News, theatre

Comedy Festival Review: Dane Simpson

Dane Simpson
100% Hits
7th April
9pm
The Victoria Hotel

⭐️⭐️⭐️⭐️⭐️ Five Stars

Yothu Yinidi plays on the PA as we are ushered into a room at the Victoria Hotel to see Dane Simpson perform his comedy show 100% Hits.

As soon as the show starts we are hit with a set of rules-

“So there’s rules for the show. If you find something funny, obviously laugh. Like, get into it. 
Yeah. And if you’re really getting into it, I need you to bang your hands, fill this place with as much love and laughter and it’s packed house, don’t turn around. Get into it. 
You know what I mean? Yeah, make whoever’s next door, Rove  or whoever’s jealous that they’re not having got this bad yet. Does that make sense?” 

The audience doesn’t need the rules however, as Dane gives the audience a laugh a minute. Whether he’s talking about growing up as a proud Gamilaraay man in Walgett being mistaken for being Indian or telling us about being afraid of thunderstorms Dane is hilarious.

His humour is humble and self deprecating at times, which makes Dane an instantly likeable comic, he’s charismatic and charming, and very happy to have made a career out of doing something he loves.

As he tells us yarns about his family we are introduced to his hap-hazard yet loveable Dad, his laser eyed Mum and his tough brother, all characters that play important roles in shaping Dane into the comic that stands before us.

We hear tales of his wedding, his debut in Edinburgh and his first time on the stage- it’s a walk down memory lane with Simpson, as he regales the audience with exceptionally funny material. His punchlines are quick, sharp and witty, with a delivery that is relaxed yet confident.

Rules aren’t meant to be broken and the audience is not shy at clapping and laughing along to every punchline, which often garners a little air-kick in celebration from Simpson. The show flows perfectly with each joke landing well, finding the mark.

Celebrating ten years in the industry, the show is a look back at some of Simpson’s career highlights, particularly his short stint on The Amazing Race, where finishing last was exactly what his Dad wanted.

The hour flies by too quickly, the audience are having such a great time it’s a shame to have the show finish, Simpson is the kind of comic you could listen to all night. His yarns are funny, his delivery is exceptional and his show is one of the deadliest comedy lovers will see this festival season.

Words by Amanda Lee Starkey

News, theatre

Comedy Festival Review: Wankernomics

Wankernomics

Show_v4.1_Final_USETHIS

Saturday April 4th

Athenaeum Theatre

⭐️⭐️⭐️⭐️⭐️ stars

Wankernomics opens like a meeting you’d normally try to dodge – and that’s exactly the point. The Athenaeum Theatre is reframed as a corporate briefing room, with James Schloeffel and Charles Firth stepping in as slick, overconfident executives guiding the audience through a crisis no one fully understands. From the outset, the show locks into its premise: a world where jargon replaces meaning and every sentence sounds important while saying absolutely nothing. It’s instantly recognisable, and that familiarity is where the comedy hits hardest.

The humour is sharp, deliberate, and painfully accurate. Buzzwords are translated in real time – usually into nothing – while audience-driven mission statements spiral into corporate nonsense that feels a little too close to home. The staging mirrors the environment it’s skewering: slides, internal chats, diagrams – all the tools of modern office life turned into punchlines. Schloeffel and Firth are tightly in sync, delivering with the confidence of executives who have no idea what they’re doing, but absolute faith in how they’re saying it. The biggest laughs don’t come from surprise, but from recognition – you’re not just watching the joke, you’ve lived it.

The trade-off is that the concept is so specific it occasionally corners itself. Without a strong narrative push, the show leans into repetition, and there are moments where the pace softens as the structure settles into a familiar loop. But the writing is sharp enough, and the performances controlled enough, that it never fully loses its grip.

What Wankernomics does best is hold a mirror up to corporate culture and let the absurdity speak for itself. It’s less about big, explosive comedy and more about precision – clean, cutting satire that lands because it’s true. By the end, it feels like a shared release: a room full of people laughing at something they usually have to sit through in silence.

