months, Frida Kahlo turned to painting. Arguably best-known for her vibrant selfportraits, the activist and feminist icon would create more than 140 works in her lifetime (estimations vary). This exhibition is an intimate viewing of Kahlo’s personal belongings, photographs, documents, clothing, make-up, accessories and medical items, generously on loan from the Museo Frida Kahlo for the first time in Australia.
BENDIGO ART GALLERY 15 MAR–13 JUL
Taking place as part of Bendigo Pride Festival, the Queer Country Art Exhibition gives a platform to queer artists to express themselves, showcase their creativity and offer a different perspective while educating the broader community about LGBTQIA+ arts and culture. It enters its 17th year in 2025. Information was light on at the time of writing, but all relevant information about the event and festival can be found through bendigopridefestival.com.au.
DUDLEY HOUSE, BENDIGO 26–30 MAR
Anyone who has spent time in the Otways knows of its beauty. Inspired by moody coastal scenes, rolling Otway hills and sunsets and desert landscapes, this is an exhibition by Open Studio Art Group members. Watercolours, oils, charcoal, inks, sculpture, pencil, photography and printmaking will all feature. Artists include Cathy Donovan, Ros Jamieson, Julia Quintana, Carrie Newbold, John Verey, Joanne Forrest, Angie Kirsten, Wendy Warren, Melisse Clark, Sue Edwards and Caroline Williams.
ARTS INC. GALLERY, APOLLO BAY 7–10 MAR
Four exhibitions are currently on display at Eagles Nest Gallery. Alison McIntosh embraces the art of slowing down in Take the Long Way Home (Main Gallery). Nicky Perkins explores the Australian landscape in Breathing Space (Feature Gallery). Inspired by local Surf Coast flora and fauna, Ursula Shepherd delivers Backyard Diversity on the Surf Coast (Foyer Gallery). And Bronwyn Razem explores her Gunditjmara family heritage of traditional weaving in Woven Stories (Mini Gallery).
EAGLES NEST GALLERY, AIREYS INLET UNTIL 30 MAR
You will find two exhibitions taking place as part of Eaglehawk’s 52nd Dahlia and Arts Festival. Flip heads and you’ve got Eaglebald, Eaglehawk’s answer to the Archibald Prize. Flip tails and you have the inaugural Recycled Sculpture Art Prize. In honour of the Frida Kahlo exhibition, this year’s theme is ‘Fiesta’. Your judge is local sculptor Yvonne George.
EAGLEBALD
MUIOOF HALL 15 & 16 MAR
RSAP
ECO CENTRE SHOP 15 & 16 MAR
WORDS BY CHESTER OGILVIE
Kindness can be found through tragedy. In the Newfoundland town of Gander, a town of fewer than 10,000, 38 commercial aircraft and four military aircraft, along with their near-7000 evacuees (as well as a pair of endangered apes), found a temporary home following the September 11 attacks. A winner of four Olivier Awards including Best New Musical in London, Come from Away is the true story of a town opening their hearts without hesitation. It is presented here by CentreStage.
THE PLAY HOUSE, GAC 7–22 MAR
Three regional theatre companies are preparing parallel versions of classic stories – Frankenstein, Alice in Wonderland and Lord of the Flies. Separated by thousands of kilometres (Whyalla, Barmera and Bendigo), the teens have made it work through Facetime, Zoom and phone calls. It’s too bad for the alien invasion. The part sci-fi thriller and part ode to the resilience of today’s teenagers is presented by Adelaide Festival and Arena Theatre Company. Warning: this show contains smoke, haze, loud noises and pyrotechnics.
THE ENGINE ROOM, BENDIGO 7–15 MAR
Ç SUHANI SHAH: SPELLBOUND
While the first recorded act of mentalism can be traced back to the 1500s, it didn’t find mainstream success until the 1800s. Today, Suhani Shah, who at the age of six told her father she wanted to be a magician, is one of the leading mentalist acts in the world. Originally an illusionist, she has performed more than 5000 shows across two decades, along the way amassing more than four million YouTube subscribers and two million Instagram followers.
