The Adelaide Show

Somewhere in an Indonesian shipyard, a new ferry for Kangaroo Island went quiet for three weeks. Dan Clarke, former South Australian Journalist of the Year, double Kennedy Award winner and Walkley winner, arrives with breaking news: Ruwi is back on the tracking signal. From there we cover his start as a messenger at The Advertiser, his move to the island, and his running of Island Independent and the Kangaroo Island News and Satire page. We also talk about why a small community needs a fourth estate even when some readers find the jokes too negative.

There’s no SA Drink of the Week in this episode.

In the Musical Pilgrimage, Steve Davis and the Virtualosos answer satire with satire. Schrödinger’s Platypus takes a $4 million pledge to bring platypuses back to the River Torrens and asks whether they are in the river, not in the river, or just useful for a press release.

You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concise
page.

Running Sheet: Kangaroo Island News, Satire, and Frontier Journalism

00:00:00 Intro

Introduction

00:00:00 SA Drink Of The Week

No SA Drink Of The Week this week.

00:03:50 Daniel Clarke

Daniel Clarke first came to Kangaroo Island as a boy on family summer holidays at American River. He returned years later with his partner, who had never visited before. She fell for it straight away, and with two young children they decided it was the place to raise a family. He expected freelance work to be scarce. Instead, he says the island has given him the best stories of his career, one after another.

His path into journalism started with storm-chasing videos and the Clarke and Dawe segments on the 7.30 Report. He missed out on the university course and got a cadetship at The Advertiser, starting as a messenger. He describes that job, fondly, as the lowest rung in the building: making coffee, handing out faxes, collecting an editor’s dry cleaning, and once buying a cabbage for an editor. On night shifts, the sub-editors began testing him with headline suggestions. He still remembers seeing his “human shields” line in print the next morning, from a story that tied John Howard to the Iraq War protesters. Steve compares Dan to A.W. Merrick in Deadwood, the newspaperman who hauls a printing press into a gold-rush camp and learns the local power brokers push back. Dan knows the comparison well. He has lost friendships over his stories and still sees those people in the checkout line. But he insists he isn’t looking for conflict. His aim is simple: to make the island “a better place and an easier place for people to live.”

Then we come to satire. After one reader called his posts “misinformation dressed up as satire,” Dan posted a reminder about what satire is for, with a photo of Valerie, the famous missing sausage dog from his Australian Story documentary. His census parody neatly sums up island debate: islanders want visitors, but not too many visitors, and want cheaper ferries, but not so cheap that more visitors come. He says the piece simply repeats what he hears every day. Another post, about a large branch hanging over a bridge at Cygnet River, shows how absurd the jurisdiction problem can be: the tree stands on council land and the branch hangs over a state government road, so a year later it is still there. Dan argues that satire is “almost the softest way of getting a message across,” and that governments dislike embarrassment enough to act on it.

The SeaLink saga is the story Dan would most like to stop writing. The new ferries are more than two years late. The contract, signed under a Liberal government, apparently doesn’t even allow a fine. Almost 30-year-old vessels carry around a quarter of a million sheep off the island each year, and a planned three-day shutdown for ramp works lands in the middle of the sheep-moving season. Earlier cancellations have already cost small tourism businesses thousands of dollars. Steve links this to a wider frustration: governments pursue MotoGP deals while basic services such as freight lag behind.

We finish with Dan’s documentaries. Lost in the Woods, now on Binge, won him a Walkley. It investigates the collapse of the island’s blue gum plantations. Millions of tonnes of timber were planted for carbon credits but had no way off the island once the Smith Bay port was blocked, so the wood is now being burnt. Dan filmed logging from the roadside while koalas were still in the trees, and the footage became a major Channel 7 story. His point was that one person with a camera found what the government’s half-day investigation missed. Island of the Dead, on ABC iview through Compass, is very different in tone. It follows death doula Heidi Grieg and three women at the end of their lives who treated death as ordinary and let him film them. Two of them did not live to see the film. Then Steve asks for the headline for Ruwi’s eventual arrival.

Additional Resources
Kangaroo Island News and Satire (Facebook): news, parody, and the GoFundMe link in the About section if you’d like to help keep independent journalism going on the island

Island Independent: Dan’s news outlet

Lost in the Woods on Binge: the free trial is worth it for this Walkley winner alone

Island of the Dead on ABC iview (Compass): confronting, gentle, and paced to suit the story

Angertainment by Ed Coper: the book Steve recommends on how outrage drives what we pay attention to

Episode 122, Kangaroo Island: A Midsummer Night’s Gin, and Episode 315, from Steve’s visit to 5KIX FM, for more of The Adelaide Show on KI

01:01:04 Musical Pilgrimage

In the Musical Pilgrimage this week we listen to Schrödinger’s Platypus by Steve Davis & The Virtualosos.

A Glam Adelaide headline promised a “major push” to bring platypuses back to the River Torrens, backed by more than $4 million. Reading further, Steve found that the river doesn’t have enough water flow, that foxes, cats and dogs would eat any platypus released there, that there is no identified source of platypuses, and that the study behind the story was from 2022. He also noticed the timing, as the government was changing parklands rules to make way for MotoGP. With Schrödinger’s famous cat in mind, and knowing platypuses spend their days in burrows and their nights underwater, he wrote this song. A cheerful chorus carries a pointed message, and the late physicist turns up in person to explain the “monotreme paradox.” The song follows Dan’s approach to the news: stay calm, state the facts, and let the absurdity show.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

She was a Bavarian baroness, a childhood playmate of Bavarian royalty, fluent in seven languages, and widowed with two children by her early twenties. Somehow she ended up, more than a decade later, presiding over Government House in Adelaide for the entirety of the First World War, married to a man a historian later called the most pernicious governor South Australia ever had. In episode 439, Susan Neuhaus, author of A Woman in a Thousand: Lady Marie Galway, South Australia, and the Great War, sits down with fellow author Lainie Anderson at the Mortlock Library launch to unpack a story that folds together German suspicion, Catholic prejudice, secret concentration camps, peacock-hunting governors and a genuinely radical stand for equal pay.

Paul Burnett, the man behind Galway Pipe’s fortified wines, joins Steve Davis to pour the rare 25-year-old tawny that carries Sir Henry Galway’s name, for the South Australian Drink of the Week.

Steve rounds out the episode with the Musical Pilgrimage, previewing his own composition And Drink to Us, a modern-day Greek folk song imagining an uprising against a tyrant laying waste to a beloved town, inspired partly by Lady Marie’s story and partly by Steve’s own frustrations with short-termism in South Australian leadership.

You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concise
page.

Running Sheet: Lady Marie Galway And Her Husband’s Pipe

00:00:00 Intro

Introduction

00:05:37 SA Drink Of The Week

Steve Davis welcomed regular guest Paul Burnett, who steers the fortified wine program behind Galway Pipe, to pour a genuine rarity: the 25-year-old Rare Tawny, presented in a gift box dripping with the kind of heraldic livery Sir Henry Galway himself would have approved of. Burnett explained that a “pipe” is simply a large barrel, roughly 500 litres, which Sir Henry would personally select to serve visiting dignitaries at Government House. Fittingly, Burnett’s own team once repeated the ritual for a modern-day governor, presenting six base tawnies to Government House and letting the current occupants choose their favourite for a bespoke blend.

Tasting notes ran from cathedral organ tones and rancio to fruitcake, nutmeg and dried orange peel, with Steve reaching for an unlikely comparison: a luxury car’s suspension, so smooth and integrated you barely notice the road beneath you. At roughly $100 a bottle and 18.5 per cent alcohol, Burnett’s advice was blunt: don’t save it for a special occasion, because opening it is the special occasion, since all the ageing has already been done. Refrigerate after opening, he suggested, and gather six or seven friends, because at 7.3 standard drinks a bottle, this is one built for sharing rather than saving.

00:25:30 Susan Neuhaus and Lainie Anderson

Lady Marie Galway arrived in Adelaide in April 1914 as the new governor’s wife, greeted with what Susan Neuhaus called a celebrity welcome: Outer Harbor decked in flags, bands playing, crowds packing the town hall for a glimpse of her and Sir Henry. Lainie Anderson put it more bluntly on the night: they arrived like the Beatles of their day. Nobody in that crowd could have known that within four months the world would be at war, and that this elegant, seven-language-speaking baroness, half Bavarian, half Anglo-Irish, and a practising Catholic in an overwhelmingly Protestant colony, would spend the next four years quietly running the state’s entire volunteer war effort out of the stables at Government House.

