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" In a field increasingly inhabited by poetic and intellectual pygmies, Taheny can cut through the vaporous crap with a single line. That she does so with wry humour makes her all the more a contemporary stand-out."

Time Out Magazine, London




Hey, check out this year's 4-star Gov review here courtesy of that fab wordsmith David Robinson




"THE GOV" with Avenue

Review 2014 Download






"THE GOV" with the Georgia Germein Sisters

  Review 2013 Download



Double the fun
Ronnie Taheny and the Georgia Germein Sisters
Saturday February 9, 2013.
Governor Hindmarsh Hotel. Adelaide, South Australia.

Here we are again; it’s early February and time for another Ronnie Taheny show. This time, however, we are promised an extra treat; an opening showcase set from the highly regarded Georgia Germein Sisters.

I’ve seen award-winning songwriter Georgia Germein in solo mode, but this is the first time I’ve seen the band, which comprises Georgia and her two siblings, Clara and Ella. All frocked up and ready to rock.

The Germeins kick off with Nice to See You and Take My Hand; catchy pop songs that appear to show the desired musical direction of the band. The breathy vocals on Time to Go Away further serve to make the point. The short set changes gear for the slower, more plaintive Please Be OK, before finishing with another strong pop song, the curiously entitled Da Da Doo.

All the songs in the set are, I think, designed to please. They are well-constructed compositions, possessing most, if not all, of the hallmarks of contemporary pop.

Georgia Germein switches instruments throughout the five numbers – from acoustic guitar to electric guitar to keyboard. Clara and Ella are also obviously capable musicians, and the overall sound is full without being cluttered. The Georgia Germein Sisters appear to know where they want to be, and play with an accomplishment and confidence that suggests that they are already well on their way.

After a short pause in the evening’s proceedings, Ronnie Taheny appears to an expected generous round of applause.
Taheny is a gifted songwriter; she’s lyrically astute and a master of rhythm and melody. Her compositions are interesting and complex, without ever becoming overly obscure or self-indulgent. Quite the opposite; these are songs to be understood and enjoyed.

The set includes a selection of familiar numbers, adeptly presented in the manner to which regular gig attendees have become accustomed. The first half of the set offers Cinderella, Letter to the Muses, Surface, Moving Door and Photograph, all features of recent Governor Hindmarsh shows. And great songs besides…

Taheny’s regular co-conspirator, Jarrad Payne, joins her on stage for the second half of the show. The pointed That’s Jesus sees Payne on bass, drums and backing vocals. Payne is a devastatingly capable musician, and the impressive range of talent displayed when supporting Taheny only provides a glimpse of what he can do.

One of Taheny’s on-stage strengths is her ability to spin a yarn or two, and tonight is no exception. She regales the audience with anecdotes, jokes and tales of her musical adventures, the funniest being about balancing the life of a late-night muso with that of a daytime teacher.

The deliberate ordering of the anthemic foursome Wasting Away, Guardian Angel, Glacial and the brand-new Babel raises and maintains the momentum of the set; the audience becomes increasingly engaged as the evening reaches its culmination. The applause is loud and sustained. Taheny tells us that the show is over and bids us a fond farewell, but we all know there will be more. We’ve been here before.

The encore features the jaunty spoken word A Darcy Before I Die before Taheny sits at the piano and presents another world-premiere song, entitled Over. To round off a very enjoyable evening, Taheny then invites the Georgia Germein Sisters back onto the stage to join Payne and herself in a performance of the Georgia Germein song, Wake Up.

The night’s entertainment concludes and the audience has been treated, not once but twice. 

The Georgia Germein Sisters have shown that they have much to offer the audiences awaiting their upcoming performances in Europe. 

And it’s not just been a Taheny greatest hits package either; the inclusion of two new songs shows that there are good reasons to expect more from this diminutive powerhouse sometime soon.

David Robinson
Freelance Music Writer, Adelaide SA

Copyright © David Robinson, 2013




LIVE REVIEWS from 2012

  Review No. 1 - Download

Ronnie Taheny

The Governor Hindmarsh Hotel

Saturday, February 4, 2012.


Great storytellers in song have become a rarity; too many truths ring hollow, too

many melodies carry an empty message. Ronnie Taheny, in striking contrast, is

conspicuous as a great storyteller who wraps poignant tales in clever words,

then envelops them in pretty pop melodies. For 20 years she achieved this as a

solo artist, building a mighty catalogue of songs in the process – and she has


never sounded better.


Her recent two‐year break from performing and recording has been a significant


refresher. It has given her time to take pause, reconsider her delivery, focus


more intently on the message and meaning of each lyric, and create a sharper,


more clearly defined performance, characterised by greater accuracy, greater


tenderness, greater charm and appeal.