HER MAJESTY’S THEATRE, BALLARAT 14 MAR
In the Black Adder episode Ink and Incapability, it is discovered Samuel Johnson omitted the word ‘sausage’ from his dictionary. In novelist Pip Williams’ internationally best-selling book The Dictionary of Lost Words, we learn that, in 1901, the word ‘bondmaid’ was discovered missing from the Oxford English Dictionary. This is the story of the girl who stole it. Presented by the State Theatre Company South Australia and Sydney Theatre Company, it’s time to lubricate your lexicon.
THE PLAY HOUSE, GAC 27–29 MAR
Known for her cheerful comedy, Kirsty Webeck is donning the goggles in her new show, Everything I Need to Say about Sea Creatures. Did you know the mimic octopus can imitate flounder, jellyfish, stingray and lionfish? Also, lobsters urinate on each other to communicate and sponges can sneeze. Anyway, Kirsty is a big fan of underwater life. Some things she learns organically, while others she aggressively and obsessively Googles. Her knowledge becomes yours, with some laughs along the way.
MOZART HALL, WARRNAMBOOL 22 MAR
Dancer Rebecca Jensen and musician Aviva Endean have teamed up for a production of image, sound and time. Central to the duet is the art of Foley, a sound-effect technique inspired by legendary sound effects artist Jack Foley used in film where sounds on screen are recreated in post-production. The 180-degree head-twist in The Exorcist, for example, was created by twisting an old, cracked leather wallet. Slip connects the illusion of Foley to the complexity of our present moment.
PLATFORM ARTS, GEELONG 21 & 22 MAR
If you know nothing else of George Orwell’s Nineteen Eighty-Four (also published as 1984), you are likely familiar with the term ‘Big Brother’. The dystopian novel follows protagonist Winston Smith as he questions the system that keeps his society running. Adapted by Dr Christine Davey and brought to you by Skin of our Teeth Productions, this innovative retelling of the Orwell classic will have you looking over your shoulder. It also contains original music by Kristel Rae. Note that this is recommended for 16+ ages.
THE ENGINE ROOM, BENDIGO 22 MAR
The Castlemaine Fringe Festival is chock-full of goodies. Let’s look at some theatre events. Based upon the Bunraku Japanese form of puppetry, Limitless Possibilities will take in performances at Northern Arts Hotel on March 26 and April 2. An experience of story, music, slow circus and poetry, Wordspoken will take in performances aboard the lot19 tram on March 27 & 28 and April 4 & 5. Presented by The Black Stich Players, Constellations presents ethical dilemmas related to end-of-life decisions at Wesley Hill Hall on March 28.
CASTLEMAINEFRINGE.ORG.AU
Æ If you’re a younger reader, you’re probably not super familiar with the Melbourneformed indie-pop group, but if you were catching the bus to school in Australia between 2008 - 2011, you know Miami Horror. In fact, you don’t just know them, you love ‘em.
To put it into perspective just how beloved they were, for millennials, Miami Horror were like the vapes of the time–they were EVERYWHERE. Bravado, the group’s debut EP–back when they were more influenced by the likes of Justice, Daft Punk and Digitalism and everything you heard was solely produced by Benjamin Plant– took over young Aussies like the plague. It was inescapable, with almost every set of headphones in Aussie schoolyards pumping that same EP.
But by the time the group’s debut album, Illumination, dropped in 2010, ushering in the group’s shift to sparking, clean-cut indie-pop, their initial crew of fans began finding their tunes a bit pastiche. It didn’t matter, for the rest of Australia, Illumination helped them blow up to a whole new audience–the mainstream audience. Slots on mainstream radio, appearances at every major event in Aus, and that one incessant Optus ad that dominated our TV’s for what felt like the next decade (you know the one, penguins in a convertible on Bondi beach? Yeah, THAT song).
Then, they kind of went radio silent, releasing a handful of remix albums, sub-par EP’s and occasionally popping up as the second-to-third headliner for one-day festival events. Nonetheless, with their early work ultimately soundtracking the lives of many at a point in time, a comeback was always on the cards. And to be fair, for a comeback record, it’s a super solid release.
