G Flip, The Beaches, Ayesha Madon @ Entertainment Centre Theatre, Adelaide 12/3/2026
On Thursday night, glitter and cowboy hats descended upon the Adelaide Entertainment Centre Theatre, heralding the return of G Flip.
Opening the night was Ayesha Madon, who delivered a short but confident set that warmed the crowd quickly. Madon’s natural ease and pop sensibility landed well. Her vocals carried cleanly across the venue, and she found an engaging balance. It was a great introduction to the evening, setting the tone without overstaying its welcome.
Next up were Canadian quartet, The Beaches who wasted no time getting the party started. Kicking off with Last Girls at the Party, their energy was immediately infectious. With punchy guitar riffs and a charismatic stage presence, they had an effortless charm that made for a memorable performance.
Touch Myself, Me & Me, Cigarette, Shower Beer, Did I Say Too Much, Can I Call You in the Morning?, I Wore You Better, Edge of the Earth, Sorry for Your Loss, and Takes One to Know One carried that carefree rock swagger the band has become known for. But it was their final song, Blame Brett that sparked the most frenzy and an enormous sing-along. It was an exciting, energetic set that left many impressed and won the band new fans.
When G Flip finally stepped out, the energy surged again. Opening with Disco Cowgirl, the show immediately leaned into its pop sentiments and rock drive. Gay 4 Me followed with G proudly waving a giant LGBTQI+ flag across the stage. I Don’t Wanna Regret, from the 2025 album Dream Ride, became a showcase of G’s musicianship as the saxophone came out to play. The three-song intro set the dynamic tone of the show.
Speaking to the audience, G outlined some rules from the onset that we had to abide by: 1. Don’t be a dick. 2. Respect the LGBTQI+ community in the room. 3. Respect those with anxiety and depression who came out. 4. Respect the solo giggers. 5. If someone faints or needs assistance, shine your phone light at G, and they will stop the show. 6. Sing loudly if you know the words. 7. Have fun!
Fun was definitely had.
With a comprehensive back catalogue to choose from, the first of two mash-ups came in the form of Drink Too Much / Real Life / Hyperfine. This format worked well as it connected old favourites that new and long-time fans appreciated.
Good Enough slightly slowed things before the show pivoted into a highlight of the evening: the drum solo. Having started drumming at age nine, G shared a tight and innovative performance behind the kit. It was a reminder that while their songs are catchy, the musicianship behind them is serious.
From there, the set transitioned into something slightly heavier with Rough and Big Ol’ Hammer. Then, a cover of Cruel Summer (Taylor Swift) generated one of the biggest sing-alongs of the night.
When a home video of G, circa 2018, appeared on the screen, hearts melted. Hearing the vulnerable words of a struggling artist seeking to break into the industry while knowing they achieved that goal, plus more, was heartwarming. This led into a medley of those pivotal early songs: About You / Killing My Time / I Am Not Afraid / You + I / Queen / About You (reprise). The nostalgia, vulnerability, and warmth experienced in this section made it a show highlight.
An acoustic version of Didn’t Mean To continued the warm fuzziness for a little longer before Lover and Be Your Man lifted the vibe again. When The Beaches returned to join G for Lez Go, it was a joyous energy overload.
Bed on Fire spectacularly closed the main set before the two-song encore – The Worst Person Alive and In Another Life – wrapped things up.
All night, G effortlessly moved between drums, electric guitar, acoustic guitar, tenor and alto saxophone while maintaining vocal integrity and an impeccable stage presence. It was a reminder that beneath the pop-rock lustre lies a formidable musician and entertainer. By the end of the evening, everyone was buzzing with excitement.
G Flip isn’t just riding the wave of success; they’re driving it. And it’s one hell of a Dream Ride.
Live Review By Anita Kertes