In essence, she is allowing each composition to breathe more deeply. There is


less force applied to the music, but a more powerful dynamic sweep to each


song; less hurried vigor and more deliberate focus on nuance and telling phrases.


It has added an arresting quality to her music.


This is perhaps most telling in her opening set, with Taheny alone at the grand


piano or on guitar, drawing lush life into such moving pieces as Irish Girls’Wake,


Aida, Cinderella and the warm, captivating Montana.


However, the full picture of Taheny’ live delivery is completed during a second


set, as she works with the magnificently musical Jarrad Payne, juggling duties on


drums, percussion, synthesisers, bass guitar and harmony vocals. While this role


seems all too much, he never adds too much, his tasteful touch adding just the


right level of embellishment, a vibrant palate of colours that adds lovely texture


and sparkle to the arrangements without ever crowding those important words


and stories.


Ironically, in opening herself up to the audience more fully, Taheny is also at her


most calm and self‐assured. It’ a confidence that is recognised, as this concert


drew silent attention and respect from her audience. They appreciated that such


intimacy and delicacy in delivery is something special, something rare, and were


not prepared to break the spell.


Ronnie Taheny is now comfortable addressing her songs with an honesty and


aching tenderness that can bring you to tears. So searing is the intimacy of


Photograph (her worthy signature song that has grown strong and mighty with


age) and so confronting are the self‐effacing truths of Wasting Away that an


audience is swept along on a quite overwhelming journey of story and song.


After 20 years of solo recording, she has a cohesive body of material that stands


as be the envy of any other troubadour.


David Sly




  Review No. 2 - Download

  Ronnie Taheny: Twenty years in the making

Saturday February 4, 2012.

Governor Hindmarsh Hotel. Adelaide, South Australia.

On a warm and rainy Saturday night in Adelaide, a decent-sized crowd fills the back

room of the Governor Hindmarsh and waits for Ronnie Taheny to appear. She’s back

in town, for the first time since 2010, this time celebrating a 20-year solo career.

There’s generous applause when Taheny does appear, and takes her seat at the grand

piano. She promises a performance that will follow a vague chronology. She’s not

wrong about the vagary because her first number is the opening track from her most

recent album.


Letter to the Muses is a beautiful song, and is an instant reminder of Taheny’s

songwriting and performing prowess. Two songs from 1996’s Valentine’s Prey

Taheny switches between 12-string acoustic guitar, piano and keyboards to perform

selections from a range of her albums. The tales she tells between the songs only add

to the pointedness of some, like Gold, Frankincense and Murder and Irish Girls Wake

and the poignancy of others, like the aforementioned Aida. Taheny completes her first

set with the brilliantly haunting Trade and the spoken word A Darcy Before I Die both from

2010’s Renaissance Point double-album.

For the second half of the showcase Taheny is joined onstage by the multi-talented

Jarrad Payne. Although seated behind a drum kit, he’s also responsible for bass,

backing vocals, keyboard and various other percussive instruments, generally

managing to do (at least) two things at once.

Not to be outdone, Taheny also adds another instrument to her catalogue, strapping on

a Telecaster for That’s Jesus, After a couple of songs from Decalogue album,

we return to the more recent Renaissance Point, for the slow-burning, anthemic

Wasting Away, Latitude Age, and the well crafted and catchy Surface.

This is followed by an impressive vocal performance in The List,

and I get the feeling that we are reaching the climax of the show.

The last three songs of the set see Taheny move from piano, to acoustic guitar,

to Telecaster, for assured renditions of Toyland, Glacial and Moving Door.

Taheny returns for a very welcome encore and performs Versailles and the touching

crowd favourite Photograph in solo mode, before inviting Payne to join her for the

final song of the evening, and popular encore choice, Guardian Angel.

The versatility is there for all to see; the sizeable talent even more obvious. Taheny is

a thoughtful, gifted and vibrant artist who more than deserves the applause and

goodwill she receives from another satisfied Governor Hindmarsh crowd.

David Robinson

Freelance Music Writer

Adelaide, South Australia

Copyright © David Robinson, 2012


LATEST NEWSRenaissance Point preview:

Ronnie Taheny and the Outhouse Orchestra


australian female singer songwriter Ronnie Taheny

It’s been four years since Ronnie Taheny has released a studio album and 12 years since she has recorded one back in Australia. It is therefore not surprising that Renaissance Point is a double CD It’s even less surprising to Ronnie that the CD title will attract all the spelling errors it deserves.

Renaissance Point features eighteen tracks written by Taheny in six different countries over the last four years. The “Renaissance” CD contains nine (mostly piano-based) acoustic tracks with a semi-classical flavour whilst “Point” is a deliberate contrast – more up-tempo, sound-scaped and ‘technology’ driven. Both remain faithful to Taheny’s pop-satire sensibilities.

Renaissance Point is a concept album. It’s highly palatable pop, big on harmonies with lyrics designed for minds that move!



UK REVIEW OF Renaissance Point by SIMON HARDEMAN, freelance The Independent, London
2010 Jan 12

Renaissance Point
Ronnie Taheny and the Outhouse Orchestra
, Australia (Arty Records)

Ronnie Taheny’s first collection in four years display a lush, Eighties-inspired take on her signature, acerbic, tales of love, loss and hope. It’s a double CD, a concept album, and while the two discs – Renaissance and Point – have different orchestrations, the sensibility remains the same.

Taheny’s voice sounds purer than on some previous albums, perhaps because of the synth-heavy washes that support her very hummable tunes. Indeed, the whole sound is more composed, less rough at the edges, fuller. There are hints of Bangles-style pop, even Bruce Hornsby at times, and while the poppy side is more to the fore on Point, which seems the more accessible, the two discs are still peas from the same pod. In both cases, the tunes work. Thinker, from Point may leave you thinking, but it will also leave you humming – as will Surface, from Renaissance.

If there’s a quibble, it is that the glorious rough, bare, quality of Taheny’s voice is less to the fore than on past releases, but in its place is a warm, enveloping sound that seduces you only for Taheny’s uncompromising imagery to run its sharp fingernail down a sensitive part of your anatomy when you’re least expecting it.

Simon Hardeman
Freelance music critic
London, UK



AUSTRALIAN REVIEW OF Renaissance Point by DAVID SLY, music critic, Adelaide
2010 Jan 10

Ronnie Taheny and the Outhouse Orchestra
Renaissance Point

Some artists issue a double album as a grand indulgence. Ronnie Taheny doesn’t play that game; her canny decision after four years away from the recording studio to simultaneously issue twin discs – the more sparse, vocal-driven Renaissance album, and with more lush pop treatments contained on the accompanying Point album – allows full exploration of two distinctly different aspects of her musical performance. This separation of the austere from the embellished has provided the impetus for Taheny and producer Jarrad Payne to focus intently on the essence of each style, accurately and carefully shaving and shaping to reveal more deftly the musical and emotional kernel of each song.

With the introduction of Taheny’s live performance colleagues The Outhouse Orchestra to this recording project – adding flute, cello and sweeping beds of vocal harmony – a wider palate of sound colours are available, though wisely used sparingly and with discretion. Indeed, less proves more compelling, particularly on the Renaissance album. Its musical fragility and starkness not only pulls sharp focus on sweet tunes and strong vocal performances (among the most arresting of Taheny’s 14-year solo recording career), but also draws a bead on the emotional tenor of such songs as Letter to the Muses, Give It Back and Artemisia. While the musical fabric is brief, mostly stripped to skeletal piano chords, the power of unadorned voices to carry the emotion is, in many places, riveting – none more than in a triumphant, sombre re-visitation of her most popular song, Photograph.

Lessons learned in restraint certainly carry over to the Point album, where the pop is lean and taut while still being luscious and gorgeously textural, using embellishment selectively. There’s understated intelligence at work here: bright, shimmering tunes such as The Thinker and Good Day that burst with radiant, sunny melodies are always countered by a clever twist, usually carrying a sting in the tale. Indeed, the album’s shining centrepiece, Wasting Away, shows off this delicate balancing act with aplomb, its raw emotion being especially striking. Always a canny lyricist, Taheny has largely been a narrative storyteller through her career, spinning yarns about characters and situations she closely observes, though here it seems entirely more personal; this time she’s looking in the mirror and exposing private thoughts. It allows the songs to ache with a tenderness and vulnerability that Taheny hasn’t dared to reveal before. Indeed, it’s a brave move for any artist to give so much of themselves, though it’s entirely compelling, enticing you to go back for a second listen – and once you do, the strong spine of these compositions ensures that they stick in your consciousness.

This double disc is a daring excursion but sits together smartly as a cohesive package, digging deep to the source of Taheny’s muse – and, importantly, the luxury of such a broad canvas has given her the confidence to stretch herself further as an artist, even broaching darker moods and more gritty, brooding sounds (evident on Glacial and Trade). This time, the truth in Taheny’s songs runs deeper, demanding and receiving outstanding, emotive vocal performances as she opens up to reveal more raw and brittle emotion. Rarely do you hear such great warmth and generosity in smart pop music.

David Sly
Freelance music critic
Adelaide, Aus



*Renaissance Point CD LAUNCH

Ronnie Taheny
“Renaissance Point” CD Launch. Sat Feb 6, 2010.
Governor Hindmarsh Hotel. Adelaide, South Australia.

