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Joyce Prescher Releases Her 2nd Single With Lachlan Bryan

Joyce Prescher Releases Her 2nd Single With Lachlan Bryan

Scoop24-05-2025
Joyce Prescher was born and raised in the Netherlands but has lived in Melbourne for over a decade. Her albums, Home (2017) and Out of My Mind (2022), are filled with songs of isolation and alienation, delivered with a delicacy befitting their lilting melodies, meandering time-signatures and often melancholic lyrics.
Last month Joyce released the first of her recording collaborations with Lachlan Bryan, a cover of Absynthe Minded's ' My Heroics '. The song, with it's hypnotic groove and intimate vocals, has been played across Australian community radio, on Double J and ABC Country, and on more than 50 American public radio stations via The International Americana Music Show.
The second single in this collaborative series is ' Nothing Really Ends ', which premiered on Vital Bits/ 3RRR. It's a track originally recorded by Belgian band dEUS, and the first song Joyce recorded with Lachlan – a beginning marked by a song about endings.
For Joyce, dEUS are more than just a band, they're part of the fabric of her youth. ' I've listened to them since the mid-90s,' she says. ' They've been with me throughout my life, and I always come back to them. This song, to me, has this depth, this melancholy, but also a sense of calm and peace."
There's a cinematic feel to this version – layered guitars, strings, and a rhythm that simmers just below the surface. It doesn't rush. It unfolds. Lachlan and Joyce trade lines like two people trying to make sense of a shared memory, their voices weaving together and pulling apart. It's richer than a stripped-back ballad, but still intimate – the kind of arrangement that reveals more with each listen.
' We recorded this song fast, in a very instinctual kind of way,' says Lachlan. ' We would grab hold of the instrumental hook from the original and try and reimagine it, but because I didn't know the song very well it quickly became its own thing. I was learning it from Joyce rather than from dEUS, and I think that's part of the charm."
The emotional terrain of 'Nothing Really Ends' – longing, ambiguity, resignation – felt like a perfect mirror for Joyce and Lachlan's long walks and long talks through the empty streets of Melbourne during the pandemic. There's a tension in the song, but also acceptance. ' It doesn't scream, it just lingers,' Joyce reflects. ' That's what I love about it. To me it's about understanding that endings aren't always clear. Sometimes, the things we think are over never really leave us. They're always there, in some form.'
'Nothing Really Ends' captures the fragile beauty of that idea—a reflection on the things that persist, long after they've passed. It's a re-imagining of a song that's always felt deeply personal to Joyce, and through her collaboration with Lachlan, it becomes something even more intimate and reflective.
With this second release, Joyce Prescher continues to reveal new layers of herself – not just as a songwriter, but as an interpreter, curator, and collaborator. These aren't just songs she admired from afar; they're part of her personal history, now reshaped and re-voiced with care.
JOYCE PRESCHER
Following the release of her first album, Joyce signed to independent record label Cheersquad Records & Tapes in July 2022. She released the singles 'Paper and Pen' and 'Black on White', prior to releasing her 13-track album Out Of My Mind in October 2022. Upon release the album charted in both the ARIA Top 20 Australian Country Albums and the Australian Independent Record Labels Association 100% Independent Albums chart.
Joyce was a finalist in the 2022 and 2023 Australian Folk Music Awards (AFMA), has toured and performed a project called Sing a Song of Sixpence, with other artists including Abby Dobson, Freya Josephine Hollick, Charm of Finches, and Van Walker. She had performed as part of the sold-out tribute shows to Justin Townes Earle at the Brunswick Ballroom, and shared the stage with many Australian favourites, including Tim Rogers, Kylie Auldist, Mick Thomas, Debra Byrne, Sarah Carroll, Kerryn Fields, and XANI.
LACHLAN BRYAN
Over more than a decade, Lachlan Bryan has built a reputation as a master storyteller, regardless of whether he's performing solo, fronting his band The Wildes, or collaborating with country music icon Catherine Britt in The Pleasures. His songs range from hard-hitting social commentary to deeply personal musings, but each contains a unique turn of phrase, dark humour, and an ever-present sense of romance.
Lachlan has toured with artists such as Justin Townes Earle, John Hiatt, Shawn Colvin, and Henry Wagons, as well as headlining his own tours and performing at festivals all over the world. He's released five full-length albums with The Wildes, all of which have received critical acclaim, featured in yearly top ten lists, and in some cases even charted strongly in the ARIA Official Australian Albums charts.
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Michael Reid Art Gallery To Present Major Exhibition Of First Nations Artworks In Washington, D.C.
Michael Reid Art Gallery To Present Major Exhibition Of First Nations Artworks In Washington, D.C.

