From Smiles to Standing Ovation: Music of the Night in The Barossa
Warm humour, powerhouse vocals and theatrical drama make for a night of contrast, nostalgia and big musical moments.
Production: Music of the Night
Venue: Brenton Langbein Theatre, Barossa Arts Centre, Tanunda
Date: Saturday 12 September 2026
Reviewed by: Brett Partington, Limelight SA
Photography: Kate Needs, Limelight SA
I went into Music of the Night expecting big voices, familiar songs and plenty of spectacle. What surprised me was just how funny, relaxed and easy the night felt. The show built quietly, drew us in and kept revealing something new.
The stage itself was deliberately simple. Candelabras, blue and white lighting and a soft smoky haze created a moody atmosphere. Projected backdrops helped show which musical each song came from, with some of the imagery giving a 3D effect. Nothing felt cluttered. The focus remained exactly where it belonged: on the performers.
When did the audience become part of the show?
Pretty much the moment Joey Fimmano decided we were.
Joey crossed that imaginary border between stage and audience early, moving along the front row shaking people’s hands before sitting on one lucky woman’s lap and adding a cheeky comment that immediately loosened up the room. Part showman, part vaudeville performer and part ringmaster, Joey is also an award-winning vocalist and instrumentalist. He has an infectious smile and the sort of easy charm that makes you feel as though you have known him for years. Think of the Italian uncle everyone wants sitting at their table.
The first half became a showcase of some of musical theatre’s best-known songs, but the strength came from the variety. The three singers were very different in voice, personality and stage presence, and that contrast gave the show colour.
The audience gasped with recognition when Joseph and the Amazing Technicolor Dreamcoat began, seeming to take many straight back to their younger years. Joey then shared stories from his early television days, including his success on Pot of Gold with Bernard King and Young Talent Time, where he won his way through heats and finals. Those stories stirred a shared sense of memory where you could almost hear the room thinking, “I remember those shows.” A brief tribute to Johnny Young added a touching moment.
Across the first half, the show moved comfortably between banter, memories and increasingly powerful vocals. There were jokes with the band, some playful songs on the piano accordion and Joey happily teasing that he might, in fact, be the real star of proceedings.
It was fun.
Dexter Villahermosa brought some of the night’s strongest drama. His stage presence was confident and charismatic. When he spoke, he used deliberate pauses and a slow, measured delivery that held your attention.
The room leaned in with him.
His Miss Saigon section was one of the most emotional parts of the night for me.
What changed after interval?
The first half had been about variety and fun. The second half belonged to the drama. Opening with songs from The Phantom of the Opera immediately shifted the mood. Rather than constantly breaking the intensity with lighter material, the production allowed us to stay immersed in it. That was the right decision. Sometimes variety helps. At other times, the big songs need room to breathe.
Music of the Night was one of the evening’s standouts. Dexter displayed both range and control, holding some remarkably long notes before receiving one of the biggest and most sustained rounds of applause of the evening.
Michaela Hodgson brought plenty of light and shade to her performance across the night, moving from softer passages into powerful bursts when the music demanded it. She also seemed to arrive in a stunning new dress every few songs, adding another layer of glamour to the production.
The well-credentialled three-piece orchestra, led by musical director Michael Rohanek, combined bass guitar, drums and keyboards with programmed music to produce a full, expansive sound.
How did they send us home?
The cast finished with Mamma Mia, calling back to an earlier ABBA joke and sending the audience out on a lighter note. It gave the night a playful final lift.
After the show, I asked Joey what he hoped people would feel when they walked away from the production.
His answer was simple:
“Happiness and connection.”
Looking around the theatre throughout the night, his answer made perfect sense. People smiled. They laughed. They leaned in.
The applause said the rest.
By the final note, we were on our feet.
Limelight SA would like to say a special thank you to Cas & Nori 87.6FM, Dancing with an Italian and Joey Fimmano, cast and crew from Music of the Night for selecting us to review their show.
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Burn The Floor Lights Up Her Majesty’s Theatre With Luminous
Limelight SA Event Review | Her Majesty’s Theatre, Adelaide | 9 September 2026
There are dance shows, and then there are shows that make sitting still almost impossible.
Burn the Floor: Luminous swept into Adelaide’s Her Majesty’s Theatre on Wednesday night with a production bursting with energy, passion, colour and some extraordinary dancing. By the finale, the invitation to get up and dance felt almost unnecessary - the audience was already well and truly caught up in it.
Burn the Floor describes Luminous not as a revival, but a reinvention. Under the direction and choreography of Jason Gilkison, the new production brings together a newly curated international cast of champion dancers with live musicians and vocalists, moving through ballroom, Latin and contemporary styles.
And from the moment the dancers hit the stage, you understood exactly why this production has built such a following.
More Than Ballroom
If your idea of ballroom dancing is something traditional and restrained, Luminous quickly turns that notion on its head.