The contrast with her husband could not have been starker. Sir Henry Galway, twenty years her senior and a career colonial administrator, married Marie in England in August 1913, and it was only a week after the wedding that the announcement came that he was to be South Australia’s seventeenth governor. Neuhaus is clear that this was, by all accounts, an arranged marriage, though she admits she isn’t certain why. He was, in Neuhaus’s telling, a man whose idea of a good afternoon was hunting peacocks, who opposed votes for women, dismissed returned soldiers as lazy, and drew so many complaints to the Colonial Office that a historian later described him as the most disliked governor the state ever had. Marie, ever discreet, left no recorded complaint about him. The closest anyone got was a Broken Hill mayor warning her that angry locals might throw Sir Henry out a window, to which she reportedly replied that the mayor had better tell him that himself.

While Henry postured, Marie built institutions that still stand today. Within days of war breaking out she received a telegram asking her to establish South Australia’s first Red Cross, and did, turning the Government House stables into a sorting depot for socks, knitting and parcels bound for the front. She founded the Lady Galway Convalescent Home at Glenelg, backed the Cheer Up Society, edited a fundraising book for Belgian relief that roped in contributors from Douglas Mawson to C.J. Dennis, and, most strikingly for 1914, stood before the Chamber of Commerce and insisted that women moving into clerical and bookkeeping roles be paid the same rate as men.

That last point matters more than it might first appear, given the world she was navigating. As the war ground on, anti-German hysteria swept South Australia: German-owned shops on Rundle Street had rocks thrown through their windows, the German language was banned outright, churches at Angaston and Edithburgh were burned down, and a concentration camp operated on Torrens Island, just twelve miles from her front door. Neuhaus admits she still doesn’t know how much Marie knew of what was happening there, but the enigma at the centre of the book is really Marie herself: a woman of German and Catholic heritage who somehow escaped the press scrutiny and public suspicion that consumed almost everyone else who shared her background, and who left South Australia so beloved that the Catholic Archbishop credited her with inspiring a generation of women to believe in their own capabilities.

Additional Resources
A Woman in a Thousand: Lady Marie Galway, South Australia, and the Great War by Susan Neuhaus is available now, with the launch hosted by the State Library of South Australia at the Mortlock Library.

Murder Mystery Writer, Lainie Anderson.

The Virtual War Memorial Australia, of which Susan Neuhaus is patron, holds further resources on South Australians’ First World War history.

01:12:52 Musical Pilgrimage

In the Musical Pilgrimage this week we listen to And Drink To Us by Steve Davis & The Virtualosos.

Steve closed the episode with And Drink to Us, a new track from Steve Davis and The Virtuosos. Reflecting on Lady Marie Galway’s willingness to put her position and Government House’s resources to work for people who genuinely needed help, Steve found himself thinking about agitation and resistance against destructive leadership throughout history, sharpened by a recent re-read of The Iliad and viewing of The Odyssey. The result is a modern-day Greek folk song, cast as a flight of fancy, following a narrator preparing to fight a tyrant who is destroying their town: a haunting, olive-tree-and-candlelight ballad of farewell, defiance and shared wine while there’s still time. Steve floated the hope that a Greek performer might one day breathe further life into the track.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

Steve Davis surprised himself this week by liking not one but two posts from South Australian Liberal politicians, so he called in long-time political commentator Robert Godden and geopolitics expert David Olney to ask a pointed question: is Peter Malinauskas becoming the Liberal Party’s secret weapon, not by helping them, but by driving his own supporters into their arms? The verdict: Jack Batty and Ashton Hurn are operating like grown-ups in a party otherwise described as riddled with “decrepit fossils and weird cultists,” and the conversation turns to whether Malinauskas’s drift from consensus premier to contentious premier is manufacturing the very opening they need, while the Liberals themselves remain too fractured to properly capitalise on it.

From there the trio put South Australia’s Health Minister through the wringer, running his saccharine response to a horror day of ambulance ramping through The Adelaide Show’s free Spin Detector tool, which diagnoses the reply as “flooding the zone with warmth” while the union’s four specific claims quietly leave the room. This episode did not include an SA Drink of the Week segment.

The conversation closes on the value, or otherwise, of protest, with Robert and David comparing Sunday’s planned Stop the Chop march to the Vietnam moratorium marches and the Arab Spring, before Steve rounds out the episode with the Musical Pilgrimage: his own new ska track, For Pete’s Sake, a “streetwise, maybe slightly embittered” take on politicians who set sail from the people who elected them.

No SA Drink Of The Week this week.

You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concise
page.

Running Sheet: Is Peter Malinauskas A Liberal Party Asset?

00:00:00 Intro

Introduction

00:00:00 SA Drink Of The Week

There is no SA Drink Of The Week this week.

00:04:53 Robert Godden and David Olney

Is Peter Malinauskas, without meaning to, building the Liberal Party’s next asset? That’s the question Steve Davis put to Robert Godden and David Olney after finding himself, against every instinct, liking videos from Bragg MP Jack Batty and Opposition Leader Ashton Hurn. Godden’s answer arrived with a caveat wrapped in a compliment: “it would have to be said that Ashton Hirne and Jack Batty have only a vague resemblance to the entire rest of the Liberal Party.” He rates them as two capable, switched-on operators surrounded by what he bluntly called “decrepit fossils and weird cultists” — but he’s blunt about where any Liberal opportunity is actually coming from. Asked whether there’s now something for the Liberals to seize, Godden pushed back hard on the framing: “I don’t agree with that… They’re riven with division,” pointing to a 40,000-signature petition against the premier as evidence that discontent is building on Labor’s own side of the ledger, not because of anything the Liberals have done.

David Olney sharpened that point into a broader theory about how governing parties eventually lose the benefit of the doubt. “At a certain point, the ideology smells like five-day-old fish,” he said, and once a party in power starts breaking things badly enough, voters go looking for competent alternatives regardless of their politics. In this reading, Batty and Hurn aren’t succeeding because the Liberals have fixed themselves — they’re succeeding because Malinauskas’s own missteps are softening up his supporters and making them receptive to a Liberal alternative for the first time in years. Godden underlined how fragile even that is, noting a federal example where a promising, competent candidate “lasted six months before the rabble that has no chance of winning decided that they’d rather destroy it for themselves than destroy her.”

The pair also dismantled the comfortable idea that Labor’s 41 per cent polling represents genuine popularity. As Godden put it, “if a 39, 40% is a big win these days, you know, two-thirds of people don’t actually want you there,” while Olney pushed further into theory, arguing that Australia’s compulsory voting system means elections are increasingly decided by negativity bias rather than enthusiasm: “more people reach decisions in politics not based on who I like, but on based on who I don’t like.” The implication, left hanging over the rest of the segment, is that if Malinauskas keeps generating reasons for his own base to switch off, Batty and Hurn may not need to do very much at all to become the beneficiaries.

The discussion pivoted from parliamentary sparring to street-level action, with Steve Davis probing whether Sunday’s Stop the Chop march — protesting parkland clearing for a motorsport event — carries any real weight in 2026. Godden was characteristically unsentimental: “the only benefit you’ll get out of this march is, is publicity, and continuing to maybe foment more anger in the community, because 40,000 quite angry people won’t get it there.” Olney offered the historical counterpoint that protest’s real value in the 1960s wasn’t its immediate political impact but the fact that it taught a generation “relearning collective action, relearning organisation, relearning holding their political leaders to account” — skills he argues have atrophied in a population that has “shrunk into our little black screens.”

That theme of decline without a single dramatic collapse ran through the episode’s most striking tangent, when Olney cited historians’ work dating the fall of Rome not to the sacking of the city but to the point where the empire “stopped solving more than half of its problems every year” — a shift he places somewhere between 112 and 142 CE, and which he half-jokingly maps onto Australia’s own trajectory from around 1980. Godden couldn’t resist the follow-up: does that make Malinauskas South Australia’s Trajan? “Yeah, basically,” Olney replied, before noting the state is still waiting on its Marcus Aurelius.

00:45:30 Musical Pilgrimage

In the Musical Pilgrimage this week we listen to Pete’s Sake by Steve Davis & The Virtualosos.

