Skip to main content

Article: Shannen James Announces East Coast Tour // Ivy League

Dazzling Melbourne pop-folk artist Shannen James’ long awaited debut record Patchwork is out today, alongside the announcement of a headline east coast album tour this April. 

Shannen James will be playing her dazzling new record to crowds at Brisbane’s Junk Bar on April 12, Sydney’s Low 302 on April 13, and Melbourne’s The Bergy Seltzer on April 19.

Patchwork is a record that takes shape from every experience, idea, thought and feeling Shannen James has ever had. Across 12 spirited tracks, it's a collection of songs stitched together, each showcasing different textures, patterns and colours pulled from a lifetime's worth of moments, to create one cohesive record.

A decade in the making – following the alt-pop artist’s beloved EP Arrows, two chart-toppers on triple j’s Most Played list (2020’s ‘Arrows’ and 2021’s ‘Superstitious’), endless weekends cutting her teeth at open mics and in pubs, and the challenge of condensing over 90 shimmering songs to a curated 12 – this moment is one Shannen James is ready to embrace headfirst.

“Getting an album together after such a long time, the main thing was that it didn’t have to be a ‘this’ album or a ‘that’ album; it just had to represent me. I’m an album gal, and I think listening to this record from start to finish feels like a warm hug. It’s something I’d want to listen to driving down the coast at dusk, looking out over the water, and I hope people can go and do that when they listen to it too.” 

– Shannen James

WATCH: Shannen James – 'Headlights'

The first taste of Patchwork was one of Shannen’s most buoyant pop songs to date, ‘Headlights’, born from a studio session with Hatchie and Joe Agius listening to The Cure. “I started creating this idea about relationships you have that are really fleeting because maybe they have to move to the other side of the world; a moment where you fall in love instantly and then they’re gone. It was written during Covid, during a time where it felt like the clock was running out."

Time and personal relationships are throughlines across this record, as is her sense of purposeful warm nostalgia reminiscent of Fleetwood Mac. “They’ve got everything I love – it’s pop, it’s rock, there’s country in there, but the sentiment is like folk songs. Then I got really into ‘80s sounds and became obsessed with Tears for Fears, then the first records from The 1975, who also made music really influenced by that era.” Like her own formative listening habits, the MO has always been to allow anything and everything that might excite her to seep in, regardless of category or genre. Now, she names contemporaries HAIM, Maggie Rogers and Kasey Musgraves on an ever-growing list of references.

Shannen’s commanding live performance has culminated in sold-out east coast tours, her first UK/EU headlines in 2023 after catching the eye of UK promoter Communion (Catfish and the Bottlemen, Matt Corby), invitations to showcase at Austin’s SXSW and BIGSOUND, plus supports for Valley, Men I Trust, G Flip, Slowly Slowly, Thelma Plum and Sycco. From emotional ballads to bursts of line dancing, Shannen’s love set captures joy and friendship, being in love and having your heart broken, or breaking someone else’s.

All her hard work, creative energy, and personal growth has led up to Patchwork, proving her journey is one more than worth hopping on for the ride – Shannen James is ready to have her big popstar moment. 


SHANNEN JAMES

PATCHWORK TOUR

Fri 12 Apr | Junk Bar | Brisbane, QLD

Sat 13 Apr | Low 302 | Sydney, NSW

Fri 19 Apr | The Bergy Seltzer | Melbourne, VIC

Comments

Popular posts from this blog

Review: Medea - Queensland Theatre

Written by Grace Wilson From little things, big things grow. It’s a saying that is so Australian and so rooted in our culture. It inspires and it gives hope. Everyone knows of this saying and the song attached to it, but never have we experienced a situation where this saying comes to mind. That is until  Queensland Theatre’s production of Medea by Anne-Louise Sarks and Kate Mulvaney, directed by Daniel Evans. This adaptation of this famous Greek tragedy focuses on the perspective of the two sons of Jason and Medea. In the original myth, we see little to no actual story from these two young boys - so to see an adaptation from a frankly inaccessible storyline in the traditional drama was a bold and incredibly smart choice. To truly appreciate the way the playwrights took this traditional myth and flipped it on its head, a knowledge of the actual myth was required because the subtleties of references could easily be missed. The play ranged from blatant acknowledgments of the traditio...

Review: The Haunting - Tugun Theatre Company

Written by Jake Goodall There is nothing better than heading to the theatre on a cold & rainy night to watch a gothic play about a haunting, and Tugun Theatre's recent production of The Haunting proved there is still a space for horror ghost plays in the world.  Based on the Charles Dickens Novel (and adapted by Hugh Janes), the story follows a young book dealer, David Filde, when he is employed by a former associate of his uncle to catalog a private library, he finds an incredible array of rare and antiquated books. But as a series of strange and unexplained events conspire to keep Filde from his work, he realises that if he is to convince his skeptical employer that the mysterious phenomena he is experiencing are real, they must journey together to the very edge of terror, and beyond. This reviewer was lucky to see the West End hit production The Women in Black recently at the Playhouse, QPAC which set the bar for horror ghost stories, and with the resources available to them...

‘PASHUN’ // TheatrePunk Co.

  What happens when masculine, feminine, and a touch of envy energy are amplified in modern society? You get ‘PASHUN’ by TheatrePunk Co.! ‘PASHUN’ is a comedic theatrical exploration of gender and relationships, infused with fantastic absurdist techniques. Written by Harrison Mills, it offers a unique night out that delves into the intersection of queer identity and the “straight minority.” Harrison Mills has skilfully interwoven absurdist techniques into the fabric of queer and heterosexual love, resulting in a profoundly thought-provoking experience. Throughout ‘PASHUN’, they masterfully employ stereotypes, drawing our attention to their nuances. From the hyper-masculine, reminiscent of an Andrew Tate figure, Sigma, to the unmistakable Starbucks-loving pink aficionado, Tiff, Mills has ingeniously crafted characters that evoke both love and disdain throughout the production. Under the direction of Joshua Price, the piece is minimalist but effective. The utilisation of packing boxe...