There was a rawness and sensuality to much of the choreography, mixed with extraordinary precision. One moment the stage was filled with fiery, fast-paced movement and the next the mood changed completely, drawing us into something much more intimate and emotional.
Tango, Latin, ballroom and contemporary influences flowed into one another, showcasing not only the technical ability of the dancers but their athleticism. At times, it was difficult to know where to look - there was simply so much happening across the stage.
The costumes were equally striking, moving from glamorous and elegant to bold and dramatic, while the lighting transformed Her Majesty’s Theatre into a succession of completely different worlds.
The Music Made It
What really elevated Luminous for me was the music.
Rather than dance existing separately from the soundtrack, the vocals and live musicians felt very much part of the production. Familiar songs were reimagined through movement, giving numbers such as Back to Black, Billie Jean and Fix You an entirely different emotional dimension.
Fix You was particularly beautiful. After so much heat and high energy, those quieter moments allowed the dancers to tell a story through movement and showed another side to the production.
There were also touches of old-school Hollywood glamour woven through the evening - a lovely contrast to the more contemporary numbers.
A Cast With Serious Talent
The international cast is phenomenal. The production featured the amazing talent of Jorja Freeman, Marcella Solimeo, Ana Riera, Gustavo Viglio, Igor Gutan, Matteo Lumetta, Rome Champion, Erika Attisano, Carlotta Liardi, Talia Flower, Ollie Pearce and Giovanni Tesse. These are dancers performing at an elite level, yet what struck me wasn’t simply their technique. It was their ability to make incredibly difficult choreography appear spontaneous.
There was chemistry, personality and a sense that the dancers were genuinely enjoying themselves.
That’s important, because Burn the Floor could easily become a demonstration of technical brilliance. Instead, Luminous feels like entertainment.
The audience isn’t kept at arm’s length. You’re brought along for the ride.
And Adelaide certainly responded.
Her Majesty’s Was Made For It
There is something special about seeing a production like this at Her Majesty’s Theatre.
The grandeur and history of the theatre provided a beautiful backdrop to a show determined to push ballroom into thoroughly modern territory.
By the closing stages, the relationship between performers and audience had become part of the night itself. When Adelaide was encouraged to get up and dance, plenty were only too happy to oblige.
It was joyous - and perhaps the perfect way to finish a show built around the simple pleasure of movement and music.
The Limelight Verdict
Luminous manages to be glamorous without feeling dated, technically impressive without becoming clinical, and sexy without losing its sense of fun.
Jason Gilkison has spent decades challenging perceptions of ballroom, and Luminous continues that philosophy - combining the romance of traditional ballroom with the passion of Tango and Latin dance and the freedom of contemporary movement. Burn the Floor itself describes its approach as bringing a rebellious energy to ballroom, and after seeing Luminous, that’s a pretty accurate description.
For me, though, the best measure of the evening came at the end.
People were smiling. People were dancing. And nobody seemed particularly eager for the night to finish.
Burn the Floor didn’t simply light up Her Majesty’s Theatre - Luminous lived up to its name.
Photography Credits: Burn The Floor - Luminous
Thank you Credits: Limelight SA would like to thank Cas & Nori 87.6 FM Dancing With An Italian and Burn The Floor for selecting us to review their show Burn The Floor Luminous. For tickets and dates of upcoming shows, click the tab below:
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Disco Inferno Turns Back Time at the Top of the Ark
Fusion Pops Orchestra @ The Arkaba
There are some venues that hold more than memories - the moment you walk through the doors, they have the ability to transport you straight back to another time.
For me, the Top of the Ark at the Arkaba Hotel is one of those places.
Arriving early on Friday night, I managed to secure a perfectly centred front-row position overlooking the dance floor. As I settled in, I couldn’t help thinking back to my late teens, when the Top of the Ark was somewhere we came to dance, socialise and enjoy the music of the era.
So there was something wonderfully fitting about returning all these years later for Fusion Pops Orchestra’s Disco Inferno - a show dedicated to the music of the 1970s.
And what a way to revisit it.
When Disco Meets an Orchestra
Fusion Pops Orchestra @ The Arkaba
From the outset, Disco Inferno was bursting with energy, colour and talent.
This wasn’t simply a band playing a collection of 70s favourites. The combination of a full orchestra and an impressive ensemble of vocalists gave these familiar songs an entirely different dimension.
Strings, brass and rhythm combined with powerful vocals, sparkling costumes, colourful lighting and plenty of movement on stage to create a genuine sense of occasion.
The performers weren’t just singing the songs - they were having fun with them, and that enthusiasm quickly spread through the room.
For those of us who grew up with this music, there was an irresistible familiarity to the night. One song after another brought back memories, while younger audience members were discovering just why these songs have survived for generations.
A Dance Floor Made for Disco
Fusion Pops Orchestra @ The Arkaba
One of the things I particularly loved about the setup was its inclusiveness.
There was plenty of seating around the outside of the dance floor, so you could sit back and enjoy the orchestra and vocals, or get up and dance when a favourite song came along.
