New Music Fridays: Festicket Staff Picks


It's International Women's Day, and to celebrate we've picked our favourites from some fantastic female artist's new releases.

As ever, there's a glut of excellent new music so check the New Music Friday playlist below to satiate one's need for the latest and loveliest sounds, as well as some words on our fave femmes.


Stella Donnelly - Beware Of The Dogs

 

Thrush Metal; a goofy name for an artist’s breakthrough EP, for sure, but it encapsulated Stella Donnelly’s dry wit and femme-focused lyricism in a nutshell. Debut full-length Beware Of The Dogs retains her punchy humour and packs an even heftier dose of ‘#MeToo’ empowered feminism.

Donnelly compounds the daily mundanities, uncomfortable workplace circumstances (‘Old Man’), and eye-roll-inducing dating scenarios (‘Tricks’) with the opposite sex with snarky aplomb; her slight voice, comical musings, and ability to convey serious messages in her lyrics without sounding trite has seen her become one of the most talked-about singer-songwriters over the past year or so.

13-track album isn’t simply a full-scale assault on patriarchy, however. ‘Boys Will Be Boys’, written for her younger brother, highlights the difficulties that young males face when coming-of-age enveloped in toxic masculinity. So, like, she gets it.

There's an ever-growing batch of sharp Australian songwriters that manage to make you both sob and giggle in the same lyric. You can count Donnelly as one of these. TC

 

Amanda Palmer - There Will Be No Intermission

 

The latest album from multi-talented artist Amanda Palmer is an experience, as you might expect. With sparse arrangements often finding her alone at the piano, it feels like we’re sitting right beside her while she sings directly at us, never breaking her gaze.

There’s an undeniable tenacity that permeates the aptly titled There Will Be No Intermission. The title invokes the theatre, showing an awareness that her music often gets labelled theatrical and emotional. But being an immensely personal project that strips back the veneer and studio glosses in favour of an ultra-realistic, very direct approach, the title could also a nod to the fact that there are no intermissions in life.

In the same vein, the cover finds the NYC native naked, literally stripped of her layers but also standing in a classically empowered, statuesque stance, with a sword raised above her head. And its this push-and-pull between soaring theatricality and very direct realism that makes Palmer’s music so unique and intriguing. AW

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