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My relationship with music has really evolved alongside my life. I started in classical training and ensemble work, where it was all about discipline, technique, and blending with others — which taught me structure and respect for the craft. As a child and teenager, I was singing jazz, country and Rock n Roll, but as I’ve grown and gone through my own experiences — love, heartbreak, resilience — music has become something far more personal. With ‘The Songbook of My Heart,’ I stepped fully into storytelling. It’s not about perfection anymore — it’s about truth. Every note, every lyric comes from lived experience. It’s my voice, my emotions, my story. I think that’s the beauty of music — it grows with you. Where once I sang to perform, now I sing to connect, to heal, and to remind others that they’re not alone in their own stories.
What does this album represent for you on a personal level, and how does it reflect the chapters of your life you’ve lived through?
This album represents a lifetime of love, heartbreak, loss, growth, and ultimately — self-rediscovery. Every song reflects a chapter of my life — the moments where I lost myself, the times I had to rebuild, and the beautiful, unexpected ways love kept showing up — even when I thought it was gone for good.
‘The Songbook of My Heart’ is really about finding strength in vulnerability. It’s about acknowledging the pain but choosing to keep your heart open anyway. For me, it’s a closing of some chapters and the beginning of a new one — one where I finally sing for me, not for anyone else. When I listen back, I hear the woman I’ve become — softer, wiser, braver — and I’m proud of her. This album is my truth, wrapped in music.
You’ve described Linda Ronstadt’s music as a companion — how has her work influenced your voice and the way you interpret songs in this project?
Linda’s music has been a companion to me through so many stages of my life. She had this incredible ability to move between strength and vulnerability — and that really shaped the way I approach my own singing. When I was creating ‘The Songbook of My Heart,’ I wasn’t trying to be Linda — no one ever could. Linda Ronstadt is her own force, her own magic. I don’t compare myself to her because I’m here to bring my own truth — my own authentic voice and lived experience.
For me, this project was about honouring her artistry while also allowing who I am to come through — the woman, the heart, and the stories behind every note. In many ways, Linda helped me find the courage to be myself.
When reimagining these iconic tracks, how do you strike a balance between honouring their legacy and infusing them with your own soul and perspective?
When I approached these songs, I wanted to honour their legacy with the deepest respect — because they’ve meant so much to so many people, including me. But I also knew I couldn’t just recreate what Linda had already done so perfectly. My responsibility was to find my truth within them.
So, I spent a lot of time sitting with the lyrics, really connecting to the stories and how they related to my own life. I asked myself, “What does this line mean to me now, as the woman I’ve become?”
What do you hope audiences feel as they experience these songs live?
When people come to my shows, I really want them to feel — to go on the journey with me. I want them to feel how I lived through these experiences, because every song in ‘The Songbook of My Heart’ is a true reflection of my life. Each one carries a story — the hurt, the tears, the love, and the strength that shaped who I am today. My hope is that the audience not only connects emotionally but also feels recharged — like the music has helped them release something or remember their own resilience. These songs were my way of healing, and now I want to share that energy so others can feel a little more open, a little more hopeful, and reminded that no matter what we go through, our hearts can always sing again.
Many of these tracks are tied to pivotal moments in your life. Is there one song in particular that holds a deeper meaning than the others?
Yes — ‘Long, Long Time’ holds the deepest meaning for me. It really represents the closure of my marriage and that experience of loving someone who doesn’t truly see you. There’s a heartbreak in that song that’s so honest — it’s the quiet kind of pain that stays with you long after the moment has passed.
When I sing it now, it’s no longer about sadness; it’s about acceptance. It’s about finding peace and strength in letting go. That song became a way of closing one chapter of my life and opening another — one where I love myself first, and where I can sing from a place of truth, not longing.
You’ve channelled your platform into powerful advocacy — from literacy to ovarian cancer research. How do these causes intertwine with your work as an artist?
My main focus has always been literacy — because I believe it’s the foundation for empowerment. For me, literacy isn’t just about reading; it’s about giving children and women the tools to find their voice, to make informed choices, and to shape their own futures. That’s why my work combines reading, music, wellness, and financial literacy — they’re all forms of expression and self-belief.