European-based ball of energy Ronnie Taheny returned to Adelaide to present a selection of songs from her latest album, ‘Renaissance Point’, at the Governor Hindmarsh on February 6. It’s her first studio album for four years and, as such, it’s big. It spans two discs and I was looking forward to hearing the bulk of it live. I took my seat amongst the good-sized crowd that comprised Taheny’s fans, family and friends, waited for the lights to dim and the show to begin.

Taheny was given a warm welcome to the stage, and appeared immediately at home. Picking up her 11-string guitar she began with the controlled commotion of ‘Tell Your Story Walking’, a track that dates back to 1996’s ‘Valentine’s Prey’ CD. I was thinking we might be given a retrospective first bracket, but as soon as the opener finished we were treated to the first of the ‘Renaissance Point’ numbers, the impressive ‘Letter to the Muses’.

The set went on to showcase many of the tracks from the first disc of the new album, with the multi-talented Taheny moving from guitar to keys to grand piano and back again. ‘Artemisia’, ‘Surface’, and ‘Photograph’ were all delivered to an appreciative audience, before the performance changed gear and Taheny gave us the spoken word ‘A Darcy Before I Die’, which also appears on the new album. The first stanza concluded with the powerful vocal performance that is the making of ‘This Lifetime’, from the ‘Dodgy Vita’ album.

It was only to be expected that Taheny would need a break after the powerhouse opening session. The audience was left to reacquaint themselves with friends and bar staff for 40 minutes, which only served to raise the level of expectation about what was to come.

The second set started with the Outhouse Orchestra, resplendent in familiar black garb, performing ‘Trade’ – a brilliant song that deserves both of its appearances on the new double CD. Amanda Goodfellow (cello, bass and vocals) and Marie de Lint (flute, keys, harmonica and vocals) provided perfect accompaniment for Taheny through the set as she once again cycled through her instruments. The rather beautiful ‘Mal di Mare’ and ‘Latitude Age’ benefited from recorded backing, obviously a necessary evil if these songs were to be aired. The latter featured a breathtaking vocal performance from the whole band, Jarrad Payne (drums, vocals and occasional bass) having completed the line-up earlier in the set.

Taheny was comfortable and assured throughout; even the occasional intermittent problems with the guitar sound were managed with aplomb. The band concluded with ‘The Thinker’, another song from ‘Renaissance Point’.

The crowd were given plenty of reasons to buy the new album but the performance also featured many songs from Taheny’s back catalogue of CDs. ‘The List’, from 2003’s ‘Happathy’ album, was a personal high point of the night.

Taheny and band, including guest Michael Bahlij on grand piano, were called back for an encore that comprised ‘Wasting Away’, ‘That’s Jesus’ and ‘Guardian Angel’, before the curtain fell on another memorable performance with ‘Moving Door’.

The whole evening was an exercise in variety, virtuosity and versatility. The audience was presented with 21 examples of why Ronnie Taheny is worth seeing. The gig careered, bounced and soared in a range of directions, but never managed to shake itself loose from Taheny’s control. Which is exactly how it ought to be.

David Robinson

“Rip It Up” Magazine
Adelaide, South Australia
Copyright © David Robinson, 2010


GERMAN CD REVIEW of *Renaissance Point 2010
CD review Kiel Apr 2010
(German only)


GERMAN CD REVIEW of *Renaissance Point 2010

CD review Marburg Uni Radio Feb 2010
(German and English versions)

… neugeboren zwischen Bildern von Geschichte und Gegenwart

Schon seit vielen Jahren gehört Ronnie Taheny zu Europas interessantesten Tourneegästen. Regelmäßig stellt sie auch in Deutschland ihre Songs vor und hat sich auf diese Weise in den vergangenen Jahren eine sehr beachtliche Fangemeinde erspielt – und dies ganz unabhängig von Majorlabels und großen Werbekampagnen.

Vier Jahre ist es mittlerweile her, dass die Singer-/Songwriterin mit dem sonnigen Naturell aus dem südaustralischen Adelaide ihre letzte Platte aufgenommen hat; und nun beschenkt sie ihr treues Publikum gleich mit einem Doppel-Album – und das hat es in sich! Offensichtlich hat sich in diesen vier Jahren einiges angesammelt: wie schon das unterschiedliche Titeling der beiden CDs (“Renaissance” und “Point”) deutlich machen, handelt es sich nicht nur um ein Konzept-Album, sondern Ronnie hatte dabei wohl auchden Ehrgeiz, auf zwei doch recht unterschiedlichen Scheiben eine große Spannbreite ihres künstlerischen Wollens und vor allem Könnens zu präsentieren.