Words by Shelby Lane

Interview, News

Interview: Druid

With their latest single dead_SPACE, Melbourne’s Druid push beyond breakdowns and bravado into something far more unsettling, a sonic glimpse into the space between life and death. Drawing from a real near-death experience, the track trades comfort for confrontation, wrapping crushing weight around an eerie sense of stillness. With a new voice at the forefront and a darker edge taking shape, we went deeper with the band to explore the void, the emotion behind it, and what happens when heavy music stops feeling safe.

We had  a chat about all things life and death with Chris Mercuri vocalist Chris Mercuri and guitarist Daeyul Baggins.

1. dead_SPACE sits in that space between life and death, did writing it feel more like storytelling, or translating something you can’t fully explain?

I definitely feel that moment shaped the heavier sections of the song and I wanted the end to hit with almost every sound so it would invoke a feeling similar to an abrupt awaking, like being brought back to life.

2. Your mum described the void as peaceful but wrong at the same time. How did you turn that contradiction into sound rather than just lyrics?

When it comes to the sound I feel we tried to push forward the sounds that you would usually hide in the mix – I guess we tried to bring forward the unknown, music you would usually subconsciously feel instead of bringing it to the forefront like we did with dead_SPACE.

3. There’s a real sense of suspension in the track, like time isn’t moving properly. Was that something you consciously built into the structure, or did it just happen naturally?

We intentionally made this is a musically uncomplex track, the drums and guitar don’t overextend themselves so the focus is on the vocals and lyrical themes. I think this suspension feeling has come from that. This simplistic approach with the dark narrative has created this sense of time distortion.

4. The idea of being “pulled back” into your body is pretty visceral. Did that moment shape the heavier sections of the song?

I definitely feel that moment shaped the heavier sections of the song and I wanted the end to hit with almost every sound so it would invoke a feeling similar to an abrupt awaking, like being brought back to life.

 

5. The clip leans into confusion and isolation rather than outright horror. Was it important that the void didn’t feel like a typical ‘scary’ place?

Definitely. We wanted to capture a sense of loneliness and helplessness, so we didn’t have fancy props, lighting and effects. Just a simple dark space with no escape, and that in itself becomes the horror.

6. This is the first release with Tim stepping up on lead vocals, how did that shift influence the emotional weight or aggression of the track?

The original track was done with our previous vocalist. Their verse was the second one and it was very downbeatand reserved. Tim is a naturally aggressive vocalist so he wanted to change it to his style and also mark his arrival with a bang. So it shifted that verse from just a verse to a standout part of the song, and carries the energy from the chorus through the track.

7. dead_SPACE forces listeners into an uncomfortable place. Do you see this track as an escape, or more like something people have to sit with whether they like it or not?

Everyone will have their own experience with it, but we definitely want it to be something that you can’t escape from. We all feel at times like we’re trapped in one situation or another, whether that in life or mentally. We wanted to capture that feeling. It’s not comfortable, it’s not easy, but it’s there and we have to deal with it.

News, theatre

Comedy Festival Review: James Barr

James Barr
Sorry I Hurt Your Son (Said My Ex To My Mum)
Saturday 4th April
Trades Hall – Music Room

⭐️⭐️⭐️⭐️⭐️ Five Stars

The lights dim, and dance music begins to play as James Barr makes his way to the microphone.

Making his Melbourne Comedy Festival debut, James opens up the reality of domestic violence.

He asks the question- Why doesn’t society talk about domestic violence more?

Over the next hour, James opens up about his experience living with a violent partner, and how the man who was meant to love him ( and his dog Camilla Barker Bowls) became the monster who abused him.

And while James tells the story, at times holding back tears he manages to pepper in enough humour to make the audience feel comfortable. However, there are times when the story becomes too heavy and the room is silenced and weighed down by the burden of James’ pain.

There is something so brave about a man talking about his abuse, an experience that seems still a little fresh for James, who speaks candidly, with a little nervousness to his voice. He’s unsure how this will land, but he does a great job.

At times he is a little self deprecating, however from the moment he takes to the microphone James is instantly likeable. Well presented, very articulate and funny there is a hint of vulnerability that bubbles beneath the surface that makes James an intriguing yet loveable character.

