Thank you
Thank You for Making the 20th OzManouche a Success!
A huge thank you to everyone who joined us for the 20th edition of OzManouche this year! This was our second year running the festival on its new late-September date. Despite now coinciding with the AFL Grand Final (congratulations to the Lions!), we were thrilled to see full houses at every performance and a record-breaking turnout for our Sunday show. Clearly, the new timing has been a positive move for us in terms of attendance.
This year, OzManouche expanded across four fantastic venues in Brisbane: our home at the Brisbane Jazz Club, as well as Queen Street Mall, The Point Hotel, and The Burrow. It was wonderful to see the festival's spirit spread across the city. Creating a festival atmosphere and allowing our interstate visitors to explore the city of Brisbane.
On a personal note, it's always a joy — and a creative challenge — to bring this event to life each year. I spend a lot of time throughout the year imagining how the festival will unfold: how the program can reflect the diverse styles within gypsy swing, and how the visual identity — from artwork to branding — will tie it all together. At one point, I honestly thought I'd run out of inspiration for the art direction this year, but I'm proud of what we ultimately achieved.
I remember Ewan once told me, "It's always best to keep ahead of the workload." While I generally live by that advice, there's often a feeling of sprinting ahead of a tsunami in the lead-up to launch. Even after nine years as Creative Director, the festival never feels routine — there's always something new to learn or adapt to. That constant evolution is part of what keeps the process exciting and reminds me of my own ongoing journey with studying the guitar.
In a recent interview, I was asked whether I still enjoy organising the festival. My answer was that while the nature of that enjoyment has shifted over the years, it's still very much there — just in a different way. These days, I find the greatest satisfaction in seeing the audience truly engage with the concerts, witnessing those "ah-ha" moments during workshops, observing the growth of individual musicians, and watching community groups strengthen and thrive. It's deeply rewarding to see musical and personal connections form — and to watch young and emerging musicians step onto the stage for the first time.
The River Deck Program has become a particularly important and cherished part of the festival. This year, we were fortunate to have Sam Cooke from Martinborough, New Zealand, host our Opening Night Welcome Jam, and we also featured community groups from Sydney and Hobart. I was especially pleased to witness the increased musicianship and confidence among these performers, as well as the warm and engaged response from audiences during these intimate acoustic concerts.
This year's festival achieved several major milestones — and even ticked off a few personal bucket list items for me:
The return of Queen Street Mall performances after an eight-year absence marks the fulfilment of a vision originally envisioned by Ewan MacKenzie. And a long-term undertaking to make happen.
Pop-up performances at The Point Hotel which captured the spirit and spontaneity of the legendary after-concert jams from past festivals.
The return of Hank Marvin and his band to help us celebrate the 20th edition. I doubt there's been a more fitting choice for this year.
A record-breaking audience for our Sunday afternoon session.
Seeing Charlie McCarthy's full violin extravaganza come to life — an unforgettable performance full of joy, lyricism and virtuosity.
Performing as part of Noria Letts' band, and being able to contribute to one of the most musically ambitious, diverse, and creative projects the festival has presented in recent years.
A radio interview with Hank Marvin, highlighting OzManouche on ABC Radio Brisbane.
OzManouche is a collaborative effort — as I often say, it's our festival. I just send the emails. Behind every note and every moment is an incredible team that brings it all to life. A heartfelt thank you to our Patron, Ian Date, for your virtuosity and timeless wisdom. To Ronnie Woods, thank you for your trust, guidance, and forgiveness when the budget goes a little sideways!
To our musician community: Hank Marvin, Gary Taylor, Pete Jeavons, Nunzio Mondia, Charlie McCarthy, Phoebe Haseldon, Marcus Holden, Rick Caskey, David Squires, Javier Merrill, Noria Letts, Dominic Rado, Adam Russo, Tom Flenady, Sam Cooke, Mark Alteron, Peter Malone, The Sydney Gypsies, Hot Club of Hobart and the Tazzmania Jam group. Thank you for bringing the festival to life, making the festival the success that it was. Apologies to anyone I may have missed.
To the BJC committee and operations team: David Herbert, Alan Western, Tina Mawbey, Carol Edlin, Tina Maree, Cameron Jeffs, Bob Drumgold, Ian Lock, Darren Baker, Mal Wood, Karli Westley, Rachel Grant, Irene McLeod, Helen Abrahams, Michael Osmond, Lisle Kelly, and to all the duty officers, bar staff, and volunteers — your dedication is the heartbeat of this festival. Thanks to Mark Smith for expert sound production, Mary Brettell for capturing the spirit of OzManouche through photography and social media, and Alex Crighton for your invaluable support and steady presence. Huge thanks to Mick Donnelly for organising the after-party jam.
A very special mention, as always, to Ewan Mackenzie's family — your continued support means the world to us.
To our generous sponsors — Jennie Kim and The Point Hotel, Brisbane City Council, and Michael Smith from Backstreet Espresso — thank you for helping us give this music, and the musicians who play it, the stage they deserve.
Thank you all for being part of this year's celebration. We can't wait to welcome you back to the next OzManouche.
-Cameron