Live Review: Kate Miller-Heidke @ UKARIA Culture Club 18/09/26

Kate Miller-Heidke has been an ever-present part of my musical journey. In times gone by, I met a girl who worked in a music store. We shared music with each other constantly, and she introduced me to Miller-Heidke's album Little Eve. That girl in the music store later became my wife, and for the first dance at our wedding, Miller-Heidke's 'Space They Cannot Touch' was the soundtrack. The singer-songwriter is ingrained in our memories, and we have seen her live several times and followed her career closely over the last 20 years.

Now, here in Mount Barker, we were preparing for a new experience. Removed from the city's busyness and noise, we arrived at UKARIA Cultural Centre in the darkness, with the moonlight and the stars to light our way. As stated on UKARIA's website, "UKARIA crosses all boundaries. It is a place of inspiration, where artistry is nurtured and celebrated, and new work is born."

From the entrance into the recital area, we could see what founder Ulrike Klein's vision was. The performance space is limited to a few hundred seats to create an intimate experience. The wooden accents on the walls take the shape of piano keys and the ceiling is like a camera shutter.

First to grace the space was Xani ("rhymes with fanny") Kolac, a violinist on face value but with more depth as we saw throughout her performance. Adorned in a crushed velvet navy blue jumpsuit, Kolac looked the part of an avant-garde artist. She was supported by her electric Yamaha five-string violin and loop station with pedals galore.

Opener 'Grey' included lyrics with self-deprecating humour, something we have come to expect from Miller-Heidke. Kolac used every inch of her violin – bow, strings and body to create percussive loops. Her limbs were constantly moving, changing the pace and manipulating the sound coming from her instrument, which was most obvious during the aptly titled 'Keep Moving'. The set closed with 'Happy Endings', an instrumental that had every person in attendance in complete silence. An incredible support for what was to come.

With a short interval to stretch our legs, we settled as the iconic sound of 'Also Sprach Zarathustra (Sunrise)' – you know, that piece in 2001: A Space Odyssey – blasted out of the sound system. We half expected Miller-Heidke or husband and guitarist Keir Nuttall to start banging on the floor with bones in hand, but the duo appeared dressed for the occasion, Nuttall in all black whilst Miller-Heidke continued to remain ethereal in a forest green dress scattered with crimson roses.

'Hidden Things', the opening track from her new album, started the set. An angelic folk soundscape engulfed us. It set the tone for the night, hinting that some moments may become darker, but that was briefly quashed with 'O Vertigo!' bringing the pop and showing the fun that Nuttall and Miller-Heidke always have.

 READ MORE: Live Review: The Temper Trap @ Hindley Street Music Hall 16/09/26

Miller-Heidke explained that some songs stemmed from a time during the pandemic, particularly 'Little Ants' – a musical checklist for doomsday prepping. "We had an apocalypse plan… in a much better mental place now!" she joked. But through the dark lyrics came the light of 'Holiday', reflecting on the bad decision to "bring myself with me" on a well-planned vacation.

We received a history lesson on UKARIA from Miller-Heidke, who had nothing but praise for the venue. She even quipped that a smaller audience like this meant there was more intelligence in the crowd than at an Ed Sheeran concert. Amongst the slight jabs, Miller-Heidke also wanted to pay tribute to Dolly Parton with a cover of 'Coat of Many Colors', which would have made the country music legend proud. The cover also brought Kolac back to the stage, creating a formidable trio of talent in front of us.

Also from the new album was 'The Muscle'. Compared to the ethereal nature of previous music on display, the song enveloped us in a synth-driven, nightmarish tundra. It was a side of Miller-Heidke that I had never experienced live and an incredible highlight of the night. Similarly, later in the set was 'Isabella Don’t', which took the minimal synth further in a cautionary tale for those who just don't listen. Must be a parent thing; I get it.

Tracks from the earlier years of the career followed, including 'Ducks Don’t Need Satellites' and 'Caught In The Crowd'. These songs would normally be singalongs, but the venue was more suited for a subdued crowd, so everyone behaved and took in Miller-Heidke's songs with hushed joy. Kolac returned for 'Elephant', a darkly lyrical song that Miller-Heidke admitted was probably her most hate-filled.

Tracks from The Kiss And The Abyss were the focus of the setlist, creating an emotionally raw concert intensified by 'You Can’t Hurt Me Anymore', which Kolac and Miller-Heidke passionately delivered to the respectful crowd.

The darkness was broken by the Eurovision entry 'Zero Gravity', with Miller-Heidke giving a more grounded performance with added layers from Nuttall's vocals. The night ended with 'Words', which allowed Nuttall to really take over. As Miller-Heidke hydrated, Nuttall improvised on the acoustic guitar throughout the venue, even venturing through the audience whilst Miller-Heidke watched on with a prideful "that’s my husband" look. She showed off her vocal runs and trills once Nuttall returned, ending the night on a comical high.

When speaking to people about going to see Kate Miller-Heidke, some look bemused. Most people know her as a judge on The Voice or as a regular at the annual Christmas carols production. This performance, alongside the amazing support of Xani Kolac, reminded me and everyone in attendance why Miller-Heidke is one of the country's great singer-songwriters. This was an unforgettable show that blended genres and styles, resulting in a truly unique experience that won't be forgotten in a hurry.