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The Cat Empire joins forces with the Adelaide Symphony Orchestra for a night of musical surprises, infectious rhythms and genuine connection.

Event: The Cat Empire with the Adelaide Symphony Orchestra

Venue: Thebarton Theatre, Adelaide

Date: Friday 9 October 2026

There was something a little different happening at Thebarton Theatre. The Cat Empire, known for their lively performances, had teamed up with the ASO in a unique collaboration.

Bringing a traditional symphony orchestra together with a band that draws on Afro-Cuban, Brazilian and Seychellois Creole rhythms, alongside Spanish, jazz and ska influences, was always going to be an intriguing challenge.

And what better place to bring it all together?

Having experienced Thebarton Theatre from both sides of the stage, I've always felt there's something special about this venue. It has an intimacy that brings people together through music, where, for a few hours, the line between performers and audience almost disappears. That's where the magic happens.

That welcoming feeling extends to the door staff, bar team and security, whose genuine 'can-do' attitude adds to the overall experience.

When Two Sounds Come Together

The evening opened with the ASO setting the scene under the baton of talented, up-and-coming conductor Carlo Antonioli. The music had an almost cinematic quality, building anticipation before “The Cat Empire, flanked by two flamenco dancers, launched into How to Explain?

At times, it felt like I was watching a Hollywood movie, a stage production and a lively street party all at once. The ASO brought the drama, the lighting created the atmosphere, and The Cat Empire supplied the memorable grooves and energy. Somehow, it all came together.

The ASO added warmth and depth to The Cat Empire's dynamic and punchy sound, creating a richer texture. It was almost as though the music had stepped off the street and into our lounge rooms for the evening, showing us a different side to the band we know and love.

At the heart of The Cat Empire are founding members Felix Riebl and Ollie McGill. Felix's natural connection with the crowd was evident throughout the night. Ollie, an instinctive keyboard player, seemed to follow wherever the music took him. His occasional solos showcased his exceptional talent, while his keyboards provided a solid foundation for the band's distinctive sound.

ASO principal trumpeter Dave Khafagi explained that “orchestral musicians are accustomed to playing written scores with precision and accuracy, but The Cat Empire's Latin rhythms demand something more ... the notes need to be felt, not simply played.”

Dave also spoke about the sheer joy of the music and how much fun it was to play. He and his fellow ASO musicians enjoyed themselves so much they could barely sit still.

With the ASO occupying much of the stage, The Cat Empire had less room to move. Yet the musicians still found ways to express themselves, often moving together with a natural synergy.

The People Behind the Music

The women onstage brought plenty of sass and personality. Bass guitarist Grace Barbé, sporting a cowboy hat, had an almost hypnotic up-and-down rocking motion as she played, often turning towards Felix for a playful musical exchange. Neda Rahmani was a burst of energy in sparkling gold, happily spinning and swaying as she played percussion, bringing a wonderful sense of fun to the stage. Both contributed vocals, while flamenco dancer Chantelle Cano demanded attention with her fiery body language and lightning-quick handclaps. Three women, each with a distinctive style and presence.

Flamenco dancers Johnny Tedesco and Chantelle, alongside guitarist Richard Tedesco, performed as Arte Kanela, bringing passion and razor-sharp precision to the stage. Their dancing, intricate guitar patterns and musical chemistry made them an integral part of the show.

My conversation with Neda later revealed that the connection goes back many years. She recalled spending time with the flamenco performers at Melbourne's Cannella Bar after gigs, when they were all in their early twenties. Their friendship has endured, and now they're sharing the stage together.

Chantelle and Johnny's feet moved at astonishing speed, producing a flurry of loud, sharp clicks as their heels struck the wooden platform. The sound was so perfectly timed that I wondered whether it was pre-recorded. I asked the sound engineer, who confirmed it was entirely live, with the sound captured by a microphone near their feet. Impressive stuff.

Dave later revealed another clever detail. Drummer Daniel Farrugia was matching Johnny's powerful foot stamps with well-placed snare and cymbal accents, adding even more impact to the performance.