It made the evening ideal for a broad range of ages and meant everyone could enjoy the show in their own way.
Of course, with music like this, staying seated for the entire evening was always going to be a challenge.
My personal highlight was It’s Raining Men. Big, joyous and completely over the top in exactly the way a disco anthem should be, it captured the spirit of the night perfectly.
Watch our video from It’s Raining Men following the review.
A Familiar Face Among the Performers
Rachel Hedges - Fusion Pops Orchestra
The evening also had a personal connection for me, as one of the singers performing with Fusion Pops was Rachel Hedges, whom I knew.
Rachel’s musical background goes back to childhood. She began singing with the Adelaide Girls Choir - now Young Adelaide Voices - at the age of 10, with her musical journey taking her as far as performing at Westminster Abbey during a European tour. She later performed with Orphean and Aurora before becoming part of Fusion Pops.
Seeing someone I knew amongst such an accomplished group of performers made an already memorable evening that little bit more special.
The Perfect Home for a Night of Nostalgia
Fusion Pops Orchestra @ The Arkaba
It would be difficult to imagine a more appropriate Adelaide venue for Disco Inferno than the Arkaba Hotel.
The Top of the Ark has been part of Adelaide’s entertainment landscape for generations, and seeing that dance floor once again filled with people enjoying the music made the venue feel every bit as much a part of the show as the performers themselves.
Today, the Arkaba offers considerably more than live entertainment. You can make an entire evening - or weekend - of a visit, with its Restaurant and Lounge Bar, Sportys sports bar, six function spaces and 62 accommodation rooms all under the one roof. The Top of the Ark itself remains the hotel’s flagship entertainment and function space.
For me, though, Friday night was about returning to a room filled with memories.
I may have been sitting front and centre rather than arriving as the teenager I once was, but when that orchestra struck up and those familiar 70s songs filled the Top of the Ark, the years seemed to disappear remarkably quickly.
Fusion Pops Orchestra’s Disco Inferno was energetic, nostalgic and enormously entertaining - a sparkling celebration of the songs an entire generation grew up with.
And for a few hours on Friday night, the Top of the Ark became our dance floor all over again.
Kate Needs attended Disco Inferno for Limelight SA.
‘It’s Raining Men’ - Fusion Pops Orchestra
Photo/Video Credits: Kate Needs
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Adelaide’s Greatest Showman & His Flaming Sambucas Ignite the Capri With Elton John Classics
Adelaide’s Greatest Showman Terry Nicholas Performing Elton John Hits At The Capri Theatre
REVIEW
There could hardly have been a more fitting setting for a journey through the music, colour and extraordinary life of Elton John than Adelaide’s beautiful Capri Theatre.
From the moment we settled into our seats, it became apparent that Flaming Sambucas had created much more than a collection of Elton John hits. This was a seated visual and musical experience combining live singing and dancing, spectacular costumes, video footage and imagery from across Elton’s career, along with narration from Terry Nicholas that took us back through the decades. And it didn’t take long for the audience to become part of the action either.
During 'Club at the End of the Street', a familiar face to Limelight SA, Claudio from Cas & Nori's Dancing with an Italian segment on 87.6FM , was invited onto the Capri stage along with fellow audience member Paul to dance alongside vocalists Anna and Katrina. It was spontaneous, hugely entertaining and one of those wonderfully unexpected moments that makes live entertainment so much fun. Claudio certainly embraced his unexpected moment in the limelight!
From there, Flaming Sambucas continued to take us on a journey through the music, flamboyance & fascinating story of Elton John.
Terry Nicholas – Piano, Vocals & Narration
At the centre of the production was Terry Nicholas, who proved himself a true performer. Moving effortlessly between piano, vocals and narration, Terry covered Elton John’s vocals with ease, while his piano playing and performance worked in wonderful synchronicity.
But it was Terry’s ability to tell the story as well as perform the music that gave the show another level of intrigue.
Throughout the evening, he shared stories from Elton’s life and career, including his remarkable songwriting partnership with Bernie Taupin and also his connection with John Lennon. These moments gave us an insight into the man behind songs that have become part of the soundtrack to so many lives.
And then there were the costumes!
The costume changes were spectacular and added enormously to the visual experience. Each new look brought another splash of Elton’s trademark flamboyance to the Capri stage and made you wonder what Terry might emerge wearing next. He certainly wasn’t content to remain politely seated behind the piano either. At one point, the piano stool went flying as Terry kicked it behind him & continued to play standing up - a wonderfully theatrical moment that captured the energy and showmanship of the evening. He then proceeded to climb on top of his piano & set yet another scene in his fabulous box of tricks.
Terry Nicholas – Piano, Vocals & Narration
Katrina Quigley & Anna Kotlova – Vocals
Anna and Katrina were an integral part of the performance, bringing their own glamour, movement and beautiful vocals to the stage.