At the same time, I’ve lost someone very dear to me to ovarian cancer, and I have close friends who’ve been affected. It’s deeply personal — and as a mother of girls and a son. I feel a responsibility to do whatever I can to raise awareness and support research. For me, advocacy and artistry go hand in hand. Music connects the heart, and advocacy gives that connection purpose. Together, they’re how I try to make a difference.
After stepping away for personal reasons, you’ve spoken about finding your voice again. What has that process of rediscovery taught you about yourself?
Stepping away from music was one of the hardest but most necessary decisions I’ve ever made. During that time, I had to face a lot — to heal, to rebuild, and to find the courage to trust my own voice again.
That process of rediscovery taught me resilience — that even when life quiets you, your true voice never disappears, it just waits for you to be ready. It also reminded me to never give up on a dream, no matter how far away it might seem.
Coming back to music has been about freedom and self-belief — realising that my voice isn’t just something I sing with, it’s who I am. And once you reclaim that, no one can take it from you.
Beyond this project, you’re working on a full-length album of original songs. How will that body of work expand on the story you’re telling now?
The full-length album of original songs is really the next chapter of my story. ‘The Songbook of My Heart’ was about honouring where I’ve been — the loves, the losses, and the lessons that shaped me. But this new body of work is about where I’m going. It expands on that story by moving from reflection to rebirth — it’s more confident, more open, and filled with hope. These songs come from a place of strength and freedom, written from my own experiences and truths. It’s about stepping fully into my voice as a songwriter and a woman — still tender, still real, but now completely my own. If The Songbook was about healing, this next album is about becoming. So, watch this space!
Looking ahead, how do you see music and activism continuing to shape your legacy — and what impact do you hope your art leaves behind?
Looking ahead, I see music and activism continuing to work hand in hand. For me, art has never been separate from purpose — it’s a way to shine a light, to empower, and to create change.
Through my focus on literacy — empowering children and women through reading, music, wellness, and financial understanding — I hope to help others find their own voices, just as I’ve found mine. And through supporting ovarian cancer research, I honour those I’ve lost and protect the next generation, including my girls.
Ultimately, I hope my legacy is one of impact and authenticity — that people feel I used my platform to lift others, to remind them of their strength, and to never give up on their dreams. If my art can touch hearts, open minds, and leave the world a little better, then I’ve done what I came here to do.
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THE FINAL JAZZ DOOF OF 2025 – HALLOWEEN EDITION
Saturday 25 Oct | 6PM – 3AM
The Industrique, Coburg VIC
Tix from $20 – $30 | Use your exclusive $5 OFF link: [insert link]
LINEUP
G Day Tacos | 
Mechanical Bull | 
Halloween Show
MR. WORLDWIDE PRE-PARTY’ HITS MELBOURNE — FREE BALD CAPS, FIREBALL AND A 5-HOUR PITBULL MARATHON BEFORE FRIDAYZ LIVE – ROYAL MELBOURNE HOTEL
Presented by Danny Rants
Royal Melbourne Hotel is turning into ‘Planet Pit’ this Friday, hosting the city’s most ridiculous (and possibly most on-brand) warm-up party before Fridayz Live kicks off at Marvel Stadium.
From 12pm, the team behind RMH are running a 5-hour Pitbull marathon — every era, every remix, every “Dale!” — soundtracking an afternoon of bald-cap giveaways, Fireball shots, and unapologetic chaos and fun. Guests can score a free bald cap (1000 at the door), sip on Fireball specials from the bar and grab a classic pub feed before the mariachi band leads the crowd (literally) to Marvel Stadium for the main event from 4.30pm.
The party will feature:
1000 Free Bald Caps – because there’s only one Mr. Worldwide energy.
Fireball Suits & Merch Giveaways – the most extra pre-party outfit you didn’t know you needed.
Live Mariachi March to Marvel – kicking off from 4:30pm.
All-Day Parmas, Drinks & Normal Pub Service
5 Hours of Pitbull – every hit, no shame, no stopping.
“Look, if you’re going to see Pitbull, you might as well go full Mr. Worldwide,” said Danny Rants who is hosting the event said. “We’re giving Melbourne permission to be bald, loud and happy for a day.”
The event is free entry, walk-ins only, and expected to be packed by midday — so get in early, grab your cap, and channel your inner Pitbull before Fridayz Live begins.