Wie man es bereits von früheren Veröffentlichungen und vor allem ihren quirlig-Charmanten Konzerten kennt, begleitet Ronnie ihre Songs selbst auf dem Piano oder der 12-saitigen Gitarre – so kombiniert sievor allem auf “renaissance” das – teilweise sehr percusiv vorgetragene – Klavier mit ihrer ausdrucksstarken
Stimme zu lyrischen, aber auch kraftvollen Baladen. Dabei wird sie auf Renaissance Point vom dreiköpfigen Outhouse Orchestra dezent – aber überaus gelungen – mit Flöte, Cello, Drums und Bass unterstützt. Auch auf der Bühne konnte man diese perfekt harmonierende Formation bereits während Ronnies letztjähriger Tournee genießen.

Zum einen liegt die Wahl des Themas der “Renaissance” angesichts des neuen “Kapitels” von Ronnie Tahenys Künstlerinnen-Laufbahn in Zusammenarbeit mit dem neu formierten Outhouse Orchestra nahe; zum Anderen gibt es aber auch in den Texten und zugehörigen Titeln mannigfaltige Überkreuz-Verbindungen zu
geschichtlichen wie aktuellen Bezügen. Dies findet seinen Ausdruck nicht nur im Artwork des ansprechend gestalteten Albums (ins Gegenteil verweisende, spiegelschriftlich-ornamentale Grafik und Typenwahl auf meerblauem Untergrund, kombiniert mit kryptischen Unterwasserfotos (die Ozeane als Ursprung des Lebens
und der Erneuerung); ebenso bildhaft sind auch Songtitel wie “Codex”, “Artemisia”, " (wichtigste Malerin Italiens in der Hochrenaissance), “Tracing floor” (eine besondere Methode der Bauzeichnung im Maßstab 1:1, die u. a. beim Bau großer Kirchen der Renaissance und auch im Schiffbau Verwendung fand).

Die balladeske Stimmung schwebender Melancholie auf “Renaissance” wird auf “Point” kontrastiert durch das höhere Tempo, den massiveren Einsatz der begleitenden Instrumente, sowie den engeren Gegenwartsbezug der Texte; (hier finden wir Titel wie “Latitude Age”, “Glacial” oder “Wasting Away”). Auch auf “Point” gelingt Ronnie dabei thematisch eine geschickte Verknüpfung von autobiografischen Elementen, aufmerksamer Beobachtung zwischenmenschlicher und gesellschaftlicher “Merkwürdigkeiten” und die in feine Ironie verpackte Kritik moderner Lebensverhältnisse.

Ronnie Taheny hat auf ihrem neuen Doppel-Longplayer ihren Sound verfeinert und zugespitzt – sie gewinnt dadurch nochmals an Profil! Erleichtert wird das Verständnis ihres künstlerischen Anliegens durch den Abdruck sämtlicher Texte und informativer Liner-Notes im Booklett. Eine rundum gelungene Neu-Geburt!

© 2010
Artchie R. Argauer
Radio Unerhört Marburg / Germany


TRANSLATION of above review:

… new born between pictures, history and current times.

For many years Ronnie Taheny has been one of Europe’s most interesting touring artists. She calls Germany her headquarters where she has succeeded in gaining a remarkable number of fans during the past years completely on her own, without the assistance of major music companies or large publicity campaigns.

Four years have lapsed since the sunny-minded singer/songwriter from South Australia’s Adelaide has recorded her latest album; and now her faithful audience is surprised by the release of a double set – all the more to offer! Obviously during those four years a lot of good material has been accumulated, suggested already by the different titling of the two rather unequal discs, making clear that “Renaissance Point” is not only a concept album but also a vehicle to display her wide range of her artistic abilities and skills.

Already known from previous albums and especially from her elfish-charming live-acts, Ronnie’s songs are recorded mainly solo on piano or 12-string guitar – particularly on “Renaissance”. This is the more emotive disc where the powerful ballads are the result of combining the percussive piano sound with her expressive bluesy voice. On both CDs, Ronnie is supported by the Outhouse Orchestra- three multi-talented musicians who play cello, flute, drums and bass in a discreet but stylish manner. Whether recorded or live, the OO perform together in perfect harmony as experienced during last year’s European tour.

In view of Ronnie’s new artistic chapter (teaming up with the Outhouse Orchestra) the choice of the
“Renaissance” subject is self-evident, whilst the lyrics and song titles describe re-birth topics that cross-
reference with modern times.

We find this spirit also reflected in the artwork of the appealing cover – retrograde, ornamental graphics and characters often in mirror image on a sea-blue background with combinations of cryptic and underwater photography (symbolizing the ocean as area of origin and regeneration). This continues across metaphoric song titles like “Codex”, “Artemisia” (the most important late Renaissance Italian female painter), or “Tracing Floor”
(a method of drawing working plans on a scale of 1:1 that made it easier to handle large and complex
constructions, used mostly in cathedral or ship building).

