Presented by BLEACH*
Recline on your picnic blanket under the sunset sky and bliss out to the sublime tones of multi-award-winning singer-songwriter, Kate Miller-Heidke, with a performance in the Botanic Gardens for BLEACH*.
This celebrated superstar will make you swoon with her silky-smooth vocals. Versatile and virtuosic, Kate’s latest album sweeps into fresh territory, delivering poignant, powerful and haunting lyrics to sweet electronic–pop grooves. Bring your friends and enjoy our golden winter weather in the beautiful Botanic Gardens, soaking up the sonic magic of this esteemed Australian artist.
Prove them wrong.
For breakout Gold Coast singer-songwriter Lily (Lily Papas), that’s always been the MO. An unmistakably standalone voice in a world increasingly geared towards homogeneity, Lily, who has been singing since she was eight and began writing music not long afterward, prefers to trade on passion rather than what’s in fashion. Reveling in the kind of fantasy that amplifies Lily’s quixotic lyrical style, it’s a record that ultimately documents her coming of age and maturity, both as a woman and as a songwriter.
Kate Miller-Heidke is an award-winning singer-songwriter who traverses the worlds of contemporary pop, folk, musical theatre and opera.
She has released five top 10 studio albums including O Vertigo!, Nightflight, and Curiouser, which reached double platinum sales and featured the multi-platinum hits ‘The Last Day On Earth’ and ‘Caught In The Crowd’. Her latest album, Child In Reverse was released in October 2020.
Her work has been nominated for ARIAs in categories as diverse as Best Pop Release, Best Adult Contemporary Album, Best Classical Album, Best Cast Recording, Best Comedy Release and Best Australian Live Act.
Trained as a classical singer at the Queensland Conservatorium, Kate has performed a principal role at the Metropolitan Opera in New York and several roles for the English National Opera. Her debut opera as a composer, The Rabbits, won 4 Helpmann Awards including Best Score and Best New Australian Work.
With her collaborator Keir Nuttall, she has written the music and lyrics to Muriel’s Wedding: The Musical, which premiered at the Sydney Theatre Company and played throughout 2019 in Sydney, Melbourne and Brisbane. It won five Helpmann Awards, including Best Original Score. They also composed music for Twelfth Night (2018) and As You Like It (2021), both for Melbourne Theatre Company.
Kate had the honour of representing Australia at the Eurovision Song Competition in 2019 with her original song ‘Zero Gravity’. She achieved first place in her semi-final, a top ten placing in the grand final, and won the coveted Marcel Bezançon Award for Artistic Achievement.
Kate’s latest album, Child In Reverse, was released in October 2020 to enormous critical acclaim, debuting in the top 10 of the ARIA Charts. In March, Kate released her latest single ‘You Can’t Hurt Me Anymore’ featuring Jaguar Jonze, alongside a new Deluxe Edition of the album with ten bonus tracks.
Prove them wrong.
For breakout Gold Coast singer-songwriter Lily (Lily Papas), that’s always been the MO. An unmistakably standalone voice in a world increasingly geared towards homogeneity, Lily, who has been singing since she was eight and began writing music not long afterward, prefers to trade on passion rather than what’s in fashion.
Lily’s debut record, Encore, was written mostly in her Gold Coast home but recorded in Los Angeles. It was a deliberate continental shift, as Lily sought to match her surroundings with the thematic focus of her songs, many of which use Hollywood Hills as a metaphor for another life.
Reveling in the kind of fantasy that amplifies Lily’s quixotic lyrical style, it’s a record that ultimately documents her coming of age and maturity, both as a woman and as a songwriter. From an early age, Lily was an escapist, channeling the frustrations of her teenage years into a persona that would leave her world behind. “I used to write songs that drew from movies I watched,” she laughs, discussing tracks like ‘Wild’ and ‘Freak’. “I had no personal experience of love - or anything, really. I had frizzy hair, pimples and braces. I always wanted to be someone else.”
Lily has always been a bold dreamer. Told by a music teacher at 11 years old that she had the voice of a folk singer, Papas went home and learned to sing Christina Aguilera songs instead. “I’d always go for the big notes,” she says. “I wanted to be Steve Nicks so badly. I would just tell myself; I am going to be a rock star.” This fervor extends to the album title: “The decision to call it Encore was simple,” says Lily. “I wanted people to love and listen to the album so much that they always wanted more.”
You can hear the result of Lily’s commitment on Encore, a record whittled down from over 200 songs and developed over two intense years since signing to Neon/Universal. Lily’s voice, sonorous and mahogany-edged, certainly doesn’t sound like it belongs with electronic production. But if you ask her, that’s precisely the point. She’s never fit in before, so it doesn’t look like it’s going to start now.
“I have this thing where I have to prove people wrong when they said I can’t do things,” says Lily. It’s certainly working well for her so far. Impossible to pigeonhole but instantly accessible, Encore is equally indebted to London Grammar’s ardent synth love letters (‘Jackson’) and the brassy melodic strokes of The Pretenders’ Chrissy Hynde (‘Honey’). It’s 10 songs of lushly produced alternative pop that use the process of creation to find peace.
Ultimately, it’s an album of two sides “I came to the realisation after finishing these songs that it was often me holding myself back,” Lily says. This is no better represented than in the albums closing suite, which ruminates on the real cost of fame and adulation (‘Party Girl’) and abandoning the alter-ego in favour of the personal (‘Good To Be’). Astonishingly accomplished but unsurprisingly confident, Encore marks Lily as one to watch, but more importantly one to be heard.
This event is a music concert, with some non-essential visual components. There will be no additional screens present at the event.
Sight is not integral to understanding and enjoyment of the event.
This event will take place outdoors, on a grassed surface. The event site is mainly flat but may have some small bumps or inclines. Further information on the site's physical access can be found on our Accessibility page.
Seating is not provided as part of a general admission ticket - patrons are encouraged to bring picnic blankets or their own seating. Please contact the BLEACH* team to discuss if you have specific access needs regarding seating or sight lines.
Click here for more information.
Gold Coast Regional Botanic Gardens
230 Ashmore RdBenowa QLD 4217
We acknowledge the Traditional Owners of the Yugambeh Language Region and all Aboriginal and Torres Strait Islander People of the Gold Coast. We recognise their continuing connection and contributions to country and culture. We pay respects to their Elders past, present and emerging.