For this episode’s musical pilgrimage, Steve Davis premieres his own composition rather than paying tribute to another artist: “For Pete’s Sake,” a comedic ska track from Steve Davis and The Virtuosos, built to fuse the genre’s “upbeat, zany” energy with pointed commentary on the state government’s parklands and MotoGP saga. The song was directly inspired by the premier’s choice of language toward protesters, whom he has variously labelled “ragtag extremists” and “cultural elites,” a framing Davis skewers by noting the real elite will likely be sipping champagne in the “exclusive money can’t buy VIP areas” at the racetrack itself. As Davis puts it, sometimes many a true word is spoken in jest — and occasionally it gets sung in ska.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

Adelaide Climate Action Week co-founder Mark Rowland joins Steve to unpack The Great AI Climate Debate, the Oxford-style contest his organisation staged this week between the “carbon glutton” and “silicon saviour” camps. Rather than settling for headline alarm about data centres guzzling power like mid-sized nations, Mark walks through the nuance: how much of that energy use is genuinely AI rather than general cloud computing, why the time horizon people use to judge AI shapes their verdict, and how concepts like the Jevons paradox and the “time value of carbon” complicate any tidy answer. He leaves listeners with a practical, human-scaled way to think about their own digital footprint.

Renmark’s 23rd Street Distillery supplies the South Australian Drink of the Week, and it’s a genuine coup: their single malt has just been named Australian Distillery of the Year at the New York International Spirits Competition, outscoring Glenmorangie, Highland Park and a 31-year-old Crown Royal. Head distiller Paul Burnett returns to the show to talk peat, oak and the fine art of finishing a whiskey in casks that once held tawny, muscat and Tokay.

The Musical Pilgrimage closes the episode on a reflective note, with Steve premiering his own composition, Higher Legacy, written for two Adelaide City Council gardeners whose combined century of service tending the city’s parks and squares is honoured on a plaque in Rymill Park — and for everyone, past and present, quietly building something worth protecting.

You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concise
page.

Running Sheet: The Great AI Climate Debate

00:00:00 Intro

Introduction

00:04:00 SA Drink Of The Week

There SA Drink Of The Week this week is 23rd Street Distillery Australian Single Malt Whisky.

Steve opens with a pop quiz: name a South Australian product that just outscored Glenmorangie, Highland Park and a 31-year-old Crown Royal at a fraction of the price. It’s whiskey, specifically Renmark’s 23rd Street Distillery, freshly named Australian Distillery of the Year at the New York International Spirits Competition, with their single malt scoring 96 points against entries from 39 countries.

Head distiller Paul Burnett, returning for another visit, credits the win to restraint rather than showmanship: a low-level peat profile, around half a percent in the finished blend, used as what he calls a “complexing agent,” paired with an unusually wide range of cask finishes, from first-fill bourbon barrels to old tawny, muscat and Tokay casks. Steve, tasting alongside him, works through notes of honeyed fruit, fig, all-spice and a citrus edge that shifts as the glass warms in his hand, while Paul walks through the distinction between “heads, hearts and tails” in distillation and how the team’s small-batch, six-way finishing blend has quietly shifted in proportion release after release.

The pair also compare notes on serving it right: a proper tulip glass, a touch of water, room temperature rather than ice, and, in Paul’s case, a slice of chocolate or nuts alongside it. Steve, for his part, admits an evening spent testing whiskey sours and old fashioneds the night before only confirmed his preference for drinking it neat.

00:35:20 Mark Rowland and Adelaide Climate Action Week

Steve opens by declaring his hand: he uses AI daily for work, has solar and a battery, drives an EV, and admits the more he learns about what sits behind that lifestyle, the less smug he gets to feel about it. It’s a fitting frame for a conversation built around nuance rather than tribal certainty.

Mark explains why Adelaide Climate Action Week chose an actual Oxford-style debate over a polite panel discussion, tapping into people’s competitive instincts to get them to actually take a position rather than scroll through it. The audience voted before and after: undecided voters dropped from 24% to single digits, and belief that AI will be a net negative for climate rose from 56% to over 70%. The real story, though, was in the follow-up conversations, where the deciding factor wasn’t the argument itself but the time horizon people used. Ask about the next five years and the mood turns pessimistic; ask about 20 to 50 years out and people start to believe things will improve.

The pair dig into the “carbon glutton” case, distinguishing AI-specific energy demand from data centres in general, since cloud storage and streaming were already drawing power long before AI arrived. Mark points out that air conditioning, EV charging and industrial electrification are all expected to outgrow AI’s energy demands in the years ahead, and that steel and concrete for data centre construction already account for roughly 14% of global emissions. He also raises a genuinely alarming case: a data centre approval in an African nation that led authorities to cut off a village’s water supply, with fatal consequences, the kind of guardrail failure he says South Australia needs to avoid as its own data centre legislation opens the door to rapid growth.

On the more optimistic “silicon saviour” side, Mark describes a proposed Barossa data centre project that would generate two to three times the renewable energy it needs, feed the surplus back into the community, and capture atmospheric moisture from its waste heat to supply water to nearby farmers and wineries, reducing pressure on the Murray. He frames this as “hybrid intelligence” in action: letting machines handle the split-second optimisation work, like grid load-shifting to squeeze more renewables in without new poles and wires, while humans retain the judgement calls machines aren’t suited to.

Steve presses on the Jevons paradox, the pattern where efficiency gains simply invite greater use rather than genuine savings, and confesses to his own sprawling AI toolkit, from Claude to NotebookLM to Suno. Mark’s response is refreshingly proportionate: an individual’s prompt volume is negligible against industrial-scale use, and Google’s own sustainability reporting shows the energy and water cost per prompt has dropped by roughly half in a couple of years, even as overall usage climbs. The conversation lands on the “time value of carbon,” the idea that AI’s emissions are happening now while its promised climate benefits, if they arrive at all, are speculative and delayed. It closes with Mark’s own conviction, shaped by a master’s degree in climate change, that humanity’s Anthropocene-era warming is real, drawn partly from personal memory of snow days in his native England that simply don’t happen anymore.

Asked to leave listeners with something to hold onto, Mark returns to a theme James Clear would recognise from Atomic Habits: start with the smallest available step. Downloading rather than streaming a favourite album, watching YouTube at 720p instead of 4K on a phone, deleting old emails sitting in a data centre somewhere: none of it solves the problem alone, but it restores a sense of agency against the temptation to slide into overwhelm or apathy.

Further information

Adelaide Climate Action Week

Google’s 11th annual Environmental Report

01:27:56 Musical Pilgrimage

In the Musical Pilgrimage this week we listen to Higher Legacy by Steve Davis & The Virtualosos

The Musical Pilgrimage takes an unexpectedly personal turn this week. Prompted by a photograph shared in a local Facebook group of a plaque in Rymill Park honouring brothers Antonio and Carmine Lepore, whose combined century of tending Adelaide’s parks and squares began back when Clydesdales still pulled bakers’ carts through the suburbs, Steve wrote an original song called Higher Legacy.

Inspired by the plaque’s closing line, borrowed from the idea that a society grows great when people plant trees whose shade they’ll never sit in, the song also nods to Jane Goodall’s advice to Adelaide listeners years ago: when the world’s problems feel overwhelming, start with the square metre you’re standing on. Brought to life with Steve’s virtual session band, The Virtualosos, it’s offered as a piece for anyone who wants to take it, own it, and perform it as their own.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

If you’ve ever felt that nagging sense that the South Australia you were promised at the ballot box isn’t quite the one being delivered, this episode is for you. Stewart Sweeney arrived in Adelaide in 1975 to work inside the Dunstan government’s industrial democracy unit, and fifty years later he’s applying that same insider’s eye to a premier he believes is running the tobacco industry’s old doubt-sowing playbook against the citizens fighting to save the Park Lands. It’s a long, unhurried conversation – fitting, Steve notes, for an episode built around a Negroni “made to be sipped slowly and savoured.”

On that note, before the main event, in the SA Drink Of The Week, Alexis and Tina Cattley – the show’s resident cocktail authorities – put Never Never’s Panettone Negroni through its paces, fresh off its win as World’s Best Contemporary Cocktail at the 2026 World Drink Awards in London.

And in the Musical Pilgrimage, Adelaide music legend John Schumann returns with the Vagabond Crew to perform and unpack “Rag-tag Extremist Blues,” the song born directly from Malinauskas’ now-infamous put-down of Park Lands protesters.

You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concise
page.

Running Sheet: Rag-Tag Extremists

00:00:00 Intro

Introduction

00:04:32 SA Drink Of The Week

There SA Drink Of The Week this week is Never Never Panettone Negroni.

Steve, self-declared “Negroni newbie,” calls in reinforcements for this one: returning cocktail experts Alexis and Tina Cattley, last on the show refereeing a Crows-versus-Power gin showdown. They start with a reference Negroni built by Alexis from Never Never triple juniper gin, a Ruby Bitter in place of Campari, and a small-batch Rosso vermouth from David Franz, north of Adelaide – a drink Steve describes as landing “like a cloud-like pillow,” with a gentle bitter-orange finish. Tina, a self-described “Negroni naysayer” put off by Campari’s bitterness, finds herself won over by how the flavours linger and play off one another.

Then comes the star of the segment: Never Never’s bottled Panettone Negroni, fresh from being crowned World’s Best Contemporary Cocktail at the 2026 World Drink Awards in London, and born behind the bar of the brand’s McLaren Vale distillery door before going nationwide. Built from triple juniper gin, a bitter citrus aperitif, sweet vermouth, aged muscat, orange liqueur, rye distillate and vanilla bean, it lands as something else entirely – “IMAX Christmas cake inside my mouth,” in Steve’s words. Alexis reckons it’s the perfect entry point for Negroni sceptics and a ready-made Christmas gift (buy two bottles, he warns – one won’t survive the wait), while Tina, newly vindicated in her Campari aversion, likens it to a sherry or port with all the spiced-cake flavour of the season, minus the traditional Negroni’s lingering bitterness.

00:18:51 Stewart Sweeney

Stewart Sweeney has spent fifty years watching power slip loose from democratic control, and he’s watched a lot of it from the inside. In January 1978 he was working inside the Premier’s department when Don Dunstan sacked his own police commissioner over the Salisbury affair – a decision a Royal Commission later vindicated. Nearly fifty years on, Steve posits that the shoe is now on the other foot: where Dunstan acted because he felt deceived by an official, he contends today’s citizens are the ones being deceived, by a premier “savaging our Parklands for a golf tournament and a motorcycle race.”

Sweeney’s own arrival in South Australia is a story in itself. A Glaswegian socialist who’d been coaching tennis in upstate New York and found himself unexpectedly unemployed back in Scotland, he stumbled into a tutoring job at the University of Tasmania, landed – almost by accident – in the middle of the Lake Pedder fight, and was introduced to the Democratic Labor Party within his first week in the country by his next-door neighbour, a young Gerard Henderson. From there it was a short hop to Adelaide and Don Dunstan’s Unit for Industrial Democracy, where Sweeney worked alongside economist Phil Bentley on an initiative to bring worker participation into South Australian workplaces – and where, as a footnote that says a great deal about how political communication has evolved, a young Mike Rann landed his very first Adelaide job doing media for the unit. Steve puts it to Sweeney that this early media training was the first real sign of rot in the system – the moment premiers became unreachable, hiding behind stage-managed doorstops instead of being interviewed. Sweeney doesn’t fully disagree, though he tempers it: whatever else came of it, Rann’s genuine gift was for writing speeches fast and communicating big-picture ideas clearly, “sort of decades before AI.”

The conversation’s sharpest edge comes when Steve puts the government’s own numbers to Sweeney: the premier’s claim that only 585 of the Park Lands’ roughly 9,000 trees are affected by the disputed golf and motorsport development, against Park Lands management’s markedly different tally. Sweeney names the mechanism he believes is at work – the doubt strategy pioneered by the tobacco industry against the medical evidence on smoking. You don’t need to win the argument, he explains – you just need to plant enough doubt to keep people from acting on their convictions. Layer social media on top of that old tobacco-industry trick, he argues, and doubt becomes exponentially more powerful. Steve adds a live example of his own: an anti-protester Facebook page mocking demonstrators as “NIMBYs,” liked by the premier and half his ministry, that nobody in Labor will admit to running.

None of this is abstract history for Sweeney – he’s a park guardian for Park 11 North, and he brings real texture to what’s actually at stake. He unpacks his argument that Adelaide’s Park Lands and squares are treated as “available” land rather than civic inheritance – fenced off for events for weeks at a time, repeatedly re-turfed and re-fenced in what he calls an annual cycle of “fence, event, repair” – and traces the intellectual lineage of the neoliberal thinking now driving those decisions back to a 1949 gathering in Switzerland convened by Friedrich Hayek. He also charts how a shrinking, disciplined leadership pipeline – what he only half-jokingly calls “Farrellism,” after Senator Don Farrell – has narrowed South Australian Labor’s internal debate at exactly the moment its base is most restless, evidenced by the wave of Adelaide residents telling him online, in effect, “I loved Peter Malinauskas, but now I hate Peter Malinauskas.”

Sweeney closes on a note that’s more hopeful than the rest of the conversation might suggest. Reaching for the “world systems” thinking that has shaped his outlook for three decades, he reminds listeners that empires, ideologies and premierships all eventually give way to something else – pointing to the radical London reformers who dreamed up the idea of Adelaide in the first place, and to public servant Wainwright, whose ideas quietly transformed the Playford-era economy, as proof that a handful of good ideas, patiently pursued, can still redirect a small regional economy like ours.

Further articles by Stewart Sweeney

Manufacturing Doubt: Peter Malinauskas’s Political Weapon

Think “outside the fence”

Power without power: Is Farrellism Labor’s solution or its problem?

Productivity is the symptom. Rentier capitalism is the disease

01:45:23 Musical Pilgrimage

In the Musical Pilgrimage this week we listen to Rag-Tag Extremist Blues by John Schumann & The Vagabond Crew.

The episode closes with John Schumann and the Vagabond Crew performing “Rag-Tag Extremist Blues” – a song that exists purely because Peter Malinauskas dismissed Park Lands protesters with that exact phrase.

Schumann, a good deal more measured these days than in his fiery Redgum years, tells Steve he “grabbed it and expanded on it,” deliberately framing his cast of extremists as ordinary South Australians: a retired teacher, a war veteran, taxpaying citizens who’ve never broken a rule in their lives.

He’s candid that his fear is less about the golf course – “that boat’s sailed” – and more about the MotoGP development still to come, and about a public whose attention span, he admits, will inevitably wane long before the next election.

Streaming and download proceeds go directly to the Adelaide Park Lands Association, and the band will donate part of every ticket sold for their show at The Gov on 29 August to the same cause.

Link to all things John Schumann including links to upcoming shows and music

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

If last episode cracked open the lid on South Australian politics, this one peers inside the engine. Steve Davis reunites with international relations analyst David Olney, and is joined by long-time Adelaide Show political commentator Robert Godden for a compact but chewy conversation about why our democratic system reliably produces a certain kind of politician, and what, if anything, citizens can actually do about it.

The SA Drink of the Week does not feature in this episode.

The Musical Pilgrimage closes the episode with something deeply personal: Steve’s original song, Goodnight Don, a Brechtian cabaret-styled tribute to Don Dunstan that names Steele Hall as an unlikely hero of South Australian progress; a fitting coda to an episode about leaders who felt compelled, rather than merely ambitious, to change the world.

You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concise
page.

Running Sheet: The Adelaide Show Spin Detector

00:00:00 Intro

Introduction

00:00:00 SA Drink Of The Week

There is no SA Drink Of The Week this week.

00:02:00 David Olney and Steve Davis

David Olney’s opening thesis sets the frame: stop blaming the individual politician and look at the system that produced them. Political parties absorb people at eighteen. By their mid-thirties, the successful ones know the rules, know who to listen to, and know how to sell the message. Whatever they were before they entered that pipeline is largely beside the point. Party discipline does the rest.

Robert Godden comes at it from economics, or more precisely from the widespread misunderstanding of it. Almost every political party fails to grasp that incentivisation and punishment change behaviour, which is why the same voters who accept cigarette taxes as behaviour-modification tools will simultaneously insist that everything else they disapprove of should be dealt with outside the law. Godden’s observation that he would personally outlaw religion and instant coffee, while conceding not everyone shares his distress about either, is the episode’s warmest moment in a conversation that doesn’t have many warm ones.

The thread tying both arguments together is shame. For hundreds of years, Godden argues, the one reliable corrective available to citizens was the ability to shame politicians into doing the right thing. That rulebook got torn up in 2016. Steve says “because of Trump.” Godden confirms it. Two words and the subject is closed.

After Godden departs, the conversation turns to what collective action actually looks like when the system is this good at absorbing or deflecting pressure. Steve raises Possum Park as an example of the government’s capacity to flood the zone, announcing Gather Round to push the other issue off the front page. Olney draws on Ted Robert Gurr’s theory of relative deprivation: collective action only rebuilds when enough people believe both that things should be better and that they are in fact getting worse. We are only just entering that zone. The grassroots energy Steve is seeing is not wishful thinking; it is the early stage of the only mechanism that has ever produced real political change.

Barbara Pocock closes the argument. She is Olney’s model of the kind of leader collective action eventually produces: not someone who wanted to rule the world, but someone who looked at the state of things and felt she could no longer sit and do nothing. The contrast with the party-machine pathway, Malinauskas entering politics through the party room before he ever held a seat, Ashton Hurn as Marshall’s comms manager before pre-selection, is left to speak for itself.

The Spin Detector

Steve has built a tool, available on The Adelaide Show website, inspired by Ed Coper’s Angertainment and a good deal of additional thinking. You paste in a social media post and its comments. You choose whether you want a draft reply or simply an analysis of what rhetorical move is being played. The tool’s one job is to identify the mechanism, name it, and give you the option to respond or simply move on better informed.

The worked example is a meme circulating from a One Nation-adjacent account: Gina Rinehart above, Albanese below, the implicit message being that her money is hers to spend and his is yours to waste. Pasted into the Spin Detector, the tool surfaces what the meme papers over. Rinehart’s wealth comes from royalties on sovereign natural resources. As Olney notes immediately, that makes her money our money, and we have a system that allows her to keep taking it. The same voters this meme targets often also support taxing international gas companies on the same principle. The meme cannot survive both positions, but that inconvenience is the point of the meme.

Olney’s observation about pace is the practical underpinning: every second between seeing something and reacting is a second in which the emotional charge dissipates and clearer thinking becomes possible. The Spin Detector is a structured pause. Steve calls it a mini David in a bottle. Olney asks only that nobody shake it.

Steve is open about the fact that hosting logistics are still being worked out, and that if the tool proves useful, a conversation with Ed Coper about something larger may follow.

The following resources were mentioned during the episode.

Books

Angertainment by Ed Koper
The Spin Detector

00:31:38 Musical Pilgrimage

In the Musical Pilgrimage this week we listen to Goodnight Don by Steve Davis & The Virutalosos.

The closing conversation touches on what Don Dunstan would make of a Labor government in 2025, and on the historical context Steve uncovered while writing the song: that neoliberalism had not yet fully gripped the Labor party during Dunstan’s era, that shift arriving more in John Bannon’s time, and that Steele Hall, Dunstan’s political opponent, played a genuine role in making the reform era possible by supporting electoral changes that cost him politically but were simply the right thing to do.

Goodnight Don is Steve’s original composition, performed by Steve Davis and The Virtualosos, written for a cabaret performer to take on and bring to life. It gives Steele Hall his own verse, which feels right in the context of an episode about the rarity of politicians who act from obligation rather than calculation. Steve writes all lyrics by hand. The Virtualosos bring them to life.

PS The image for this episode was taken as part of the SA Electoral Commission's campaign to urge people to vote in the 2026 State Election.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

This is not a typical Adelaide Show episode. For the first time in 434 instalments, Steve Davis opens by confessing he’s not sure how many more episodes there will be because something has broken in him. Not in South Australia’s people, whom he loves unreservedly, but in his trust of the state’s governance. What follows is one of the most honest conversations the show has ever hosted.

There is no SA Drink of the Week this episode. The mood didn’t call for it.

In the Musical Pilgrimage, Steve closes with Australia Day by Steve Davis & The Virtuosos, a song whose thesis turns out to be the quiet heart of everything discussed: that we’ve retreated into our selfish dwellings, stopped sticking our arms over the fence to say hello, and in doing so have left ourselves vulnerable to exactly the kind of politics this episode is about.

You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concise
page.

Running Sheet: Something Has Broken: SA Politics, the Park Lands, and the Politics of Distraction

00:00:00 Intro

Introduction

00:00:00 SA Drink Of The Week

There is no SA Drink Of The Week this week.

00:03:15 David Olney and Steve Davis

Steve opens by describing where he is: not disconnected from South Australia’s people, but from its governance. He says he is earnestly worried, and that there is no performative aspect to the episode. To stress-test his thinking and provide context, he has invited back David Olney, whose academic background covers history, international politics, international security, and complex problem-solving. David notes that colleagues once told him he thought more like a psychologist or neurologist than a political scientist, always searching for the human motivation beneath structural problems.

David introduces the work of political theorist Ted Robert Gurr, who studied the conditions preceding revolution across different periods of history. Gurr found two sequential thresholds: first, when people stop believing things will get better; and second, when they become convinced things are actively getting worse. Steve places himself at Gurr’s second threshold, citing the government’s handling of the algal bloom, a secret tower deal at peppercorn rent, tree clearing in the Park Lands for a golf event, and the prospect of further clearing for a motorcycle race. His concern is not with the events or sports themselves but with the irreversible damage to trees that Tourism SA uses to represent Adelaide.

Two further things have deepened Steve’s despair. The first is what he reads as a coordinated flood of upbeat ministerial social media videos that do not address the Park Lands issue at all. He sees it as a tactic borrowed from Trump’s playbook. The second is the government’s launch of a media literacy tool to help students decode messaging, at the same time as the government itself, in Steve’s view, avoids transparency, attacks critics personally rather than engaging with their arguments, and operates through private deals. David draws on Rebecca Costa’s book The Watchman’s Rattle to frame this: Costa observed that as civilisations struggle to deal with significant problems, political attention shifts to small and peripheral ones. David’s illustration from literature is the war in Gulliver’s Travels fought over which end of a boiled egg to crack.

Steve recommends the book Angertainment by Ed Koper as a guide to recognising this pattern. He uses Koper’s framing to contrast two dystopian visions: Orwell’s 1984, where repression at least provokes resistance, and Huxley’s Brave New World, where a population entertained into passivity never finds cause to push back. David agrees that Huxley’s version is the more troubling of the two.

David then explains neoliberalism at Steve’s request: the economic model adopted across the English-speaking world in the early 1980s under Thatcher, Reagan, and Hawke, which replaced mixed economies with market-driven ones. David argues that the mixed economy model of the postwar decades, while imperfect, delivered stable living standards and could absorb shocks. What replaced it produced private monopolies, underinvestment in infrastructure and services, and a political landscape where both major parties operate within the same economic framework. His summary: in Australia, both parties wear one jackboot and one fluffy slipper. David connects this to the growth of parties like One Nation and Britain’s Reform Party, arguing that voters who have seen no meaningful improvement from either major party are reaching for alternatives, not out of ideological conversion but out of exhaustion.

Steve raises a related concern: that the same billionaire interests bankrolling One Nation-type parties have no real incentive to disrupt neoliberalism, which raises questions about where that political energy actually leads.

Toward the end of the episode, Steve reads from a reply he has just received from his federal member, written in response to a handwritten letter he sent six weeks earlier about a gas tax. The reply is considered and personal, acknowledging hundreds of individual constituent responses and explaining the member’s position. Steve describes it as a strand still holding, though he is careful not to place too much weight on it. David names two economists whose recent books offer some grounds for thinking a better model is possible: Mariana Mazzucato and Daron Acemoglu.

Steve closes by naming David Pocock as an example of what a politician in this era can be, and David adds Barbara Pocock to that list. The episode ends with a brief exchange about what Don Dunstan and Malcolm Fraser might have made of where their respective parties have ended up.

The following resources were mentioned during the episode.

Books

Angertainment by Ed Koper
The Watchman’s Rattle by Rebecca Costa
Brave New World by Aldous Huxley
1984 by George Orwell
Amusing Ourselves to Death by Neil Postman
The Common Good Economy by Mariana Mazzucato

Podcasts

The Rest is Politics with Alastair Campbell and Rory Stewart
The Rest is Politics US featuring Anthony Scaramucci

00:42:34 Musical Pilgrimage

In the Musical Pilgrimage this week we listen to Australia Day by Steve Davis & The Virutalosos.

Steve introduces Australia Day as a song exploring how Australia lost the social conditions that made postwar migrant integration work. The central argument is that Italians, Greeks, and Vietnamese newcomers were absorbed into communities partly because people had time and proximity, sticking their arms over fences and saying hello. McMansions, mobile phones, and an economic model built on scarcity and anxiety have eroded that. David adds that prime ministers who romanticised the 1950s as a human ideal were simultaneously promoting the economic model that made those conditions impossible to replicate. Steve writes the songs and uses a virtual session band to produce them, with the hope that a live musician will one day take them further.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

There are episodes of The Adelaide Show, and then there are events. This is one of the latter. Recorded live at the Mercury Cinema as part of South Australia’s History Festival 2026, History Hit Parade brings together broadcaster and journalist Keith Conlon and host Steve Davis for a ninety-minute show that weaves original songwriting with storytelling, historical context, and the kind of warm, unhurried conversation that feels like sitting in a room full of people who actually know where you live. Ten songs. Ten slices of South Australian life. All of them written with pen and paper by Steve, given musical life through his AI-assisted “virtual session band,” and offered here as what he describes as “audition pieces” for real musicians who might one day make them their own.

There is no SA Drink of the Week in this episode.

The entire show is the Musical Pilgrimage. Rather than a single track appended at the end, this episode is the songs, each one set up by Keith’s historical grounding and Steve’s personal connections before the music rolls. Full notes on each song appear in the segment breakdown below.

You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concise
page.

Running Sheet: History Hit Parade

00:00:00 Intro

Introduction

00:00:00 SA Drink Of The Week

There is no SA Drink Of The Week this week.

00:04:07 History Hit Parade

The Mercury Cinema is not a neutral venue for Steve Davis. He was married there on a sweltering 42-degree December day in 2002. He launched Talked About Marketing there. And it is where, on two days in May 2026, he and Keith Conlon performed History Hit Parade to an audience that included Steve’s parents, his former drama teacher, the chair of the History Trust, and the real-life couple immortalised in one of the songs.

The name History Hit Parade, Steve reveals, was Keith’s idea, drawn from his memory of the Harold Wright Hit Parade on 5AD, a Thursday-night ritual of about eight or ten songs in an era before the Top 40 existed. Buddy Holly, Elvis, Perry Como, and Pat Boone: that was your week’s music. The name lands perfectly for a show that does something similar, except every track is an original, and every track is South Australian.

Song 1: Jack and Lil (Up Please, Going Up)
Keith sets the historical scene: John Martins began as Peters and Martin, a drapery store in Rundle Street, until Mr Martin was released from his duties due to what Keith delicately describes as “debauchery.” The Hayward family eventually took the helm, and it was Sir Edward Hayward who, in 1933, looked to Canada for inspiration and brought the Christmas Pageant to Adelaide. He was so nervous before the first one that he hired a biplane, circled the inner suburbs with a megaphone, and personally invited people to come. They did. About 300,000 still do, each year.
The personal thread in this song belongs to Steve’s maternal grandparents, Jack and Lil, whose photograph appeared on the screen behind him. Lil worked in the kitchenware department. Jack was the young engineer installing the new lifts in the building during the 1930s. The rest, as Steve says, is history. The song follows their life together as their family grows, moving floor by floor through what John Martins offered, with the lift ladies’ announcement, “Up please, going up,” as its guiding refrain. Steve thanks Paul Flavell, who has written a book on John Martins, and former John Martin’s planner, Robert Tedstone, who provided a complete floor-by-floor inventory to keep the lyrics accurate.

Song 2: Oh Marion
Marion, the suburb, was surveyed in 1838 by Colonel Light’s private firm after Light had broken with Governor Hindmarsh. The name comes from Marianne, daughter of resident commissioner James Hurtle Fisher, though somewhere along the way Mariannen became Marion. Keith’s own connection is fond: his father learned to drive in the 1950s by heading south into the almond groves and vineyards of Marion, where the long straight roads offered room to practise.
Steve’s Marion is the 1970s version: aerial photographs, numbered landmarks, railway tracks where he’d flatten 20-cent pieces, overpass pile drivers thumping for weeks, and a Coles New World at the Park Holme Shopping Centre. He walked to school at age six, “with my little satchel and my shorts.” One afternoon he left school early, got lost, and found his way to a doctor’s surgery he recognised. They rang his mother. She wasn’t home. The neighbour came to collect him and made him a sandwich. “That was life in Marion back then,” he says, with a fondness that carries no nostalgia for the vineyards his own family’s house helped displace.

Song 3: My Jolly Valentine
This one starts with the Torrens. Keith explains that before the lake arrived, the river in summer was “a series of rather smelly waterholes” until Mayor Sir Edwin Smith, a beer baron with civic ambitions, created the weir. Within a year of the lake’s arrival in 1882, a rowing craze had taken hold, boat sheds lined the banks, and Jolley’s Boathouse was selling milkshakes and pies to rowers who could rent a boat by the hour.
The Palais de Danse gets its moment: a floating ballroom on a barge moored near the Elder Park Rotunda from 1924, with a soda fountain, no grog, and 800 people on opening night. It was gone by 1928, Keith noting, “maybe it was just not well made and sank slowly into the mud.”
Steve’s research for this Valentine’s Day song turned up two details that captured his imagination. First, the Rundle Street Parade: on Saturday nights, young men would walk down one side of the street, young women down the other, window-shopping for company rather than goods. Second, the postage stamp code used in the twice-daily mail service to communicate what couldn’t be written openly: upside-down meant “I love you,” tilted right meant yes, left meant no, sideways meant “let’s stay as friends,” which Steve notes is “a soft no.”

Song 4: Spring Gully Road
Keith traces the geography first: up Third Creek from the Torrens, past the village of Magill, pointing toward Norton Summit. Market gardens that ran through to Tea Tree Gully. One of Steve’s friends, Dominic, remembers his father loading a ute with cucumbers twice a week and driving them across town to Spring Gully. That was not long ago.
The song covers four generations families. Edward McKee began pickling onions after returning from the war. His son-in-law Alan McMillan, stepson Eric Webb, and friend Malcolm Climer formed the second generation. Kevin and Ross Webb steered it through 2013 when a public campaign saved the company. Russell and Tegan Webb were at the helm when cheap imports and cost-of-living pressures finally made it too hard.
Steve played the song to Russell Webb before the performance. Russell’s response: “Our whole family thinks this song should be in the state archives for covering the story so well.” Steve says it with quiet pride, and then lets the song make the case.

Song 5: Away, Away (The PS Canally Crew Song)
Keith tells the founding story of the Murray River trade with the energy of someone who could spend a full hour on it. Governor Sir Henry Fox Young puts up a prize in 1853 for the first boat to take a paddle steamer from Goolwa to Swan Hill and back. Two men are unknowingly racing: Captain William Randell, a flour miller from Gumeracha building the Mary Ann upstream from Mannum, and Captain Francis Cadell, who has a paddle steamer built in New South Wales and sails it through the Murray mouth. They end up racing each other, neither knowing the other was coming. Both get their prize, and instantly the river is transformed: wool that was a month away from market by bullock wagon is now days away by water.
Steve wrote this song aboard the PS Marion, on a three-day cruise, watching jet skis cut through the peace of the river and thinking about the crews who worked these boats without rest. He noted he’d been “a bit passionate” about the contrast. One thing he is proud of: annoying the captain by asking about terminology, which is how he discovered that “larboard” was the original term for port side, changed because “larboard” and “starboard” were too easily confused when shouted across a noisy deck.

Song 6: Shout Your Mates Another Round
This song grew from a drive past the West End Brewery site on Port Road, now demolished. The chimney is gone. Steve felt its absence.
Keith sketches the arc: South Australia once had around 43 breweries. The West End Brewery operated from 1859 through to about 1980, and somewhere in there a Westies supporter working at the brewery persuaded the boss to paint the chimney in the SANFL grand final colours each year. Port Adelaide’s coach Fos Williams asked to be included. The tradition held, moved to a second chimney after the first came down, and now continues on the old brickworks chimney with the help of some “fancy technology.”
The pickaxe long-neck bottle gets its own verse. Those amber glass communal bottles that sat on dinner tables, shared rather than individual. Steve remembers the day his Italian neighbour Nino offered him a sip of Southwark Bitter from one: “It put me off beer for the rest of my life.” He recalls his paternal grandfather worked at the original Hindley Street brewery. A bottle recently turned up on Kangaroo Island. These things accumulate meaning.

Song 7: Tunarama Love Song
Greg and Nicole, Steve’s brother-in-law and sister-in-law, are in the audience. They wave when introduced. Greg is described as “so bashful.”
Keith gives the historical context: Captain Matthew Flinders named Memory Cove after losing eight sailors there when he was 28 years old, 10,000 miles from home. He named Cape Catastrophe, Thistle Island, and Boston Island after those men. Port Lincoln was named, Keith theorises, from homesickness for Lincolnshire. The tuna industry came after the war, when scientists found massive schools in the Bight. Colin Thiele wrote Bluefin there as a high school teacher, which became a film. Tunarama itself began in 1962.
The song’s story is Greg’s: he left Adelaide on a bicycle heading west, eventually reached Port Lincoln, and through mutual friends met Nicole. They came back to Adelaide later that year and were at the Mercury Cinema for Steve and Nardia’s wedding. “Their love story didn’t actually happen at Tunarama,” Steve admits, “but my wife loves her rom-com movies, so I did a bit of rom-com where I just put it against the backdrop.” He also notes that Tunarama won Best Seafood Experience this year, and that “it is okay to call someone a tosser, at Tunarama.”

Song 8: Good Night Don
This one has weight. Every episode of The Adelaide Show signs off with “Good night, Don,” so a song about Don Dunstan was, as Steve puts it, always going to happen. Keith, who lived through the Dunstan decade, tries to give it its due in a few minutes. Decriminalisation of homosexuality. Women’s rights reforms. Aboriginal land rights. The South Australian Film Corporation in 1972. The State Theatre Company in 1974. The Rundle Mall, celebrating its 50th anniversary later in 2026. The week of the performance happened to be the anniversary of the death of Dr George Duncan, thrown into the Torrens in 1972, a murder that accelerated the push for decriminalisation.
Keith acknowledges the controversies too: the Salisbury Affair, the personal challenges, the pajama press conference, and, with particular relish, the day Don stood on the Pier Hotel balcony during the 1976 tidal wave scare and told the crowd that “the only thing that will happen today is that we will all get a bit hotter.”
Steve wrote the song in Brechtian cabaret style, a nod to Don’s close friendship with Robyn Archer. The refrain draws on a George Bernard Shaw quote: “Your life was no brief candle, was a mighty torch that shone.” Steele Hall also gets a verse, recognised for his willingness to equalise the electoral boundaries even when it worked against his own party.

Song 9: Cellar Door Shuffle
Keith went to university with Malcolm Seppelt, “which was pretty helpful,” and takes us back to the first commercial vineyard up Jacob’s Creek, planted by Johann Gramp, one of the early German arrivals. The creek became the name of one of the most recognised wine labels in the world. The doctors follow: Penfold, Hamilton, Angove, Tolley. Keith notes that by the 1960s, 90% of South Australian grapes were going into fortifieds. Barossa Pearl and BenEan Moselle changed that. Keith asks the audience who had a sip of BenEan Moselle as a youngster. Most hands go up.
The song is partly in honour of Joseph, who runs Ballycroft at Greenock. Steve describes him as “the sweet spot of wine tasting because it’s not stuffy with him.” The song delivers two reminders: if your cellar door is making you feel uncomfortable, leave; and you are not there to guzzle.

Song 10: Ben Venuti (The Rostrevor Pizza Bar Song)
The final song is an ode to Gaetano at Rostrevor Pizza Bar, who has stood behind the same counter for 35-plus years.
Keith sets up the context with Don Dunstan’s liquor reforms: the end of the six o’clock swill, and the radical notion of drinking a glass of wine at a footpath cafe. Then the postwar wave of Italian migrants, and how pizza arrived in Adelaide. Keith’s first was in 1962 at a corner of Hindley and Morphett Streets, long since demolished. “In another ten years,” he predicts, “there’ll be Australians who reckon we actually made it.”
Steve moved to Rostrevor in 2006 and spent his evenings stripping 1970s Italian wallpaper off the walls of his new house before heading around the corner to eat Gaetano’s pizza. Gaetano calls his dough “pastry,” starts making it the night before, and has won awards for it. He welcomes every regular by name. He personally refuses to put pineapple on a pizza, but if you want it, he will make it. “The Italians,” Steve says, “they understand the value of the money.” He goes through about a pallet of pineapple a month.
The song is in Italian and close-to-Italian, with the chorus “Benvenuti, come inside” running through it. Steve says you will come along for the ride.

Closing
Steve thanks the audience and invites them to stay in touch with Keith via This Day in South Australia on Facebook and LinkedIn, where Keith posts about South Australian history every day, and via the Wednesday morning bike rides from Bicycle Express in the city at 9am. He then plays the old State Bank ad, which Keith greets with “Oh, dear. Well, I wasn’t actually named at the time, but a lot of people said, ‘I reckon that’s Keith in there.'”
Steve closes by noting that the album from the show, History Hit Parade, is available on Bandcamp.

00:00:00 Musical Pilgrimage

No Musical Pilgrimage this week because the whole show was a Musical Pilgrimage.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

South Australia’s History Festival gets a fitting soundtrack in episode 432, and it arrives in three distinct voices: a geneticist-historian overturning stones in founding-era South Australia, Mr South Australia himself bringing context and colour to every corner of the conversation, and an original paddle steamer shanty that had Keith Conlon attempting to haul imaginary ropes.

Dr Samantha Battams is back for her fourth visit to the Adelaide Show, this time with a book that drops her own family tree right into the founding moments of this state.

There is no SA Drink of the Week in this episode. The interview was recorded at the State Library with a room booking that had a firm end time, so Steve, Keith, and Samantha made the most of every minute with stories instead.

The Musical Pilgrimage this episode is Steve Davis and the Virtualosos performing Away Away: The Canally Crew Song, an original river shanty written in tribute to the paddle steamer PS Canally, which is being restored at Morgan and set to relaunch in late May 2026, and the song features in Keith and Steve’s show, History Hit Parade show at the Mercury Cinema.

You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concise
page.

Running Sheet: All Singing All Reading South Australian History Festival

00:00:00 Intro

Introduction

00:00:00 SA Drink Of The Week

There is no SA Drink Of The Week this week.

00:02:09 Dr Samantha Battams on Paving the Way

May is South Australian History Festival month, and if you want to know why that matters, consider this: the western suburb we now call Grange was once known as Reedbeds, where Captain Charles Sturt made his first home while the colony was being developed. One of our guest’s ancestors was the gardener there. Dr Samantha Battams has written a book that puts her own family tree right in the founding moments of this state, and she’s launching it at the History Festival on 15th May. Samantha, has previously been on The Adelaide Show in 249 – Captain Harry Butler and his Red Devil, 279 – The Secret Art Of Poisoning, and 344 – True Crime SA style.

The western suburb we now know as Grange was once called Reedbeds. Captain Charles Sturt made his home there in the colony’s earliest days, and one of Dr Samantha Battams’ ancestors was his gardener. That’s the kind of connection Paving the Way is full of.

Battams’ three-times great-grandfather, Johann Gramp, arrived at Kangaroo Island in 1837 as an eighteen-year-old orphan aboard a vessel that wrecked shortly after. He had lost both parents by age seven, worked for a baker in Bavaria, and made his way to Hamburg where the South Australia Company was recruiting German labourers. He would go on to establish what Keith Conlon describes as the first commercial vineyard near Jacobs Creek.

Keith also notes that he gets there by a roundabout route, and Samantha fills in the Bavarian versus Prussian distinctions that get flattened when viewed from Australian distance. The animosity ran deep enough that during the First World War, Bavarians were reportedly directing Allied forces toward Prussian positions. The Prussian Lutheran refugees who arrived sponsored by George Fife Angus get their own thread. Their pastor Kavel had travelled to London and secured passage for a group who had been holding secret chapel meetings in barns rather than accept the king’s new prayer book.

