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Ireland The Voyage

16/03/202607/03/2026 Debra Campbell🥇🔥🦉🎭🎶

Ireland The Voyage Rating

★★★★★

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From the producers of Celtic Illusion, comes a powerful new theatrical experience in Ireland: The Voyage, an epic celebration of Ireland’s history, heart, and heritage brought to life through authentic voices, live music, and world-class Irish dance. Emotional, exhilarating, and deeply immersive, Ireland: The Voyage invites audiences to feel the pulse of a nation – it’s triumphs, its tragedies, its music, and its unbreakable spirit, in a live experience you will never forget!

I was fortunate to be able to delve into this world of all things Ireland currently touring around our country.

Firstly, in my years in dancing (over five decades) I’ve only ever seen Irish dancing twice in my life before (shameful I know!). Once at a high school talent show, and once when I organised a display floorshow at one of our dance fundraisers (everyone commented afterwards how good it was).

This style of dance has sustained as entertainment for decades in theatres around the world, on cruise ships, feature festivals and more. And certainly now I can fully understand why. Whether or not you are Irish, love Irish dancing or music, or just enjoy any stage performances generally; Irish vibes are contagious and captivating!

This show however is much more than just an Irish jig to a whistling tune; it is a real journey of shared stories, history and spirit.

We learn in detail from our host Giselle about the interesting Irish instruments being played in the traditional Irish band, which remains in full view throughout the show on stage. Each band member is also introduced by name with a little of their Irish background and musical accomplishments. They are all simply brilliant musicians and together bring this show wholly to life.

Irish songs sung both in English and traditional language by Giselle O’Meara are truly unforgettable. Her superior voice carries off each and every note like a fine instrument you could easily listen to for hours. Not loud and showy, but gentle and sweet; welcoming and inviting us to just enjoy!

I closed my eyes a number of times purposefully to listen and take it all in. Not only am I learning along the way about Ireland, a place I loved visiting 25 years ago, I am growing a great appreciation for this music and sound.

Shining stars are evident in the Irish dance champions – a trio mesmerize us with unbroken unison of speed and grace, extraordinary flexibility and control in traditional Gaelic; skillful solo features of rapidly increasing intricate footwork are an honour to witness, and later in the show we will clap along to particular beats in joyful harmony encouraged.

This beautiful show was such a lovely relaxing night out, and my Mum who came with me went home to try and find the great Irish love song ‘Grace’ to add to her playlist.

Thank you so much to the cast, musicians and team at Base Entertainment for this chance to broaden my knowledge of Ireland whilst at the same time tapping my foot along to some incredible music and songs from this voyage on stage transporting us all in the lucky audience to the Emerald Isle afar.

Ticket link: https://www.irelandthevoyage.com/

INSTAGRAM: @ireland_thevoyage

Tour includes cities and towns all over Australia and New Zealand.

Cast:
Giselle O’Meara (Champion Irish dancer and former lead vocalist for Michael Flatley’s global phenomenon Lord of the Dance Arena Tour)
Sara O’Hara (World Top 20 Irish Dancing Championship)
Liam Mcweeny (former quadruple Australian National Champion Irish Dancer)
Corey White (runner-up Australian International Oireachtas)

Musicians:
Tim Gleeson (guitar and Irish drum, the bodhrán)
Cormac O’Hanlon (concertina)
Ciara McGoldrick (low and high pitch whistles)
Muireann O’Dwyer (harp)

To book tickets to Ireland The Voyage, please visit https://www.irelandthevoyage.com/australia.

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Funeral – King IV at Midsumma 2026

02/02/2026 Jenni Peters⭐

Funeral Rating

★★★★★

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FUNERAL
KING IV
Thursday, 29th January, 2026

Inspired by the words; “It’s time to lay your old self to rest — and be reborn as the ultimate version of yourself, as you were always meant to be. This is your ending. This is your beginning. This is FUNERAL”, I ventured over to Howler in Brunswick on 29/1/26 to see ‘Funeral’, a “live music performance from dark, electronic, alt-pop phenomenon, KING IV.” (Pronounced I-V-Y.)

‘Funeral’ is the live performance of KING IV’s dance-pop album, ‘Psychopomp: the other side.’ Melbourne artist, Cheyenne Harper, is professionally known as King IV, who imagines herself as a conduit between two worlds, which provides her – and in turn, us – with a feeling of freedom and power.

