Over the October long weekend, nestled in the tranquil countryside of Lower Belford, NSW, the Dashville Skyline Festival once again offered an unforgettable experience for music lovers, gathering a passionate crowd under the theme of cosmic country, alt-country, and roots music. Now in its 10th year, the festival delivered a captivating blend of local Australian talent and international acts, keeping true to its reputation as one of the most eclectic celebrations of Americana-inspired music in the Southern Hemisphere.

Set in the picturesque Dashville venue, the festival had a relaxed and earthy vibe, with gum trees framing the stages and the aroma of campfires lingering in the air. Dashville is a space designed for music lovers to kick back, enjoy quality live music, and immerse themselves in the festival’s homely, unpretentious atmosphere. As always, the weekend brought a diverse lineup of seasoned performers and emerging artists, leaving no corner of the alt-country genre unexplored.

William Crighton, one of Australia’s most revered contemporary roots artists, was among the weekend’s most highly anticipated acts. Crighton’s powerful presence commanded attention as he took to the stage with his signature fusion of folk, rock, and storytelling. The performance was a spellbinding journey, with Crighton weaving darkly poetic narratives about Australia’s landscape, its people, and environmental struggles. Tracks like “Stand on the Outside” and “Your Country” left the audience in awe, his voice booming with a deep, earthy resonance that felt like it rose from the very soil beneath our feet. His set was spiritual, raw, and unyielding—a true reflection of his artistic vision.

The energy shifted up a notch with Good Corn Liquor, a high-octane bluegrass band from Australia. Their set was lively, filled with blistering banjo licks and tight harmonies that brought a smile to every face in the crowd. Drawing on both traditional Appalachian influences and their own original compositions, they delivered a toe-tapping performance that had festivalgoers dancing in front of the stage and spilling into the surrounding fields. Their chemistry on stage was infectious, and the precision with which they navigated the complex rhythms and melodies made them a highlight of the weekend.

Shane Howard, the iconic Australian singer-songwriter and former lead of Goanna, graced the stage on Sunday night, creating an atmosphere of reflective, emotive storytelling. Howard, with his decades-long history in folk music, performed timeless hits like “Solid Rock” and “Let the Franklin Flow,” while his band added a fresh dynamic with harmonies and instrumental prowess. There was a sense of reverence in the audience as Howard’s words resonated deeply, drawing attention to Australia’s cultural history and environmental issues, while the songsmiths iconic songs still infuse energy into every performance.

International acts added a thrilling variety to the weekend. Uncle Lucius, the Southern rockers hailing from Austin, Texas, delivered two powerful and soulful sets. Their gritty, blues-infused sound was a perfect fit for Dashville’s cosmic country aesthetic, with fan favourites like “Keep the Wolves Away” resonating deeply with the crowd.

British singer-songwriter Grace Petrie brought something different to the lineup with her politically charged folk anthems. Armed with just her guitar and razor-sharp wit, Petrie won over the audience with songs that blended vulnerability, defiance, and hope. Her candid and conversational stage presence made the set feel deeply personal and connected, leaving many festivalgoers newly converted fans by the end.

The Rose City Band, a psychedelic Americana outfit from Portland, Oregon, took the audience on a trippy, sun-soaked journey. Their extended jams, lush melodies, and hypnotic rhythms were mesmerizing, offering a perfect soundtrack for a chilled afternoon. In contrast, Buck ‘N’ Stuff brought their Southern-fried swagger and rollicking country rock to the stage, firing up the crowd with loud guitars and gritty vocals.

Ross Wilson, the legendary frontman of Daddy Cool and Mondo Rock, brought a dose of classic Australian rock and roll to Dashville. His set was a hit parade of nostalgic gems, with songs like “Eagle Rock” and “Come Said the Boy” eliciting massive singalongs from the crowd. Despite his decades-long career, Wilson’s energy was as infectious as ever, proving that he’s still very much a force to be reckoned with on stage.

The Melbourne-based rock band Kingswood added a sharp, electrifying edge to the festival with their mix of rock, blues, and country-tinged tunes. Their hard-hitting performance, marked by tight musicianship and energetic stage presence, was a contrast to the more laid-back sets, injecting a bit of grit and edge into the weekend’s proceedings.

Meanwhile, Jeb Cardwell’s performance stood out for its masterful guitar work. The renowned guitarist and singer-songwriter, known for his ability to blend blues, rock, and country, delivered a searing set. His bluesy licks and soulful vocals left a lasting impression, earning him a new wave of admirers by the end of his performance.