Their voices were stunning - at times almost angelic - and complemented Terry’s vocals beautifully. Their harmonies added another dimension to the music, while their dancing and interaction brought plenty of personality and visual energy to the production. One of the things I particularly enjoyed was watching the connection between the performers. There was a genuine warmth between them, with little smiles and interactions throughout the show revealing a group of musicians who clearly enjoy performing together.
Katrina Quigley & Anna Kotlova – Vocals
Jamie Kuijpers – Guitar
While the piano understandably commands plenty of attention in an Elton John tribute, Jamie Kuijpers’ guitar work was an important part of recreating the sound and energy of these much-loved songs. Jamie brought colour and drive to the bigger numbers while also knowing when to step back and allow the vocals and piano their moment. It was another example of the balance between the musicians that worked so well throughout the evening.
Jamie Kuijpers – Guitar
Paul Angas – Drums
Providing the heartbeat behind the show was Paul on drums. From the quieter storytelling moments through to the songs that had the audience singing along, Paul provided the foundation that allowed the music to move seamlessly between moods. Together, Jamie and Paul gave Terry, Anna and Katrina a strong musical platform out front, and watching all five performers interact was one of the real pleasures of the evening.
Paul Angas – Drums
The Songs That Stayed With Me
With a catalogue as extraordinary as Elton John’s, there were always going to be songs that triggered memories and others that simply made it impossible not to join in.
One of the biggest singalong moments of the evening came with ‘Don’t Go Breaking My Heart’, performed by Terry and Katrina. It was joyful, familiar and exactly the sort of song that makes you realise just how deeply Elton John’s music has become woven into popular culture.
For me personally, though, it was ‘Imagine’ that delivered the goosebumps.
Sometimes it’s the songs we have heard hundreds of times that, in the right setting and performed with genuine feeling, suddenly stop us in our tracks. Sitting inside the beautiful Capri Theatre listening to those familiar words and melody was one of those moments for me.
More Than the Music.
The large screen behind the performers added another layer to the experience, with imagery and video taking us back through Elton John’s career while Terry’s narration filled in pieces of the story.
Combined with the costumes, choreography, lighting and live music, it meant there was always something to watch as well as hear.
But perhaps one of my favourite parts of the evening happened after the final song. Rather than simply disappearing backstage, members of Flaming Sambucas made their way into the Capri foyer and mingled with guests.
I particularly enjoyed having the opportunity to meet and chat with the performers after the show. They generously shared their time amongst audience members for conversations and photographs, and after watching all that sparkle, flamboyance and showmanship on stage, it was lovely to meet the people behind the performance.
Flaming Sambucas Performing Elton John Tribute At The Beautiful Capri Theatre
For me, that is often what makes live entertainment memorable.
It isn’t only the songs we hear or the performances we watch. It’s the people, the atmosphere, the unexpected moments and the connections that happen along the way.
Flaming Sambucas delivered plenty of Elton John sparkle at the Capri Theatre, but underneath the costumes, glasses and theatricality was something even more important - five talented performers whose passion for the music and enjoyment of performing together shone through.
And judging by the smiles, singing and applause around the theatre, the audience was more than happy to come along for the ride.
The Limelight SA verdict ★★★★★ 5/5 - a not to be missed, sensational musical & visual extravaganza!
Flaming Sambucas Performing Elton John Tribute At The Beautiful Capri Theatre
Are you ready to be entertained? Stay tuned for Flaming Sambucas next Elton John & ABBA shows via their gig guide below:
Photography credit: Kate Needs
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Patrick James proves sometimes less really is more
An intimate afternoon of songs, stories and genuine connection at Mount Barker Town Hall
There was something wonderfully uncomplicated about Patrick James’ afternoon performance at the Mount Barker Town Hall.
Another reason I chose to attend Patrick James’ performance was my own connection to the Adelaide Hills. I spent much of my childhood alongside my father and brother, visiting country pubs and town halls throughout the Hills at barn dances.
Walking into the Mount Barker Town Hall and experiencing live music in that setting took me straight back to those days. There’s something special about music in a country hall - the history, the familiarity and, above all, the sense of community.
Patrick’s intimate performance was a timely reminder that these venues are about so much more than the music; they’re places where people come together, connect and create memories
No elaborate production. No huge band. No theatrics.
Just one musician, a guitar, a keyboard, a beautiful old hall - and a room full of people prepared to stop for 90 minutes and listen.
And somehow, that was more than enough.
Australian singer-songwriter Patrick James brought his intimate live show to Mount Barker on Sunday, 9 August, performing two shows at the historic Town Hall after the first sold out so quickly that another performance was added.
Patrick told the audience how much he loved Mount Barker - and judging by the response from the Hills crowd, the feeling appeared to be mutual.
From the moment he stepped onto the simply lit stage, the afternoon had an easy, almost conversational quality. Moving between guitar and keyboard, Patrick shared his music along with stories and plenty of gentle humour.
He was humble, engaging and had a natural ability to communicate with his audience without anything feeling rehearsed or forced.
One story in particular captured his understated sense of humour.
