REVIEWS

Lola Young’s I’m Only F**king Myself is a chaotic, soulful triumph — raw edges, festival-ready gems, and a voice swinging between storm and solace.

At the height of his powers, Prince swerved left—dropping a psychedelic curveball and telling the label to hold the singles. Forty years on, it still feels like a risk only he could pull off.

One of the most excitinG, underrated indie artists right now is Sydney’s Chuck Sics.

On the 40th anniversary of his first published review, Bernard Zuel looks back at a lifetime bound to music, words, and the conversations that never stop.

From teenage country star to pop showgirl, Tara Dickinson offers a sharp, witty take on Taylor Swift’s ever-shifting personas, her power to dismantle the industry, and the anticipation around The Life of a Showgirl.

Released at the height of the civil rights era, I Put a Spell on You reveals Nina Simone in transition — elegant, defiant, and impossible to pin down.

Cut Copy live at Night At The Barracks, Manly: a safe, pleasant start gave way to a late-set burst of energy, proving sometimes the peak should come much earlier.

Big Thief return with Double Infinity — a patient, folk-tinged set that rewards time with depth, intimacy, and unexpected light.

Through Annette Geneva’s lens, 2009 comes alive again — neon-lit nights, sticky dance floors, and Metric’s Fantasies pulsing through it all.

Waxx Lyrical's Forever Five with Kris Schroeder — five albums he can't live without.

Neil Booth braves Ed Sheeran’s new album so you don’t have to. What he finds is less music than meringue — offensively inoffensive, stadium-sized filler, designed to smother rather than stir. Netflix for your ears.

Waxx Lyrical's Forever Five with Mama Kin — five albums she can't live without.