Review: Twenty Sixteen by Amplified House at The Fantail, Adelaide Fringe
February 25, 2026
Review: Phoebs, You’re a Lesbian at The Mill, Adelaide Fringe
March 9, 2026
‘Joyful, chaotic and irresistibly fun – Sink or Sing turns life’s mess into a full-blown singalong.’
When life throws you mess, don’t sink – sing!
That joyful mantra sits at the heart of Sink or Sing, an interactive cabaret that wears its chaos proudly and invites the audience to do the same. Created and performed by local vocal coach and cabaret darling Amelia Peters, this show is buoyant, self-aware and unapologetically fun, the kind of cabaret that feels like a pep talk disguised as a party.
Fresh from a season at the Edinburgh Festival Fringe, Peters brings a confident, road-tested energy to the stage. She’s a natural host; warm, quick-witted and deeply comfortable inviting the audience into her world. This is cabaret as conversation, where participation isn’t a gimmick but a genuine extension of the show’s spirit.
The evening opens with an Overture featuring voiceover, immediately setting a playful, tongue-in-cheek tone, before launching into Guilty Pleasures, which establishes Peters’ gift for saying the quiet thoughts out loud. From there, the set list unfolds like a series of beautifully messy diary entries. Skincare Sonata skewers self-care culture with operatic flair, Unhinged leans gleefully into emotional chaos, and Passenger Princess is a standout for its knowing humour and crowd recognition and participation.
Throughout the show, Peters’ writing strikes a careful balance between silliness and sincerity. Songs like Mates Over Dates and Is This Cute Or?… tap into modern dating anxieties with a wink, while Filter Free offers a moment of genuine vulnerability without ever losing the show’s light touch. Holes in My Undies and Fairy Bread are joyful absurdist highlights, proof that sometimes the smallest details make for the biggest laughs.
The competitive chaos of Fairy Bread Playoff brings the room together in full communal delight, cementing the show’s interactive charm.
Musically, the show is powered by an exceptional band who match Peters’ energy beat for beat. Pearl Tizzie on bass provides groove and grounding, while Isaac Werner brings texture and warmth on guitar. Carlie James drives the show with precision and flair on kit, supported by dual keyboardists Laura Woithe and Daniel Anderson, whose layered work adds richness and sparkle. Jared Harford rounds out the sound on saxophone and flute, injecting moments of colour and surprise that elevate the arrangements.
What makes Sink or Sing sing is its heart. This is a show that celebrates imperfection, community and choosing joy, even when things are a bit unhinged. Peters doesn’t ask the audience to have it all together; she simply asks them to show up, sing along, and float when they can.
Playful, generous and deeply relatable, Sink or Sing is a reminder that sometimes the best way forward is to laugh loudly, sing boldly, and trust that you’ll stay afloat.
Don’t miss this limited season!
4.5 stars
Lia Loves.