The mood of floating melancholy on “Renaissance” is in counterpoint to “Point” where the tempi are faster
with more intense use of instruments and lyrics (as we find on tracks like “Latitude Age”, “Glacial” or
“Wasting Away”). As with “Renaissance”, Ronnie manages to create an artful combination of autobiography-
ical elements, intense study of interpersonal and social curiosities, criticism of modern lifestyle all wrapped up
in subtle irony.

On her new double album Ronnie Taheny’s sound has become more elaborate but pointed: a winning
development. All lyrics and informative liner notes are given as a supplement in the accompanying booklet, explaining Taheny’s artistic intentions. A well executed, thoroughly successful re-birth!

© 2010
Artchie R. Argauer
Radio Unerhört Marburg / Germany


“Luka Bloom meets Janis Joplin. Also seek out her Valentine’s Prey CD. It’s rather fine!”’
Ross Fortune, London, UK.


“Bucket loads of charisma and an almost permanent smile.”
Richard Nilsson, London, UK.


“Australian singer songwriter, Ronnie Taheny’s live reputation has spread through Ireland, Europe and the USA. “Briefcase” captures the rampant energy and passion of Ronnie Taheny’s live show (and) is a tantilising collection from one of the finest working songsmiths around"
John O’Regan; UK.


“With that voice and those songs we should all hope she never returns to Australia.”
Mike Moloney, Dublin, Ireland



BERLIN – “Petruskirche” Juni 2009

Australische Entertainerin begeistert mit Charme und Chuzpe

Könnte sein, dass man im Publikum den einen oder anderen australischen
Akzent hört – schließlich ist die Künstlerin ein echter Exportschlager
des Fünften Kontinents und beliebt bei Exilaustraliern in ganz Europa.
Aber keine Sorge vor Insider-Jokes oder „Aussie-Witzen“. Wenn Ronnie
Taheny wie ein Wirbelwind mit Pumps und kleinem Schwarzen die Bühne
erobert, nimmt sie das Publikum schon nach wenigen Sätzen auch ohne
Englischkenntnisse mit auf ihre Reise durch ihre Songs und ihr Leben.

Ihre Nettigkeit steht zunächst in enormen Kontrast zu ihrem Aussehen:
Weder Cocktailkleid-Cool noch Rastazopf-Subkultur erwarten einen hier
– die Liedermacherin ist vor allem sie selbst.

Und das wird keine Minute lang langweilig. Man spürt, diese Frau hat
schon viel erlebt und egal, ob sie über Trennungsängste, Liebeslust
oder einfach nur über das Schwimmen im Meer oder das Leben on tour
singt, immer ist auch diese australische Leichtigkeit dabei –
genußvoll und ohne Berührungsängste vor Tabus oder ihrem Publikum

An ihrer Seite findet sich das Outhouse Orchestra, alles Multitalente:
Jarrad für Drums, Bass und Stimme, Amanda, eine Cellistin, die auch wunderbar singt
und Marie, eine Flötistin, Mundharmonika und Stimme, die kurzerhand ans
Klavier wechselt. Diese Band liebt es mit Ronnie zu spielen und wen
wundert’s: Ein paar Einleitungsakkorde, ihr Blick und ihr offenes Lachen fest
auf das Publikum gerichtet und wenn dann die Stimme einsetzt, fühlt sich jeder
gleich von Ronnie Tahenys Wärme eingenommen.

Ihre Musik nimmt ein bißchen von vielem auf – Singer/Songwriter klingt
deutlich zu langweilig für diese abwechslungsreiche Show, denn an der
Guitarre, am E-Piano, ob sie pfeift oder singt oder eine ihrer
wunderbar komischen Geschichten erzählt, diese Frau ist eine
Entertainerin durch und durch. Sie liebt ihr Publikum und das Publikum
kann nicht anders als sie auch gleich in ihr Herz zu schließen und mit
ihr auf ihre Liederreise zu gehen – aufmerksam den mit Witz und
Impetus formulierten Texten lauschend, beim Blues mitwippend, auf ihre
Sprüche antwortend. Egal ob gitarrenbetonte Rockballade, ob sie in das
äßerst perkussiv gespielte Klavier geradezu reinkriecht, mit
herrlicher Selbstironie den i-pod als Begleitinstrument einsetzt oder
am Cello elegisch einen Folksong begleitet, man hängt an ihren Lippen
und lauscht der angerauten, immer zärtlichen Stimme.

Überhaupt dieses Cellospiel – da schlägt diese natürlich schöne
Erscheinung mit der charakteristischen Mähne und den großen grünen
Augen ihre schlanken Beine übereinander und nimmt das Instrument
einfach an ihre rechte Seite – sie spielt es quasi im Damensitz.

Dieser Gestus drückt mehr als alles andere Ronnie Tahenys Besonderheit aus:

Diese Frau macht einfach was sie will, schert sich nicht um
Konventionen oder Einordnungen und präsentiert einen kurzweiligen
Abend – unterhaltsam, authentisch, unprätentiös, theatralisch und
musikalisch – vor allem mit enorm viel Spaß!


