Strummingbird Festival - Newcastle

Gates swung open at noon on Saturday, and by that point a massive line of eager festival-goers had already wrapped itself around the Newcastle Foreshore like a coiled lasso. Folding chairs in hand, dressed head to toe in their finest denim, boots, fringe and cowboy hats, thousands poured in with a grin and a glint in their eye, fully prepped for a full day of music, mates and maybe a cheeky bourbon or three.

The early forecast had hinted at possible rain, but it did little to dull the buzz. There was a kind of giddy tension in the air, a blend of blue skies, sunscreen and high expectations. Word had travelled fast after the debut Strummingbird event the weekend before on the Sunshine Coast, and Newcastle’s country faithful were clearly ready to raise the bar.

With 17 acts spread across two stages, the Wildwing and Silver Spur Saloon, there was no shortage of choice, from fresh homegrown talent to headline heavyweights, with lashings of rock, hip-hop and good old-fashioned line dancing thrown in for good measure.

And yes, the rain did eventually roll in. By then spirits were already soaring. No one flinched. Ponchos came out, hats stayed on, and the party kept going, boots stomping through the drizzle like it was part of the soundtrack.

Around the grounds, the food trucks leaned deliciously Americana, plenty of smoked meats, stack-high burgers and fried chicken, while bars kept it icy and efficient. Crew and event staff were helpful all day, production was superb, and the changeovers were slick. From Live Nation through to the last volunteer on the gate, it ran like a festival that’s been here a decade.

Kicking off the live music at Strummingbird Newcastle, local favourite Chelsea Berman brought a punch of sparkle and sass to the Wildwing Stage, both in outfit and attitude. Wearing a shimmering bronze sequin halter and fringed black leather shorts, she strutted across the stage with total command, showing no sign of early-set nerves. Backed by a tight three-piece band, she launched into a confident and contemporary set, effortlessly blending pop-country polish with powerhouse vocals.

Tracks like Kiss Me Like You Mean It and Can You Just Not had the early crowd swaying and singing along, proof that plenty of fans had arrived early specifically to catch her set. When she dipped into her rootsy ballads, it revealed a depth and sincerity that landed beautifully even in the festival setting. Berman might have been the first artist of the day, but she delivered a headliner-worthy performance, setting the tone for everything that followed.

Opening the Silver Spur Saloon stage with a cool and confident swagger, Dear Tommie made a striking impression from the moment she stepped into the smoky spotlight. In a white singlet and matching high-waisted trousers adorned with long western-style tassels down each side, pulled together with a bold silver buckle belt and a wide-brim hat, she owned the space with Nashville flair and a presence that commanded attention, even from the back bar.

Those who ducked into the marquee early were treated to a silky-smooth blend of contemporary country-pop and rootsy storytelling. Her vocals floated over an atmospheric band mix, elevated by tasteful guitar licks and punchy rhythms. There was a cinematic quality to her sound, like a Southern Gothic love letter wrapped in satin, and she leaned into it with poise and polish.

The Silver Spur itself, decked out like an upscale honky-tonk with a Jack Daniel’s bar slinging bourbon cocktails and festival-goers twirling their way through the first of many line-dancing sessions, proved to be the perfect setting for her set. Dear Tommie didn’t just warm up the stage, she carved out a little slice of Texas chic right there on the Newcastle foreshore.

Rachael Fahim brought the fire to the early afternoon slot, stepping confidently onto the Wildwing Stage flanked by a full band setup, bass, drums, guitar and her own unmistakable vocals front and centre. Dressed in caramel suede flares and a glittering red bralette under a mesh overlay, she radiated both edge and ease as the first drops of rain began to fall, though neither she nor the crowd seemed to notice.

Leaning hard into themes of heartbreak and female empowerment, Fahim delivered punchy renditions of Dance Around It, Never Coming Back, and the crowd favourite You Just Suck Without Me. There was a cheeky bite to her lyrics, wrapped in a hook-heavy country-pop sound that felt both radio-ready and raw.

