The Cat Empire Meets the ASO: Two Musical Worlds, One Big Celebration
The Cat Empire joins forces with the Adelaide Symphony Orchestra for a night of musical surprises, infectious rhythms and genuine connection.
Event: The Cat Empire with the Adelaide Symphony Orchestra
Venue: Thebarton Theatre, Adelaide
Date: Friday 9 October 2026
There was something a little different happening at Thebarton Theatre. The Cat Empire, known for their lively performances, had teamed up with the ASO in a unique collaboration.
Bringing a traditional symphony orchestra together with a band that draws on Afro-Cuban, Brazilian and Seychellois Creole rhythms, alongside Spanish, jazz and ska influences, was always going to be an intriguing challenge.
And what better place to bring it all together?
Having experienced Thebarton Theatre from both sides of the stage, I've always felt there's something special about this venue. It has an intimacy that brings people together through music, where, for a few hours, the line between performers and audience almost disappears. That's where the magic happens.
That welcoming feeling extends to the door staff, bar team and security, whose genuine 'can-do' attitude adds to the overall experience.
When Two Sounds Come Together
The evening opened with the ASO setting the scene under the baton of talented, up-and-coming conductor Carlo Antonioli. The music had an almost cinematic quality, building anticipation before “The Cat Empire, flanked by two flamenco dancers, launched into How to Explain?
At times, it felt like I was watching a Hollywood movie, a stage production and a lively street party all at once. The ASO brought the drama, the lighting created the atmosphere, and The Cat Empire supplied the memorable grooves and energy. Somehow, it all came together.
The ASO added warmth and depth to The Cat Empire's dynamic and punchy sound, creating a richer texture. It was almost as though the music had stepped off the street and into our lounge rooms for the evening, showing us a different side to the band we know and love.
At the heart of The Cat Empire are founding members Felix Riebl and Ollie McGill. Felix's natural connection with the crowd was evident throughout the night. Ollie, an instinctive keyboard player, seemed to follow wherever the music took him. His occasional solos showcased his exceptional talent, while his keyboards provided a solid foundation for the band's distinctive sound.
ASO principal trumpeter Dave Khafagi explained that “orchestral musicians are accustomed to playing written scores with precision and accuracy, but The Cat Empire's Latin rhythms demand something more ... the notes need to be felt, not simply played.”
Dave also spoke about the sheer joy of the music and how much fun it was to play. He and his fellow ASO musicians enjoyed themselves so much they could barely sit still.
With the ASO occupying much of the stage, The Cat Empire had less room to move. Yet the musicians still found ways to express themselves, often moving together with a natural synergy.
The People Behind the Music
The women onstage brought plenty of sass and personality. Bass guitarist Grace Barbé, sporting a cowboy hat, had an almost hypnotic up-and-down rocking motion as she played, often turning towards Felix for a playful musical exchange. Neda Rahmani was a burst of energy in sparkling gold, happily spinning and swaying as she played percussion, bringing a wonderful sense of fun to the stage. Both contributed vocals, while flamenco dancer Chantelle Cano demanded attention with her fiery body language and lightning-quick handclaps. Three women, each with a distinctive style and presence.
Flamenco dancers Johnny Tedesco and Chantelle, alongside guitarist Richard Tedesco, performed as Arte Kanela, bringing passion and razor-sharp precision to the stage. Their dancing, intricate guitar patterns and musical chemistry made them an integral part of the show.
My conversation with Neda later revealed that the connection goes back many years. She recalled spending time with the flamenco performers at Melbourne's Cannella Bar after gigs, when they were all in their early twenties. Their friendship has endured, and now they're sharing the stage together.
Chantelle and Johnny's feet moved at astonishing speed, producing a flurry of loud, sharp clicks as their heels struck the wooden platform. The sound was so perfectly timed that I wondered whether it was pre-recorded. I asked the sound engineer, who confirmed it was entirely live, with the sound captured by a microphone near their feet. Impressive stuff.
Dave later revealed another clever detail. Drummer Daniel Farrugia was matching Johnny's powerful foot stamps with well-placed snare and cymbal accents, adding even more impact to the performance.
The Latin influence came alive during Candela, made famous internationally by Buena Vista Social Club. Adelaide-based Cuban trumpeter Lázaro Numa, sporting a snappy white flat cap, pumped his fist and shouted “Uno, dos, tres!” The crowd responded with an enthusiastic “¡Ay!” Simple, infectious fun, with everyone joining in.
I particularly enjoyed watching Felix on percussion. His relaxed playing style made full use of the timbales (Latin drum), striking the skin, rim and sides to create different sounds and textures. Nothing seemed off limits.
Felix also had a little showmanship up his sleeve. He tossed his tambourine high into the air, almost reaching the lighting rigs. For a split second, all eyes followed the tambo before he caught it, much to the crowd's delight.
The distinctive bass introduction to Brighter Than Gold signalled a change of gear. More people began swaying as the intensity built. When the three-piece brass section kicked in during the chorus, its powerful horn blasts seemed to send the rhythm straight through our bodies. It was almost impossible not to move.