Royal Melbourne Hotel
629 Bourke St, Melbourne VIC
Friday 25th Oct – from 12 pm | Mariachi March to Marvel from 4:30 pm
Also catch the Danny Rants podcast weekly, chatting with Music Industry icons across Australia – CLICK HERE!
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+ New shows presale commences 3pm AEDT today
+ General on sale for all shows commences Tuesday 21 October, 12pm local time
Following overwhelming demand in today’s presale, Frontier Touring is thrilled to announce additional shows in Melbourne and Brisbane for Canadian country powerhouse Cameron Whitcomb. Proving to be one of the hottest tickets in town, Whitcomb’s The Hard Way Tour is shaping up to be an unmissable debut headline run across Australia & New Zealand this May 2026!
Known for his gritty voice, high-octane performances and raw storytelling, Cameron will play new shows at the Forum, Melbourne (Sun 10 May) and The Tivoli, Brisbane (Wed 13 May). Presale allocation exhausted for the first Forum, Melbourne (Sat 9 May) and The Tivoli, Brisbane (Tue 12 May) shows.
Presale tickets for the two new shows commences 3pm AEDT today, Monday 20 October and joins the existing Frontier Member presale for all previously announced shows, running until Tuesday 21 October (11am local time). The general on sale commences tomorrow, Tuesday 21 October (12pm local time). Tickets and tour info via frontiertouring.com/
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Watch: Cameron Whitcomb – Fragile (Official Lyric Video)
Cameron Whitcomb has quickly become one of country music’s most exciting new names. Since the release of his breakout 2024 EP Quitter, the 22-year-old has earned over 600 million global streams, headlined shows across North America and Europe, and landed on Spotify and Amazon Music’s 2025 Artists to Watch lists, all before dropping a full-length album.
Hailing from British Columbia and with a story as bold as his sound, Whitcomb’s journey from pipeline worker to breakout country star has been anything but ordinary. Cameron Whitcomb is the rare artist with the courage to uncover his most uncomfortable truths. His debut album The Hard Way, shares his most powerful work yet: a selection of songs that willfully stare down his demons, instilling every moment with equal parts grit and sensitivity and explosively poetic detail, including the chart-climbing singles ‘Medusa’ and ‘Quitter’ (ARIA Gold status) and ‘Hundred Mile High’.
Don’t sleep on the debut Cameron Whitcomb live shows in Australia and Zealand this May!
CAMERON WHITCOMB
THE HARD WAY TOUR
AUSTRALIA & NEW ZEALAND
MAY 2026
Presented by Frontier Touring
NEW MELBOURNE & BRISBANE SHOWS
FRONTIER MEMBER PRESALE
via frontiertouring.com/
Begins: Monday 20 October, (3pm AEDT)
ALL PREVIOUSLY ANNOUNCED SHOWS
FRONTIER MEMBER PRESALE
via frontiertouring.com/
Currently running until: Tuesday 21 October, (11am local time)
or until presale allocation exhausted
ALL SHOWS – TICKETS ON SALE
Begins: Tuesday 21 October (12pm local time)
ALL SHOWS 18+
Tuesday 5 May
Powerstation | Auckland, NZ
18+
ticketmaster.co.nz
Thursday 7 May
The Gov | Adelaide, SA
18+
oztix.com.au
Saturday 9 May
Forum | Melbourne, VIC
PRESALE ALLOCATION EXHAUSTED
18+
ticketek.com.au
Sunday 10 May
Forum | Melbourne, VIC
NEW SHOW
18+
ticketek.com.au
Tuesday 12 May
The Tivoli | Brisbane, QLD
PRESALE ALLOCATION EXHAUSTED
18+
ticketmaster.com.au
Wednesday 13 May
The Tivoli | Brisbane, QLD
NEW SHOW
18+
ticketmaster.com.au
Friday 15 May
UNSW Roundhouse | Sydney, NSW
18+
moshtix.com.au
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SUPPORT FOR FOOL NELSON
“One of the most exciting bands to come out of Australia’s indie-rock scene in years.”
Rolling Stone
“One of the most exciting up and coming WA bands to be watching.”
Claire Mooney – triple j
Rapid-firing, Fool Nelson are midway through their ‘Bad Dreams‘ EP Tour, supporting the release that drops today, and announce they are expanding their worldwide team.