Patrick recalled visiting a local coffee shop earlier that day, where the barista casually asked if he was enjoying his day. Patrick mentioned he was spending it in Mount Barker and returned the question, asking what the barista had planned.
The answer? He might go to a concert later that day.
As it happened, it was Patrick’s concert.
It was one of those little stories that had the room laughing and perfectly summed up the relaxed nature of the afternoon.
But Patrick didn’t restrict the performance to the stage.
At one point, guitar in hand, he stepped down and made his way into the audience to share a song from amongst the crowd. Suddenly the distinction between performer and audience all but disappeared.
Later, towards the end of the show, he joined us in the hall once again, this time sitting at the piano to play a piece surrounded by his audience.
Those moments transformed what could easily have been a conventional singer-songwriter performance into something much more personal.
The historic Mount Barker Town Hall proved an ideal setting. The old-fashioned character of the room, the audience gathered closely together and the warm lighting along the edge of the stage created an atmosphere that felt almost like a private performance.
Patrick’s stripped-back format allowed his voice, lyrics and musicianship to take centre stage. There was no rush and no sense that the show needed to be bigger than it was. Instead, the songs and the stories surrounding them were simply given room to breathe.
Perhaps the best indication of Patrick’s connection with his audience came after the final song.
Rather than disappearing backstage, he made his way to a table near the entrance of the hall, where he stayed to chat with audience members, sign CDs and happily pose for selfies.
It was a fitting end to an afternoon that had been built around connection from the beginning.
In an era when live entertainment can sometimes feel like a competition to be louder, brighter and bigger, Patrick James offered a reminder of just how powerful the opposite can be.
A musician.
A room.
A collection of songs and stories.
And an audience genuinely listening.
Laid-back, intimate and refreshingly genuine, Patrick James at Mount Barker Town Hall was a lovely way to spend a Sunday afternoon - made all the more memorable by an artist who seemed every bit as happy to meet his audience as they were to meet him.
Limelight SA attended Patrick James - Live in Concert at Mount Barker Town Hall, Sunday 9 August 2026.
Photo/Video Credit: Kate Needs
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Huxton Creepers Turn Back The Clock At The Croxton
Cult Melbourne band the Huxton Creepers built a loyal following in the ’80s and are back on the road celebrating four decades since the release of their debut album, 12 Days to Paris.
Photo Credit: Brett Partington
GIG REVIEW - Huxton Creepers | The Croxton Bandroom, VIC | 8/8/26
Along with The Stems, Hoodoo Gurus and Sunnyboys, they were part of the soundtrack for a generation of young Australian music fans and aspiring musos. They had charisma, those crunchy ’60s-style guitars and, most importantly, great hair.
Rob Craw had the long blond frontman hair, Arch Law cut his own path rocking an impressive red Afro, while Paul Thomas and Matthew Eddy, with their classic rockstar locks, bookended the stage. Although some of the hair has gone, baldness now appears to be very much in fashion for Craw and Law.
Nearly 40 years later, I'd made the trek from Adelaide to Melbourne to see them again - this time at the Croxton Bandroom.
The Croxton was bigger than I expected - a perfect venue for bands, with its wide stage and red paisley-style carpet giving it an almost theatrical feel. The room was filled with musos and loyal punters who'd been following bands like this for decades. Denim, leather and even the occasional suit jacket were on display.
The gig-savvy among them had already spotted the wide carpeted steps to the left of the stage and claimed the best seats in the house. The safety barrier up front, presumably designed for younger, wilder crowds, had found a new purpose - a place to hang jackets and safely double-park Jim Beam and Cola cans.
The Icecream Hands warmed the room with a punchy set of familiar favourites, driven by clean, jangly guitars and strong vocal melodies. Frontman Charles Jenkins made sure we knew they had new music available - and that they'd be signing merch afterwards. He may have mentioned it more than once.
Fair enough too. Playing live isn't necessarily the payday people imagine these days, and the merch table matters.
Before the Creepers started, I spotted Arch Law in the crowd and wandered over to introduce myself. Being a fellow drummer, I figured he'd probably be up for a chat - we're usually the last blokes anyone talks to.
I was right.
Arch couldn't have been more approachable. What I thought might be a quick exchange turned into an easy conversation, including why Adelaide hadn't made the tour schedule.
As showtime approached, Rob Craw was on his knees at the front of the stage checking his guitar pedals.
Old-school attention to detail.
Then it was time for the music. The premise was simple - 12 Days to Paris, played from beginning to end.
The Murderess opened proceedings before Autumn Leaves arrived and the handbrake was off. This was the Creepers I remembered - gritty guitars, rough edges and great melodies. The stage lighting was superb and the band sounded full, loud and raw - just the way we like it.
I'd planted myself in the second row. At 6'2", it probably wasn't the most considerate place for me to stand. But I'd come all this way, wanted the photos and had claimed my spot.
Bugger it - I wasn't moving.