Quite interestingly for a band who always really lent into mainstream appeal, We Always Had Tomorrow steps away from any and all forms of radio-friendly dance music, with each song instead feeling more primed to be mixed mix into a 6AM sunrise set, thanks to their lofi, Cyril Hanh-inspired deep-house dance grooves, which really require the space to grow– not just the crisp two and a half minute slot that a radio single usually goes for.
And while it’ll be a release that’ll definitely stand out more for listeners chasing a bit of nostalgia, and not young frothers cutting their teeth on DnB and Dub, you can’t help but give the longtime outfit credit for sticking to themselves.
They’re not trying to adopt the new style, or chase the same fleeting trends as most producers, they’re just doing what they’ve always done. Which more often than not would result in a fairly outdated listen, but in the case of We Always Had Tomorrow, will have you reminiscing on the good ol’ days.
Æ Like Sepultra did for Brazil and District Unknown did for Afghanistan, Bloodywood are bearing the torch, breaking down barriers and comfortably sitting at the forefront of the Indian metal scene.
Their second album, Nu Dehli delivers a hell of a refreshing take on metal, cutting its teeth between the eclectic and unhinged nü metal stylings of Slipknot and the macho-aggressive bouncy riffs of Static-X.
Having the advantage of not tying into any one regionalised scene or sound, Bloodywood have the freedom to do whatever the hell they want – and they do. Tying in as many chaotic sounds as humanly possible with each and every song. Case in point, Hutt, which makes most other modern-metal look soft, thanks to Jayant Bhadula’s venomous vocals hitting you in the face with all the brutality of Chimera, and the flow of Korn.
Although, what’s coolest about the groups take on nü metal, is that their sound effects aren’t solely created by programming and synths. Sure, on techno driven songs like Bekhauf and Kismat there’s a hell of a lot of that, but for the most part, the group rely on traditional Indian folk instrument notation like flutes, dhol’s and sarod’s, even tying in local New Delhi MC’s like Raoul Kerr (Daggebeez) to create swelling layers of atmospheric Punjabi folk influence around their chaotic output.
Over the years metal music may have gotten heavier, more technical and more progressive, but there’s truly been few bands who have actually captured the same deranged, disordered chaos of the early-2000’s. Bloodywood does exactly that.
LABEL: IMPRESSED RECORDINGS
RELEASE: OUT NOW
LABEL: FEARLESS RECORDS
RELEASE: 21 MAR
Æ Long before guitarist Nicko Calderon was gracing TV screens on Jimmy Kimmel or fronting up at Coachella with the Grammy-nominated Knocked Loose, he was a staple in the underground hardcore scene as part of the equally ruthless Church Tongue. And while many fans were stoked to see him jump ship and attain a level of success that seemed impossible for any hardcore band – ever, others were less than pleased to see Church Tongue sidelined in the process.
Now, eight years after their groundbreaking debut EP Hell Is Empty made waves, the Ohio-based outfit are back with a new EP, You’ll Know It Was Me, and from its opening seconds it’s immediately evident that they’re making up for lost time.
As soon as ‘Heart Of Darkness’ kicks in, you’re slapped in the face with an onslaught of blast-beats, rapidfire spiderweb riffs and blistering beatdown breakdowns. And if you didn’t stop to catch your breath before it all started, too bad–it’s not slowing down.
“One Hand Wrapped Around the Sun” ushers in fast-paced riffs perfect for circle pits, and slow, sludgy breakdowns, all packed into a crisp 90-seconds. When ‘It Betrays’ introduces massively unwanted clean vocals before redeeming itself with the uncompromisingly hard bodied gutturals of guest vocalist Colin Young (God’s Hate). While ‘Bury Me’ doubles down again, barraging you with unrelenting double kicks, manic guitar licks and brutal chugg riffs.
Overall, it’s hard, fierce and resolute in its delivery, propelling Church Tongue’s brief but near-perfect discography to new heights, cementing their place in the hardcore scene as a force that’s hard to ignore.