The front half of the crowd, those standing shoulder to shoulder along the barrier, were clearly there for her. Even those camped out in chairs further back gave warm applause and knowing nods, no doubt relating to the lyrical shade being thrown. Fahim may have only had 30 minutes, but she used every second to turn up the emotional heat, and judging by the faces in the crowd, quite a few exes were mentally getting what they deserved.

As the rain eased to a drizzle and the afternoon sets rolled on, a crowd began forming near the merch tent, not for T-shirts or stubby holders, but for a chance to meet one of Australia’s fastest-rising country stars. James Johnston, scheduled to play later that evening, took time out to meet fans, sign hats and shirts, and pose for photos with every smiling face that approached.

It wasn’t just a quick handshake and shuffle either. He lingered, chatted and connected. Parents, teens and wide-eyed kids walked away clutching autographs and stories to tell. It was one of those rare but heartwarming reminders that some artists genuinely love their people, and if the crowd wasn’t already planning to stick around for his set, they were now.

With rain teasing the roof of the Silver Spur Saloon marquee, punters packed inside to stay dry, and those lucky enough to be there were treated to one of the sweetest surprises of the afternoon. Enter Denvah, a radiant, whip-smart country singer from Rockhampton, dressed in a red gingham dress, cherry-red leather cowboy boots adorned with white hearts, and a white headband that gave her a bit of a ‘50s flair. If Dorothy from Oz had a guitar and a pure country soul, this might be her.

Accompanied stage-right by her understated guitarist Benny, whose playing was subtle but soulful, Denvah took the lead with a sparkling presence and a voice rich in traditional country twang. There was a delicate lilt in her tone, occasionally flirting with a yodel-esque break that harked back to classic country roots, always polished with her signature warmth and clarity. Her songs told stories of love, longing and little moments with a heart-on-her-sleeve honesty that drew smiles, and the occasional tear, from the full house gathered under canvas.

Beaming throughout her set, she remarked on how happy she was to play to such a big crowd. Whether it was the weather that filled the tent or her natural charm, Denvah’s performance felt like a quiet highlight, proof that sometimes the gentlest moments hit the hardest.

If any act brought pure, unfiltered outback grit to Strummingbird, it was Wade Forster. The rodeo-riding, grease-monkey-turned-country-star from out west Queensland swaggered onto the Wildwing Stage like he owned it, and for the next 30 minutes, he did.

Clad in full denim, a crisp white cowboy hat and a belt buckle so massive it could cast its own shadow, one he picked up for being the all-round champion at the 2024 Mount Isa Mines rodeo, Wade made his entrance with flair, ripping open his shirt to proudly reveal an Aussie flag tattooed across his chest. “I’m proud to be an Aussie,” he declared, “and proud to be here entertaining you today.”

From the first song to the last, Forster oozed confidence and character. “I know what it costs to come to a show like this,” he told the crowd, “and I ain’t wasting your time. I’m only playing the songs you want to hear.” He wasn’t joking, this was a set built for crowd satisfaction, tight, raw and entirely in his own voice.  At one point he asked, “Can I have a cigarette up here,” a question clearly meant for the punters, not the production crew. Moments later, a packet and a lighter came flying in. Without missing a beat, Wade sparked up, puffed casually, then tossed the gear back into the crowd as the band rolled on.

The energy lifted again when Newcastle’s own Piper Butcher joined him onstage for their duet Your Eyes Look Like Home. It brought a moment of tenderness to an otherwise rugged, beer-swigging ride, and the chemistry between them was undeniable.  “I ain’t your grandma’s favourite country artist,” he smirked, “I’m just a bloke from Queensland with bad habits and good songs.” Based on the roar from the crowd, boots stomping, fists pumping, a sea of hats waving, he wasn’t wrong. Forster wasn’t just performing, he threw a hoedown with the throttle wide open, and nobody wanted it to end.

Just like James Johnston earlier in the day, Kaylee Bell took the time to connect with fans, posing for photos and signing merch with that same warm Kiwi energy that’s won her followers on both sides of the Tasman. It was one of those grounded, feel-good festival moments, no ego, just genuine joy. Whether she’s soaking up Nashville or blazing her own trail here at home, Kaylee’s got that rare mix of international polish and hometown heart.

