Oasis – Accor Stadium, Sydney: November 8, 2025 (13th Floor Concert Review)
13th Floor’s John Bradbury made the trip to Sydney to see the reunited Oasis. Here is his report:
13th Floor’s John Bradbury made the trip to Sydney to see the reunited Oasis. Here is his report:
Sorry’s third album Cosplay feels like the moment they stop trying to explain themselves.
Theia doesn’t ease you in. Girl, In A Savage World opens with drone, breath, water and chant, and you feel as if you are entering a ceremony.
On Rino Tangi (Steel that Sings), Tāmaki Makaurau’s Helium Project transform Gary Hunt’s hand-forged percussion sculptures, created by the former punk drummer, into instruments that gleam, sigh and resonate with a musicality that is central to the project’s warmth.
Melbourne’s The Belair Lip Bombs don’t waste time. Their second album, Again, packs a restless half-hour of wiry guitars, melodic punch, and emotional intelligence into ten tracks that move like a live set: fast, tight, and slightly unpredictable.
Hail, Meteor!’s Nearer begins with a low vibration that feels like the unsettled atmosphere before a storm. The sound grows slowly until it becomes a living landscape of rhythm and resonance.
On Great Barrier’s new album Repetition, the sea is restless, the heart is beating, and something elemental stirs beneath.
Open Late: In the Web of Louise Bourgeois marked the Auckland Art Gallery’s new exhibition Louise Bourgeois: In Private View, which runs to 17 May 2026.
“Jesus died for somebody’s sins, but not mine”. Fifty years ago a defiant Patti Smith released her debut album, Horses. Now, here is a look at this new 50th Anniversary Edition of a true classic.
Madi Diaz’s Fatal Optimist is an album built on restraint, precision, and feeling. Each song seems to breathe in time with her voice, which carries both melody and emotion.