Mahalia Barnes Sings The Rose @ Dunstan Playhouse, Adelaide 14/6/2026

When I first watched The Rose (1979) as a (far too young) child, it left a lasting impression. The tortured female musician became imprinted in my psyche and helped shape my musical tastes as I grew older. So, when Mahalia Barnes Sings The Rose formed part of this year’s Adelaide Cabaret Festival program, I couldn’t pass up the opportunity to experience it.

If there was any doubt that Mahalia Barnes belongs among Australia’s great live performers, her appearance at the Dunstan Playhouse dispelled it within moments. A soul, blues and rock goddess in every sense, she delivered a powerhouse performance that honoured The Rose soundtrack and transformed it into a celebration of women who shaped contemporary music.

Scheduled for seventy five minutes, the audience was instead treated to a generous one hundred and five-minute musical banquet. Backed by a superb eight-piece band, Barnes commanded the stage with effortless charisma and a soulful voice that soared through every emotional peak and valley of Bette Midler’s iconic film soundtrack.

Inspired by the story of Janis Joplin, The Rose is a tale of a female rock star navigating fame, addiction, loneliness and the ruthless quest for love and approval. The film is emotionally substantial, and Barnes embraced every aspect of it. Her interpretation drew upon her roots and generated something unique.

Following renditions of Whose Side Are You On, Midnight in Memphis, When a Man Loves a Woman, Sold My Soul to Rock ‘N’ Roll, Keep on Rockin’, Love Me With a Feeling, Camilla, Stay with Me, Let Me Call You Sweetheart, and The Rose, the evening truly took flight.

What followed was a procession of songs from some of the most influential female artists of the era. With infectious energy, Barnes tore through Joplin’s Mercedes Benz and Piece of My Heart. Then she delivered a stirring rendition of late Australian soul legend Renee Geyer’s It’s a Man’s Man’s Man’s World. Tina Turner’s iconic River Deep, Mountain High had everyone singing along, while I Put a Spell on You (Nina Simone) showcased her powerful restraint.

The hits just kept coming. The Divinyls’ Boys in Town injected a dose of Australian rock attitude, as I Want to Take You Higher (Sly and the Family Stone) brought the funk.

When the night seemed to be concluding, she returned for an unexpected encore. A heartfelt rendition of At Last (Etta James) displayed the warm, velvety richness of her voice before she launched into a thumping Tina Turner-esque Proud Mary that had the audience on their feet, singing and dancing seemingly without a care in the world. It was impossible not to be swept up in the collective joy radiating from the stage.

Barnes’ affection for Adelaide was evident throughout the evening. “This city has all the best festivals in the world,” she proclaimed to enthusiastic applause. It’s true, we do. And this year’s Cabaret Festival was evidence of that.

Where the Cabaret Festival promised The Rose, Mahalia Barnes offered a soul-stirring celebration. She delivered a rare, cross-genre show that was intimate, exhilarating, and a testament to extraordinary artistry and the enduring power of great music.

Adelaide Cabaret Festival By Anita Kertes