LABEL: PURE NOISE RECORDS RELEASE: OUT NOW
Æ Even two and a half years after they disbanded, BlackPink are still one of the highest selling K-pop groups of all time–comfortably. Now, they’re finally taking over the international market. Sure, after a headliner stint at Coachella they made massive waves across the US, but being the first group ever to have all members featured in Spotify’s ‘Top Hits’ at the same time? This is next level.
But while the groups other members, Rosé, Lisa and Jennie have gone through massive rebrands and enlisted the help of Bruno Mars, Doja Cat and The Weeknd to help make their mark on the US scene, Jisoo has kept her debut release, AMORTAGE, quite true to BlackPink’s K-pop roots.
Minimalistic deep grooves, lowtempo EDM breaks and mid-2000’s DJ Snake-inspired house-pop swagger, AMORTAGE not only falls in line with the current 4th gen of K-pop artists, it feels true to Jisoo as an artist. Resembling the restrained nature that she brought to BlackPink’s unique brand of pop.
Bi-lingual lyricism, infectious disco-pop choruses, soaring singalongs –AMORTAGE feels like a true continuation of the group, with songs like ‘Tears’ and ‘Your Love’ giving off the vibrancy BP staples, ‘Ice Cream’ and ‘As If It’s Your Last’, and lead-single ‘Earthquake’ resembling the subtle down-tempo groove of current favourites Aespa.
For fans who have been loving the darker, more adult themes and imagery of the group’s other members’ rebrand, Jisoo’s debut may not make the stand that many had been expecting, but for K-pop purists looking for more of their favourite comfort food, it’ll make you feel right at home.
Æ For almost a decade now, Thndo (formerly Thando) has been one of Victoria’s most underrated gems. A classically gorgeous voice that effortlessly blends everything from soulful R&B and nü-jazz hip-hop melodies to defiant pop solo’s, she’s an artist who pulls you in with raw emotion on every note.
But lately, she’s been relatively quiet. After stepping away from the spotlight just as her career began to gain momentum, choosing motherhood over the studio, it’s been a formative few years for the Zimbabwean-Australian, and based on the lyrics on her newest release, it hasn’t been the easiest few years either…
Picking up exactly where her debut, Life in Colour (2022), left off, delivering silky smooth 90’s inspired R&B harmonies that are thoughtful, pensive, yet as delicate as ever.
Trading the lofi hip-hop/disco grooves of earlier singles ‘Happy’, for a more classical approach, Lessons In Love see Thndo toying with wistful orchestral arrangements and subtle inclusions of choirs to create its angelic output. And as with all of Thndo’s music, it gives you a choice; you can sit back and soak into its melodies, feeling at ease as Thdno softly relaxes you with her nonchalant vocal cadence and blissful tunes; or you can hone into the lyrics, which are delivered with unabashed honesty, discussing love, heartbreak, ambition and the disappointment of rejection all with remarkable candour.
No matter how you decide to listen, Lessons… stands up as the perfect album to put on while making dinner and enjoying a few red wines– if you plan on slow-dancing in the kitchen, that is.
LABEL: WARNER RECORDS RELEASE: OUT NOW
LABEL: INDEPENDENT RELEASE: OUT NOW
Credit: Brett Boardman
GEELONG ARTS CENTRE’S TOP AUTUMN SHOWS:
Æ This Autumn, Geelong Arts Centre is bringing world-class theatre to your doorstep—and if you’re under 30, you can enjoy it for just $30! With the $30 Under 30 program, you can immerse yourself in a diverse lineup of exciting performances. Check out our top three picks this Autumn and grab your tickets before they sell out!
Based on the bestselling novel by Pip Williams, The Dictionary of Lost Words is a beautifully moving and witty exploration of language and history. Set during the creation of the Oxford English Dictionary, it follows Esme, a young girl fascinated by the words excluded from the official text. The show blends humor and emotional depth, captivating anyone with a love for language. It’s a performance that feels both classic and fresh, with a uniquely Australian twist.
