Pop Showcase
At the Queensland Conservatorium’s Pop Showcase, the air shimmered with nerves, pride, and pure possibility. These weren’t just songs, they were milestones, each one marking the culmination of years of study, collaboration, and artistic self-discovery. The third-year Popular Music students stepped into the spotlight to present an evening of original compositions, including works that were heartfelt, inventive, and unfiltered in their youthful ambition. Two core bands shared the stage across two 40-minute sets, with musicians and vocalists swapping roles like pros, underscoring the collaborative heart of the program.
The atmosphere was electric yet nurturing with an audience of peers, family, and mentors collectively rooting for each performer. The result was a night that celebrated both experimentation and excellence, with genres ranging from punk, metal, and grunge to R&B, funk, and modern pop. It was a living mixtape of contemporary creativity.
The opening instrumental “4U” made a bold statement: this was not going to be a safe or tentative student recital. A plucky guitar gave way to a growling metal riff, with the bass player oozing charisma as the rhythm section kicked into overdrive. While the drumming leaned toward the exuberantly loose, it only added to the song’s sense of wild abandon. This was an opener that declared, “we’re here, we’re loud, and we mean it.”
“Love Me Now” followed, with its hooky guitar riff and a front-man who could have walked straight out of the grunge-soaked 1990s. His voice had that raw, earnest quality reminiscent of Soundgarden or early Alice in Chains. The tight cymbal work and thoughtful use of keys elevated what could have been a straightforward rock tune into something more layered and mature.
Then came “Holding/Running”, a tonal shift that traded fury for reflection. The song’s reverberating guitars and gentle harmonies wrapped around a gravelly vocal line, while the rhythm section locked in with impressive precision. A tasteful guitar solo added finesse before melting into sweet harmonised guitars that lingered like a sigh.
“If Only” swung the mood toward reggae; a genre pivot that showcased the students’ versatility. The duet’s chemistry was palpable, their harmonies warm and well-blended. The guitarist’s use of phaser effects gave the song a psychedelic shimmer, and the drumming—crisp, inventive, full of flair—was among the best of the night.
The next track, “Try & Try/Strings Attached,” introduced the most charismatic vocalist of the evening, a powerhouse performer with pop-star potential. It was a bona fide dance-floor anthem: funky keys, a disco-infused beat, and a chorus that demanded audience participation. When the bridge dipped into a quieter moment before bursting back into full-throttle groove, it was pure performance magic. The band was clearly having the time of their lives, and that joy was infectious.
“For You” brought mellow, chill-Sunday vibes. The vocalists delivered with emotional sensitivity, finding balance between tenderness and strength. The lighting design complemented the growing intensity of the song’s crescendo, ending in a stunning, heartfelt vocal flourish that felt like a deep exhale.
Then came “Not Sorry,” one of the evening’s standout numbers. With guitar work that nodded to the 1970s Eagles, and a vocalist whose soulful performance built from soft vulnerability to breathtaking power, this song was the “wow” moment of the set. The swelling keys and soaring solo made for an emotionally charged finale that left jaws on the floor.
“Jarra” snapped the audience back into chaos mode with fuzzed-out guitars and punk-infused fury. The bass player once again proved magnetic, grounding the energy with swagger and skill.
“What You Cryin’ For?” took things to a more experimental place. Equal parts prog rock and post-hardcore, it mixed melodic passages with screamcore interjections. Its shifting time signatures were adventurous and kept listeners on their toes; challenging, yes, but daring in all the right ways.
The first half closed with “Silence,” introduced by the vocalist (a welcome touch that more performers could emulate). This anthemic rocker was pure confidence: driving rhythm, melodic counterpoint, and tight, rehearsed precision that screamed “stadium potential.” The drumming here was exceptional. It felt propulsive without overpowering. If any track deserved a reprise, this was it.
Were there slip-ups in the first set? Of course. But the imperfections were part of the charm and the kind that only happen when artists are brave enough to take creative risks. The energy was so generous and the fun so contagious that any small missteps felt entirely forgivable.