Translation of above:

BERLIN – “Petruskirche” live review June 2009

Australian entertainer wows with charm and cheek.

You’ll most probably hear an Australian voice among the audience before the concert
starts – after all, the artist is a true export hit from the fifth continent and very popular
with expat “Aussies“ all over Europe. But don’t worry about insider jokes – when Ronnie Taheny
takes the stage with high-heels, cocktail dress and Rasta hair, she takes her
audience by storm, no matter what language they speak.

It’s neither cocktail-cool nor mere music they are getting – the singer is foremost herself,
full stop! She is ever so nice (if that’s not too nice to say of an artist) and in a world of
artificial stage personalities that is quite astonishing, even overwhelming.

Being Ronnie Taheny never seems to be boring. This woman has lived and observed much
and when she sings of life, love, lust, losing or simply about swimming in the sea or being
on tour, we hang on her every word. Be it tragic or comic, her music and stories always
have lightness to them. She never dwells on anything, never gets sentimental and yet there
is a deep-lived sobriety in her song and speech. A few introductory chords, a straight glance
to the band, an open smile to the audience. When the voice begins everybody feels personally
welcomed and part of whatever she then proceeds to sing or talk about.

This artist is truly authentic and creates an intimacy with the audience that one rarely
experiences. No taboos, no do’s nor don’ts. She takes her audience on: always engaging
and confronting, always charming and cheeky.

At her side is the Outhouse Orchestra, all multi-talented: there is Jarrad on drums, bass and
vocals and two other beauties: Amanda on cello (who can also sing wonderfully) and Marie
on flute and mouth harmonica, who also jumps to the piano and vocals when needed. The
band obviously loves to play with Ronnie and that is not surprising. Her wit charms everybody
and she has a democratic approach, no front-singer’s attitude at all. Her style is a mix of
everything – the label ‘singer/songwriter’ is definitely too boring for this varied and amusing
artist and show.

Whether she starts with a rocky ballad on guitar, or crawls into her keyboard for a bluesy
delivery, whether she is whistling, singing or telling one of her true, touching and hilarious
stories, this woman is a whole-hearted entertainer. One minute she’s disarming her audience
by introducing the i-pod with persuasive irony as the missing band member then she’s
playing cello with crossed legs in an elegant side-saddle manner. Whatever she does on stage,
the audience is still captivated by her slightly rough, yet always warm voice.

By the end of the show we’re reminded again why Ronnie Taheny is refreshingly unique. More than

her fascinating lyrics and appealing music, more than her energetic and intense deliveries, it’s
the artist herself: doing what she wants. She cannot be bothered with categories, convention nor
commerce and together with the Outhouse Orchestra, it’s a captivating and entertaining night for
the audience as well as themselves.

Unpretentious, authentic, saucy and a whole lot of fun.

Uta-Maria Temme, freelance music critic, Berlin.


Ronnie Taheny
“It’s All About Me” DVD Launch. Sat Feb 2, 2008.
Governor Hindmarsh Hotel. Adelaide, South Australia.

Accomplished singer-songwriter Ronnie Taheny launched her DVD, ‘It’s All About Me’, at The Governor Hindmarsh Hotel in front of an audience of around 400 expectant fans. Taking the stage alone, armed with just voice and guitar, Taheny immediately demonstrated why she is a favourite amongst local music aficionados. ‘This Lifetime’, from 2001’s ‘Dodgy Vita’ CD, kicked off what was to be an impressive performance. Effortlessly switching between a selection of instruments and performing with a range of on-stage partners through the evening, Taheny delivered her songs to an increasingly spellbound audience with an energy and verve rarely seen around town.

After moving from guitar to keyboard for a version of ‘Cinderella’, Taheny greeted the big crowd and immediately showed that, for all the worldliness that years of traveling and touring overseas brings, she’s a down-to-earth Edithburgh girl at heart. Taheny joked with the audience, establishing a level of comfort and intimacy that would last the evening.

Taheny was joined on stage by her fellow members of the fabulous Outhouse Orchestra, Amanda Goodfellow on cello and Marie Suzanne de Lint on flute (and occasional harmonica); occasional drummer Jarrad Payne also took part in the fun. Taheny continued to provide excellent examples of her incisive lyrics, wit and great music through songs like ‘Irish Girls Wake’, ‘The Only Girl on the Island’ and the wonderfully busy ‘Would I Know If My Arse Was On Fire?’ which closed the set. Members of the audience were given a few minutes to reflect on the first half of their evening while viewing excerpts from the new DVD on the big screen.

