Glam Adelaide
Glam Adelaide covers music as part of a broader commitment to showcasing what is happening across South Australia, with an emphasis on live performance and citywide events. Its music coverage treats gigs, festivals and pop-up venues as experiences that animate the city, giving concrete detail on lineups, locations and atmosphere rather than abstract commentary. Stories range from major homecoming concerts by acts such as Hilltop Hoods leading Grand Final entertainment to smaller nu jazz nights, cabaret shows and community music days, reflecting the breadth of the local scene.
Music woven into South Australian lifestyle
Glam Adelaide describes itself as a news website dedicated to bringing audiences the best of South Australia, covering lifestyle news, events, launches, music, arts, food and wine, fashion and more. Music stories sit alongside these other strands, positioning live performance as part of how people experience the state’s bars, public spaces and festivals rather than as a standalone specialist niche. Coverage regularly highlights how events transform familiar locations, such as streets, cafes and public spaces filled with hundreds of performers on citywide music days. This integrated approach means that a single music piece often touches on hospitality, design, local business and broader event culture, giving a fuller picture of what attending will be like.
Live concerts and touring shows
Many music articles focus on specific concerts and touring productions, framed as one-off chances for local audiences to see notable acts or experiences. Coverage of events like a live Dirty Dancing concert experience arriving for one night only emphasises timing, venue and the format of the show, pairing the classic film with a live band to spell out what audiences can expect. Similar pieces spotlight major homecoming performances and high-profile sets built around significant sporting or cultural occasions, such as Grand Final concert lineups led by established acts. The tone is straightforward and practical, detailing dates, ticket information and the uniqueness of the show rather than foregrounding critic voice or long-form analysis. This makes the music beat an accessible guide for people deciding which concerts to attend in a crowded calendar.
Festivals, pop-up bars and nu jazz nights
Glam Adelaide pays close attention to festival-linked music programming and temporary venues, often providing early looks at spaces before or during their official runs. Its coverage of Lumen Bar, a nu jazz pop-up at Adelaide University tied to Illuminate Adelaide, describes how the bar transforms the campus into a playground for free live music inspired by London’s nu jazz movement of the 1990s. Pieces on Fringe music picks, including shows like History of House – Greatest Hits and new jazz projects, frame them as part of curated “top music” selections for a major arts festival. Stories about Coda Festival Bar and similar hubs focus on the social side of music, underlining opportunities to share music, connect and celebrate with artists and audiences in dedicated festival environments. Across these articles, the emphasis is on atmosphere, genre focus and how the space operates within a larger festival program, rather than on extensive artist profiles.
Citywide music initiatives and community events
Beyond ticketed concerts and festivals, Glam Adelaide regularly reports on citywide music initiatives and community-focused events. Pieces about days where Adelaide’s streets, cafes, bars and public spaces come alive with hundreds of performers present music as a civic activity that spans multiple neighbourhoods and venues in a single coordinated program. Coverage of seasonal celebrations, such as Winter Solstice gatherings or outdoor performances by musicians around cultural institutions, notes the mix of activities while underscoring live music as a central draw. “What’s on” roundups include dance-focused events and music-led experiences in the same breath as other entertainment, reinforcing how deeply performance is woven into the city’s weekly rhythm. In this strand of work, the beat is defined less by particular artists and more by the scale, diversity and accessibility of music across the metropolitan area.
Reviews and performance impressions
While much of the music coverage is preview-oriented, Glam Adelaide also publishes reviews and post-event impressions, particularly around cabaret and festival programming. Reviews of shows at events like the Adelaide Cabaret Festival comment on performances in enough detail to guide future attendance, and Fringe-related music reviews sit alongside the outlet’s top music picks for the season. Even in these evaluative pieces, the focus remains on how the performance plays in the room, its energy and crowd response, and how it fits within the larger festival or season rather than on extensive critical theory. Combined with previews and venue spotlights, this gives Glam Adelaide’s music beat a full event lifecycle, from announcement through experience and reflection.
4 more music journalists.
Abby Webster
Abby Webster zeroes in on the storytelling side of contemporary pop, writing for Billboard about how songs build worlds around K-pop groups, fictional pop stars and ambitious soundtracks. She covers K-pop projects through close, song-by-song features, like her track-by-track piece with SEVENTEEN’s Vernon and The 8 on their EP ‘V8,’ and fan-centered lists such as “7 Best Moments from BTS’ Long-Awaited Return.” She treats soundtracks and fictional acts with the same rigor, mapping the inspirations behind “The Vampire Lestat” soundtrack and profiling in-universe groups like HUNTR/X and Saja Boys as if they were chart acts. Through Chart Beat stories on projects like “KPop Demon Hunters,” she connects these releases to industry strategy, global fandom, and the business systems that turn pop narratives into durable IP.
Alex Suskind
Alex Suskind is a freelance writer and editor who covers music with concise news stories and curated release lists. He focuses on new songs, album roundups, and archival access, from Carly Rae Jepsen’s “On Wires” to Neil Young opening his full catalog to residents of Greenland. His reporting stays close to the release cycle and foregrounds the core hook of each story. He has written for Pitchfork and has freelance work in Vulture, The Guardian, The New York Times, Vanity Fair, and The Atlantic. He also covers broader arts and culture, but his music beat is built around what is newly out now or newly available.
Ali Shutler
Ali Shutler links chart pop, alternative music and fan culture with the ways songs move through festivals, streaming platforms and games. He is a freelance culture journalist specialising in music, writing news and features for NME and other music and culture titles. He covers breakout chart acts, legacy artists whose catalogues are resurfacing, and how audiences rediscover songs via TikTok, streaming or in‑game soundtracks. His reporting on streaming-era pop and live festival moments tracks virality, catalog access and fan behaviour as part of the story of a track. He also examines music, gaming and visual art crossovers, treating game soundtracks and artist-led campaigns as part of a wider cultural map. Alongside this, he profiles emerging chart artists for outlets including The Telegraph, Vice, The Independent, Dork and Upset, focusing on early-career trajectories and fan culture.
Annette Sharp
Annette Sharp is a veteran gossip and entertainment columnist known for direct, opinion-led coverage of celebrity power struggles and reputational crises across television and the music industry. She now writes high-profile columns for the masthead, after a decade on a well-read gossip column and a move to News Corp in 2008. Her real beat is the friction between public image and behind-the-scenes behaviour on flagship TV programs, including breakfast shows, reality formats and other long-running franchises. She focuses on who drives conflicts, who is exposed and who benefits, using ratings history, production decisions and industry mechanics as context. Sharp covers on-air personalities, executives, advisers and musicians, treating television and music as workplaces with competing egos, contracts and alliances, and blending reporting, media commentary and critique in a narrative column format.