Scoop

time10 hours ago

  • Scoop

Michael Reid Art Gallery To Present Major Exhibition Of First Nations Artworks In Washington, D.C.

Leading contemporary art gallery Michael Reid Sydney + Berlin has today announced The Stars Before Us All, a major exhibition of First Nations artworks to be presented in Washington, D.C., USA, from 15–25 October 2025. A bold articulation of contemporary Aboriginal and Torres Strait Islander perspectives, The Stars Before Us All will present more than 30 works by 20 artists, including Gaypalani Wanambi, Emily Kame Kngwarreye, Regina Pilawuk Wilson, Owen Yalandja, Djirrirra Wunuŋmurra Yukuwa, Nici Cumpston OAM, Dr Christian Thompson AO, Betty Chimney and more. This presentation in Washington, D.C.'s vibrant downtown Golden Triangle district honours the enduring cultural legacy of Indigenous Australia spanning more than 65,000 years. It will mark the United States debut of several exhibiting artists, including this year's Telstra Art Award-winner Gaypalani Wanambi, whose work will be presented to American audiences for the first time. The Stars Before Us All will be Michael Reid Galleries' first foray into the US market in advance of the opening of a new Los Angeles location later this year. The exhibition will bring together leading contemporary First Nations practitioners working across diverse disciplines and spanning the breadth of the Australian continent, including the Tiwi Islands, Arnhem Land, Far North Queensland, the Torres Strait, the Central Desert, the Kimberley, and beyond. With most works being shown publicly for the first time, the paintings, photography, sculpture, weaving and bark works comprising the show are drawn directly from living artists, respected community custodians, and distinguished private collections. Each stroke, mark, and woven thread in the exhibition offers an intimate revelation – an exploration of the profound visual and cultural impact of First Nations contemporary art within the Australian landscape. Michael Reid OAM, Chairman and Director of Michael Reid Galleries, said: 'Michael Reid Sydney + Berlin is delighted to present The Stars Before Us All in Washington, D.C. and celebrate First Nations art and culture in the United States. This exhibition will coincide with the National Gallery of Victoria's landmark touring exhibition, The Stars We Do Not See at the National Gallery of Art, Washington, emphasising new and collectable works as a contemporary counterpart to the NGV's historical survey. As the world recognises the rightful place of Indigenous voices in art history, we are privileged to share the work of these remarkable artists as a powerful celebration of Australia's cultural roots and living heritage.' At the forefront of the exhibition is Gaypalani Wanambi, a Yolŋu artist from Yirrkala in northeast Arnhem Land and recent winner of the prestigious 2025 Telstra Art Award at the Telstra National Aboriginal and Torres Strait Islander Art Awards, valued at $100,000. The daughter of the late, great Mr. Wanambi (1962–2022), with whom she worked for many years, Gaypalani is the pre-eminent practitioner within the Found Movement, which reimagines scrap metal road signs salvaged on Country as raw surfaces for extraordinary works of art. Gaypalani's intricate etchings on metal explore themes relating to Wuyal, the ancestral honey hunter, and the life cycles of bees and stringybark blossoms – elements vital to the Marrakulu clan's homeland of Gurka'wuy. Currently showing at the Art Gallery of New South Wales in the historic exhibition Yolŋu Power: The Art of Yirrkala, Gaypalani's art embodies resilience and renewal, situating her at the forefront of an ascendant generation of Yolŋu artists advancing cultural knowledge and contemporary visual practice. Also on the program is Indigenous art luminary Emily Kam Kngwarreye, who began painting in her late 70s, drawing on her cultural life as an Anmatyerre elder and custodian of women's Dreaming sites in Alhalkere. Over an extraordinary eight-year period, she laid the groundwork to become Australia's most celebrated and sought-after artist of the late 20th century. Her lyrical, gestural paintings reflect the cycles of nature and the spiritual significance of her Country, shaped by the desert environment. Kngwarreye's work redefined the global perception of Australian art, making her a fitting candidate to join the show. In 2025, her work is the subject of a landmark solo exhibition at Tate Modern – her first in Europe – further cementing her legacy as one of the most important artists Australia has ever produced. Award-winning painter, master weaver, and 2025 Sir Sulman Prize finalist Regina Pilawuk Wilson adds to the line-up with her captivating paintings, which channel the core tenets of a generations-spanning weaving tradition into complex painterly compositions that pulse with reverberating, rhythmic movement. Born in 1948 in the Daly River region of the Northern Territory, the Ngan'gikurrungurr artist's paintings and weavings are held in leading collections throughout Australia, including the Art Gallery of New South Wales, National Gallery of Victoria and National Gallery of Australia, as well as a significant number of international institutions, including The Seattle Museum and The British Museum. Her contribution to contemporary Indigenous art is significant, as she continues to blend ancestral knowledge with modern materials, ensuring cultural continuity through visual storytelling. Wilson is regarded as a leading figure in the preservation and elevation of First Nations art traditions on a national and global stage. Regina Pilawuk Wilson will travel to Washington, D.C., for the opening of The Stars Before Us All. This will be the first occasion for the artist to visit the room named in her honour at the Australian Embassy to the United States, where architects Bates Smart commissioned a custom golden carpet based on her painting, Syaw. Other artists participating in The Stars Before Us All include Owen Yalandja, Timo Hogan, Charlie Tjapangarti, Rover Thomas Joolama, Wik and Kugu Arts, Djirrirra Wunuŋmurra Yukuwa, Nici Cumpston OAM, Dr Christian Thompson AO, Betty Chimney, Maningrida Weavers, Danie Mellor, Emily Cullinan and Vicki Cullinan.