The second part of the show opened with Taheny playing keyboards and, with Jarrad Payne on drums, vocals and bass simultaneously, she gave the crowd a great rendition of ‘Wasting Away’. Taheny swapped between guitar, keyboard and grand piano, further demonstrating her versatility. The songs were lifted further by the thoughtful accompaniments provided by Michael Bahlij on keyboards/vocals and, again Jarrad Payne on drums/bass/vocals. The set list included great numbers like ‘That’s Jesus’ and “Turn Those Heroes to Stone” and the fabulous ‘Gold, Frankincense and Murder’ from the ‘Decalogue’ CD, which closed the set.

Called back for an encore, we were treated to more of Ronnie’s wit with the recitation of a poem, ‘A Darcy Before I Die’, before “Good Day” and “Guardian Angel” closed the show, sending punters home happy and, no doubt, impressed. There’s no pigeon-holing Taheny. She moves from the tender to the raucous without missing a beat. She gives everything and it’s easy to see how she has taken her music to increasingly bigger stages over the years. It’s all about passion.

David Robinson
“Rip It Up” Magazine
Adelaide, South Australia


Published 2008



Ronnie Taheny Decalogue (Independent)

Favourite Adelaide singer/songwriter Ronnie Taheny has deposited another smart musical souvenir before heading off to Europe for her annual six-month touring schedule. Indeed, this – her sixth album – finds Taheny in especially strong voice, articulating some especially sharp social observations from her incessant traveling, especially regarding escalating religious tensions between cultures in such striking songs as Fault Line, Gold Frankincense and Murder, and the biting That’s Jesus. This is a tricky area for a lyricist, but Taheny is a canny wordsmith who creates crisp, astute phrases to match her neat, arresting melodies.

Her musical partnership with German producer Dom Stahlschmidt is also bearing richer fruit, with fulsome production adding sparkle to Simon Says, Midsummer’s Night and Blindman’s Stick, but still employing measured restraint on the beautiful piano ballad Just Thinking of You.

In all, it’s Taheny’s finest offering – pop music with purpose, poise and the odd knockout punch.

David Sly, “Independent Weekly”, South Australia.



Ronnie Taheny
“Decalogue” CD Launch. Sat Feb 4, 2006.
Governor Hindmarsh Hotel. Adelaide, South Australia.

To the opening strains of Middle Eastern music and 400 hundred fans both old and new, the diminutive Ronnie Taheny graces the stage and sets the atmosphere by bridging the audience with a joke, a story, then a poem before eventually getting around to act of playing music. The launch of Taheny’s sixth solo album, Decalogue, features some well-balanced world views, documentation of her experiences in the Middle East and social observations made during the last ten years in Europe, all humorously shared with us tonight.

Though lyrically more political, musically the Decalogue tracks sit well with the older material showcasing what Ronnie does best – pop songs for thinking people. “That’s Jesus” and “Gold, Frankincense and Murder” are but two of the latest examples of the Taheny trademark: typically big on melody, variety, dynamics and black humour. Ronnie may be sassy, animated and highly entertaining but she is not one to mince words as she speaks of her social perspectives on life and living; she’s always got something to say and does so with humour, confidence and conviction. In keeping with the monotheistic theme, poignant Hebrew, Arabic and English monologues were spoken with transcripts projected onto the backdrop, an amazing touch to an already thought-provoking evening.

Taheny is a unique package and there’s no place for pouting or posturing in her performance. Ronnie’s down-to-earth Australian wit moves as quickly as she does. In between amusing comments to the audience she flows effortlessly from grand piano to guitar to keyboard to spoken word without losing momentum or intensity or warmth; seemingly it’s all the same to the ever-buoyant Taheny.

Tonight continued to expand in dimension with some exceptional backing by (as Ronnie later referred to them) “Three friends who are really great guys with even greater talent”. First up was John Ahern from Ireland showing versatility on tin whistle, guitar, harmonica and vocals especially in the haunting “Irish Girls Wake”. Then throughout the night multi-instrumentalist Jarrad Payne offered more originality and command than most of the drumming fraternity combined by holding down some tasteful grooves whilst simultaneously playing bass, percussion and some classy, wide-ranging backing vocals. Finally, the Russian, Michael Bahlij played some stunning piano solos especially on past hit “Not To Your Face”. All three supporting artists contributed even greater passion and polish to an already awe-inspiring evening of music, story, entertainment and song.

Whether solo or with backing band Taheny has a powerful impact and stage presence. Whilst showing sass and true grit, her cheeky personality still shines through. She’s clever in word and music, her amazingly dynamic and earthy voice (especially featured in ballads such as “Fault Line”) is merely an extension of herself; rock solid, strong and defiant one minute, warm and husky the next- with soul and without apology.

Witnessing a concert like tonight explains why Ronnie Taheny is one of Adelaide’s most successful and respected international and independent exports.

Catherine Blanch
“Rip It Up” Magazine
Adelaide, South Australia