The MIDSUMMA festival program is made up of diverse art forms and genres, so I knew ‘Funeral’ by King IV would be far from vanilla. I certainly got more than I expected – as I’m sure crowds discovered from King IV’s past gigs at Beyond the Valley, Melbourne Music Week and previous live and large events.

All songs are originals, written and composed by Harper and backed by a visual feast of cinematic projections and dark choreography, to live and synth-ed music. Don’t fear or judge the synthesizer. These songs are truthful and from the soul. There is a rawness and honesty thrown artistically and boldly in-your-face, and each track leaves you wanting more.

Beginning with a video wall as wide as the stage and evocative words conveying her “red being” crossing to the other side, we meet a sensual King IV with her 2023 single, ‘See you later’, a song about seeking pleasure and letting the light of passion free one from darkness.

King IV told Australian Music Scene in 2022 the song “…poured out of her after a night out clubbing and being love-bombed by the person she was out with.” When writing ‘See you later’, she was also influenced by psychotherapist, Carl Jung, and his quotes on passion, including, “…they must be on fire even if they make a fool of themselves…”

‘See you later’, is both erotic and clubby so, everyone at Howler moved towards the stage where we could be closer to even more surreal imagery from this extraordinary artist and her voice-over, asking;

“Did you become the forest? Or the space between the stars?
The wind crossed through the valley, or the harsh and ancient jars?
I reach for you in the wind…. in earth, in flame, in sea.
Whatever form you’ve taken, please leave a space for me.
Tell me if you’re alright, even if you’re not.
Even if you’re gone now. Is your soul forever lost?
Welcome to the cosmos and floating on the stars.
A break inside the universe. You’re always in my heart.”

She has taken us to the Afterlife. It’s something we’ve all considered, especially after profound loss.

King IV, as her “red being”, then returns with a plethora of pumping poetry.

A funky kick-beat of a song, ‘Wicked’, was one of my favourites.
– “We can cross the seasons. We can reach the stars.”
I resonated with her “wicked witchy woman” story.

Next, ‘Night and Day’ with IV singing inside a red-lit coffin, standing centre stage. Loved the electric guitar riff on this one.
– “I like it when you taste it. I do. I do. I like it when we’re naked. I do. I do.”

‘Murder’ mixed ethereal vocals and electronic layers.

‘Psychopomp’ was a stand-out.
– “I’m a fire-breathing dragon. Always ready for some action.”

Ultra-talented Pat Gabriel, composer and musical director – @pattyboomba – plays the keyboard, the strings and other recorded pieces throughout the whole show and, it’s obvious to everyone he loves what he’s doing. Heavy on the bass, he interprets his talents within King IV’s compositions.

The Funeral dancers are fit and fast with dynamic and demonic moves, framing King IV fabulously along this unique journey she’s created for us.

‘Psychopomp; the other side’ is an excellent electronic, dance compilation, moody and theatrical, exploring hedonistic lifestyle, personal transformation and pushing each of us to claim our own unique identity.
– “To truly transform, you must let the old self die – and trust that something greater is waiting to be born.”

Words of wisdom to live by as we venture into 2026.

Purchase King IV’s ‘Psychopomp: the other side’ album from Bandcamp, an online site that directly support the artists who make music.

@kingivsound

To book tickets to Funeral, please visit https://www.midsumma.org.au/whats-on/events/funeral-king-iv/.

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Piotr Anderszewski

26/11/2025 Adam Miller⭐

Piotr Anderszewski (Musica Viva Australia) Rating

★★★★★

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Some concerts creep up on you. Others announce themselves with force. Piotr Anderszewski’s recital at Melbourne Recital Centre did something rarer. It invited us in with quiet confidence and then held the entire room completely still. It was the kind of night that reminds you why we gather in concert halls instead of sitting at home scrolling through recordings.

The program opened with twelve pieces selected from Brahms’ late piano works Opp. 116 to 119. These miniatures can feel introspective, even private, but Anderszewski treated them like a conversation he was having directly with us. Nothing about his playing felt unconsidered. Every shift in colour had purpose. Every pause had weight. There was virtuosity here but it was the kind that draws you closer rather than pushing you back. The hall was silent enough (save for the single phone ringing that, I swear, brought a subtle shake of the head from the pianist) to hear the softest phrases land like thoughts forming in real time.

After interval came Bach. Anderszewski delivered the Prelude and Fugue in E major BWV 878 and the Prelude and Fugue in G sharp minor BWV 887 with a clarity that never tipped into dryness. He let the melodic lines speak with a simplicity that suited the space. Elisabeth Murdoch Hall has the kind of acoustic that wraps a performer in a warm glow without smudging the detail. It felt made for this music.

Then came one of the loveliest theatrical touches of the evening. Without any break or invitation for applause, Anderszewski slipped straight into Beethoven’s Sonata No. 31 in A flat major Op. 110. You could feel the audience catch on one by one. A tiny ripple of realisation moved through the hall. It was clever and charming and made the transition feel like part of the storytelling rather than a reset.

His Beethoven had an almost improvisatory quality. Not loose for the sake of it but alive to the moment. Dynamic shifts surprised us yet always connected to the emotional flow of the work. The Arioso dolente was especially moving and the fugue grew with a kind of quiet determination that suited Anderszewski’s understated presence at the keyboard. Nothing was showy beyond necessity. Everything was honest and heartfelt.

Two encores followed after an eruption of applause at the end of the evening. The first felt like a warm nod to the audience and the final encore offered a gentle send off. A perfect ending.

Musica Viva deserves real credit for bringing this artist to Australia and for programming a recital that felt both rare and completely right for this venue. Elisabeth Murdoch Hall remains one of the great gifts to Melbourne audiences. Nights like this prove it.

To book tickets to Piotr Anderszewski (Musica Viva Australia), please visit https://www.musicaviva.com.au/concert-season/past-seasons/concerts-2025/piotr-anderszewski/.

Photographer: Claudio Raschella

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Bach Akademie Australia: The Brandenburg Concertos

17/11/202516/11/2025 Mark Hobgood⭐

The Brandenburg Concertos Rating

★★★★★

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About 25.3 billion kilometres from Earth, travelling at 61,000 km per hour, Voyager 1 contains a gold record that includes recordings of Barnumbirr (Morning Star) and Moikoi Song played by Tom Djäwa, Mudpo, and Waliparu, Johnny B. Goode by Chuck Berry, and Johann Sebastian Bach’s Brandenburg Concerto No. 2 in F Major.

When asked what message humans should send to alien civilisations, the biologist Lewis Thomas replied: “I would send the complete works of Johann Sebastian Bach… but that would be boasting.”

The Brandenburg Concertos are exquisite, like gems, cut precisely and polished so they sparkle.

Imagine you are 36 years old. Your wife had died, you have four children and you need a better paying job. In 1721, Johann Sebastian Bach wrote six concertos in an attempt to convince the Margrave of Brandenburg-Schwedt to hire him. It didn’t work. The manuscript was discovered, tucked away in a library cupboard, in 1849. It appears that the Margrave never saw them.

Miraculously, the original manuscript survived the bombing of the train they were being carried on during World War II. A librarian, transporting the manuscript, fled the train, running out into a forest with Bach’s concertos hidden under his coat.

Madeleine Easton, the artistic director of Bach Akademie Australia, was captivated by the concertos when she first heard them as a child. The music “bubbled” joyfully. She was transfixed and determined that one day she would learn to play them herself.

Easton has more than realised that artistic dream. She is one of Australia’s most celebrated violinists, performing to acclaim internationally, and leading the Bach Akademie Australia.

Bach Akademie Australia are a remarkable group. The promo spoke of “unbridled joy”, a promise kept in the performance of the Brandenburg Concertos tonight. Technical skill is present in abundance in this group of accomplished musicians, but it is the balance of that skill with the dynamic interpretations and the sheer joy of performing that makes Bach Akademie’s music memorable.

It is delightful to see the communication between the musicians as they play: a glance here, the synchronised breathing, the physical uplift of the body to initialise the tempo, or a call and response between instruments in the concerto. The travelling solo in Brandenburg Concerto number three was a pleasurable highlight.

I found odd moments of real magic, not just during the performances but during the interval, when Nathan Cox tuned the harpsichord.

To a certain extent recordings have spoiled us. There is an unspoked expectation of perfection that can only be achieved by editing and the best of hi-fi equipment. With this in mind, there is a wonderment in hearing original and acoustic instruments without amplification, especially in a chamber music setting.

Madeleine Easton plays a 1682 Giovanni Grancino violin, an instrument with a wealth of experience in its wood. Her colleagues are similarly equipped, and we the audience benefit greatly from the wood, the breath, the brass, the experience and the joy.

To book tickets to The Brandenburg Concertos, please visit https://www.bachakademieaustralia.com.au/events.

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