At times the audience’s heart breaks for James as he speaks about what he endured and the shame he suffered. When he speaks about being pushed down the stairs, he attempts to soften the blow for the audience, yet  we still are holding our breaths in utter disbelief, collectively our hearts broken for this brave young man. If the audience could hug James and take this pain from him, there would be no shortage of volunteers. For James to take a microphone and speak about the unspeakable is courageous.

Studies indicate that around 26% of gay men experience physical violence, stalking, or rape by an intimate partner, gay men are experiencing harm at alarming rates and yet nobody is talking about it. The first man to do a comedy show about the topic, James is breaking new ground, normalising men opening up about their pain.

He delves into how easy it is to ignore red flags, to dismiss the truth and stay, because of love and hope. Anyone who has experienced a violent relationship knows the words James speaks are painfully true. He isn’t analytical or dissecting it, he merely speaks his truth candidly. James doesn’t seek validation or an explanation, merely an education of sorts, and answer to the unanswered question of – Why did you stay? He articulates it very well, even when his voice falters.

His performance is polished, leaving room for improvisation and connection to the audience. When the story becomes too much, James carefully takes  moment to compose himself, making the subject matter hit a little harder – this isn’t someone telling jokes to make us laugh, it’s someone seeking a little healing in his own way.

It is said that laughter is the best medicine, and with each laugh one can only hope that James can heal his heart a little more, and that we the audience can help him carry his burden, so it’s not so heavy. We can only hope that one day it will become much lighter for James to bear, the scars healing from something nobody should have to live through.

After all he endured at the hands of his partner, James should be nothing but congratulated for his raw emotional performance, brutal yet brilliant and his unwavering determination to speak his truth so that it might help someone else.

James Barr makes an exceptional debut into the Melbourne Comedy Festival and his show  Sorry I Hurt Your Son (Said My Ex To My Mum) is brave, memorable and brilliantly delivered.

 

Nominee for Best Show at the ISH Edinburgh Comedy Awards, NextUp’s Biggest Award in Comedy and the Queer Performers Award at the 2025 Edinburgh Fringe, Sorry I Hurt Your Son (Said My Ex To My Mum) was also named one of the best reviewed shows of Edinburgh Fringe.

Showing Now.

Words by Amanda Lee Starkey

 

News

Live Review: Anthrax

Anthrax
with Alien Weaponry
Festival Hall, Melbourne

As the stage dims, the lights go down and Alien Weaponry herald their arrival to the stage with a traditional Māori Haka to signal they’re about to begin.
Hailing from Aotearoa, early comers are here to witness not only a band that creates metal using Māori lyrics, but a band that is half performing, half going into battle. The room is almost full as they wage war on the ears of the audience, giving an exceptional performance.

As anyone would know, Anthrax are the OGs, the God Fathers of thrash metal. As a large curtain covers the stage, Scott Ian begins to play a projection of cartoons is displayed on the screen. The curtain drops and the band emerges, ready to show Melbourne what they’ve got.

Opening with A.I.R, they quickly get the crowd into a frenzy with the mosh pit opening up. It’s furious energy at its best and the crowd are an untamed force.

Moving rapidly through their catalogue of music, Anthrax performs together as a unit, a wall of sound that is so powerful, its impossible to know who to watch. Ian Scott is phenomenal, Jonathan Donais is on fire, but frontman Joey Belladonna is an enigma. Each member of the band brings their own level of showmanship and entertainment, working together to produce an exceptional sound.

Belladonna is captivating to watch, and he plays with the audience, teasing, waving his microphone and blowing kisses. He is a master of stage presence, a genius at keeping the audience engaged and entertained. He makes eye contact with people, he invites them into his world, performing with such passion that it’s infectious.

Playing a wide selection of favourites from ‘ Caught In A Mosh’, ‘ Fight Em Till You Can’t’, ‘ Be All, End All’ the band puts on a solid performance.

Not wanting to take himself too seriously, at one point Belladonna jumps behind the drums, playing along happily with Ian, a grin plastered across his face.

Anthrax are a band that are a group of expert musicians that know how to technically play well, but also bring united skill, showmanship and brilliance together. They’re serious performers who play with perfection.