PREMIERES: MARCH 2025
M’ap Boule is a liberating and powerful celebration of cultural expression through music, dance, and storytelling. Rooted in Caribbean culture, this high-energy performance is a feast for the senses, filled with vibrant choreography and infectious beats. It’s a joyous celebration of diversity that will leave you feeling empowered and connected to a larger cultural conversation.
PREMIERES: APRIL 2025
For those interested in the climate crisis, Scenes from the Climate Era offers a breathtakingly beautiful and insightful look at the challenges we face today. Through personal stories and environmental reflections, this performance is visually stunning and emotionally impactful, leaving audiences with a deeper understanding of our changing world. Thought-provoking and inspiring, it’s a show that will stay with you long after the curtain falls.
PREMIERES: MAY 2025
Geelong’s arts scene is thriving, and now is your chance to be a part of it. The $30 Under 30 program makes it easy to access these incredible shows. Tickets are available online, by phone, or in person—just bring proof of age to enjoy the offer.
REINVIGORATING GEELONG’S DINING SCENE:
Æ Located in the heart of Geelong’s iconic Gordon Institute, The Davidson restaurant is quickly becoming a standout in the local dining scene. Helmed by Executive Chef Daniel Brehaut, the restaurant blends innovation with tradition, showcasing native Australian ingredients and high-quality local produce that reflect the region’s culinary richness.
Chef Brehaut and his team elevate dishes using native ingredients like saltbush and pepper leaf—grown on-site—and a range of cooking methods that highlight the unique flavours of the area. The menu includes standout dishes such as the popular fried crocodile and the indulgent 12-hour slow-cooked porterhouse, making it a must-visit for both locals and visitors.
But The Davidson is more than just a dining destination; it doubles as a training ground for aspiring chefs and service staff from The Gordon’s Cookery and Hospitality courses. Students gain hands-on experience in a fully operational restaurant, preparing to make their mark in some of the finest venues across the region. The restaurant’s seasonal menu is influenced by international students, who bring their cultural perspectives to the table, infusing global flavours into the local dining scene.
To complement the exceptional food, Commercial Hospitality Manager Dave Wilson has curated a drinks list that highlights the best of Geelong and the Bellarine Peninsula. The selection includes local beers from Blackmans Brewery, wines from nearby vineyards, and even a cocktail made with small-batch shrub syrups from The Curious Cabinet. “We’re proud to support local producers,” says Wilson, reflecting the venue’s commitment to the community.
The Davidson is open for lunch from Wednesday to Friday and dinner from Monday to Friday, offering a relaxed yet refined atmosphere perfect for any occasion. Whether you’re after a casual meal or celebrating something special, The Davidson promises a culinary experience worth savoring.
This Autumn, make Geelong Arts Centre your destination for world-class theatre at an unbeatable price.
Book your table today and discover what’s making waves in Geelong’s dining scene.
17 – 23 MARCH
DAMIEN ARENA AUSTRALIA
SIMON BEUVE FRANCE
CANDELA COLORS ARGENTINA
JASMINE CRISP AUSTRALIA
TOMMY DAY III AUSTRALIA
TRENT DOWNIE AUSTRALIA
ALEKS GRILZ AUSTRALIA
GUIRAO
SPAIN
SWEL AUSTRALIA
SATURDAY, 22 MARCH
Æ Two Sisters Café, the latest addition to Geelong West, is owned by sisters Cartier and Courtney. Officially taking over from Steampacket Foods on 2 September 2024 and rebranding on 4 February 2025, the name change was a natural choice. “We wanted to establish that there were new owners and put our stamp on the place,” Cartier said.
As two mums juggling busy schedules, the sisters chose café ownership for its flexibility. From their initial search for a business to taking over, the process took four months of hard work. “It wasn’t as simple as just walking in and buying it,” says Cartier, but their efforts have paid off.
Courtney, the talented baker, brings her expertise to the café, having run her own bespoke cake company overseas for 10 years before moving back to Australia in 2024. Cartier oversees the dayto-day operations and front-of-house service. “We each have our own areas to run, so we don’t butt heads,” Cartier laughs.
