Katie Noonan is one of Australia’s finest vocalists and it is always a pleasure to see her live. Her shows span a range of themes and often showcase some of the country’s best musical talent, with exquisite bands behind her and uniquely thoughtful performances.

This year, Noonan’s main project has been her tour of Jeff Buckley’s classic album Grace, performing the album in full as she travelled around the country. The penultimate stop on her 23-date headline tour was at the Enmore Theatre for a sold-out show. This was particularly poignant as the Enmore was the only venue on the tour that Jeff Buckley himself had performed in before his untimely death, a fact which Noonan introduced almost immediately as she began her set. 

“This is the one room on this tour where the majestic renaissance man who was Jeff Buckley graced for those who we were lucky enough to experience him in our lives,” she said. 

Noonan opened with the beautiful “Mojo Pin” immediately displaying her wondrous vocals and offering a preview of her distinctive interpretations. Her takes on Buckley’s songs were quite different from the originals, focusing more on her breathy, ethereal tone. Performing the album in order, “Grace” followed, displaying the beauty of Noonan’s voice while still carrying her own take on Buckley’s grit.

Noonan’s rendition of “Lilac Wine” was a standout, which very much evoked Nina Simone and was sung with such power and grace that it deeply moved the Enmore audience. But the truly magical moment arrived with “Hallelujah”. Noonan’s version, which was very reminiscent of k.d. lang’s, showcased her technical skill even as it strayed from Buckley’s haunting approach. When Noonan invited the audience to sing along, what followed was an incredibly special choral effect, with one of the most in-tune and musical crowds that I have ever heard (which was very much reflective of who was in the audience). Many in the audience were moved to tears at the end of the song and it was clear that everyone in the room recognised the beauty of the moment. 

Throughout the show, Noonan battled some vocal fatigue which occasionally affected her high notes and choices. Nonetheless, she soldiered on admirably, supported by her sublime band, who ensured she continued to sound as fabulous as ever. “So Real” was another highlight, demonstrating a rockier edge to Noonan’s voice, especially in the upper register and offering a refreshing contrast to the otherwise quite singular pace of the show. “Lover, You Should’ve Come Over” was also beautifully done, while “Corpus Christi Carol” allowed Noonan to showcase a more operatic style that she always executes so well.

Between songs, Noonan shared poignant and incisive reflections on the state of the music industry, speaking he spoke passionately about the rise of streaming services like Spotify, their inadequate compensation for artists and the importance of supporting Australian music, especially by buying concert tickets for Australian artists. 

“Music isn’t valued any more,” she said. “The consumption of music has been dramatically undervalued by the internet.”

Noonan also shared personal anecdotes about her relationship with Buckley’s album, adding emotional depth to her interpretations and allowing the audience to connect their own stories to hers. One particularly interesting insight came when Noonan spoke about Buckley’s legacy, revealing that during his lifetime, Buckley’s two biggest audiences were in Australia and France. This detail gave the concert a special resonance, as it emphasised the power of an Australian artist reinterpreting an  icon’s work in a venue he once graced for an audience that had long embraced his music.

Noonan closed the show with “Eternal Life” and “Dream Brother”. Ten songs were likely all that Noonan’s voice could handle given her vocal fatigue, but she pulled the night off with characteristic class and grace, offering the audience a beautifully personal perspective on a classic album.

Ultimately, Noonan’s performance was a superb rendition of a classic work that revealed something new about something so iconic. Her interpretations were clever, fresh and unique and while they may not have been to everyone’s taste at every point (as with all music), it was clear by the standing ovation at the end of the set and the tears in the audience that Noonan connected deeply with the vast majority of people in the room. A wonderful end to a beautiful project by one of Australia’s most loved vocalists.

Rating: ★★★★1/2

Katie Noonan – Enmore Theatre – 7th November 2025