‘Bad Dreams’ captures the band at their most assured, threading together anthemic grooves, heartfelt lyricism and an unmistakable warmth. Produced and mixed by Andy Lawson (The Buoys, Death by Denim), and mastered by George Georgiadis (Ruby Fields, Hockey Dad), the result is a collection that cements Fool Nelson’s knack for crafting hook-laden sing-alongs with depth, grit and charm.
Darcy Steven talks about the inspiration behind the EP:
“Overall, the EP is about sticking close to the people you love. Often we’ve found ourselves pushing away those relationships when things are difficult or uncertain, but we’re learning to put those things first amidst anxiety, ambition, and uncertainty. For us, the EP definitely serves as a bit of an outlet for our anxieties, but hopefully also serves as a reminder of what’s important.”
The band are now represented by Harry Young at Pure Represents for worldwide bookings (excluding AU/NZ, N. America), marking an exhilarating chapter for the band after a string of successful releases and tours domestically. The Boorloo/Perth-based trio are also pleased to reveal they have signed a global recordings deal with AWAL, and have partnered with Rick Bridgman of Good Intent for Management.
Their most recent release, ‘Big Shot‘, kicked the door down, and they announced their biggest national headline tour to date, with their Boorloo/Perth all-ages show selling out within 48 hours.
Appropriately noted as ‘Ones To Watch‘ by triple j and selected as the Unearthed Competition Winner for Busselton’s One Night Stand (the only ever act to win an Unearthed Competition, twice) they have Rolling Sets Festival on the horizon, and look back at impressive sets at HYPER FEST, NYE On The Hill, Out & About Festival, Groovin the Moo Festival, Tone City Records Festival. They have also impressed on support-act duties for luminaries Spacey Jane, Old Mervs, Ball Park Music, The Grogans and The Rions.
Fool Nelson’s recent single ‘Bad Dreams‘ hit top 5 most played song on triple j, and previous release ‘Don’t Feel Right‘, climbed Shazam Charts in Perth, Adelaide and Melbourne, and was the most played song on triple j for multiple weeks. Their past 5 singles have all been added to rotation on triple j, widely embraced by Australian radio, they were cover stars of ‘Rock Out.‘ on Spotify and added to countless Apple Music and Spotify playlists across the globe.
‘Bad Dreams’ (EP) is available worldwide now via AWAL
FOOL NELSON
‘BAD DREAMS’ EP TOUR AUSTRALIA
Tickets available at foolnelson.com.au
FRI 10 OCT | THE TOTE, NARRM/MELBOURNE VIC
SAT 11 OCT | JIVE, TARNTANYA/ADELAIDE SA
THU 16 OCT | VINNIES DIVE, MUNDHARABA/SOUTHPORT QLD
FRI 17 OCT | THE BRIGHTSIDE, MEANJIN/BRISBANE QLD
SAT 18 OCT | SOLBAR, MAROOCHYDORE/SUNSHINE COAST QLD
FRI 24 OCT | THE LANSDOWNE HOTEL, EORA/SYDNEY NSW
SAT 25 OCT | LA LA LA’S, DHARAWAL/WOLLONGONG NSW
FRI 31 OCT | THE Y HQ, BOORLOO/LEEDERVILLE WA
SAT 1 NOV | THE Y HQ, BOORLOO/LEEDERVILLE WA *SOLD OUT*
FRI 7 NOV | PORT BEACH BREWERY, BOORLOO/NORTH FREMANTLE WA
FRI 5 DEC | HARBORD HOTEL, GARIGAL/FRESHWATER NSW
Additional Live Shows
THU 27 NOV | SOLBAR, MAROOCHYDORE/SUNSHINE COAST QLD*
FRI 28 NOV | HOTEL BRUNSWICK, BRUNSWICK HEADS NSW*
SAT 29 NOV | ROLLING SETS, EBENEZER PARK, GUGAY/TWEED HEADS NSW
SAT 6 DEC | ROLLING SETS, MEMORIAL PARK, KARAGI/THE ENTRANCE NSW
*Supporting DICE
FOLLOW FOOL NELSON
INSTAGRAM | TIKTOK | TRIPLE J UNEARTHED | WEBSITE
SPOTIFY | APPLE MUSIC | AMAZON MUSIC | SOUNDCLOUD | YOUTUBE
Tame Impala (Kevin Parker) has released his fifth full-length album, Deadbeat via Columbia Records today.