Camille Trail’s haunting, smoky vocals and introspective songwriting made for one of the most captivating sets of the weekend, accompanied by the ethereal guitar and harmonies of Riley Catherall. Her ability to blend Americana with a distinctly Australian storytelling style is rare and refreshing. Andy Golledge, known for his rambunctious, beer-soaked alt-country style, had the crowd singing and stomping along to his lively tunes, creating an atmosphere of joyous rebellion. James Ellis & The Jealous Guys, bringing honky-tonk charm and twangy guitars, provided a refreshing dose of classic country music with a modern twist.

Ella Hooper, formerly of Killing Heidi fame, proved her versatility as an artist, stepping into the alt-country realm with grace. Her set was raw, emotive, and bursting with energy, showcasing her growth as a solo artist. Hooper’s powerful voice and charisma captivated the crowd, marking her transition from rock queen to a country star on the rise.

A festival at Dashville wouldn’t be complete without the presence of hometown heroes Magpie Diaries. Known for their soulful and nostalgic take on cosmic country, their performance was both a homecoming and a celebration of community. Magpie Diaries brought warmth to the stage, blending soulful harmonies with thoughtful lyricism. Their set featured songs from their album “Sanctuary”, which felt like an ode to the very spirit of the festival—heartfelt, reflective, and steeped in a love for music and storytelling.

Dashville Skyline 2024 was a triumphant celebration of music that defied the boundaries of genre, offering a platform for both seasoned artists and new talent to shine. The festival’s commitment to creating an inclusive, down-to-earth environment was palpable, making it a haven for cosmic country, roots, and Americana music in Australia. where each act brought something unique, ensuring that everyone left with memories of a weekend filled with music, community, and the timeless spirit of storytelling.

The debut album by the actress most known for her role in “Almost Famous” and “How to Lose a Guy in 10 Days“, Glorious is an unexpected and fun trip into the musical field, wherein Kate Hudson shows her love of music and her ability to mix genres to produce an interesting and unique sound combining country, pop, and rock.

With the breathy rock tune “Gonna Find Out,” Glorious establishes the tone as the album opens. Real feeling is shown in Hudson’s somewhat gruff voice as the song’s lyrics explore ideas of independence and self-discovery. Like “Live Forever” and “Romeo,” this song shows her ability for simultaneously expressing sensitivity and strength.

The first single on the album, “Talk About Love,” is most likely the most commercially sensible decision. Thanks for its strong chorus and unforgettable riff; this song is a terrific way to hear Hudson’s sound. Though it clearly reflects the deeper meaning in the words of the whole album¹, the commercial sensitivities of the song are clear.

Hudson collaborated with well-known producer Linda Perry since the album’s sounds polished and consistent. Songs like “Lying to Myself” reveal synth-driven melodies that define Perry’s work and basslines evocative of the 1980s. With its introspective lyrics and appealing rhythm¹, this song distinguishes itself as a spiritual sibling when compared to “Talk About Love.”

One of the best things about Glorious is Hudson’s deft blending of musical forms. The CD alternates between country and soft rock, with appealing pop tunes strewn around. Prime instances of Hudson’s ability to combine genres are songs like the romantic ballad “Live Forever” and the boot-scootin’ country hit “Romeo.”

Hudson’s voice is the one thing truly shining on this CD. Her somewhat raspy voice not only balances the rock edge of many songs but also communicates the emotion needed for the more delicate moments. Her vocal performance highlights this paradox in songs like “Gonna Find Out” and “Lying to Myself,” giving the words’ depth and passion.

The lyrics on the record are also really remarkable. Common subjects in Hudson’s reflecting and beautiful music are love, self-discovery, and human development. She examines the subtleties of romantic relationships with an intellect and experience suited for an experienced artist’s first release in the song “Talk About Love,” which most obviously illustrates this.

Hudson has given Glorious her heart and soul, so transcending mere song performance. In interviews, she has shared her lifetime love of music and revealed that she put off following her passion out of anxiety over rejection. Overcoming that anxiety results in a sincere and real self-assured debut on this album.

At last, Glorious shows Kate Hudson’s skill and versatility in full measure. Listening to the album is fun because of its unique mix of country, rock, and pop sounds. Here Hudson’s extraordinary vocals and songs really shine, therefore this is a great debut that will help her musical career. Whether you know her from her acting or are only now discovering her music, listening to Glorious is a great idea.

For years, Nashville-based singer-songwriter Jordie Lane—who was born in Australia—has been a major player in the business. Renowned for his distinctive mix of Americana, folk, and rock, Lane has enthralled listeners all around with his musical ability and narrative skill. With the release of his most recent album “Tropical Depression”, Jordie Lane is at a turning point in his career. After spending some time talking with the artist recently about the creation of “Tropical Depression,” its themes, and the effects it has had on Lane and his listeners, it’s time we shared insights from our interview and our thoughts on the tremendous new album.