The Spinoff guide to life: How to perform a hongi
The Spinoff guide to life: How to perform a hongi

The Spinoff

time2 days ago

  • The Spinoff

The Spinoff guide to life: How to perform a hongi

Our prime minister might not be able to get it right but don't fear, The Spinoff is here to help you master the art of our indigenous way of greeting. There is a handful of things that belong to New Zealand that our neighbours across the ditch love to lay claim to: Phar Lap, pavlova and Stan Walker to name a few. While we love to gloat at how much the Wallabies suck compared to the All Blacks, there were undoubtedly a few Australians scoffing at our prime minister completely butchering a hongi with his Australian counterpart over the weekend. God forbid they start to claim their supreme leader can perform a hongi better than ours. The moment came during a pōwhiri held by local iwi Ngāi Tahu in Queenstown, the unofficial tourism capital of New Zealand. Anthony Albanese effortlessly exchanged hongi with two members of the iwi, including Tipene O'Reagan, before approaching Luxon to do the same. However, when leaning in to press noses with our country's leader, Albanese found himself being offered a hug instead. The encounter saw the duo narrowly avoid kissing, before awkwardly embracing each other in a hug that can only be described as desperate. To help you avoid ending up looking clueless when someone next offers you the traditional greeting, we've drafted a definitive guide on how to hongi. What is a hongi and why do we do it? The act of pressing noses and exchanging breath is the traditional way Māori greet each other. It is symbolic of an exchange of mauri, or essence of life. The act goes back to Tāne, who fashioned Hineahuone, the first woman, from clay. Once he was done, Tāne preseed noses with Hineahuone and exclaimed the words: 'Tihei Māori ora'. Tāne gave the breath of life to Hineahuone, who then came to life and eventually begat the rest of humanity. Today, we hongi as a symbolic reminder of the story of Tāne and Hineahuone and acknowledgment of the mauri of the person we are greeting. When are hongi carried out? The most common place you'll see a hongi is during a pōwhiri or whakatau. Following the whaikōrero or speeches, both parties will usually come together for what is called the harirū, or handshakes and hongi. However, it is not uncommon to see hongi being performed as part of everyday life. Hongi can be performed at the supermarket, beach, or even in the workplace. Anywhere you might offer a handshake, a hongi could just as easily take place too. So, how do I carry out the perfect hongi? The first part of a hongi is actually a handshake. Who you are offering a hongi to will dictate how you perform that handshake, but there are some general rules to follow here. The first step is to look the person in the eyes, smile and greet them with a 'kia ora' or 'tēnā koe' – the latter usually being reserved for when you are meeting people for the first time, or greeting an elder,or respected member of the community. The next step is figuring out if you are greeting a man or a woman: If you are a man greeting a man, you will be giving them a hongi; If you are a man greeting a woman, be prepared for a kiss on the cheek (explained further below); If you are a woman, you can usually dictate whether you want to exchange a kiss on the cheek or a hongi. If you are a kid, go with whatever the other person offers. If you are a man greeting a kid, feel free to offer them a high-five, fist-bump, hongi, or kiss depending on how they're reacting to you – some children would rather not participate in a hongi or kiss and that's fine – there's nothing