From that close, you notice the stuff you miss from the back of the room. New guitarist Julian Matthews, who stepped in for Paul Thomas for this anniversary tour, regularly exchanged glances with Craw as they quietly cued each other through starts and endings.
There was a neat crossover too. Matthews also plays bass with The Stems - a fitting link between two bands from that same great era of Australian guitar music.
One of the early songs had a shaky beginning and was quickly restarted. Nobody cared. These were long-time followers hearing songs that had been part of their lives for decades. Perfection wasn't the point.
Soon after, the night's worst-kept secret arrived - the Flamin' Groovies' Shake Some Action, a “surprise” accidentally leaked during a radio interview. Slotted into the middle of the album running order, it broke things up nicely and was a natural fit for the Creepers' garage-rock roots.
King of the Road was a standout - gritty guitar chug, big chorus and pure Creepers drive.
They closed 12 Days to Paris with I Will Persuade You, one of their best anthemic numbers. You don't really listen to this one live. You join in. And the Croxton faithful did, “whoa-ohs” and all.
New single Opposites Attract proved this wasn't purely a nostalgia lap - snarly guitar, grungy edges and another hooky chorus.
They're not just playing their past. They're still adding to it.
By late in the night, Craw's voice was beginning to struggle. There was no white flag. The mood seemed pretty simple: “We'll deal with my voice in the morning.”
They still returned for four encore songs. Matthew Eddy stepped up for his only lead vocal of the night on Stop Your Sobbing and did a cracking job. It may have given Craw's throat a brief respite, but he couldn't help himself - joining Eddy on the harmonies, raspy voice and all.
By the time the house lights came up, my ears were ringing. Exactly how a Huxton Creepers gig should leave you.
They still had the ingredients that made them such a compelling band in the first place.
Crunchy guitars. Big melodies. Solid drums.
Some combinations never get old.
Photo Credits: Brett Partington
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'Vintage Cheese' Causes Chaos on the Coast
Vintage Cheese & The Cheesettes
The debut gig nobody quite saw coming.
If you wandered into the Brighton & Seacliff Yacht Club on Sunday afternoon expecting another cover band playing a few pub classics, you were in for a rude shock.
Within minutes, it was obvious this wasn't going to be one of those days.
Adelaide band 'Vintage Cheese' had been quietly building a cult-like following, promising to play long-forgotten cheesy classics that most bands would be too embarrassed to touch.
The gig had sold out seven weeks before, and by the time the band went on stage, more than 250 people (including those gathered on the outdoor deck) had packed the venue.
Heads turned.
Nobody quite knew what was coming next.
An Elvis-style fanfare thundered through the room with all the grandeur of a Las Vegas residency. For a brief moment, you could almost imagine The King himself was about to appear.
Instead, out walked six middle-aged blokes calling themselves Vintage Cheese, dressed with complete disregard for fashion.
They opened the set with one of the cheesiest songs ever recorded.
Beautiful Sunday. (On a Sunday!)
Ridiculous... yet perfect.
The room smiled back.
This wasn't just a concert.
It was three hours of people forgetting how old they were, letting loose and having a bloody good time.
To be fair, nobody acted their age.
Leading the charge were three glamorous women in sparkly gold dresses known simply as 'The Cheesettes' - Vintage Cheese's own party starters.
They didn't wait for someone else to start dancing.
They were the start.
Carrying oversized glass bowls overflowing with Cheezels, they handed them to complete strangers like edible badges of honour.
Nobody questioned it.
Nobody wanted to.
At the centre of all the mayhem was Pete, the band's showman.
Arms permanently outstretched, long black locks flowing, his shimmery black shirt catching the afternoon sun, and a permanent cheesy grin, he bellowed out each song with the confidence of a seasoned cabaret performer.
He wasn't just singing.
He was inviting everyone into the show.
Then came something most bands can only dream of.
Within the opening eight songs, a huge conga line had formed.
It snaked through the room, onto the balcony and back again as complete strangers placed their hands on the shoulders of the person in front, going wild without a care in the world.
They simply went with it.
One older woman joined the conga line, wine glass still in hand, gently steadied by her two grandsons as they laughed their way around the room together.
Moments like that were happening everywhere.
As if on cue, the weather joined the party.
The overcast morning gave way to a spectacular Adelaide winter afternoon, with sunshine pouring across the yacht club for most of the day.
Then all hell broke loose.
Yellow balloons bounced across the dance floor as a modified cordless leaf blower launched entire toilet rolls high into the air.
Everyone laughed.
Many ducked.
Before long, the dance floor was covered in a tangled web of white paper, with people trying to untangle themselves.
Absolute chaos.
Wonderful chaos.
One of the more unusual sights was how many phones were held high...not just to film the band, but to capture the fun unfolding all around them.
The crowd had become part of the show.
Music became the excuse for connection. Conversations flowed as though everyone had known each other for years. Before long, entire sections of the room were singing together, not because everyone knew every lyric, but because everyone wanted to be part of it.
