Australia has witnessed a collective gravitation towards regional areas. This shift isn’t just about population growth; it signifies something deeper, like a recalibration of priorities and a rediscovery of what matters.
This sentiment found a resounding echo in the award-winning singer-songwriter Miller-Heidke’s “Catching Diamonds” tour deliberately bypassing major capitals (“Except for Hobart, but that doesn’t count,” Miller-Heidke joked with the crowd), showcasing her embrace of regional audiences bringing her world-class talent in intimate settings like Queenscliff Town Hall.
This regional-focused approach added a delightfully unexpected juxtaposition of global talent and local charm to the evening, setting the stage for a special performance—a celebration of authenticity and the allure of the road less travelled.
The evening started with the mesmerising debut of supporting act Georgia Mooney, whose ethereal vocals from her album Full of Moon cast a spell over the audience. Drawing comparisons to iconic artists like Kate Bush, Mooney’s impressive range and stage presence were on full display as she shared insightful stories from her life. However, what stole the show was her enchanting performance on the Dolceola—a unique instrument resembling a miniature piano that Mooney unexpectedly won in a $5 raffle.
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As Miller-Heidke took centre stage, her infectious humour and down-to-earth demeanour instantly endeared her to the crowd, transforming what could have been a routine concert into a collective experience filled with laughter, nostalgia, and genuine emotion. And let’s not forget the music—each note resonated with renewed significance in this intimate setting, reminding us of the transformative power of that voice. I was, at times, speechless, which doesn’t happen all too often.
This performance was different from others. It was stripped back, intimate, local, and as the kids say these days, “It hits different”. Miller-Heidke was accompanied by her guitarist and husband, Keir Nuttall, who is an exceptionally talented musician in his own right. Together, they were musical alchemists, blending a fusion of contemporary pop, folk, musical theatre, opera, classical, and comedic charm, showcasing Miller-Heidke’s unparalleled ability to transcend musical boundaries. I really believe that even if you’re not a Kate Miller-Heidke fan, you will be blown away by the experience, the voice and the stage presence.
The night was not without its surprises and heartwarming gestures. Miller-Heidke’s rendition of ‘Sarah‘ tells the true story of a girl who was drugged and abducted from a Brisbane music festival in the 90s and went missing for a few weeks until she was later found. This song, at times, performed acapella and sent literal shivers through the crowd, a testament to her ability to convey raw emotion through music. A particularly touching moment occurred when Miller-Heidke invited 11-year-old Rose Frew onstage to a performance of a lifetime to perform Miller-Heidke’s ‘Caught in the Crowd‘. The performance celebrated the young talent alongside an internationally acclaimed artist and highlighted Miller-Heidke’s commitment to fostering musical connections.
It was a vibrant celebration of music, storytelling, emotion, and humour—an immersive experience that forged a deep connection between the artist and the audience. Kate’s mesmerising medley of hits ‘Can’t Shake It’, ‘Simpatico‘, and ‘Humiliation’ wove together her musical legacy and artistic evolution, leaving an indelible mark on the Australian music scene, showcasing her versatility and impact within the industry.
The encore of Miller-Heidke’s performance left an indelible mark on my soul, especially her mesmerising interpretations of ‘Paint it Black‘ by The Rolling Stones and ‘Psycho Killer‘ by Talking Heads. This rendition left me speechless. Watching Miller-Heidke breathe new life into these iconic rock anthems was like riding a rollercoaster of emotions—exhilarating, mystifying, and utterly fascinating. With each note, she transported us into a new realm where the familiar collided with the totally unexpected, creating a musical experience that I’m sure left everyone else in the room also in awe. Her rendition of ‘Paint it Black’ infused the classic song with haunting beauty, evoking a sense of melancholic nostalgia that lingered in the air like a wisp of smoke. Then, seamlessly transitioning into ‘Psycho Killer’, Miller-Heidke captured the frenetic energy and edgy allure of Talking Heads, infusing the performance with her signature vocal acrobatics and magnetic stage presence.
In many ways, Miller-Heidke’s “Catching Diamonds” regional tour embodied the essence of the power of art in unexpected places, far removed from the glitz of city lights. It was a reminder that true magic lies in the ability of music to inspire, unite, and elevate, regardless of where we find ourselves. Miller-Heidke’s performance at Queenscliff Town Hall was a testament to this very magic. It left the audience inspired and uplifted, with memories of unexplainably high notes long after the music faded into the night. The echoes of that unforgettable evening continue to reverberate, reminding us of the enduring impact of supporting homegrown musical talent.
A special mention needs to go out to the two wonderful Auslan interpreters, whose passion and skill not only enhanced the performance’s accessibility and inclusivity but also, at times, very much stole the show.
For further tour information on Kate Miller-Heidke head here.