With limited floor space, Two Sisters Café focuses on takeaway options but offers four comfy chairs for those who want to dine in. The menu features home-style food with over five gluten-friendly choices, from muffins to take-home meals like beef and vegetarian lasagna. Wraps, loaded croissants, and toasties also make regular appearances, with unique touches like black sesame and beetroot wraps.
The café prides itself on sourcing locally, with coffee roasted by BlendCo in North Geelong, chai from Melbourne’s Chai Spice, and fresh ingredients from local wholesalers. Two Sisters also offers catering boxes and custom cakes for private and corporate events.
In addition to food and drinks, the café features a retail shelf with products like Grace + Marie candles, Woolshed coffee bags, and Chai Spice.
Head down to Two Sisters Café on Aberdeen Street for a delightful experience you won’t want to miss!
Æ Sitting humbly on the Barwon Heads pier, with exquisite views of Barwon Bluff to Port Phillip Heads and beyond, At The Heads is an iconic restaurant, offering diners unrivalled ocean views.
Restaurant goers can look forward to a modern Australian cuisine with an emphasis on seafood, they are the go-to restaurant on the Bellarine Peninsula.
For more than two decades, At The Heads has been a restaurant, but previously it was a fishing co-op and was featured in the popular ABC TV series Sea Change. Over the last nine years, Sea Change Hospitality has been at the helm of At The Heads, exciting renovations are on the horizon, and we hear they are eager to unveil them soon.
Having a restaurant located on the waters edge, it makes sense to make the most of a seaside experience, and what better than to do that with a wide range of seafood options on the menu. Highlights include Kingfish with cucumber and dill, prawn roll, House made prawn linguine, Beer battered fish and chips. While they might emphasis on seafood, that isn’t the only meal option coming out of the kitchen. They also offer options such as: Grilled Lamb Rump, Poached Chicken and a Butchers Cut.
The dining room, accommodating up to 80 guests, offers table service provided by a team of seasoned professionals, where the chef’s selection is a must!
For those opting for a more casual experience, additional seating is available for walk-ins with the entire menu throughout the venue. There is also a takeaway option available. Jetty Road Kiosk offers takeaway, open daily from 7:00 a.m. and offers a range of treats, from Ocean Grind Coffee to delectable fish and chips – it is the absolute must try in the warmer months.
Not only do they specialise in good and an impeccable dining experience, the team at At The Heads also pride themselves on specialising in hosting world-class weddings. At The Heads is one of the Bellarine Peninsula’s most remarkable venues with its relaxed beachside location for your wedding ceremony and reception. They cater gatherings ranging from intimate affairs, to larger celebrations. they truly offers it all, sensational views, fabulous food, and endless photo opportunities that ensure you and your guests will experience a truly memorable day in a natural setting that is breathtaking.
WHERE: 146 ABERDEEN ST, GEELONG WEST
OPEN: TUE–THU 9AM–5PM / FRI 9AM–3PM / SAT 8:30AM–12PM
WHERE: 1A JETTY ROAD, BARWON HEADS OPEN: 7 DAYS 12PM–LATE
Æ Starting the venture three years ago as ‘sister’ venue to their cafe Trentham General, located over the road in an old bank building, owners of Mr Peacock specialise in tasty cocktails, pizza and grazing options. Mr Peacock is the perfect space for a quick catch up or your next function.
An empty shop front came up for lease, and owner Mitch jumped at the opportunity to create a new foodie heaven.
Mr Peacock focus on serving tasty gourmet pizzas and grazing plates including Prosciutto pizza with a confit garlic base, Istra prosciutto, spinach, blue cheese and candied walnuts topped with parmesan and truffle oil; Shaved Istra Capocollo with dijon, dill, cornichons and Zeally Bay sourdough.
They also offer a range of starters including Polenta Fries, Crispy Fried Chicken, and a Roast Pumpkin and Goats Cheese Salad. If you feel like something sweet after your savoury – which, why wouldn’t you – you can give the Coconut Panna Cotta, or a changing range of Sorbets a try.
They source all of the cured meats from Istra located just outside of Daylesford and all the pizza dough is made in-house by the chefs.