The afternoon energy peaked inside the Silver Spur Saloon as Zac & George took to the stage with big smiles, bigger hooks and a tight four-piece setup that knew how to work a crowd. From the first strum of Bar Stool, the marquee was bouncing, boots stomping, drinks hoisted and a wave of hands punching the air.

The duo’s undeniable chemistry shone brightest during Some Things Never Change (originally recorded with James Johnston), followed by a beautifully stripped-back cover of Mumford & Sons’ I Will Wait that softened things for a moment before ramping the mood back up. A cheeky segue into Uncle Kracker’s Follow Me drew cheers and winks, before they landed back on home soil with Red Wine & Roses.

That track in particular became a festival moment, Zac and George leaning into the crowd for a raucous call-and-response. “Each night,” they shouted. “Alright,” came the roar back. It was joyful, playful and perfectly timed.

Backed by a tight rhythm section, the band felt like one unit in lockstep. The boys couldn’t wipe the grins off their faces, swapping glances, shredding guitar licks and soaking in the warmth of a packed marquee absolutely loving it.

Next up at the Wildwing Stage was Nashville’s own Julia Cole, lighting up the afternoon with a confident set full of southern sass and singalong hooks. Dressed in a red lace corset top, white mini skirt and patterned sheer shirt with black cowboy boots, she brought both polish and personality to the Strummingbird crowd.

She had everyone smiling as she read out her personal mobile number, inviting fans to add her and stay in the loop for future releases, merch drops and gigs. “Millions already have it,” she quipped with a grin, “what’s a few more?”

Her final number, Day Late and a Buck Short, landed perfectly, delivered with power, swagger and just the right hint of mischief. Even in a short window, she made her mark.

Kaylee Bell lit up the Wildwing Stage in a brilliant electric-blue ensemble, part country glam, part motorsport swagger, a bold look that matched her energy to a tee. The New Zealand singer-songwriter strode out with confidence and charisma, backed by a punchy band and a growing crowd keen to see what she’d bring.

Early in the set, Ring On It landed with attitude and charm, a catchy country-pop banger that had the front row singing back to her with surprising volume. Kaylee’s vocals were strong, her tone clear and crisp, and her connection with the crowd instant.

Midway through, she paused to reflect on the big changes in her life, including the recent chapter of becoming a mum. There was real warmth as she acknowledged how hard parenting can be, and genuine respect for anyone doing it while chasing a dream. That moment flowed perfectly into Song for Shania, her tribute to one of her biggest influences, which added a layer of heart and gratitude to the set.

Her take on Torn came not long after, reimagined with a country-rock edge but still holding onto the vulnerability that has made the song iconic. It was one of several covers that showcased her range without ever overshadowing her originals.  Towards the end, Keith, her nod to Keith Urban, fired up the crowd. It is a fan favourite for a reason, blending name-drop nostalgia with stadium-sized hooks. It felt personal and celebratory, and the audience responded in kind.  To close things out, she brought out James Johnston for a final duet Same Songs - James’ first moment on stage that day and a great teaser for what was to come. They were in sync, relaxed and clearly enjoying the moment.

Kaylee Bell is every bit the rising star, grounded, polished and powerful. She owned that stage.

Over at the merch tents, Zac & George were surrounded by grinning fans of all ages, signing hats and shirts, posing for photos and keeping the laughter rolling. One running gag became the unofficial rule, every snap had to be taken in “Zac and George” order, never “George and Zac.” With the same charisma they brought to the stage, they gave each fan time, energy and a moment worth keeping.

Next up in the Silver Spur Saloon, The Dreggs drew a full house that was well up for it. The energy in the tent ramped up fast, and it was clear this duo had tapped into the crowd’s frequency straight away.

There is something joyful about hearing a banjo used well, not as a novelty, but woven tightly into the rhythm and drive of each song, and The Dreggs did exactly that. Their sound was rich and dynamic, with clever call-and-response moments that had the crowd singing back with full lungs and open smiles.

The banter between songs hit the mark too, warm, cheeky and perfectly timed to keep that connection going. You didn’t need to know every word to enjoy this set, you just had to be there, caught in the wave of it all.