Finishing up with ‘ I Am the Law’ and the Trust song ‘ Anti Social’, Anthrax have give the audience exactly what they came for- thrash metal at its finest.

Words by Amanda Lee Starkey

 

 

News, theatre

Comedy Festival Review: Tape Face

Tape Face
fourty five downstairs
Melbourne Comedy Festival

⭐️⭐️⭐️⭐️ four stars

Tape Face is the creation of New Zealand-born performer Sam Wills, who initially trained as a clown and busker before developing his silent comic persona. That now-legendary persona rose to global fame after a viral run on America’s Got Talent where his quirky, tape-sealed mouth, wide-eyed expressions and clever prop routines earned standing ovations and tens of millions of online views. 

Tape Face returns to Australia after an absence of ten years to celebrate twenty years of comedy.

The audience is invited into a dark room with a minimal stage, and there a man sits, looking like
a cross between Beetlejuice and a hostage victim. His hair akimbo
and tape across his face looking rather bewildered.

As the show starts we are warned that audience participation is happening and if you don’t go along with things, well then you’re a bit of a dick.

What ensues is an hour of unhinged physical comedy, that borders on a fever dream of puppetry, movement and music to tie into a hilarious set of mini- skits. It’s hard to describe exactly what is going on, but each skit, whether it’s involving bubbles or an audience member throwing something at Tape Face, it’s hilarious.

One of the hardest things to do is physical comedy; even more so difficult when you remove speech, but in the style of Rowan Aitkenson’s Mr. Bean, Tape Face uses his expressions, namely his eyes, to convey emotion. He does this brilliantly, his eyes are particularly expressive which adds to the hilarity. It’s evident that he has developed this character with a lot of thought and sequences are well timed, using music as a tool to create drama and gain laughs. It’s been cleverly constructed to ensure that even at its most unhinged it’s funny.

As members of the audience are involved the entire time, the comedy takes on a new dimension. It’s a clever way to add engagement to the show, as people become part of the story- making the show that much funnier. It’s a bold but clever move which pays off time and time again.

If you’re after something a bit unique for this year’s Melbourne Comedy Festival, then Tape Face is a must- see. Original comedy at its best, a guaranteed laugh out loud show.

Tape Face is Now Showing

MELBOURNE | FORTYFIVEDOWNSTAIRS | 26 MARCH – 19 APRIL

BRISBANE | POWERHOUSE THEATRE | TUESDAY 21 APRIL

SYDNEY | DARLING QUARTRE THEATRE | WEDNESDAY 22 APRIL

PENRITH | THE JOAN | THURSDAY 23 APRIL

SYDNEY | FACTORY THEATRE | FRIDAY 24 APRIL

PERTH | THE RECHABITE | SUNDAY 26 APRIL

News

Live Gallery: Wu Tang Clan and Bliss N Eso

The Wu Tang Clan and Bliss N Eso

Rod Laver Arena

Friday 27th March 2026

The “ruckus” was brought to Rod Laver on Friday night with the Wu Tang Clan claiming the stage and giving a final performance for fans in Aus.  Not all members could attend, but the stage was still alive with energy and classic hip hop for all to enjoy.

Support act Bliss N Eso warmed up the crowd and got everyone ready for a big night.

Images by Matt Gee

 

 

Bliss N Eso

News

BACHELOR GIRL SHARE REIMAGINED VERSION OF ‘TREAT ME GOOD’ FT. JESSICA MAUBOY FOR ‘WAITING FOR THE DAY’ ARTIST SESSIONS

Australian pop icons Bachelor Girl return with a bold new take on their 1998 hit, Treat Me Good, teaming up with beloved powerhouse vocalist Jessica Mauboy for the release, out today. Originally unleashed on the duo’s debut album, Waiting for the Day, this mammoth new version is the first taste of the band’s anticipated forthcoming redux album that will feature an epic haul of acclaimed household name artists who bring their prowess to the reimagining of the tracks.