The Latin influence came alive during Candela, made famous internationally by Buena Vista Social Club. Adelaide-based Cuban trumpeter Lázaro Numa, sporting a snappy white flat cap, pumped his fist and shouted “Uno, dos, tres!” The crowd responded with an enthusiastic “¡Ay!” Simple, infectious fun, with everyone joining in.

I particularly enjoyed watching Felix on percussion. His relaxed playing style made full use of the timbales (Latin drum), striking the skin, rim and sides to create different sounds and textures. Nothing seemed off limits.

Felix also had a little showmanship up his sleeve. He tossed his tambourine high into the air, almost reaching the lighting rigs. For a split second, all eyes followed the tambo before he caught it, much to the crowd's delight.

The distinctive bass introduction to Brighter Than Gold signalled a change of gear. More people began swaying as the intensity built. When the three-piece brass section kicked in during the chorus, its powerful horn blasts seemed to send the rhythm straight through our bodies. It was almost impossible not to move.

As the band members jumped in time to the music, the audience followed. That connection between stage and crowd was wonderful to watch.

Rock 'n' Roll opened with flutes and strings, followed by a trumpet fanfare and dramatic timpani accents. As the song gathered momentum, Felix led the crowd in a rousing “lai, lai, lai” singalong, bringing the first set to a spirited close.

More Than Just the Music

During the second set, Felix shared how The Cat Empire got its name from a childhood drawing of cats by his younger brother Max, displayed on the family fridge door. What began as a little boy's imagination became part of Australian music history. Sadly, Max died of brain cancer in 2022, aged just 30.

The audience leaned in as Felix dedicated the next two songs to those we'd lost and those who might still be with us in spirit. It was one of the night's most personal moments.

For young friends Indie (9) and Lucy (11), this was their first concert. Wearing matching homemade T-shirts and cat ears, they seemed tentative at first. But as their confidence grew, they moved closer to the stage, dancing along with the crowd. Felix and Neda noticed their cat ears and acknowledged the girls. “They looked me right in the eyes,” Lucy told me, clearly thrilled. By the end, they'd fallen in love with The Cat Empire. A first concert they'll surely never forget.

A woman in the audience noticed how The Cat Empire turned towards the ASO several times during the performance. To her, it was a gesture of respect, one that spoke volumes about the connection between the two groups.

Felix gave special recognition to Cat Empire trumpeter Roscoe James Irwin, the band's longtime musical director and orchestral arranger, earning him a well-deserved round of applause.

Dave explained that in collaborations like this, an orchestra can sometimes become secondary to the headline act. Roscoe ensured that didn't happen, writing clever arrangements that gave the ASO a meaningful role.

After the concert, I had the chance to speak with percussionist and vocalist Neda Rahmani. We talked about the band's lineup changes four years ago. She acknowledged that the transition hadn't always been easy, but spoke warmly about the friendships that remained and her excitement for the future.

“I think this is just the beginning of it, to be honest.”

A Finale Worth Waiting For

As The Cat Empire left the stage, one thought kept running through my head. With so many catchy hits still unheard, which two would they choose for an encore?

The applause was loud and sustained. We wanted more, and The Cat Empire delivered, returning with a mega-medley of favourites, including Fishies, Days Like These and The Wine Song. What an energy shift! The finale became a joyous celebration of world music.

During Thunder Rumbles, the horns produced a deep, bouncing '‘oom-pah” sound, reminiscent of a New Orleans street parade. Driving the rhythm was a big brass sousaphone at the back of the orchestra, as Dave later confirmed. I even caught myself pushing my chin forward with each booming note, completely caught up in the groove. What a moment!

Hands were in the air, voices rang out, feet were stomping and the standing section became one big dance floor. Even those seated couldn't resist moving.

The night ended with Still Young, culminating in a short, powerful burst of The Chariot as The Cat Empire and the ASO joined forces for one enormous final note.

The Cat Empire doesn't just play instruments made from timber and steel. They use them to bring people together.

Disclosure: Limelight SA attended as guests of Thebarton Theatre.

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