A big aim of the owners is serving local wines and something a little different that you might not normally see on wine lists as well as some tasty cocktails and a nice range of beers. Wines available both by glass, or by the bottle include some features from Heathcote, the Macedon Ranges, the Bellarine, and even a some tasty numbers from France, Spain or even Hungary. Cocktails include the ever popular, Espresso Martini as well as some new faces, a Clover Club, or Montys Passion – a must try. The beers list features a range of local brewers, from Melbourne, Daylesford, Brookvale and Mornington Peninsula – head on in and check out the range of bev’s on offer.
Whether it’s a nice sunny afternoon in the courtyard or a catch up with friends and family in the restaurant for dinner, Mr Peacock can accomodate for everyone’s needs. They also host functions, with the main restaurant space catering up to 60 guests for a canape style event or their private courtyard framed by the ornamental grapevines for a smaller more intimate gathering for up to 30. They can also offer seated dining options and tailored menus if the function package isn’t quite right for your requirements.
WHERE: 44 HIGH ST, TRENTHAM
OPEN: TUE, THU, FRI & SAT FROM 5:30PM
Æ Last One Inn is owned by Jorge Guerrero and Josh Morrice - serving modern Australian dishes, with a South American twist, which reflects Jorge’s Argentinian background. Opening back in 2019, after falling for the incredible location overlooking the Anglesea River. It’s the neighbourhood restaurant and bar that keeps on giving, whether that be by providing delicious food, a breathtaking view, or an exceptional experience that will want you coming back for more.
Last One Inn’s menu focuses on cooking over fire, ensuring to use sustainably sourced meats and local producers, and head chef Julie Touma is smashing it – you can expect to see a traditional Asado (Argentinian BBQ) being cooked, while you soak up the incredible views, adding onto the must do experience of dining at Last One Inn. Julie and her team are insanely respected for their European inspired dishes, frequently changing the menu in line with the seasonal produce, so there is always something new to try. They focus on delivering an exceptional, yet relaxed dining experience, and they have definitely succeeded in this. The menu includes Empanadas, Cala, Ricotta Gnudi, a Steak Porterhouse, and the sweeter side of things, Basque Cake and Tres Leches –there’s something for everyone.
Josh and Jorge know what pairs perfect with food, often providing live music, and ASADO BBQ Sundays –with a selection of wine and beer between 12-2pm. It’s definitely the Great Ocean Road’s best value lunch! And words out that there’s a special Salted Caramel Negroni that you must try – Last One Inn, giving you an experience you can’t miss.
At Last One Inn, they regularly host some epic events, from live bands and great entertainment, to South American feasts and wine dinners where you can meet the maker, there’s always something going on, and you will kick yourself if you miss out.
