Giselle Au-Nhien Nguyen is a writer.
With a line-up featuring Chappell Roan, Geese, Lucy Dacus, Role Model and Wet Leg, this year’s Laneway Festival took crowds on a fantastical ride.
Australian Open is a queer domestic comedy that serves up aces of absurdity, rapid-fire volleys of wit, and heavy groundstrokes of camp and cringe.
Every now and again Melbourne’s indie theatre scene throws up something destined for a bigger stage. I hope that’s the case with Harrison Clark’s Sabotage.
The Life of a Showgirl offers flashes of brilliance, but is more headline fodder than timeless pop.
Smaller in scope but bigger in heart, Lin-Manuel Miranda’s first musical made its debut on Broadway in 2008 before it was given the silver screen treatment in 2021.
To attend a concert by The Hives is to be inducted into a sweaty, euphoric cult for just over an hour of frenetic power.
The New Zealand pop star is emotionally raw and sexually frank on her new album.
This version of The Birds eschews flashy design to focus on intensely rendered performance.
Some songs just don’t work in a rock band. Playing with an orchestra is giving the Icelandic trio a chance to perform some of their grand, sweeping numbers live.
At the first of the pop star’s three sold-out Melbourne shows, she announced her intention for the night: “My goal for the show is that it’s kind of a big duet.”