I managed to catch James Johnston for a quick chat before his Strummingbird set, and he was absolutely buzzing to be back in Newcastle. “This gig means a lot to me,” he said, eyes lighting up. “You guys mean a lot to me.” He spoke with genuine warmth about his local roots, how he once rented a house just around the corner, and how he had “played every pub from Cessnock to Newy” on his way up. Tonight felt like a full-circle moment.

When he hit the stage that pride turned into fuel. With the biggest crowd of the night packed along the foreshore, Johnston delivered a set that hit like a freight train wrapped in velvet, the perfect balance of hype and heart, old and very new. His vocals were rich and full of grit. The band, Troy Wright on drums, Dave Webster on guitar, Steele Chabau on bass, was locked, and when Rachael Bostock joined on fiddle the sound bloomed again.

He tore straight into Raised Like That, and the response was electric. Fans sang every word, arms in the air, phones glowing against the dusk sky. Small Town and Country Boys kept the surge going. Then from from the new record came Country Is For Me, freshly crowned Song of the Year at South Africa’s Bokkie Awards, and the singalong hit a new gear.

There was a knowing nod to the road so far with I Oughta Know Better - also from the Where You’’ll Find Me.  Blame punched hard and modern. One More, the current single, landed like an instant classic, drawing a huge response and a sea of phones. Its live video, shot at Strummingbird on the Sunny Coast and released within 24 hours, clocked more than sixty thousand views in its first week, a neat hint at Johnston’s work ethic and the sharp team around him.

Then he took a breath and brought the house close for Worth Its Weight in Gold. He had spoken earlier, through the venue, about how some things are worth more than money, and with that thought hanging in the air he delivered a sentimental story about a city man in a suit trying to buy the family farm. It rang true. You could feel the foreshore lean in.

He closed with My People. The place became one voice. Arms around mates. Shouting, dancing, a few tears as well. If there was any doubt that James Johnston is one of Australia’s brightest country stars, it ended here. He is not just playing gigs, he is building moments. A sensational performance, and a very tough act to follow.

Back in the Silver Spur Saloon, American artist Drew Baldridge brought his signature blend of country charm and heartland grit to a packed-out crowd. Known for his deep, soulful voice and easy stage presence, Baldridge has a knack for turning even first-time listeners into fast fans. Tracks like She’s Somebody’s Daughter and Big Prayers likely hit hard with the crowd, balancing big singalong choruses with heartfelt storytelling. With his southern roots and natural warmth, it was another strong showing in a day full of standout moments.

Sunset painted the Wildwing stage molten when Treaty Oak Revival tore in, heavy on groove, heavier on bass, country with a rockier edge. Boomtown cracked the dam. No Vacancy thundered in next, introduced with a grin and a warning to feel the kick in your chest and go wild. Newcastle obliged. Flip-flops sailed overhead, a bra found its way onto the drummer’s mic stand, and the band’s beer-toss ritual whipped the pit into a friendly storm.

Frontman Sam Canty soaked it up and meant every word when he thanked Australia for making a West Texas band feel like family. The roar that came back told him this crowd felt the same. At the peak of the chaos Wade Forster charged back on stage, copping and lobbing cans with the band like he had never left. It was loud, messy and glorious, the kind of mayhem that somehow feels perfectly safe because everyone is in on the joke. Treaty Oak Revival did not just play a set, they led a riot you were happy to be part of.

Matt Hansen brought a touch of California soul to the Silver Spur Saloon as the afternoon tipped into golden hour. With sun-kissed charm and a voice that dances between soft confessions and catchy refrains, he delivered a set full of warm textures and well-crafted melodies. There is an ease to the way he commands a stage, no flash, no fuss, just raw talent and the kind of storytelling that makes you want to lean in.

Drawing from his rising catalogue of singles, he balanced acoustic sensitivity with upbeat energy, moving between stripped-back verses and singalong choruses that had punters swaying with beers aloft. It was the kind of set that makes you feel like you have discovered someone big, just before the rest of the world catches on. At Strummingbird that moment of connection with a new artist is half the magic.

First trip to Australia, first night in Newcastle and Shaboozey made it feel like a coronation. His band lined the stage one by one, the room humming louder with each arrival. Then he hit the lights in head-to-toe white, jeans and singlet, a trucker cap pulled low and a silver buckle you could spot from space. The roar that met him said everything.

