Press for Beyond Glamour: The Absinthe Tour

“a deconstructive tour de force that turns cabaret inside out…Her shows blaze a wild trail”
Preview Magazine

Meow Meow ‘lets loose and explosive performance energy…[her] physical and vocal performance is acrobatic and virtuosic’
Tages Anzeiger (Zürich)

“Meow Meow blends performance art, cabaret and pop culture into a style that defies labelling…the hackneyed phrase ‘cabaret diva’ seems pathetically inadequate”
PREVIEW MAGAZINE (Australia)

“Her musical performances were spectacular, her voice epic in proportions and her choices resonated with mid-century European sadness and drama…Her presence was like a Lou Reed album come to life, daring and brash, but with a seamless sexual sophistication…”
The Daily Vanguard, Oregon

“An extraordinary voice that sounds as though Diamanda Galás drowned in cherry liqueur…She has the audience hanging on her every move”
The Age, Melbourne

“What can be said of the smoky weltschmerz of that international sinsation Meow Meow, ladies and gentleman, other than that she’d bowl over Sally Bowles herself.”
Willamette Weekly, Oregon

“She purrs, she roars, she makes Pussy Galore look like a frump…”

…a sequinned sex bomb waiting to detonate…”
Sydney Central

‘at ease in switching effortlessly from seductress to passive victim of war, from German to French to English…
a masterly blend of sexiness and melancholy’
The West Australian

‘Meow Meow. The Phenomenon’
Willamette Week, Oregon

“Meow Meow boasts an extraordinary voice that sounds as though Diamanda Galás drowned in cherry liqueur. It was the tatty diva’s pitiless improvisation, however, that made her extraordinary. Her ability to unwind sexual and gender tensions and turn them into a rosette of purest mischief is nonpareil. This gifted dilettante sang, purred and cunningly stumbled her way through 60 delicious minutes of post-ideological posturing. Proving that femininity is a performance, that Brecht need not be tedious and that lingerie can be improved with the elaborate use of tassles, Meow was a shrieking triumph.”
The Age, Melbourne International Arts Festival

“Her voice is extraordinary: apt to leap up several octaves at a time, swoop into a guttural growl or a crazed operatic vibrato. And when, on occasion, this dazzlingly multi-talented performer simply stands still and sings, her mood of bittersweet melancholy casts an instant spell of enchantment. Wednesday’s show concluded with two unexpectedly quiet torch songs, which – after an hour of Meow Meow’s brilliantly crafted mayhem – revealed her unadorned voice in all its expressive beauty. Superb.”
The Age 2005

“This season at the Spiegeltent soon sold out and it’s not hard to see why: its star is vibrant, sexy, funny and super-talented…she has the audience hanging on her every move…The audience could enjoy this exuberant show as pure entertainment or appreciate it at another level – it also operates as a commentary on the extremely elastic boundaries between sexual and non-sexual human consciousness…This show is surely one of the hits of the festival”
Herald Sun, 2005

“a deconstructive tour de force that turns cabaret inside out…Meow – whose violently teased dark hair, spike heels and clingy dresses suggest an outre 1960s French showgirl – has been compared to Sally Bowles. But I’m not sure even Ms Bowles would have invited her audience onstage, persuaded them to don masks and take part in a love test. And while the Berlin chanteuse may have worn fishnet stockings, it’s doubtful she ever stripped down to pasties and a G-string…

“Once heard, the sound of Meow shredding her voice is never forgotten. Whereas many performers turn cabaret into camp, Meow’s driven, extreme style, underscored by clever stagecraft and a political sensibility, rekindles the genre. Her shows blaze a wild trail through European masters like Brel and Brecht, while referencing such out-of-field oddities as Dolly Parton, Chinese courtesan songs, Piazzolla’s tangos, and Hong Kong pop kitsch.
Peter Huck, The Age: 2005

“Sophisticated, satirical wit and sass…She even channeled John Cage”
The Independent Weekly, Adelaide Cabaret Festival 2006

“magnificent, physically deft and vocally powerful, shifting from falsetto to guttural exclamation with ease and great humour, evoking both traditional Chinese Opera and a showbizzy contemporanæity”
Realtime

“at one point suspended writhing in mid-air, uttering the full arsenal of screams, wails, visceral groans and coloratura squawks known to contemporary vocal technique…a voice of the utmost clarity, purity and agility”
Sydney Morning Herald

“compelling”
The Guardian, London

“riveting, as…she scaled the heights of despair – and parody – with gasping, over-the-top operatic intensity”
Dance Australia