Slated for a June release, Waiting For The Day: Artist Sessions is a complete reinterpretation of the double Platinum album that captivated the world. “We (somewhat audaciously!) began to ask some of our favourite Aussie artists and friends if they would lend their voices and/or instrument to our bucket list project,” beams Tania Doko. “What started with one, became 13 artists on this 15 track Redux album, and we could not be more chuffed they enthusiastically said yes.”

The duo has today also announced their Waiting For The Day Redux tour which will kick off in their home town of Melbourne at Brunswick Ballroom on August 8, before moving through Brisbane, Adelaide and finishing off in Sydney at The Factory Theatre on October 18. Tickets are on sale now from www.bachelorgirl.com.

Treat Me Good with Jessica Mauboy offers a reimagined version of the earlier classic, bringing a modern edge, and blending its nostalgic grooves with Mauboy’s soulful intensity to deliver a vibrant anthem of empowerment and self-worth. It’s a collaboration that proves timeless songs can evolve with heart, purpose and renewed spirit.

Genuinely so gracious to have Jessica Mauboy gifting her voice to this iconic song, Doko said, “Treat Me Good was written 3 decades ago, and we *still mean it. It’s been reinvigorating to create this full circle moment. Jess Mauboy’s contribution is the prize here, with the song now taking on an added sisterhood narrative – standing for the self, AND each other. It’s been humbling to learn how much the song meant to Jess, from her busking Bachelor Girl tunes in Darwin, to singing her face off with us in the studio while 7 months pregnant with Mia. It’s a ‘pinch us’ moment all round.”

“The first twenty seconds of Jess opening her mouth to sing was gob smacking,” adds James Roche. “We all looked like the kid from ‘Home Alone’.”

For Mauboy, one of Australia’s most celebrated and versatile artists, the collaboration adds another milestone to an extraordinary career spanning nearly two decades. A multiple ARIA Award winner and the first Indigenous Australian solo artist to debut at No.1 on the ARIA Albums Chart, she has amassed six Top 10 albums, 16 Top 20 singles and more than 30 combined Platinum and Gold accreditations. Beyond music, she has starred in acclaimed productions including The Sapphires, Bran Nue Dae and served as a coach on The Voice Australia. In 2025, Mauboy was inducted into the NIMAs Hall of Fame, further cementing her legacy as an enduring force in Australian entertainment.

“Treat Me Good has always been one of those songs that instantly takes you back,” says Mauboy. “I grew up hearing Bachelor Girl on the radio, so getting the chance to re-record such an iconic Australian song with them felt really special. What I love most about it is how real it feels, its message about respect and love still resonates today. Recording this new version together was a beautiful way to honour the heart of the original while sharing that emotion with a whole new generation.” 

Tania Doko and James Roche of Bachelor Girl have proven their enduring, beloved status in Aussie music culture. Their debut Buses and Trains earned James APRA Song of the Year in 1999 and remains one of the most played Australian compositions since its release. The iconic hit also made waves in Asia, Scandinavia, Europe and the US, including a signing by legendary A&R Clive Davis, Arista records. Their critically acclaimed ARIA winning Waiting for the Day album spawned another four releases still on rotation today, including Treat Me Good, Lucky Me, Blown Away and Permission to Shine. With a catalogue defined by exceptional songwriting and soaring vocals, the duo continue to captivate audiences, recently touring alongside legendary acts including Simple Minds, Icehouse and The Corrs.

Treat Me Good featuring Jessica Mauboy is out today.

STREAM: TREAT ME GOOD FT. JESSICA MAUBOY

BACHELOR GIRL – WAITING FOR THE DAY REDUX TOUR DATES

SAT 08 AUG | BRUNSWICK BALLROOM, BRUNSWICK VIC | 18+

Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets

SUN 23 AUG | THE TRIFFID, BRISBANE QLD | 18+

Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets

FRI 28 AUG | THE GOV, ADELAIDE SA | 18+

Tickets available from www.oztix.com.au | | All Oztix Outlets

FRI 04 SEP | CUBE 37 FRANKSTON ARTS CENTRE, FRANKSTON VIC | ALL AGES U15s W ADULT

Tickets available from https://geelongartscentre.org.au/whats-on/ | 1300 251 200 | Geelong Arts Centre Website