The dance floor remained packed from the first set to the last.
Nobody wanted the day to end.
For a few hours at least, strangers became friends.
As the gig drew to a close, a stunning winter sunset lit up the sky.
It was the perfect backdrop to an experience that had delivered far more than anyone expected.
Walking out of the club, one thing was obvious.
Vintage Cheese hadn't come to impress the crowd.
They'd come to involve them.
Not in a cool way... Just Fun!
Venus - Crowd Favourite
Brown Eyed Girl - Ska Style
Conga Line Kicks Off….
Country Roads- Classic!
Photography: Kate Needs & Ruth Steer
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Dancing Queens take over the Top Of The Ark as The Flaming Sambucas bring ABBA to life
Flaming Sambucas - I Have A Dream @ Top Of The Ark
REVIEW
Storytelling, spectacular musicianship and a packed dance floor combine for an unforgettable celebration of one of pop music’s greatest catalogues.
Some shows entertain.
Others transport you to another time.
From the moment the house lights dimmed and the opening notes echoed through the Arkaba Hotel, it became clear that ABBA – I Have A Dream by The Flaming Sambucas was much more than a tribute show. It was a heartfelt celebration of the music, memories and magic that have made ABBA one of the world’s most enduring musical acts.
As the audience settled in, anticipation quickly gave way to smiles, singing and dancing. Before long, the dance floor was alive with couples and lifelong ABBA fans who simply couldn’t resist joining in.
More than a concert… a journey through ABBA’s remarkable story
One of the production’s greatest strengths is that it doesn’t simply move from hit to hit.
Guiding the audience throughout the evening, Terry Nicholas effortlessly combines keyboard brilliance, vocals and engaging narration, weaving together the story of ABBA’s extraordinary rise with fascinating anecdotes and historical moments.
Behind the performers, a spectacular LED backdrop displays archival photographs and video footage of the Swedish supergroup, creating a visual journey that perfectly complements the live performance. Rather than simply watching a concert, the audience experiences a celebration of ABBA’s legacy.
Vocals that capture the spirit of ABBA
Bringing Agnetha and Frida to life are Anna Kotlova and Katrina Quigley, whose vocals beautifully recreate the soaring harmonies that helped define ABBA’s unmistakable sound.
Rather than relying on imitation alone, both performers bring warmth, personality and genuine enjoyment to the stage. Their chemistry is infectious, and their interaction with both the audience and each other creates an atmosphere that feels authentic and joyful.
Multiple costume changes add another layer of visual excitement, paying homage to ABBA’s iconic stage style while keeping the production fresh from beginning to end.
A first-class band
Supporting the vocalists is an outstanding live band that delivers every classic with precision and energy.
Guitarist Jamie Kuijpers provides crisp rhythms and melodic solos, while drummer Paul Angas anchors every performance with rock-solid timing and infectious grooves that keep the dance floor moving all night.
Together with Terry Nicholas on keyboards, the musicians recreate the unmistakable ABBA sound while allowing the music to breathe naturally as a live performance rather than simply copying the original recordings.
Production values worthy of the music
The Flaming Sambucas have invested heavily in creating a complete entertainment experience.
Professional lighting, haze effects, multiple LED screens, quality sound and carefully choreographed staging transform the Arkaba into a genuine concert environment.
Adding another layer of energy are dancers Aylish and Shana, whose choreography and vibrant stage presence perfectly complement the music without ever overshadowing it.
The production feels polished, professional and remarkably well paced, with every visual element contributing to the atmosphere.
Where the magic really happens
Perhaps the biggest compliment any live show can receive isn’t found on stage at all.
It’s found on the dance floor.
Throughout the evening, more and more people left their seats to dance, sing and relive memories attached to songs that have stood the test of time. Friends danced together, strangers shared smiles, phones were lifted to capture favourite moments and applause regularly interrupted the performance.
Some memorable moments of a whole new level saw audience members being invited onto the stage, reminding everyone that this isn’t simply a performance to watch - it’s an experience to be part of.
That genuine connection between performers and audience is what elevates ABBA – I Have A Dream beyond many tribute productions.
The Limelight SA verdict
There are tribute bands that recreate the songs.
The Flaming Sambucas recreate the feeling.
With exceptional musicianship, polished vocals, engaging storytelling and production values that rival many theatre productions, ABBA - I Have A Dream captures the joy that has made ABBA’s music timeless for generations.
As the final encore concluded beneath the Arkaba’s mirror ball, the audience were still singing, still dancing and still smiling.
Perhaps that’s the greatest compliment any performer could hope for.
The Flaming Sambucas don’t simply perform ABBA’s music…
They remind us why we fell in love with it in the first place.
★★★★★ 5/5
Performer Credits
Terry Nicholas – Keyboards, vocals & narration
Anna Kotlova – Agnetha
Katrina Quigley – Frida
Jamie Kuijpers – Guitar
Paul Angas – Drums
Aylish – Dancer
Shana – Dancer
See The Flaming Sambucas Live
Loved what you read?