As the band members jumped in time to the music, the audience followed. That connection between stage and crowd was wonderful to watch.
Rock 'n' Roll opened with flutes and strings, followed by a trumpet fanfare and dramatic timpani accents. As the song gathered momentum, Felix led the crowd in a rousing “lai, lai, lai” singalong, bringing the first set to a spirited close.
More Than Just the Music
During the second set, Felix shared how The Cat Empire got its name from a childhood drawing of cats by his younger brother Max, displayed on the family fridge door. What began as a little boy's imagination became part of Australian music history. Sadly, Max died of brain cancer in 2022, aged just 30.
The audience leaned in as Felix dedicated the next two songs to those we'd lost and those who might still be with us in spirit. It was one of the night's most personal moments.
For young friends Indie (9) and Lucy (11), this was their first concert. Wearing matching homemade T-shirts and cat ears, they seemed tentative at first. But as their confidence grew, they moved closer to the stage, dancing along with the crowd. Felix and Neda noticed their cat ears and acknowledged the girls. “They looked me right in the eyes,” Lucy told me, clearly thrilled. By the end, they'd fallen in love with The Cat Empire. A first concert they'll surely never forget.
A woman in the audience noticed how The Cat Empire turned towards the ASO several times during the performance. To her, it was a gesture of respect, one that spoke volumes about the connection between the two groups.
Felix gave special recognition to Cat Empire trumpeter Roscoe James Irwin, the band's longtime musical director and orchestral arranger, earning him a well-deserved round of applause.
Dave explained that in collaborations like this, an orchestra can sometimes become secondary to the headline act. Roscoe ensured that didn't happen, writing clever arrangements that gave the ASO a meaningful role.
After the concert, I had the chance to speak with percussionist and vocalist Neda Rahmani. We talked about the band's lineup changes four years ago. She acknowledged that the transition hadn't always been easy, but spoke warmly about the friendships that remained and her excitement for the future.
“I think this is just the beginning of it, to be honest.”
A Finale Worth Waiting For
As The Cat Empire left the stage, one thought kept running through my head. With so many catchy hits still unheard, which two would they choose for an encore?
The applause was loud and sustained. We wanted more, and The Cat Empire delivered, returning with a mega-medley of favourites, including Fishies, Days Like These and The Wine Song. What an energy shift! The finale became a joyous celebration of world music.
During Thunder Rumbles, the horns produced a deep, bouncing '‘oom-pah” sound, reminiscent of a New Orleans street parade. Driving the rhythm was a big brass sousaphone at the back of the orchestra, as Dave later confirmed. I even caught myself pushing my chin forward with each booming note, completely caught up in the groove. What a moment!
Hands were in the air, voices rang out, feet were stomping and the standing section became one big dance floor. Even those seated couldn't resist moving.
The night ended with Still Young, culminating in a short, powerful burst of The Chariot as The Cat Empire and the ASO joined forces for one enormous final note.
The Cat Empire doesn't just play instruments made from timber and steel. They use them to bring people together.
Disclosure: Limelight SA attended as guests of Thebarton Theatre.
Photography by Kate Needs.
Please subscribe below to receive Event Reviews, What’s On Guide, Feature Stories, Beyond SA direct to your inbox:
Five Megastars, One Big Stage and a Night Full of Hits
The costumes, colour and glamour caught the eye, but the voices, humour and crowd connection made the night.
Venue: Hopgood Theatre, Noarlunga Centre
Date and time: Saturday 19 September 2026, 7.30pm
Review: Brett Partington
Photo Credit: Sharryn Stevens-Files
Photo Credit: Brett Partington
The Megastars cast takes its bow at Hopgood Theatre after a night packed with hits, humour and nostalgia.
Elvis Presley, Elton John, Tom Jones, Engelbert Humperdinck and Shania Twain all turned up in Noarlunga on Saturday night.
Well, close enough.
For the next two hours, the Hopgood Theatre belonged to the Megastars. But stepping into shoes this famous comes with expectations.
The audience already knows the voices, the clothes, the moves and the songs. Every performer is being compared with the original before they even open their mouth. The trick is giving us enough of the star we remember while still making it feel like a live show.
The format was simple. Each performer gave us a handful of songs before handing over to the next. Just as we settled in, another big name appeared with a song we all recognised.
Matthew Hadgraft opened as Elton John with Crocodile Rock, and it wasn’t long before the crowd was singing the unmistakable ‘Laaaaa… la, la, la, la, laaaaa.’ The big glasses, outrageous outfit and towering top hat screamed Elton, and Hadgraft appeared every bit the part. He was believable, but it wasn’t just about the look. He could seriously play the piano and had the voice to go with it.
Matthew Hadgraft looks completely at home behind the piano as Elton John.
