Funeral – King IV at Midsumma 2026

Funeral

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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

Piotr Anderszewski (Musica Viva Australia)

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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Soul Divas, Sung by Sarah C.

Soul Divas

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FRIDAY, 3RD OCTOBER – ‘SOUL DIVAS’ AT MEMO MUSIC HALL, ST KILDA

There’s Soul…and then there are Soul Divas.

On a balmy Friday night in Spring, it was time to head to the live music institution that is MEMO Music Hall, for “a celebration of one the greatest female voices of all time, sung by Sarah C” and backed by her very tight and talented band.

On entry to the venue, I met some energetic characters working the door and behind the bar, each of them obviously proud in playing their parts in vibing with members of the audience at one of Melbourne’s finest live music jewels, Memo, a space that offers an intimate room with rich and clear sound supporting a plethora of performers.

Waiting excitedly at my cabaret table, I knew I would be listening to some timeless soulful hits once sung by famous divas, but I had no idea how close Sarah C’s voice, and her talented band would come to the authenticity of those favourites.

Sarah C is known for her powerhouse voice and dynamic and glamourous stage presence. She’s done lead vocals on TV’s Dancing with the Stars and backing vocals on ‘X Factor’ as well as backing for big names like Kylie Minogue, Jessica Mauboy, Paulini, Tania Doko and Ross Wilson – but this lady belongs front and centre.

Sarah’s ‘Forever Whitney’ show tours nationally and has sold-out venues across Melbourne, including The Palms at Crown. Now an international recording artist, her recent credits include singing for Oscar winners, Goldie Hawn and Susan Sarandon.

That’s not surprising. Her voice is both powerful and emotive, technically excellent and, by taking us on a journey through every song, inspiring of human connection.

Sarah has also created original music – a debut EP, ‘Fearless’; working with Mobin Master (as her alias, ‘Carerra’) on the track ‘Werk’, gaining two million streams on Spotify; and has collaborations with dance/house gurus including Ian Carey, Jolyon Petch and Ron Carroll, with releases on Ministry of Sound, Hed Kandi, Vicious, One Love, Safari and Shock records.
So, Sarah C is clearly versatile as well as vivacious, but it was her tribute to the soul divas of the world we were there to hear that Friday night and her incredible ‘Soul Divas’ show not only took on some of the most iconic voices of all time, she’s totally conquered some of the most iconic songs of all time.

While many singers take a whole show to lead up to a couple of these hard-hitting soul classics, Sarah gifted the audience with her unique talent and power straight up over two hours and with hit after hit.

 

 

Singing ‘Love is a Losing Game’ and ‘Back to Black’ from Amy Winehouse’s second and final studio album of the same name, Sarah and the band exquisitely captured the mournful mood in ‘Back to Black’, contrasted against its’ retro/60’s Pop girl sound.

I was delighted to hear Renee Geyer’s inclusion in the mix of Soul Divas, Renee’s powerhouse voice irreplaceable since 1975. I was so “Ready to Deal” with Sarah’s rendition of ‘Heading in the right direction’ and she nailed it. After that, Sarah slipped an original into the mix, ‘My World Was you’, her own soulful invention, that fit comfortably, smoothly and stylishly amongst this nights’ repertoire, just as slick as any of the classics we were here to love:

– Tina Arena’s power ballad, ‘I’m in Chains’;
– Adele’s ‘Set fire to the rain’;
– Aretha Franklin’s ‘Natural Woman’;
– Tina Turner’s ‘Rollin’ on the river’ …and so many more great songs were mastered.

Closing my eyes during some of these songs, I could’ve sworn I was sitting right there in the room with Amy or Adele.
The show was already amazing and then we got to the finale with Whitney Houston’s songs from The Bodyguard film.
It’s unusual to hear anyone sing ‘I have nothing’ or ‘I will always love you’ with the emotion and skill the originals deserve but once more, we were in for a rare treat.

It’s always a pleasure to watch a slick band and while Sarah conducted hers, the band showed us as much heart as they had talent. Multi- instrumentalist, Hayden Baird killed it on the Saxophone and also played keys in the show. His sax solo during ‘I will always love you’ was perfection.

Damien Thomas mastered his guitar riffs.

Drummer, Jay Bruno, a steady strength with every song, syncopated with Billy Cooper on bass.

Billy’s popping slap bass kept us in the pocket all night, Billy also adding some funk to Sarah’s soul – his swag was shades of Larry Grahame from Sly and the Family Stone.

Jade Talbot played the keyboard and contrasted backing vocals, also singing a duet or two with Sarah C, Jade’s dulcet notes of angelic clarity matched against Sarah’s sonorous and smoky vocals.

The band played as one, their camaraderie warm and tangible. The audience could see the respect they had for Sarah and the gentle authority she had with her “family” of musicians.

People of all ages and styles were up to dance before the interval and were also fully focused in fandom towards Sarah and the band on stage.

Like a true diva, Sarah had the audience eating out of the palm of her hand and kept them wanting more.

There’s soul and then there are soul divas. And Sarah Capodicasa is truly one of them.

To book tickets to Soul Divas, please visit https://www.memomusichall.com.au/memo-gig/sarah-c-presents-soul-divas/.

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The Art of Violin

The Art of Violin

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The Sydney Opera House is always a breathtaking setting for live performance, but tonight’s concert in the intimate Utzon Room was something truly special. Making their debut in this iconic venue, Bach Akademie Australia delivered a spellbinding program that not only showcased the ensemble’s exceptional musicianship but also celebrated the rich legacy of the violin concerto.

Close your eyes, and you could almost believe you’d been swept back to the golden age of the violin. Picture yourself in late 17th-century Italy: candlelit salons, the gentle hum of anticipation, and the first brilliant notes of a new form capturing the public’s imagination—the violin concerto. With master luthiers like Stradivari perfecting the instrument’s design, and composers elevating it to virtuosic heights, the violin became the soul of the Baroque era. It sang with fire and finesse, captivating audiences and rivalling even the grandeur of opera in popularity.

Tonight, under the inspired direction of Artistic Director Madeleine Easton, that golden age was vividly reborn with clarity and passion by Bach Akademie Australia under the artistic direction of Madeleine Easton. Her insightful commentary guided the audience through the historical and musical evolution of the violin, framing each work with warmth and erudition. What followed was a program of extraordinary variety and cohesion, featuring works by Vivaldi, Leclair, Handel, Telemann, and Bach.

 

 

The ensemble performed with remarkable finesse and stylistic authenticity. The blend of violin, viola, cello, double bass, theorbo, and harpsichord created a rich and resonant Baroque sound world that felt both timeless and immediate. Each piece was delivered with a sense of joy and reverence, perfectly suited to the acoustics and intimacy of the Utzon Room.

Three violin soloists took turns at centre stage, each offering a unique voice. Rafael Font’s interpretation of Leclair’s Violin Concerto in D minor, Op. 7 No. 1 was luminous—technically agile and emotionally captivating, while Simone Slattery brought a poetic intensity to Telemann’s Violin Concerto in A minor, TWV 51:a1, illuminating its lyrical elegance and rhythmic drive.

As evening fell over Sydney Harbour, the music seemed to shimmer in response. Bach Akademie Australia did more than perform—they conjured a world, an era, and a spirit. The Art of Violin was not only a triumph of musicianship but a moving tribute to the enduring beauty of the instrument.

To book tickets to The Art of Violin, please visit https://www.bachakademieaustralia.com.au/events/the-art-of-violin-concert-1.

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