Experience ABBA or Elton John for yourself at one of the band’s upcoming performances.
Upcoming Shows
Private Functions & Corporate Events
Looking for unforgettable live entertainment for your next event?
The Flaming Sambucas perform at theatres, clubs, festivals, corporate functions and private celebrations.
Enquire about booking The Flaming Sambucas
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Kitty Flanagan Held Up a Mirror... And We Saw Ourselves
Kitty Flanagan Review
A review of Glad Game at Adelaide Festival Theatre — 16 July 2026
It didn't take long to realise this wasn't just a show about Kitty. It was a show about all of us.
Her observations were so relatable that almost every routine had people thinking, "I know someone exactly like that."
I found myself watching the audience almost as much as I was watching Kitty. The sideways glances between couples said it all. More than once I looked across at my partner and thought, "Yep... that's you." Then the next joke would have me thinking, "Hang on... that's me."
Kitty shared the story of a recent show that had to be stopped three times after audience members suffered separate medical episodes. It became a hilarious warning to the Adelaide audience that, whatever happened that night, they'd better remain upright.
Kitty has a knack for taking something completely ordinary and ending up somewhere completely unexpected. And somehow, it all makes perfect sense.
It all started with Kitty describing a yoga instructor. You know the type. Calm, soothing voice. Every sentence delivered like it might just change your life.
Then the routine took a sharp left turn. An exposed male body part somehow led to Kitty inventing a whole new type of man-bra. It was ridiculous. Absolutely ridiculous. But by then, we were happy to follow Kitty wherever she wanted to take us.
And let's face it... men need all the support they can get.
Kitty talked about a woman in the street who venomously told her she wasn't funny. Most people would've gone home and sulked. Kitty's response? Follow her home like a stalker.
The genius wasn't where the story ended up... it was how Kitty somehow convinced the audience that her actions were perfectly reasonable. Then she justified the whole thing with three simple words.
"She started it."
Next, Kitty turned her attention to the modern beauty standards so many young women now seem to be chasing.
Kitty contorted her face as she described oversized pouty lips, eyelashes so big they'd almost swallowed the eyebrows, and every exaggerated expression added another layer until she arrived at a conclusion that had the audience in stitches.
It was funny because there was just enough truth in it to make people laugh... and just enough to make them think.
Walking out, I realised I'd laughed at the yoga world, beauty trends, bruised egos and men's anatomy. But what stayed with me wasn't one particular joke. It was the way Kitty kept weaving them back into the show, rewarding the audience for paying attention.
Great observational comedians don't just hold up a mirror...
They know exactly when to hold it up again.
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The Moment He Kicked the Fan… You Knew This Was ‘From the Jam’.
The Moment He Kicked The Fan….You Knew He Was ‘From The Jam’
From The Jam @ The Gov 2/7/26
The guitar tech wandered on stage for the final soundcheck. One crunchy strum from a black Rickenbacker echoed around The Gov. My immediate thought? Oh yeah... this is gonna be a big night.
Then the band swaggered on stage and launched into Heat Wave. Seconds later, the cooling fan became the night's first casualty. One song in... it was booted. Game on! (See video.)
Within minutes, I stopped thinking of them as From the Jam. For one night, they simply became... The Jam.
The night was packed with standout moments. An unusually raucous That's Entertainment had the whole room singing every word in unison, Town Called Malice reminded everyone why it's still one of the greatest live songs ever written, while The Eton Rifles delivered all the swagger, punch and attitude that made it a Jam classic.
Every chord had that crunchy, aggressive edge that became The Jam's trademark. There are guitar sounds... and then there's the unmistakable snarl of a cranked Rickenbacker. Likeable frontman Russell Hastings attacked every song with loud, raw, unapologetic energy, his guitar cutting through the room with all the subtlety of a chainsaw in a library.
Standing in for Bruce Foxton is no easy task, but Gary Simons nailed that deep, throaty 'Foxton growl', his bass sitting perfectly beneath Russell's guitar. Meanwhile, drummer Mike Randon's silver sparkle Ludwig kit looked almost understated—right up until the kick drum punched you square in the chest.
Fun fact: the bass drum-mounted cowbell even had its own microphone... because let's face it, you can never have enough cowbell.
There was also a genuine warmth throughout the night. Between songs—and again after the gig—the band spoke fondly of Bruce Foxton, acknowledging how much he'd have loved to be on stage doing what he does best. It never felt forced or sentimental—just sincere. Anyone who's met Bruce knows he's one of the genuine good guys in the music industry, making those tributes even more meaningful. Bruce may not have been on stage, but he still put his stamp on the night.
After a generous five-song encore, the band left the stage and the instruments finally fell silent. But the night wasn't quite over. In a classy touch, they returned to the front of the stage for an impromptu meet and greet, happily chatting, shaking hands and posing for photos with fans. The music had stopped. My ringing ears, however, clearly hadn't received the memo.