Made in Nashville, “Tropical Depression” is a testament of Lane’s artistic development, further supported by his ability to assemble a trifecta of key behind the scenes people who have supported him in pulling this album together the right way. With Grammy nominated producer, engineer and instrumentalist Jon Estes (Kacey Musgraves, Dolly Parton, Rodney Crowell) producing the album, the mixing by iconic engineer Noah Georgeson (The Strokes, Devandra Banhart, Marlon Williams) and mastered by Juno Award winning Phillip Shaw Bova (Feist, Father John Misty, Angel Olsen, Bahamas). While the mixing and engineering from Georgeson and Shaw respectively embrace the artists songs like a hand holding a glass of whiskey, fusing genres and sounds together in a sublime harmony that is this album, it is Estes’s influence in the polished but raw sound of the album, which perfectly complements Lane’s introspective lyrics.

Talking with Jordie Lane on a recent trip back to Australia, he openly discussed that he had difficulties along the way in producing “Tropical Depression”, as the title of the album pays homage to Lane’s personal battles with mental health and his obsession with severe storms, while the tone of the album reflects this duality—between quiet introspection and strong emotional outburst.

Discussing deeply intimate and ideas of mental health during our interview, Lane demonstrates a beautiful resilience, and a sublime human condition, discussing with me how “Tropical Depression” songs invite listeners into his world by their honest and vulnerable quality. Listening to the album after the interview, I immediately start with the eerie rhythm and thoughtful lyrics of the first song on the album, “Back, Out There,” which sets the tone, before songs like “The Changing Weather” and “Empty Room” probe Lane’s experiences with anxiety and depression.

“Friends” a moving meditation on the value of personal connection throughout trying circumstances, is among the album’s best tunes. The straightforward but strong words of the song will surely appeal to listeners and serve as a reminder of the power contained in relationships, whilst “Blame Me If You Want To,” another noteworthy song, highlights Lane’s skill in fusing comedy and sarcasm with a sobering topic. This is the Jordie Lane who I first met several years ago in Nashville and was immediately taken in by his wit and lighthearted take, not just on music, but life in general. It’s fantastic to know that this side of this diverse artist is still as strong as ever.

With influences ranging from Bob Dylan to Neil Young, Lane’s musical approach is a singular mix of Americana, folk, and rock. “Tropical Depression” sees Lane stretching the boundaries of his genre by experimenting with novel sounds and arrangements. Rich vocal harmonies, ambient synths, and deft guitar work abound on the luxuriant and multifaceted record.

The way “Tropical Depression” uses its music to portray a broad spectrum of feelings is among its most arresting features. Songs like “New Normal” and “Been Lucky” are more lively and uplifting; tracks like “It Might Take Our Whole Lives” and “Internal Dialogue” are pensive and sad. This vibrant spectrum is evidence of Lane’s adaptability as a performer and lyricist.

A few weeks since it’s release, both fans and critics have praised “Tropical Depression” extensively since its premiere. The album has drawn compliments for its emotional resonance, musical complexity, and literary profundity, further complimented by the early shows on his current Australian tour, during which time “Tropical Depression” debuted at #1 on the Aria Country Albums chart.

In Lane’s career, “Tropical Depression” represents a turning point both creatively and monetarily. The popularity of the record has opened Lane to new opportunities that have resulted in publicised partnerships and appearances, including securing a label deal from ABC Music/The Orchard for this album (see below for the best signing of a contract ever!). Lane has a devoted following and earns critical praise since he can relate to listeners on a very personal level and that the industry now understands this is further validation, not just for the artist but for the long time supporters of his music.

Apart from its critical and chart triumphs, “Tropical Depression” has significantly affected Lane’s personal life as well. Making the record let Lane face and sort his own mental health issues, which helped him to find fresh clarity and direction. The songs and general tone of the album clearly showcase this personal development since they express hope and resiliency.

Set against rich, evocative soundscapes, Jordie Lane’s “Tropical Depression” is a remarkable investigation of the human psyche. Among Lane’s albums, this one stands out for its reflective lyrics and dramatic range. As Lane develops as an artist, “Tropical Depression” attests to his skill and commitment. The popularity of the album is a testament of Lane’s capacity to establish a connection with his audience by means of his music, therefore influencing his career as well as rewarding his listeners.

Catch Jordie Lane on the final leg of his East Coast Tropical Depression tour this week, before he returns to tour the rest of Australia in Oct/Nov: