Dear Diary: On Location at Dark Mofo (Day Eight)

Dark Mofo 2025
Hobart, Tasmania
Diary Entry: Day Eight - THE FINAL

“…a red illuminous sign atop the airport building almost instantly calms these moments and feelings of peril; it simply reads: ‘Return To Me’.” – Dear Diary: On Location at Dark Mofo (Day One), Will Oakeshott, June 6^th 2025.

‍“Return To Me”, that radiant red sign atop the Hobart airport building. A beckoning, a contentment, a message from home; this writer had accomplished this requisition in 2025 for the longest residency yet after five previous visits. Truthfully, Tasmania has become a home away from home.

Seven sensational shows were reviewed at the Odeon Theatre, varying from extreme metal, to post-punk, to darkwave pop, to hardcore, to jazz-grindcore, to stoner rock and even cinematic folk and trip-hop. Another charismatic concert was reported on at ALTAR featuring avant-garde noisetronica and doom metal; not forgetting a theatrical metallic meditation piece of wonderment at a decommissioned church called Basilica. A live car accident and its aftermath was examined, numerous amazing artworks from almost the entirety of its spectrum were discussed, studied and adored at Dark Park and MONA. Food, wine, beer and spirits enlightened the soul through taste at Winter Feast and the Salamanca Market. An all-night festival of wildly weird and wonderful artistic extravaganzas entitled Night Mass: God Complex was undertaken with merriment. 

On this final Saturday, an astounding artistic exhibition by Carlos Martiel at City Hall by the name of Custody was mesmerising and surpassed belief. 

As he describes: “In the United States, the death of people in police custody is a severe problem that mainly affects people of African descent and Native Americans. I conceived “Custody” in the context of necropolitics, specifically police brutality, incarceration, and the death of racialized bodies, which also includes First Nations communities in Australia.”

He continues – “I remain imprisoned in a steel and glass installation inspired by the design of hourglasses. The lower level resembles a cell from which I cannot escape on my own. The upper level is filled with sand from the Australian coast, the weight of which gradually falls, burying my body.”

Now, it had come to its conclusion…

A parade and celebration of Dark Mofo was carried out via a Balinese purification ritual known as the burning of the Ogoh-Ogoh. Each year the festival organisers select an endangered or dwindling species, and for 2025 this was to the Maugean Skate which is exclusively found on the Tasmanian west coast. The sculpture and its artistic egg sacks, which contained thousands of hidden handwritten messages by festival attendees about their fears, were set ablaze in Dark Park. This tradition essentially cleanses those fears from the participating individuals.

Did you know that Tasmania is the world’s 26^th largest island? Did you know Tasmania has the oldest trees in the world called “Huon pine trees” that exceed lifespans of 10,500 years of age? Did you know the “Tasmanian Devil” is the world’s largest surviving carnivorous marsupial?

Lastly, did you know Tasmania has the world's cleanest air?

Consider this scribe past cleansed, I am enlivened and in rhapsodic bliss. Thank you Dark Mofo for again, enchanting the enthusiasts of the arts universe beyond remarkably.

‍“Return To Me” - a certainty.

‍Divide & Dissolve do the Odeon

Divide & Dissolve
ALTAR, Hobart TAS
‍June 14, 2025
Support: ŽIVA

“Thread the fine eye of time’s needle with your heart, and begin to mend.” – ‘Kingdom Of Fear’, Systemic, Minori Sunchiz-Fung with Divide & Dissolve, 2023.

There was a deep connection between the audience, and both the outstanding outfits that performed on this night. It went beyond observation and the enjoyment of mystical musicianship. These exhibitions offered reflective portraiture of the artists, their perceptions and how to progress in these difficult times. Whether the challenges are faced personally, or on a global scale. The two above enchanting displays, all within the very sold-out ALTAR venue, put forth approaches to help ourselves, and perhaps the world, to “begin to mend.”

‍ŽIVA (real name: Lucija Ivšić) casually climbed atop the ALTAR platform from the front, literally and gracefully from the bar area, without any hesitation or introduction. Her induction into the showcase though, was rather intricate and brilliantly bewildering. A trickling of synthesised vibrations echoed throughout the crammed dance floor space, the cinematic soundscape of Björk is assuredly recognisable, but there was another dimension to it. The admirers were being transported to another galaxy and Lucija Ivšić was its keeper and conductor.

‍‘Dualism’ exhibited characteristics of CIFIKA, however it developed beyond the noise-pop soundscape; this became an industrial hysteria and it was above remarkable. ŽIVA utilises vocal and instrumental loops to create an electronic atmosphere that is brilliantly bewitching, but she performs with a punk intensity that is magnetic.

Frequent exits from the stage into the crowd were electrifying and excellently engaging. Ms. Ivšić would strut, stomp, howl, clap and erotically dance in outbursts of emotional exuberance. It was undeniably, transfixing and spellbinding. 

Some context; Lucija moved to Australia from Croatia in 2019, which was an exceptionally difficult adjustment for the musician. In her previous life, she was the frontwoman for one of the most successful Croatian post-punk bands Punčke – this attribute shone brightly in the dimness of the ALTAR venue. Without doubt, her devotee numbers grew after this demonstration.

‍‘Voices’ possessed a glamourous electronic-pop motif, ‘Bad Blood’ was a dramatic and hypnotic composition that Alice Glass would be envious of. Closer and new single ‘Idle Heart’ was an intensified darkwave pop of wicked witchery that propelled the requirement to dance along. The audience quivered in euphoric enchantment that was only disrupted by the rapturous screams that signified the conclusion of ŽIVA’s ritual.

Some noteworthy characteristics are that Lucija Ivšić sings both in English and her native language. Her difficulties when moving here included a loss of identity and resulting in devastating panic attacks. She eclipsed the notion of gratitude for the audience’s attention this evening, and her insight expressing the following: “If I couldn’t do this, I would be in a lot of trouble” reaffirmed the importance of finding the way to “begin to mend.”

The room to manoeuvre had vanished, visibility was a lottery win at this point. Nevertheless, the aura of the venue was stunningly serene. Calmly, woodwind instrumentalist and guitarist Takiaya Reed entered the stage area, unquestionably Takiaya is an artist who radiates and motivates captivation. If one could see, they were focussed on this magic musician, as well as the phenomenal percussionist that is Scarlett Shred.

From divine clarinet-driven elation, to out of this world doom metal Sunn O))) would admire; this duo is a vivacious visionary. Alchemising a soothing calm to severe calamity in only moments eclipses breathtaking, it is a conveyance of beauty.

Takiaya proceeded to deliver one of the most wholesome and dazzling articulations this writer, and in all probability, Hobart may have heard:

“This show is really special. I get to play with the most amazing musician in the world Scarlett, who is indigenous and from here (Pataway country).”

Comprehensibly, cheers and applause overtook every other recognisable sound in the venue. Takiaya then went onto to discuss subjects such as identity and gender, that in Takiaya’s amazing deliverance, reflected back on the opening quote to this review from their track ‘Kingdom Of Fear’ – “begin to mend.”

“TERFs (trans-exclusionary radical feminists), I hope you have trans kids so they teach you to love.”

“People need to approach people with love. That is what I have tried to and will continue to do.”
“Free Palestine!”

Takiaya also discussed the systematic issues present in our society. Truthfully, the entire monologue was so exquisitely and heart-warmingly delivered, this writer was literally lost in its glowing impeccability (apologies for paraphrasing in this breathtaking speech). I am certain the hundreds present in the venue this evening shared this exact sentimentality.

‍‘Loneliness’ transferred the spectators to an orbit of sonically dreamlike soundscapes with its classical majesty. The track is about connecting with ancestors and that closeness should forever be embraced.

The sincere mystique in regards to Divide & Dissolve is that they empower and invigorate everyone who listens and undertakes their journey. People have pain, people have confusion, and unequivocally, people have uncertainty. This escalates detachment, when the world and people NEED understanding.

“People need to approach people with love.”
“…and begin to mend.”

Introduce this message with enlivening woodwind musicianship, and doom metal that Christopher Nolan wish he could have used for Interstellar – the mending would be invincible.

And thus concludes our venture into the deep south for Dark Mofo once more... Thank you for joining us on this wonderous journey into the abyss.

Words by Will Oakeshott @teenwolfwill