SUN 18 OCT | THE FACTORY THEATRE, MARRICKVILLE NSW | 18+

Tickets available from https://www.factorytheatre.com.au/ | (02) 7208 4482 | Century Box Office

News

CHUCK SICS SET TO GRACE THE STAGE AT OLD BAR TONIGHT FOR GOOD MUSIC THURSDAYS

Sydney-based indie rock artist and multi-instrumentalist Chuck Sics lands at Old Bar tonight as part of the venue’s beloved ‘Good Music Thursdays’ series, delivering an intimate and electrifying live show fresh off the release of his brand new single, Arms. Joined by local supports The Pearlies and Camomile, the night promises a stacked lineup of emerging talent and raw, guitar-driven energy.

A 00’s-influenced indie rock anthem for all the anxious lovers, Arms marks Chuck Sics’ first release of 2026 and his first new music since the arrival of his debut EP Slipstream in September 2025. Written, produced and mixed by Chuck himself – with contributions from frequent collaborators Blake Wares and River Langford,  the track continues his signature blend of crunchy, volatile sonics and deeply introspective lyricism.

“Arms is a song about falling in love, and letting love win you over when you’re afraid to lose it,” Chuck shares. “It’s easy to get swept away in the fear that nothing lasts forever… I wanted to remind myself, and hopefully others, to be present – hold your loved ones and let them hold you. That’s all you need.”

Following a breakout 2025 that saw him amass over 100,000 streams across Slipstream, showcase at SXSW Sydney, sell out his debut headline show and support the likes of The Tullamarines, Chuck Sics continues to build momentum both on record and on stage. His live performances have quickly become a cornerstone of his artistry – immersive, emotionally charged, and driven by his dynamic musicianship.

Tonight’s performance at Old Bar offers Melbourne fans a chance to experience new and unreleased tracks in their full, visceral form, alongside some fan favourites, With support from jangly indie outfit The Pearlies and dream-tinged newcomers Camomile, the lineup captures a snapshot of Australia’s thriving underground scene.

From picking up the trumpet in primary school to crafting lush, guitar-led soundscapes as a solo artist, Chuck Sics’ journey has been one of constant evolution. Now in 2026, his music stands as a testament to vulnerability, growth and creative independence, and tonight, that journey unfolds live on stage.

Buy: Tickets here

Stream: Arms

Stream: Slipstream EP

News

My Dream Rider: Milina Mihic

Hailing from Western Sydney, Milina Mihic is a 22-year-old singer songwriter with a voice years beyond her age. After releasing her first single ‘do you know me now?’ in 2024, she was recognised as an artist to watch. Milina’s lyrics evoke vivid imagery of her lived experience as she explores heartbreak, friendship, and making mistakes.

 

10 items on my fantasy rider:

  1. I think the first thing and most important thing that I would want is my dog Winston with me! Maybe with a cute little dog bed backstage so he can have a nap 
  2. A massage chair! I have never used one and its completely unnecessary but I definitely think it would calm the nerves 
  3. Wedges with sweet chilli and sour cream. It’s my absolute favourite food and I could probably eat it for every meal. 
  4. A hot chocolate. I drink hot chocolate whenever I am anxious or stressed so this one is definitely a high priority on the list 
  5. Noise cancelling headphones, so I can watch Grey’s anatomy for sure. I’ve already watched it 8 times and I’m on my 9th rewatch. Never gets old. 
  6. A bed! I would love a place to lay down. I think I can never fully de-stress unless I’m laying in bed. 
  7. A hair and makeup artist for sure. I feel like everytime you have to do your hair or your makeup for an event is the moment you forget how to do it and it always looks weird! 
  8. A rocking chair, just in case the relaxing bed isn’t comfortable enough. 
  9. Honestly alcohol. 
  10. A throat steamer, they are SO GOOD. I never feel truly warmed up without one, which might just be placebo. But very comforting before a show! 

There are a lot of new releases in the works and my next single will be coming out very shortly! I’m really proud of this next body of work that will be coming out and I can’t wait for you to hear it. 

Stream: Overpass

MUSIC ARTS MEDIA