This is your chance to enjoy locally sourced seasonal produce, and a wide range of interesting wines, beers and cocktails – it’s a definite must see.
WHERE:
113 GREAT OCEAN ROAD, ANGLESEA
OPEN: THU & FRI 4PM–LATE / SAT & SUN 12PM–LATE
WED 5 MAR
GREAT OCEAN ODES
POPCULTCHA RECORDS, LEVEL 1 / 96/98 RYRIE ST 7PM FREE
THU 6 MAR
HANNAH ALDRIDGE
BARWON CLUB, GEELONG 7PM $23.50
FRI 7 MAR
PORT FAIRY FOLK FESTIVAL
VARIOUS VENUES, PORT FAIRY
4PM $408
DIESAL
WEST GIPPSLAND ARTS CENTRE, WARRAGUL 8PM $81–$102
2 TONES
ARMSTRONG BBQ, MOUNT DUNEED
8.30PM FREE
LAY LOW ‘COLD’ SINGLE LAUNCH
BARWON CLUB, GEELONG 8PM $18.40
DJ EDDIE EXAMPLE
BARWON CLUB, GEELONG 9PM FREE
OUTER WORLDS MEDUSA BAR, GEELONG 7PM $15–$20
SAT 8 MAR
PORT FAIRY FOLK FESTIVAL
VARIOUS VENUES, PORT FAIRY
THE MOJO CORNER AND MADELEINE COPE
ROCK JJ, JAN JUC 8PM
MASKELL LOVE BAND
ARMSTRONG BBQ, MOUNT DUNEED 8.30PM FREE THE PEARL JAM EXPERIENCE BARWON CLUB, GEELONG 7PM
LADY SHAKA TORQUAY HOTEL, TORQUAY 9PM $30–$40
PORT FAIRY FOLK FESTIVAL
VARIOUS VENUES, PORT FAIRY
DAILY
NATHAN SEECKTS
ARMSTRONG BBQ, MOUNT DUNEED
MON 10 MAR
PORT FAIRY FOLK FESTIVAL VARIOUS VENUES, PORT FAIRY
GARDEN OF EDEN
THU 13 MAR
ROBERTSON BAND
ARMSTRONG BBQ, MOUNT DUNEED
8.30PM FREE
GOODWOOD + MT PLEASANT
BARWON CLUB, GEELONG
8PM $18.40
SUN 16 MAR
AIREY’S INLET MUSIC FESTIVAL
VARIOUS LOCATIONS, AIREY’S INLET LAST DAY $80
SONDER
WHITE RABBIT HALL, LITTLE CREATURES, GEELONG
2PM $12
MICK TREMBATH
ARMSTRONG BBQ, MOUNT DUNEED 2PM FREE
THU 20 MAR
BARRY ADAMSON THEATRE ROYAL, CASTLEMAINE 7PM $54
NAI PALM TORQUAY HOTEL, TORQUAY 7.30PM $52.30
FRI 21 MAR
POND
BARWON HEADS HOTEL, BARWON HEADS 7.30PM
BRETT MOSLEY
ARMSTRONG BBQ, MOUNT DUNEED
8.30PM FREE
DAMAGE INC 20TH ANNIVERSARY
BARWON CLUB, GEELONG 7PM
SAT 22 MAR
SARAH BLASKO HER MAJESTY’S THEATRE, BALLARAT 6.30PM $59.90
SAT 22 MAR
TWILIGHT FOOD FESTIVAL
MIRAMBEENA PARK, ARMSTRONG CREEK 4PM FREE
JERKFEST 10
BARWON CLUB, GEELONG 12PM $87.75
SHAKY STILLS
ARMSTRONG BBQ, MOUNT DUNEED 8.30PM FREE
RUBY FIELDS
TORQUAY HOTEL, TORQUAY 8PM $40.30
CASTLEMAINE FRINGE FESTIVAL (UNTIL 6 APRIL) VARIOUS LOCATIONS, CASTLEMAINE
SUN 23 MAR
GARDEN OF EDEN
PORTARLINGTON GRAND HOTEL, PORTARLINGTON 2PM FREE
BARSLEY
ARMSTRONG BBQ, MOUNT DUNEED 2PM FREE
WED 26 MAR
GUITAR WOLF + POPPIN’ MOMMAS TRASH CULT, EAGLEHAWK 7.30PM $38.50
THU 27 MAR
GUITAR WOLF THE BRIDGE HOTEL, CASTLEMAINE 8PM $25
ZIGGY ALBERTS
CIVIC HALL, BALLARAT 7.30PM $44.90–$92.90
MY DOG, SATELLITE
FRI 28 MAR
SAT 29 MAR
BLUES ROULETT –3 AMIGOS BEAV’S BAR, GEELONG 8.30PM $25–$30
ZIGGY ALBERTS
BARWON HEADS HOTEL, BARWON HEADS 7PM
SUN 30 MAR
ASTRID
ARMSTRONG DUO POINT LONSDALE SURF LIFESAVING CLUB, POINT LONSDALE 5.30PM FREE
AL MCINNES
ARMSTRONG BBQ, MOUNT DUNEED 2PM FREE
Set against the stunning backdrop of Queenscli Beach, TARRA is more than a place to dine - It’s an experience.
Executive Chef Mike Jaques delivers a menu with the freshest local seafood, seasonal produce, and bold flavours that capture the essence of coastal living.
Open for breakfast and lunch.
Located at the Queenscli Ferry Terminal tarra.com.au