After interval, the second band took the stage, and with them came an immediate shift: less grit, more groove; less rebellion, more refinement. This was the sound of students who understood not just how to play music, but how to perform it.
“Mummy” kicked things off with style and an atmospheric intro that bloomed into a full-bodied funk-soul number. The lead vocalist commanded the stage, backed by a team of five harmony singers whose blended sound was deliciously rich. The arrangement nodded to Motown, with tight drums, buttery bass, and a sensational lead guitar solo. Every element screamed confidence, and it was clear this band had rehearsed to perfection.
“Running Away” was pure entertainment. The drummer doubled as lead vocalist (a difficult feat handled effortlessly) and his rhythm had that unmistakable Funkadelic-meets-hip-hop pulse. The choreography, the “bang bang shots fired” moment, the cheeky grins all combined to create a performance that could’ve easily stepped out of a music video on Rage.
The mood stayed upbeat with “FIFO,” introduced by the lead guitarist with easy charm. This funky, jazz-inflected number had smooth R&B vocals and a lush guitar tone (if I’m not mistaken, a Gibson Les Paul, gleaming like a work of art). The rhythm section was airtight, and the bass solo was a genuine showstopper. This song radiated charisma and was a perfect example of style meeting substance.
“Losing” showcased teamwork at its best. The harmonies were crisp, the transitions seamless, and the middle 8 into the reprise was pure pop craftsmanship. The performers’ chemistry was undeniable, their smiles authentic. It was a professional performance in every sense of the word.
Then came “Another You,” a moment of stripped-back intimacy. The students offered a soulful, emotionally intelligent performance. The phrasing was measured and deliberate, allowing the lyrics to breathe. The crescendo built naturally, leaving a hush in the room that said everything, before a rapturous applause erupted through the hall. This was artistry, not just entertainment.
“Brain Matter” changed pace with a more earnest, boy-band tone. The piano, rich with “Whitlams” flair, was its greatest strength. The sincerity was palpable, though this one didn’t resonate quite as strongly with me as others.
“Well, Well, Well” pulled us back into indie-pop territory, its folk-meets-R&B fusion reminiscent of contemporary Triple J favourites. The song’s structure was beautifully paced; gentle at first, then soaring when the drums came in. The acapella ending was a sweet surprise and a clever touch.
“Funk” (aptly named) brought sultry vocals layered with smoky, Lana Del Rey-like tones that contrasted beautifully with bursts of powerhouse delivery. The bass slide and rhythmic build injected energy, and the band’s tight execution once again shone. The interplay between restraint and release made this one particularly memorable.
“Surrendered” had an instantly recognisable Aussie indie vibe. The mellow guitar work and easy-going vocal phrasing evoked The Screaming Jets and modern pub rock. The front-man’s natural stage presence carried the song, and the middle 8 provided a well-timed shift that kept the energy alive.
Finally, “Criminal” closed the night on a high. A saxophone appeared (to much audience delight), lending the track a sophisticated, jazzy edge. The female lead’s voice (a unique blend of Macy Gray without the rasp and Tones and I’s quirk) stood out for its individuality. When the charismatic vocalist from “FIFO” returned to duet, his chemistry lit up the stage. With six singers blending harmonies and a rhythm section that never missed a beat, “Criminal” was the perfect finale: fun, fresh, and full of promise.
The Pop Showcase proved more than a university performance; it was a glimpse into the next generation of Australian music makers. These students displayed not only technical skill and compositional creativity but many also demonstrated a deep understanding of what it means to connect with an audience.
The first half thrived on rawness and edge; the second half, on polish and professionalism. If the takeaway lesson for the students was about stagecraft, perhaps the one for the audience was about potential and how exciting it is to witness artists before they explode into the wider world. This was a night filled with growth, grit, groove, and generosity; a showcase not just of popular music, but of a promising future for Aussie music.
Kitty Goodall
Photographs by Kitty Goodall
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