worse than trying to force a kid to give you a hongi and accidentally headbutting them. When it comes to the act of the hongi itself, here are some top tips. Firstly, if you're wearing a hat (or even a beanie), take it off. Next, give early indication of what you intend to do. If it's a hongi, grab the other person's hand, slowly lean in with your head and lips tucked in (to avoid any possibility of a worst-case scenario kiss on the lips), and close your eyes when you're close to the other person's nose. Press your nose against the other person's, pause for a moment (the longer the pause, the more significant the greeting), breathe in our out (or both), before pulling away and offering another 'kia ora', 'tēnā koe', or even a 'ngā mihi'. What about kisses on the cheek? I noticed it is common for men and women to do this instead of a hongi? As Karaitiana Taiuru writes, the practice of kissing females on the cheek is a modern phenomenon that has only gained popularity since colonisation took place. 'Ignoring the customary practice of a hongi creates a number of issues including the loss of tikanga and the real possibility of discriminating against people in our community,' Taiuru argues. Despite a renaissance of offering women hongi, kissing them on the cheek instead is still widespread practice. If you are a female, feel free to offer a hongi to the person with whom you are exchanging a greeting. It can be an awkward process, given most will assume the proper practice is to kiss you on the cheek, but you can front foot this by making your wishes clear from the start. 'Haere mai ki te hongi' or 'hōmai he hongi' are two ways you can easily let the other person know a hongi is your preference. Another simple way is to lean forward with your eyes closed. What if I can't tell if it's a man or a woman? Trust me, I know it can be awkward trying to figure out if that's an uncle with great cheek bones or an aunty with more facial hair than you. This is where copying the person in front of you can pay dividends, if you are fortunate enough to not be first in the line for the harirū (in which case you would likely not need to be reading this article). How was the encounter before you? Did they hongi or kiss on the cheek? Is that person now blushing because uncle thought they were an aunty? Paying attention to what the person before you did can save a world of pain when it comes to your turn (see: Chris Luxon and Albanese). If you're greeting someone who is takatāpui, let them lead the way, or opt for the safe, gender-neutral hongi. Does everyone hongi the same? No. Māori from the East Coast are known for the 'double pump', preferring to press noses twice. It is said each pump is for either breathing out or breathing in. Of course, it can sometimes be difficult to know if someone is from the East Coast, so if you feel someone pulling you in for a second pressing of noses, relax and go with it. What if I don't want to offer a hongi? Just like opting to receive a blessing at mass instead of the blood and body of Christ, make it clear from the beginning of the interaction. You can politely tell the other person you haven't been feeling well while waving them away, hold your arms out for a hug instead, or keep your arm on their shoulder to literally keep them at arms distance. While Luxon attempted to go for a hug from the beginning, his Australian counterpart clearly had a preference for a hongi. What caused this fumble was, ironically, a clear lack of leadership from the outset. If you do find yourself in an awkward place between a kiss, hongi and handshake, try your best to laugh about it and move on quickly. Remember, it's as awkward as you make it.

Luxon, Albanese make the most of Q'town
Luxon, Albanese make the most of Q'town

Otago Daily Times

time3 days ago

  • Otago Daily Times

Luxon, Albanese make the most of Q'town

Enjoying the scenery above Queenstown yesterday are (from left) Australian Prime Minister Anthony Albanese, his fiancee, Jodie Haydon, New Zealand Prime Minister Christopher Luxon and his wife, Amanda. PHOTO: SUPPLIED Australian Prime Minister Anthony Albanese's dance card was full to bursting in Queenstown over the weekend. Mr Albanese — who quipped he and his fiancee Jodie Haydon were "just a couple more Australians" visiting the resort on Saturday — spent about 24 hours in the Wakatipu, where he and New Zealand Prime Minister Christopher Luxon held their annual leaders' meeting, covered by a huge contingent of Australasian media. Mr Albanese was met at Queenstown Airport by a greeting party which included Queenstown Lakes District Mayor Glyn Lewers and Southland MP Joseph Mooney, before being whisked to Taramea, a private meeting house built by Queenstown entrepreneur Rod Drury — the leaders' meeting was the first event to be held there. The Australian contingent was welcomed with a pōwhiri by Ngāi Tahu, which Mr Albanese said was "very moving". Ngai Tahu representatives included Ta Tipene O'Regan and Te Rūnaka o Ōtākou upoko Edward Ellison, while New Zealand actor and producer Cliff Curtis was also present, as an invited guest of the iwi. Mr Albanese said it was his third trip to New Zealand as prime minister, but his first trip to Queenstown in the modern era. "The last time I was in Queenstown, I came with a backpack on last century — literally. "I came here as a traveller to this extraordinarily beautiful part of not just your nation, but the world. "If there is a better airport to land in, I have not been in it, and I've been in a few over the years." After closed-door talks, which traversed subjects such as trade and defence issues and opportunities, the war in Gaza and Australia's 501 deportation policy, the leaders told media underpinning all of it was the continued close relationship between Australia and New Zealand. Mr Albanese said the two countries were each other's biggest tourism market and the transtasman relationship was built on "deep understanding, genuine respect and true affection". "[It is] a relationship between peoples, not just a relationship between nations," Mr Albanese said. "In a time of global uncertainty, the certainty and strength of this bond has never been more important." Mr Luxon noted the pair knew each other before they entered politics and said their personal friendship was "emblematic of the mateship between our two great countries". "It's an iron-clad bond, uniquely defined by our respective histories and things that we celebrate about ourselves — practicality, humility and a good sense of humour, for one." He said the conversation during the leaders' meeting highlighted both men shared the same assessment of the problems but were also "firm about the agency we have to navigate a complex world". "The close bonds between Australia and New Zealand provide us both with a bedrock of certainty, of predictability and quite frankly the knowledge that we have one another's backs. "For New Zealand, Australia is our only formal ally and family like no other country." Following the leaders' meeting, the two prime ministers travelled to Stoneridge Estate, overlooking Lake Hayes, for the Australia-New Zealand Leaders' Forum Meeting. There, they met representatives from a host of heavy-hitting businesses on either side of the Tasman, including CyberCX, Beca, Ampol, Qantas, Genesis Energy and ASB Bank, after which the prime ministers and their partners enjoyed a private dinner, which the Otago Daily Times understands took place at Arrowtown's Ayrburn hospitality precinct. Yesterday morning, they again braved freezing temperatures to lay wreaths at the Arrowtown Cenotaph, on Soldiers Hill, accompanied by Mr Lewers and Arrowtown Returned and Services' Association president Rosemary Chalmers. Speaking to reporters in Arrowtown, Mr Albanese brushed off calls to impose sanctions on Israel for blocking humanitarian aid from entering Gaza, calling the demands a "slogan". He also repeated his government's call for Israel to abandon its plan to occupy the entirety of the Gaza Strip. "We called for an immediate ceasefire. We called for the release of hostages and we called for the unimpeded entry of aid into Gaza. We have a humanitarian catastrophe unfolding there. And the idea that it can just be continued is completely unacceptable." But he refused to answer a question about whether Australia would impose further sanctions on Israel as demanded by the Greens and other pro-Palestinian campaigners. "What we need to do here is to have very clear statements and actions by the Australian government that make a difference, rather than respond to a slogan on a protest." Finally the leaders and their partners enjoyed a scenic helicopter flight and mountain landing with Over The Top Helicopters, where they dug in to a transtasman-themed pavlova, among other things, decorated with kiwifruit, strawberries and Tim Tams, before Mr Albanese and Ms Haydon left New Zealand.

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