Premier Arts & Entertainment Coverage

Kate Ceberano: Australian Made Tour

October 12, 2025

Review by Markus Hamence – Kate Ceberano: Australian Made Tour – Performance date: Saturday 11 October 2025. Thebarton Theatre, Torrensville, South Australia

Kate Ceberano sauntered onto the Thebarton Theatre stage with the kind of effortless grace and vocal power that reminds us in Adelaide exactly why she’s a national treasure – and with her Australian Made tour, she sung the hits while also honouring and redefining them. Let’s break it down…

We’ve seen Pop Kate, Blues Kate, Jazz Kate, Cabaret Kate, Ballad Kate, Musical Theatre Kate, Classical Kate, Acoustic Kate. NOW, more than ever, ladies and gentleman, this is ROCK Kate. And she did the genre loud and proud.

“She’s definitely not pivoting backward. It is most certainly NOT nostalgia. Instead, she’s standing at the intersection of her own legacy and the greats she grew up admiring…” – Markus Hamence

When Kate Ceberano announced her Australian Made Tour, many of us let out a little gasp – not in surprise (because, of course, she can), but in recognition of what she was attempting: a carefully constructed odyssey through Australia’s musical DNA.

She’s definitely not pivoting backward. It is most certainly NOT nostalgia. Instead, she’s standing at the intersection of her own legacy and the greats she grew up admiring. Think: INXS, Models, Divinyls, Paul Kelly – all refracted through her voice, her vantage, her lived experience.

Adelaide got its moment on the 25 + date Australian Tour on Saturday, 11 October at Thebarton Theatre. Small enough to be intimate. Big enough to let her visions unfold. It was the final show of the tour, and boy was it a party, a celebration, a memorable and exuberant finale.

Check Our Profession Image Gallery Of The Night Here Courtesy GW Media

What People Are Saying (Elsewhere)

Because, as always, touring artists in 2025 leave breadcrumbs before hitting our city. Here’s what the critics and audiences have been whispering (and shouting) in other towns:

In Frankston, The Rockpit called the show “bold, iconic, inspired and a must‑see experience.”
In Perth’s Astor Theatre, Hunter Brothers Media raved that the night “reminds you why music matters,” describing the show as a “curated celebration of four decades” with soul, grit and great care.
The opening act, Kathleen Halloran, has drawn consistent praise. Simple set, solo guitar, generous voice – the kind of warm-up that makes you lean in.

But, Now, My Turn…

A huge Kate fan, I have respected all the work she produces, it was a no brainer this one was going to be outstanding too. The proof is the constantly SOLD-OUT shows 40-years on. Also, was kinda thrilled to be going anyway as it was experiencing the newly re-opened iconic venue Thebarton Theatre after because closed for a good while for some major renovations. I was keen to check the space out. I was thrilled with what I saw. The vibe pays homage to the history of the building while also brining in a contemporary edge. Welcome back Thebarton Theatre and what a way to celebrate but with Kate.

The Support Act

Opening the evening with a quiet kind of brilliance was Kathleen Halloran, a support act who didn’t need theatrics to make a statement. With just her guitar and a voice that could both soothe and sting, she took to the stage with disarming ease. Her set was minimalist in the best way – crisp melodies, thoughtful lyrics, and that rare ability to make a theatre feel like a lounge room. Each song was delivered with a soft, smoky intensity that pulled the audience in close, proving that sometimes the most powerful performances are the ones that whisper, not shout.

“Halloran’s charm lies in her authenticity. She doesn’t perform at the audience; she shares with them…” – Markus Hamence

Halloran’s charm lies in her authenticity. She doesn’t perform at the audience; she shares with them. There’s a conversational and humble quality to her style – a sense that she’s letting you in on something personal and unfiltered. Her guitar work was fluid and confident, with flickers of jazz and folk woven throughout, but it was her voice that truly lingered. Gentle one moment, gut-punching the next, she managed to hold the room in the palm of her hand. For an artist still carving her space, she already feels like the real deal. Adelaide was lucky to catch her on the rise.

Whoops, and it would be dreadful of me not to mention her final piece of the set, an instrumental of Dire Straights ‘Sultans Of Swing’, no voice, just mad guitar work. This lady is already a master of her game and the audience, including me, lapped it up. Bravo x

What happened next depended partly on you, and you should be ready.

Enter Kate Ceberano – A trio on stage Kate, Kathleen Halloran and Darren Hart (Better known as Harts). Flanked by a gorgeous piece of Kate’s Tapestry Art. It was as intimate as you could possible make it.

Kate took to stage at took immediate position behind the drums. She instantly gave me Shiela E vibes (Remember her? The Prince and the Revolution period. PLUS her solo work Glamorous Life & The Belle of St. Mark)). She banged that percussion as the seasoned pro she is. Giving way for high energy and sweat right off the mark (The song… The Models’ Out Of Mind Out Of Sight)

This was a show that was a layering of maps: Kate’s personal map, her influences, Australian cultural landmarks. We felt zone shifts – euphoric, reflective, celebratory, quiet – sometimes all within one block of songs.

It’s important to know, Kate Ceberano has just released a new LIVE album, ‘Australian Made: Live’ and this is the tour that supports and celebrates it. That, as well as showcasing her 40 years in the music industry. She’s worked her ‘ring off’ (Her words). Side note: See my REVIEW of the album here.

“Kate has made it clear she wants room in this show for the unexpected – deep cuts, audience call‑backs, maybe a song you didn’t see coming…”
– Markus Hamence

Now, don’t expect her to play Pash or Brave as you remember them. Pffft. Expect versions shaped by time, distance, maturity. That’s what she’s doing: owning the tracks she admires and re‑owning her own. The album Australian Made – Live gives us a window: she’s already tackled Under the Milky Way, Quasimodo’s Dream, I Hear Motion / Talking to a Stranger, and interwoven them with her classics.

Kate has made it clear she wants room in this show for the unexpected – deep cuts, audience call‑backs, maybe a song you didn’t see coming.

The Musical Intimacy

The trio format (Kate + Halloran + Harts) means each instrument, each vocal decision, is bare to the audience. You’ll hear breath, precision, small shifts in phrasing. These are not background embellishments – they are part of the architecture.

“Halloran and Harts are simply exceptional with their musicianship and support vocal. Outstanding even…” – Markus Hamence

Halloran and Harts are simply exceptional with their musicianship and support vocal. Outstanding even. I enjoy how Kate gives everyone she works with ample time to shine, never once trying to demand all the attention, this makes her all the more likeable.

Now Kate, as mentioned banged them drums. And while also being a vocal queen, she also plays piano and the iconic 80’s cow-bell. A Jack of all-trades, and a Master of them all too. Rare.

What a trio.

A Bit of Theatre & Storytelling

The show doesn’t march forward linearly. It pauses. It speaks. It reflects on mentors, icons, friendships, run-ins, Australia’s shadows, and what it means to be an artist in this country. Kate has always been a great story-teller, probably a solid reason she was the Adelaide Cabaret Festival’s Artist Director for three years (And RULED it hehe). This time round it was great to hear her talk of her crushes, her admirations, her friendships that were formed and the heartache of losing her contemporaries too early… James, Michael, Greedy, Paul, Renee…

“Kate has always been a great story-teller, probably a solid reason she was the Adelaide Cabaret Festival’s Artist Director for three years…” – Markus Hamence

Highlights

A surprise cameo by Carla Lippis who smashed out an insane interpretation of Renee Geyer’s ‘It’s A Man’s Man’s Man’s World’ with Kate on drums and backing vocals – Carla, a local hero, has a vocal capacity that can rip a roof off. And a fabulous human too. Check out her work with 27 Club and Mondo Psycho.
Kate smashing out Divinyls’ ‘I Touch Myself’ while honouring her late friend and carrying out a promise.
A reggae inspired version of her own classic ‘Bedroom Eyes’. Brilliantly arranged and could have been my set-list favourite.

The show was a kaleidoscope of work, pattern and texture woven into song. The show was an art piece, served up as rock. This musical experience was sublimes. Kate is an artist.

Final Word (for Now)

Make no mistake this performance was a gathering, a musical homage, a reflection, a party, a history lesson, and a peek into Kate Ceberano’s heart all in one. We were all in Kate and Lee’s (Her manager and husband) lounge room.

Kate Ceberano, Australia’s Queen of the Art of Music and Performance (And you can quote me on that haha).