Tame Impala teased the release of Deadbeat with three advance singles, ‘Loser‘, ‘End of Summer‘, and ‘Dracula‘ which broke into the ARIA Singles Chart and Billboard’s Hot 100 with his biggest debut yet. Today he will share a music video at 2pm AEDT for the album opener ‘My Old Ways’, directed by Kristofski and featuring cinéma vérité footage the director took throughout the process of Parker making the record in various locations around the world.
On Deadbeat, Parker sculpts a collection of wickedly potent club-psych explorations as a vehicle for some of his most direct, brain-wormy songwriting to date. The album is deeply inspired by Australian bush doof culture and particularly the local scene centered around Margaret River in Western Australia in the 90s, recasting Tame Impala as a kind of future primitive rave act in the process. “In the past 15 years, arguably no other rock musician has straddled multiple worlds quite as well as Parker,” says critic Grayson Haver Currin in his GQ Hype cover story. “Tame Impala began as a modernized psych-rock band with exploding-world drums and skyscraping hooks that made it clear Parker also loved pop, soul, and hip-hop. As Tame Impala has steadily morphed into something stranger and self-renewing, where spoken-word stories about picking up laundry led to late-night confessionals, Parker has become a key collaborator to some of the biggest stars in the world. Deadbeat feels like a last act of resignation and acceptance, with Parker finally coming to terms with the person he has always been and may always be. He is suspended in an emotional stalemate, wondering if he can be more than he knows he is.”
Conceived in various locations over the last few years, the album was largely galvanised between Parker’s hometown of Fremantle and his studio, Wave House in Injidup, Western Australia in the first half of 2025. Deadbeat sounds like the work of an artist with a leveled-up mastery, crafted with a newfound embrace of spontaneity for the renowned perfectionist. How that manifests is a distinct minimalism and crunch, with timbres and textures that add an ineffably new dimension to the sound, as well as a richer, more playful vocal range than ever.
Kevin Parker has emerged as one of the most influential voices of the last decade. A singular artist renowned for carving out a distinct sound all of his own, Parker crafts transcendent genre-bending sonic landscapes, playing every instrument and acting as writer, producer, mixer and engineer on his projects. He has been nominated for four GRAMMY awards with one win for his collaboration with Justice on 2024’s “Neverender.” In his home country of Australia, he’s racked up an impressive 13 ARIA Awards and 27 Nominations. He’s won the BRIT Award for Best International Band and scored nominations for two Billboard Music Awards and an American Music Award. Tame Impala has had numerous US Alternative Radio Top 10 songs including two #1’s for “Lost In Yesterday” and “Is It True.” Tame Impala’s “The Less I Know The Better” is part of the Billionaires Club with over 2 billion streams and the project has racked up numerous gold and platinum certifications globally.
It started with an awareness, a need to understand ourselves and to express emotion in a way that truly connects. Guardians of the Multiverse became that outlet, a reflection of the battles we all face internally. It’s more than a song; it’s a statement of self-recognition, of letting what’s buried rise to the surface in sound.The mythology around the Guardians and the Architects is rich and complex. What sparked the creation of this universe and its deeper story?
Guardian III had a dream, Luna spoke to them. They shared that vision with the rest of us, and from that moment, the world of the Guardians and the Architects began to take shape. The lore wrote itself through that inspiration, and the rest, as they say, is history.The Resonance Manuscript plays a big role in this project. How does the written lore shape the way you approach the music?
The Resonance Manuscript was written by Guardian III to serve as a foundation, a guide to help us understand Luna’s evolution and the purpose of the masks. It’s not just a story; it’s a reflection of the emotional and spiritual architecture behind what we create. Every line in the book connects to a sound, a lyric, or a visual. It gives the music meaning beyond melody, it gives it memory.Your decision to stay masked strips away the individual identity behind the art. What does anonymity allow you to express that you couldn’t otherwise?