One Schulz ancestor was accused by the pastor of leaving for earthly reasons rather than faith. Steve’s response: “I think had it been the time of the prosperity gospel, he would’ve been welcomed with open arms.

“From Germany to Ireland, and the Fahy family from County Clare. Edmund Fahy arrived with two younger sisters, one of them just ten years old, and the family was almost immediately separated. Edmund headed to the Kapunda mines while the girls went south with an aunt. Samantha spent years untangling the network of Irish immigrants who came out together, sponsored one another, and intermarried across the colony.

One thread leads to Dave Graney. “I’ve always loved Dave Graney,” Battams says. “I didn’t know I was related to him.”

The Rumbleow family at Encounter Bay ran the first tourist operations in the area. Caroline Rumbleow, who married a man named John Cakebread (“What a name,” says Steve), was said to be the inspiration for a character in the novel Paving the Way by Simpson Newland, which also gives Battams’ book its title.

Family accounts suggest Newland followed Caroline to the Ballarat goldfields and asked her to leave her husband. It did not eventuate.

Samantha undertook a cultural consultation before writing sections involving Aboriginal people. Old newspaper language was either replaced with more appropriate terminology in square brackets or, in one case involving a funeral pyre, stripped of its sensationalist framing while the story itself was kept. She also describes firsthand colonial accounts of a corroboree of 500 people on the banks of the Torrens near what is now the Paradise Bridge.

The interview closes on a revelation hidden since 1890. Battams had her DNA tested to find her adopted father’s biological family, and dismissed a recurring surname, Hazelhurst, as irrelevant to her mother’s side. A later ancestry update showed 25 per cent of her DNA tracing to northwest England and Wales. Following the Hazelhurst name led to Christchurch, New Zealand, and to the conclusion that her great-grandmother Edith Thompson was already pregnant when she married, with a father other than the man recorded.

The cover of Paving the Way is a photograph of Edith and Battams’ grandfather. “The true story had been kept from 1890 to 2025,” Battams says.

Paving the Way is being launched at the 2026 History Festival on 15 May. Dr Lanie Anderson, a previous Adelaide Show guest (107 – Lainie Anderson: View from the hills), will launch the book.

00:27:59 Musical Pilgrimage

In the Musical Pilgrimage, we feature Steve Davis & The Virtualosos‘ “river shanty” song, Away Away (The Canally Crew Song).

Steve Davis wrote this original river shanty after time spent aboard the PS Marion, sister vessel to the PS Canally, a paddle steamer launched in 1907 that is now being restored at Morgan ahead of a relaunch in late May 2026.

Keith Conlon puts the song in context: Morgan once had queues of paddle steamers and six freight trains a day departing with river cargo. He also produces a story about a paddle steamer loaded with materials to build a pub at Bourke that ran aground in a drought and only floated free two years later, by which point the pub had been built by other means.

Away Away is one of ten original songs Steve has written about South Australia for History Hit Parade, the show he and Keith Conlon are performing at Mercury Cinema during the 2026 South Australian History Festival. Keith is confident audiences will want to sing along. A stage jig from Keith is, in his own assessment, highly in doubt. Booking details are in this link: History Hit Parade tickets and information. It’s on Monday, May 11, 11am, and Sunday, May 17, at 4pm and it will simply be an enjoyable show of historical anecdotes, fun, and music.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.

When 80,000 people descend on an event, somebody has made it look effortless. Wayne Taylor has spent three decades being that somebody, from the Sydney 2000 Olympics to Wimbledon, Formula One on three continents, and right here in Adelaide at the Clipsal 500. His company, First Facilities Group, now brings that same discipline to commercial and residential properties (and events) across Adelaide.

There is no SA Drink of the Week this episode, but Wayne does weigh in on the relative merits of beer events versus wine events versus spirit events, and the answer is exactly what you would expect from a man who has cleaned up after all three.

The Musical Pilgrimage features Steve Davis and the Virtualosos performing “Cellar Door Shuffle,” a celebration of the great South Australian wine country ritual, which also gets a preview mention for the upcoming History Hit Parade show at the Mercury Cinema.

You can navigate episodes using chapter markers in your podcast app. Not a fan of one segment? You can click next to jump to the next chapter in the show. We’re here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast in Australia at the 2021 Australian Podcast Awards and named as Finalist for Best News and Current Affairs Podcast in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It’s an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we’ll add you to the list: [email protected]

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store – The Adelaide Show Shop. We’d greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here’s our index of all episode in one concise
page.

Running Sheet: Gather Round To Learn About Major Events

00:00:00 Intro

Introduction

00:00:00 SA Drink Of The Week

There is no SA Drink Of The Week this week.

00:02:17 Wayne Taylor, First Facilities Group

Right now, as Gather Round unfolds across South Australia, tens of thousands of people are doing what they always do at a footy match: finding a seat, grabbing a pie, visiting the loo, and not once thinking about any of it. That invisibility is because someone’s doing their job brilliantly. Wayne Taylor has spent the better part of three decades making sure that when 80,000 people descend on an event, the wheels don’t fall off. He’s done it at the Sydney Olympics. At Wimbledon. At Formula One races on three continents. At Clipsal 500 when 200 staff, 15 supervisors and a $300,000 budget had to deliver a spotless result across four days. And he’s done it right here in Adelaide, quietly, at events you almost certainly attended. He now runs First Facilities Group, bringing that same discipline to commercial and residential properties across Adelaide.

Wayne Taylor has a habit most of us would find exhausting. Every time he walks into a building, he is quietly checking the mirrors, the bins, the general state of things. It is not fussiness. It is decades of conditioning that started when his parents cleaned Memorial Drive as a boy from Broken Hill, and he mostly just got in the way by raiding the office stationery drawers. That origin story matters because the values Wayne brings to First Facilities Group now, respect, honesty, and an obsessive eye for what others walk past, were baked in early. As he puts it, “If you can’t get your housekeeping correct, how can you then operate your business?” It is a lens that applies equally to a gleaming corporate lobby and to the pit lane at Albert Park.

The stories from his career read like an event passport. At the Sydney Olympics he managed 1,100 staff, set an 80% minimum recycling target, and navigated vehicle bomb checks just to get to work each morning. At Wimbledon, he learned that a single cigarette butt on the ground was enough to earn a conversation with the CEO, and that some corporate boxes were quietly serving spirits in coffee cups because you cannot legally drink alcohol watching football in England. At Formula One, a certain unnamed driver, “Mansell,” parked his car next to the waste compactor despite clear signage, and paid for it when a bin tipped onto the vehicle. Wayne watched from the level above and, eventually, laughed.

The Clipsal 500 holds a particular place in his story. He worked it for twelve years and is clear-eyed about what it meant to Adelaide after the Grand Prix left in 1995: “The place went dead.” The Clipsal helped rebuild that. His team delivered the best margin in the company that year not through corner-cutting but through relentless post-event debriefs, 4am starts, and crews walking the entire circuit in a line with headlamps, because the lighting was never quite good enough.

One of the sharper insights in this conversation is about the people who do this work. Wayne keeps what he calls a little Bible, a list of standout workers from each event. The good ones get taken to lunch, thanked properly, and connected to the next opportunity, whether that is the Grand Prix in Melbourne or something interstate. It is empathetic at a human level, and it also happens to be smart: one well-led supervisor with 20 people will outperform a rabble of 50.

His principles for First Facilities Group are unchanged: respect, honesty, punctuality, and a fair day’s pay for a fair day’s work. He once disciplined his own teenage son for repeated lateness in front of the whole crew, because anything less would have been unfair to everyone else. That is the standard he holds himself to and expects from others.

01:08:34 Musical Pilgrimage

In the Musical Pilgrimage, we feature Steve Davis & The Virtualosos‘ new song, Cellar Door Shuffle.

This song is a love letter to the ritual of winery visits across South Australia, from the Hills to Barossa, McLaren Vale to the Clare.

Wayne is still in the room for this one, and Steve uses it to draw a neat contrast from the week’s main themes: beer events are loud, spirit events are rough, wine events are, as Wayne says, “a little more sophisticated.”

The song will also feature in the History Hit Parade show with Keith Conlon at the Mercury Cinema. It’s on Monday, May 11, 11am, and Sunday, May 17, at 4pm and it will simply be an enjoyable show of historical anecdotes, fun, and music.

Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/

See omnystudio.com/listener for privacy information.