Review: Sarah Blasko @ Hindley Street Music Hall 26/09/25
Performing her albums The Overture & the Underscore and What The Sea Wants, The Sea Will Have in their entirety, Sarah Blasko demonstrated why she is one of the country’s greatest singer-songwriters.
Words Will Oakeshott // Images Danny Wallace
Sarah Blasko @ Hindley Street Music Hall 26/09/25
“We are each gifted in a unique and important way. It is our privilege and our adventure to discover our own special light.” — Mary Dunbar.
Before acquiring three ARIA Awards, receiving a remarkable 18 ARIA Award nominations, winning the highly esteemed triple j Album Of The Year, international chart success and achieving the prestigious status of quadruple platinum, Sarah Elizabeth Blaskow existed in a lifestyle rather out of the ordinary. The daughter of Christian missionaries, Sarah discovered her adoration for music in her teenage years whilst attending Church, but did not consider pursuing a career in music due to the religion’s focus on material success and teachings of the end of the world.
After stepping away from religion, Sarah followed her artistic pathway under the name Sarah Blasko. In 2002, her well-received EP Prelusive effectively began her journey with her “New Religion” – music.
The rest, as a boundless number of devotees around the globe, and Ms. Blasko herself knows, is herstory.
In a relatively unique approach, this scintillating songstress discovered a new way to share her enchanting gift. Sarah Blasko was determined to take Australia on an adventure and shine a special light on her debut and sophomore albums, The Overture & The Underscore and What The Sea Wants, The Sea Will Have, in their respective entirety. A wondrous and rare retrospective that would enhance the significance of these records from a personal viewpoint. Fortunately for Adelaide, this important journey was to take place in an intimate, seated framework at the Hindley Street Music Hall – it was our absolute privilege to be included on this tremendous tour.
Act I commenced with Blasko’s debut full-length, and its first well-known chapter was the progressive indie-pop number entitled ‘All Coming Back’. With a somewhat unpronounced, yet immeasurably graceful entrance, Blasko and her band intended to create a tranquil atmosphere filled with storytelling and captivation. This is exactly what they accomplished.
The opener was lusciously lucid in all its glory. Blasko entranced the hundreds present with her delightfully distinctive ethereal huskiness – her sensationally singular voice, which is instantly recognisable and above charismatic, hypnotised all within the venue. The befitting title of ‘All Coming Back’ worked in a marvellous multidimensional technique, as she was essentially revisiting her past. Let it be known, this would more than likely be a song Ben Gibbard wishes he had composed.
‘Beautiful Secrets’ allowed Blasko to relish in her amazing artistry while she skipped around and danced in the same passionate vein as Ian Curtis, but with infectious beauty in place of intensity.
The songstress then spoke about how some of the songs she and her band were performing had not been played in 15 years and how revisiting these charming compositions was similar to reconnecting with her younger self. She briefly spoke of her religious background and her difficulties with paranoia, but the message Blasko wanted to encourage was simply perseverance. A message that is incredibly important in the times we are living in.
‘Always Worth It’ was then stunningly delivered in a folk-pop finesse that was breathtaking.
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Blasko took a moment to graciously introduce the band members, including David Hunt, David Symes, Laurence Pike, Ben Fletcher and Neal Sutherland, which enriched the togetherness of the event.
‘Don’t U Eva’ became an exhilarating exhibition of quirky-prog-pop-rock that somehow blended The Cardigans with Ladyhawke brilliantly. The endearing addition of melodica was undeniably divine.
“Does anyone have any questions?” Blasko asked the enraptured crowd. “WE LOVE YOU!” an eager attendee yelled back. “That’s more of a statement, but thank you so much,” Blasko merrily replied.
‘Counting Sheep’ was then showcased and above enamouring in its folk-pop glory. ‘Perfect Now’ was a heart-rendering triumph and also where songwriting collaborator Robert F. Cranny was thanked endlessly for all of his efforts with these two compelling and life-changing LPs. Without doubt, this track could be performed in a stadium or a café and still uphold a splendid electricity. ‘Sweet November’ heightened that sentiment faultlessly.
‘Cinders’ was an exquisite demonstration of storytelling that warmed everyone’s souls with its magical minimalism, like a timeless whiskey liqueur. ‘True Intentions’ channelled Radiohead beautifully, ‘Remorse’ was another song Death Cab For Cutie wish they had written, and honestly, it belongs on the soundtrack to the marvellous movie Junebug.
“A cool thing in 2004 was to have a secret track at the end of the album, so I am going to play the song ‘Long Time’ for you, which has never been done here before,” Blasko announced in a fun-loving fashion. The moving acoustic ballad silenced everyone; it was almost too mesmerising to describe accurately.
Act II inspired an outfit change and the backdrop to glow with the immersive artwork for What The Sea Wants, The Sea Will Have. The stage area was illuminated in red, and Blasko glowed in a glittery dress that was perfectly proper for the exhibition to follow. ‘For You’ was a radiant electropop affair that felt at times like a Björk exploration fused with Zero 7. ‘The Garden’s End’ followed sublimely and deserved to be on the Suspira film with its cinematic resplendence.
The piano ballad ‘Explain’ was theatrical in its musical movements and should be included in the Peaky Blinders film when it arrives. Blasko should probably make a cameo in all honesty; her spellcasting allurement is above memorable. ‘The Albatross’ amazingly would have worked with Robert Eggers’ The Lighthouse – but best suited to the credits, because it assuredly has the “lasting” effect of timeless art.
‘Planet New Year’ was a jazzified pop number that begged people to get up and dance; sadly, this didn’t quite transpire (besides this very writer dancing in the upstairs section). The “special” element of the showcase was strengthened with Blasko joining in on the keyboards. ‘Amazing Things’ achieved the silencing of the audience into fascinated, serene oblivion once again.
‘Always On This Line’ is a composition Cat Power would be very envious of, and then ‘The Woman By The Well’ was a tender folk piece that exceeded poetry. It filled hearts with warmth and, in all probability, brought many witnesses to tears.
Isn’t music so powerful?
‘Hammer’ mixed up the energy with a nearing prog-synth-pop-punk amalgamation and divinely emitted an astounding aura of an entire orchestra. ‘Queen Of Apollo’ accompanied that astonishing aesthetic flawlessly, with what felt like a nice little lyrical nod of appreciation to Kurt Cobain (‘All Apologies’).
‘Showstopper’ sent all into a euphoric splendour, emitting an incredible integration of Florence Welch and Nick Cave. The closer was predictably, ‘I Could Never Belong To You’, which, in its sensational scarcity, was momentous.
Sadly, the encore request for ‘Flame Trees’ was not to take place, but this was a night for Adelaide to thank Blasko for 20 years of enrapturing music and for her to return that loving sentiment.
“We are each gifted in a unique and important way. It is our privilege and our adventure to discover our own special light.”
That is Sarah Blasko.
Want more pics of the gig? Check out our full photo gallery here.