From the downbeat the crowd was locked in, singing, shouting, riding every drop. A harmony-rich take on Knockin’ on Heaven’s Door showed off the band’s vocal power. Good News rolled like a warm tide. Then Amen, freshly crowned number one on the Aussie country chart, detonated a proper mass singalong. He paused to take it in, told us how beautiful it was to see so many people gathered to experience music and meant it. Finally the juggernaut, A Bar Song (Tipsy), arrived with a bottle of Jack in hand and the Wildwing became a single moving organism. He tossed out an “Aussie Aussie Aussie,” and the “Oi Oi Oi” reply nearly took the roof off.

There is something unmistakably grounded about the Jack Wharf Band, like a schooner after work or the scent of rain on bitumen. Their set brought a dash of sunburnt grit and swagger to the Strummingbird lineup, the kind that wraps its arm around your shoulder and hands you a cold one before launching into a tune about busted dreams and small-town pride. With thumping rhythm and heartfelt harmonies, they leaned into that sweet spot where rock meets roots and everything smells like petrol and freedom. The crowd lapped it up, arms raised and boots tapping, as the band delivered their signature sound with a nod to both old-school pub rock and modern country flair. No glitz, no gimmicks, just the kind of honest, working-class music that hits home.

You could feel the anticipation long before the final act took the Wildwing stage. Some die-hard fans had staked their claim on the barrier close to ten hours earlier, and when Jelly Roll finally emerged through the haze of golden light and rising cheers, it was clear they would get their reward. The atmosphere turned electric the moment he stepped up, tattoos, hoodie, backwards cap and all, bringing a raw and heartfelt presence that blended Southern grit with stadium-sized swagger.

Somewhere in the middle of it all, he threw in a rowdy cover of Take Me Home, Country Roads, a choice that had the entire crowd singing like they had just stepped off the back porch of a Tennessee farmhouse. Then came the distinctly Aussie twist. Jelly wandered to the kit, commandeered a boot and poured a beer into it, then, like a seasoned bourbon slinger, lifted the high pour skyward and tipped it into the drummer’s mouth without losing a beat. Moments later, the guitarist copped one too. The chant for Jelly to do his own earned a grin and a shake of the head, “not me,” to huge laughter.

There was a lovely full-circle moment as well. Earlier in the day, Jelly had heard Kaylee Bell’s Keith from side-stage, he had loved the song before but had not put a face to it. He found her later and invited her up during his set to duet Keith Urban’s Somebody Like You. Two artists, one shared spotlight, a festival memory minted.

It is hard to believe this was Strummingbird’s very first year, because from the moment the gates opened it ran like a festival that has been around for a decade. Presented by Kicks Entertainment & Live Nation and already carving out its place on the Aussie music calendar, Strummingbird launched last weekend on the Sunshine Coast, touched down in Newcastle today and heads west to Perth tomorrow, spreading boots, bourbon and big-hearted country vibes wherever it lands.

Everything about this event was slick and well thought-out. The stages looked and sounded phenomenal. Crew were helpful and upbeat. Transitions were seamless. Food trucks actually delivered the goods, those brisket rolls will be talked about for a while, and the bars kept drinks frosty while the lines moved. Even with the beer and bourbon flowing, the crowd’s energy stayed nothing short of good-natured and joyful all day long.

Walking out past the foreshore lights, a dad in an Akubra told his teenage son he would be telling the grandkids about James Johnston’s set, the boy nodded like he already knew. Two mates in Ringers Western shirts were still buzzing about sunset, insisting Treaty Oak Revival had turned it into a pub and that Newcastle had been the best crowd of the tour. At the gate a woman linked arms with her friend and laughed, “If this is year one, imagine next year.”

Strummingbird Newcastle was an absolute triumph, sun, steam, song and the kind of shared moments that stick. Book me in for the sequel.

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Thank you to Strummingbird Festival, Kicks Entertainment, Live Nation and Thinking Loud PR for having us along.

Review and Photos by Andy Kershaw for Music Festivals Australia