John Butler, Emma Donovan @ Her Majesty’s Theatre, Adelaide 10/9/2025

Some gigs simply entertain, while others also uplift.

John Butler’s return to Tarntanya/ Adelaide for the Adelaide Guitar Festival on Wednesday night clearly belonged to the latter.

Over two and a half hours, Butler and his band served up a candid and dynamic performance. It was deeply human, political, and, above all, musically exhilarating.

The night opened with a radiant set from, as Butler called her, “national icon” Emma Donovan. Sharing the stage with guitarist Ben Edgar, Donovan stitched together songs of family, loss, connection, and Country.

Delivered with her unmistakable gospel-soaked, soul-driven vocals, we were treated to Til My Song is Done, Hangin’ On, Searching, and Liquid Gold. Tributes to Ruby Hunter (Yarian Mitji) and Archie Roach (Wash My Soul in the River’s Flow) rang out with heartfelt clarity. Between songs, she yarned with the audience, sharing stories of Country and kin. By the end of her set, Donovan had set the tone for what was to come. This was a night about connection as much as craft.

Butler and his band – Michael Barker (drums), Michael Boase (percussion), and Ian Peres (keys, guitar) -seamlessly continued this mood.

Opening with King of California, Going Solo, and It Gets No Better from new album Prism (2025), they established both intimacy and grandeur. Butler’s sharp guitar lines and urgent delivery showed why he remains among Australia’s most compelling live performers.

Early in the set, Butler grinned at the crowd and admitted, “I’m feeling rambunctious,” before offering a “trigger warning: you’re going to get all of me.” That we did!

He launched into Better Than to the crowd’s delight, then delivered the first extended guitar solo of the evening. Perfect for a guitar festival, it showed his ability to story tell without lyrics.

“Intense bi-polar folk music” in the form of The Way Back followed. Its moody fervour was imposing and a show highlight. While a reimagined duet with Donovan, We Won’t Cry (Archie Roach), flipped the coin towards uplift. Trippin’ on You continued this trajectory and revealed a free-spirited Butler grooving away.

Then we were treated to a masterclass on the Chaturangui Indian slide guitar. The stunningly aesthetic instrument was the focal point for Wade in the Water (and a few other tracks). A highlight of Prism, Outta My Head, followed. It was a welcome inclusion to the set list and slotted in perfectly in tone and style.

The second guitar solo, Ocean, stretched beyond ten minutes. It was nothing short of sublime. Butler bent notes, toyed with pace, and built crescendos that left us captivated. It served as a reminder that the guitar, in Butler’s hands, acts as an extension of himself.

From there, Butler doubled down on the energy, rattling through Treat Yo Mama, So Sorry, and another crowd favourite Zebra. While Ragged Mile (Spirit Song) brought the main set to a close.

Butler was also unflinchingly candid throughout the performance. Between songs, he spoke of love, family, and Country. He weaved heartfelt personal anecdotes with political conviction amongst the music.

His passion was unfiltered. It resonated just as strongly as his music.

The three-song encore, Peaches & Cream, Leave the Rest to Earth, and the riotous Funky Tonight, had everyone on their feet dancing and singing along.

Butler delivered a return to his rich sound with Prism, and this performance proved it. Fierce guitars, driving percussion, and soaring choruses all found their place. However, it was Butler’s energy that carried the night.

Adelaide came expecting a guitar hero and left reminded that John Butler is more than that. He’s a storyteller, an agitator, and a force of nature on stage.

Judging by the thunderous ovation he received, Bulter had nothing to be So Sorry about.

Live Review By Anita Kertes