Anonymity frees us. It removes ego, expectation, and pressure. Behind the masks, we can fully immerse ourselves in the purpose, not the performance. It allows us to write without thinking about how we look or how we’ll be perceived. Instead, we focus purely on the message, the energy, and the emotion we want to deliver. It’s not about hiding, it’s about becoming what the music demands.There’s a powerful tension between aggression and atmosphere in the track. How did you strike that balance in the studio?
We wanted to demonstrate both our musicianship and our production depth. Forrester Productions gave us the foundation to shape our sound, but ultimately, we built it ourselves. Once we understood the story we were telling, the balance came naturally, the aggression of collapse against the serenity of rebirth. The synth motif became Luna’s voice throughout, threading the chaos together into something cohesive.Each element, from the drums to the synth layers, seems to serve the story. Can you talk about how sound design became part of the narrative?
The music always came first. Guardian III created the initial concept and shared it with the others, letting the sound sculpt the story before lyrics were even written. Every instrument had a role to play, the drums as the heartbeat of the universe, the guitars as the pulse of creation, and the synths as Luna’s lingering presence. Once the emotion was built sonically, the lyrics followed to anchor the lore and the feeling together.You describe Luna Returns as more of a vessel than a band. What does that philosophy mean to you in practice?
Luna Returns is not a collection of individuals, it’s a channel. A vessel that carries messages from a place beyond ourselves. The three Guardians represent aspects of that energy, but Luna is the constant, the guiding consciousness. In practice, that means everything we create is done with purpose and intention, as if we’re receiving rather than inventing. We’re simply conduits for something larger than us.The song explores ideas of collapse and rebirth. How do those themes connect to the current moment in your own life or in the world at large?
We all face moments where the world feels like it’s falling apart, personally, globally, spiritually. Guardians of the Multiverse is about finding light in that collapse, seeing that destruction isn’t always the end but the beginning of understanding. Pain, grief, and struggle can all lead to awakening. It’s universal, and we wanted that message to resonate no matter who’s listening.For listeners diving into this project for the first time, what do you hope they feel or question by the end of “Guardians of the Multiverse”?
Whatever they need to feel. Whether that’s anger, peace, sadness, or defiance, any emotional response means connection. We don’t want people to force themselves to like us; we want them to interpret the music in their own way. The meanings are flexible. The song becomes theirs the moment they listen, that’s the true essence of resonance.How far ahead have you mapped out this universe, and how do you see the story evolving across future releases?
Ren Barlow is an Australian singer, songwriter and soulful female artist with deep country roots. Classically and contemporarily trained in voice, Ren has been performing since she was a young child. Both as a solo artist and as part of various ensembles. Her impressive career includes performances with Melbourne Opera, Melbourne City Opera and the Gilbert and Sullivan Society of Victoria among others. Ren’s musical journey follows three distinct paths: Acoustic Covers (A reimagining of her favourite songs over the years, spanning both male and female artists, delivered in her signature acoustic style), Original Works (A diverse collection of songs blending classical, pop, rock and country influences, with a production leaning towards the sounds and sensibilities of country rock and Tributes to Legends (Ren’s unique take on the timeless music of 1950s rock and roll pioneer, Buddy Holly and Linda Ronstadt).
Ren is excited to present her new album release ‘The Songbook of My Heart.’ The album is more than music, it is a tapestry of memories, love, and longing, stitched together through songs that have shaped Ren’s journey. The melodies hold the echoes of joy and sorrow, resilience and hope and the tender spaces in between. ‘The Songbook of My Heart’ isn’t a tribute to Linda Ronstadt, it is Ren’s story, told through the songs that gave her a voice when she didn’t have the words. These songs have been with Ren through love, heartbreak, family and the moments where she had to find the strength to begin again. “When I sing them, I’m not just revisiting the past, I am opening the chapters of my own life. Linda’s music has always felt like a companion and now it becomes the lens through which I share who I am, where I’ve been, and what I carry forward. This album is deeply personal. It’s my journey written into song, my truth, my memories and my heart,” – Ren explains.
On October 16, Ren will take to the stage for a very special evening, performing ‘The Songbook of my Heart’ a heartfelt tribute to one of her greatest musical influences, Linda Ronstadt. With reverence and artistry, Ren will breathe new life into Ronstadt’s iconic songs, reimagining them with her own soulful style and emotional depth. “I love the process of putting my own take on the songs, pulling them apart and creating a new sound, keeping them simple and raw. It’s been so much fun and such a wonderful journey,” says Ren.
Ren is currently working on a full-length album of original songs, written and performed by herself, with accompanying music videos. These songs, shaped by truth, longing, love, and resilience, reflect a life lived with passion and purpose. Beyond her own music, Ren’s passions are rooted in creative expression and empowering others through literacy and education. As well as mentoring young musicians, helping them build a solid foundation in the industry and supporting them in pursuing their musical dreams.
THE SONGBOOK OF MY HEART – SHOW DETAILS:
SHOW DATE: 16/10/2025
TIME: Doors 7pm, Show 8pm
VENUE: Memo Music Hall – 88 Acland Street, St Kilda
Songs that shaped a woman, a voice, a life. In ‘The Songbook of My Heart,’ singer-songwriter Ren Barlow invites you into an intimate evening of music and storytelling—a reflection on love, loss, strength, and the turning points that shaped her life. Framed by the unforgettable songs of Linda Ronstadt, Ren shares her journey through raw and honest reflections, weaving personal stories with music that once held her, moved her and helped her find her voice again. These aren’t just covers, they are emotional postcards from Ren’s own path, delivered with deep soul and vulnerability. Featuring songs like ‘Long Long Time,’ ‘Blue Bayou,’ ‘You’re No Good,’ ‘Desperado’ and more, this show is not a tribute — it’s a reclamation. A musical memoir for anyone who has ever been cracked open and somehow stitched themselves back together with a melody.
Ren Barlow Music History:
Released ‘Raining in my Heart’ and had a Buddy Holly show (Sold Out Show)
Collaborated with Tim Wild (Taxi Ride), Karl Lewis (Killing Heidi) & Darren Steel
‘Blue Days Black Nights’ went Top 5 and the album went Top 10 in the Country charts
Ren Barlow’s charity work & advocacy
After time away due to personal reasons, Ren returns as her most authentic self as a person & Artist in ’The Songbook of My Heart’
Profits for the show will be going to support OCRF (Ovarian Cancer Research Foundation) via their October campaign ‘Frocktober.’ Ren is a big supporter of the foundation and sits on one of their finance boards. Ren has sadly lost family & friends to ovarian cancer. For ‘Frocktober’ they will be creating 31 dresses, 31 days, one cause. Ren has also been a driving force behind the ‘White Shirt’ campaign.
Ren’s true passion is around Literacy – Four areas
Reading for young children
Financial literacy for woman
Wellness Literacy for woman and girls
Music Literacy for children
Ren has created a personal foundation which is based around Literacy ‘The Literacy Gift’ (originally called ‘Children’s Literacy Gift’). Ren has personally put reading corners into schools which have limited resources. Countries include: Australia, Fiji and Papua New Guinea. The foundation also supports indigenous communities with resources for literacy including the employment of teachers. ’The Literary Gift’ also has various partners involved in regard to Women’s Financial literacy.
Ren works closely with another charity where they place Music Teachers into school, through ‘The Song Room.’
Ren was also lucky enough to be a part of this year’s UN congress in New York, meeting with other women to discuss what other things can be done in this space. Prior to that journey, Ren spent some time on Necker Island with Richard Branson through the charity ‘Igniting Change’ where she also got to spend some time with Mary Robinson – who is a part of the Elders group to help our planet. Ren calls herself a Peacemaker for humanity. She doesn’t judge religion, race, political views, or status, and believes that every person and animal deserves to feel safe no matter what.
“For a long time, I felt caged and unable to have a voice. There was a part of me for many years that was squashed, Now I feel like I have my voice back. I hope to share my journey so I can not only heal parts of me, but I can help other people as well. Whether a young child, musician, woman, I feel like I have been gifted an opportunity to do this, through music and literacy.” – Ren Barlow
For more information, please go to:
“Mirage” feels both intimate and expansive. How did that vision first take shape when you sat down to write it?
Honestly, it started really naturally, more as a feeling than an idea. Tomcbumpz and I were just vibing in the studio. I told him I wanted something that felt psychedelic but still emotional, something that pulls you in. He started playing around with melodies on the Prophet 6, I added more layers, he added drums, and then I freestyled, singing it in one take. The first demo came together super fast, and it just had that dreamy, floating energy that I connected to right away.
You’ve described the track as psychedelic R&B. What draws you to that sound, and how do you make it your own?
I’ve always loved R&B, but I’m also obsessed with texture — sounds that feel hazy or surreal. Psychedelic R&B lets me merge those worlds. I think what makes it my own is how I build space in the production. I love layers, harmonies, and ambient synths that make you feel like you’re in a memory instead of just listening to a song.
Tell us about your creative dynamic with tomcbumpz — what clicked between you two in the studio?
We actually met through Instagram. I had taken him to a rooftop to shoot some photos since I also do urban photography. I told him I make music, and we ended up hitting the studio after. He has a great ear for synths and I loved his sound design, so it felt easy to create together. The chemistry was instant — I think we just understood each other’s creative language.
The song dives into the complexities of personal relationships. Was there a particular moment or experience that inspired those lyrics?
Yeah, “mirage” came from a past relationship I was in. There was still love, but everything felt uncertain, like we were trying to hold onto something that was already slipping away. The lyric “We went back and forth back and forth for days / Trying to display our love / But it was never the same yeah never the same” really captures that. It’s about the exhausting push and pull, the moments where you’re giving your all, trying to make it work, and yet realizing deep down that the connection has shifted. It’s that feeling of repeatedly trying to show love, but knowing that things can’t go back to what they once were. The song is about acknowledging that truth while still holding on to the memories and emotions that made it meaningful.
You mixed and mastered “mirage” yourself, which is rare. What does having that level of control mean to you as an artist?
It means everything. I’ve been producing since I was 8, and I grew up around music — my grandpa is an audio engineer, so I learned from the best. I’ve always cared about every detail, from the vocals to the smallest reverb. Mixing it myself lets me protect the feeling of the song. It’s not just about making it sound clean, it’s about making sure it still feels the way it did when I wrote it.
The visuals — from the Queensborough Bridge to the subway tunnels — feel like an extension of the music. How do you see the relationship between your sound and your visual storytelling?
For me, visuals and sound are one and the same. I see music in images, colors, movement, places. Climbing the Queensborough Bridge and shooting in the subway tunnels was my way of showing the duality of “mirage.” It’s about illusion and perspective, and I wanted to capture that visually — the beauty and the chaos coexisting. The bridge represents distance and longing, while the tunnels represent being trapped in his maze, running and trying to find a way out. I like using real environments to reflect emotional states, because my world and my art are deeply connected. Every location tells part of the story — it’s not just where the video takes place, it’s what the emotion feels like.
You’ve cited artists like Jhené Aiko and SZA as influences. What have you learned from their work that shaped this track?
I think Jhené and SZA both taught me how to blend softness with strength. They create such emotional worlds through sound; it’s honest but still dreamlike. That inspired me to embrace vulnerability in my music, but also to not overthink — to just flow.
The studio where you recorded “mirage” seems to hold special meaning for you. How does the space you create in affect the final result?
Totally. Tom’s studio in Brooklyn has this cozy, safe energy. It’s warm and low-key, and that makes it easy to be creative. I’ve made a lot of good memories there, so the environment definitely shaped how open I was when recording.
You’ve said music is a reflection of life’s illusions and realities. What illusion are you exploring most deeply right now?
Lately, I’ve been exploring the illusion of connection — not just in love, but with friends and family too. Especially since I just moved, I’ve been feeling the push and pull of relationships, and just trying to make sense of everything. In “mirage,” that illusion shows up in the push and pull of love that’s fading, when you’re trying to read someone’s eyes for a truth that isn’t there anymore. It’s that space between what you wish something was and what it’s actually become.
What do you hope listeners feel or think about after they’ve heard “mirage” and watched the visuals?
I hope listeners reflect on their own relationships, especially if they’re caught in that in-between, illusion state — the back-and-forth where you’re chasing something that feels real but keeps slipping away. The song and visuals are about facing that truth and recognizing the reality of shifting love. Even when love changes or fades, the emotion was still real, and I want them to recognize that sometimes love changes, and even if it will never be the same, that doesn’t make it any less meaningful. I want listeners to feel the weight of that — the ache, but also the acceptance. I hope they feel encouraged to face the complexity of love with awareness and to find growth and meaning even in the moments that may not last.
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