Later, one solitary note of Bennie and the Jets was all it took. Everyone knew exactly what was coming and let out a huge cheer before the song had properly begun. Then came one of my favourite moments of the night. During I’m Still Standing, Hadgraft accidentally knocked over his piano stool. For a moment, the audience held its collective breath. With nowhere left to sit, he had little choice but to remain standing until the end. Talk about living up to the song title.
Georgina Ward’s Shania Twain made her entrance in a leopard-print hooded coat and dark glasses. The look grabbed my attention. Then she started singing. Her version of You’re Still the One showed there was much more here than getting the look right. She has a terrific voice.
Georgina Ward arrives as Shania Twain in leopard print and dark glasses, before letting the voice take over.
Her performance of From This Moment On gave Ward the chance to simply stand there and sing, complete with those little Shania inflections. Then came Man! I Feel Like a Woman!, and the crowd needed no encouragement. They knew it and sang along.
Geir Borholm brought something completely different as Engelbert Humperdinck. He sauntered onto the stage with the relaxed confidence of someone who knew exactly what he was doing. His smooth delivery of The Last Waltz felt less like a theatre performance and more as though Engelbert had wandered into our lounge room and started singing. Quando, Quando, Quando brought a lighter, feel-good moment, before Engelbert’s biggest hit, Release Me, had older members of the audience reminiscing as it grew into one of the night’s biggest singalongs. Can't Take My Eyes Off You had the room happily supplying the ‘da-da’ bit.
Geir Borholm brings the smooth confidence of Engelbert Humperdinck.
He also gave us one of the funniest moments of the night. Borholm announced that he needed to ‘disrobe’.
‘Take it off!’ yelled a woman from the audience.
He unbuttoned his jacket.
That was it.
Tony Jones, conveniently just one letter away from being Tom Jones, brought a different energy again. His voice had some of that trademark gravel, but it was the way he worked the room that stood out. He moved close to women in the audience, looked them directly in the eye and made each one feel like the only person in the room. For those few seconds, he was their very own Tom Jones.
Tony Jones brings Tom Jones close to the crowd, holding one audience member’s gaze.
Then the shirt opened. The ladies whooped.
Delilah was anthemic. The audience knew every word. What’s New Pussycat? had them happily taking over the ‘oh-oh-ohs’. Sometimes Jones simply handed the song to them, and they knew exactly what to do.
At times, though, I wanted more from the sound. The backing needed to be louder and more dynamic to give those big Tom Jones numbers the punch they deserved.
Then there was Elvis.
Marcus Jackson had the hips, the shaking leg, the karate moves and, of course, that deep ‘Thank you very much.’ Four words. Pure Elvis. But what I enjoyed most was his humour. Before Love Me Tender, Jackson had the entire theatre hugging the person beside them. I joined in. Then he told us to look into their eyes before eventually telling us to grab their face. By the time Love Me Tender began, he’d already won over the crowd.
As Jackson introduced the song Teddy Bear, he draped several scarves around his neck before offering them to the audience. The ladies didn’t need asking twice. One woman stood in the crowd holding a teddy bear for Elvis. Jackson spotted her and invited her to the stage, where she received a scarf, a hug and a kiss, plus a few extras for good measure.
Marcus Jackson rewards a teddy-bearing Elvis fan with a scarf, a hug and a kiss.
Another woman called out, ‘Can I have your number?’
‘You can have my room number!’ Jackson fired back.
His version of My Way was another highlight. Standing at the microphone suited both the song and his style, and his vocal was impressive. On some of the faster numbers, though, I wanted him to break away from the microphone stand and use more of that big Hopgood stage. He had the Elvis moves. I wanted to see him explore the space.
The Megastar dancers certainly weren’t afraid to move. Their colour, energy and smiles brought the stage to life and added another dimension to the performances. Behind them, the large screen showed footage and photos of the original stars, along with fun facts, giving us something else to watch and, inevitably, compare.
Colour, movement and a burst of light: the Megastar dancers helped keep the stage alive between the big hits.
There was something refreshingly old-school about the whole night. The crowd, mostly seniors, came to have a good time, and the show wasn’t afraid to be a little cheeky, a little bawdy and do things its own way.
But I kept coming back to the audience. They weren’t just watching the show; they were part of it. Arms waved through Sweet Caroline, voices joined in whenever they got the chance, and at one point phone torches lit up the theatre. They laughed, shouted and willingly went along for the ride.
Five familiar faces after the final curtain: Geir Borholm, Matthew Hadgraft, Georgina Ward, Marcus Jackson and Tony Jones.
That’s probably why the format worked so well. If one artist wasn’t quite your era, another big song was only a few minutes away. The show kept moving, and there was always another memory waiting.
Megastars was an entertaining, feel-good night with moments of quality musicianship, impressive vocals, plenty of humour and performers who knew how to connect with their audience. The hits just kept coming, with the opening notes of each familiar song bringing another wave of nostalgia.
They may have been tribute artists, but the smiles, laughs and singalongs were the real deal.
Should you wish to receive Event Reviews. What’s On Guide, Feature Stories and Beyond SA to your inbox, please subscribe below: