Global pop sensation Kylie Minogue is set to light up stages worldwide with her highly anticipated Tension Tour 2025 , kicking off in Australia on February 15. With a stunning new album, Tension II , and a tour spanning continents, Kylie promises fans a year filled with unforgettable music, dazzling performances, and iconic moments. More on Surry Hills Our beloved pop queen is returning to the stage with her Tension Tour in 2025, and fans worldwide couldn’t be more excited. Kylie’s highly anticipated tour will bring her unmistakable energy and dazzling charm to audiences around the globe. It's clear this tour will be a massive celebration of Kylie’s iconic career, brimming with unforgettable moments for fans. Photo: Erik Melvin This is Kylie’s biggest tour since 2011, and she’s ready to pull out all the stops to make it a spectacle. “I am beyond excited to announce the Tension Tour 2025,” she shared. “I can’t wait to share beautiful and wild moments with fans all over the world, celebrating the Tension era and more! It’s been an exhilarating ride so far, and now, get ready for your close-up because I will be calling Lights, Camera, Action … and there will be a whole lot of Padaming!” For those who have seen Kylie live, you know that she leaves nothing on the table; every show is brimming with electric energy, sparkling costumes, and hit after hit. And, as if a new tour wasn’t enough, Kylie has treated fans to even more music with  Tension II , her highly anticipated follow-up to  Tension .   Tension II  is Kylie’s ninth #1 album in Australia. Her status as Australia’s highest-selling female artist is undeniable, with over 80 million albums sold worldwide. Tension II: The Dancefloor Anthem-Filled Sequel Fans Have Been Waiting For Tension II  –a brand new collection of 13 songs– is out now via Mushroom Music. The high energy, high octane sequel of the Number 1 album and global smash Tension, sees Kylie head further into the electronic space, and is packed full of dance floor anthems. The record includes nine brand new Kylie studio tracks including lead single   ‘Lights Camera Action’ , as well as the dance hit  ‘Edge of Saturday Night’  with The Blessed Madonna and the collaborations with Orville Peck, Bebe Rexha and Tove Lo, and Sia.   Each track brings a fresh spin on Kylie’s sound, but it all comes together as a celebration of her versatility and talent. Kylie’s charm and magnetic presence shine through every note, making this album as thrilling as her live shows. “The Tension era has been so special to me … I can’t possibly let it be over just yet! Welcome to  Tension II ,” she says, promising an unforgettable collection of new music. Global Accolades and Iconic Moments: Kylie’s Blockbuster 2024 2024 has already been a blockbuster year for Kylie, with accolades and iconic appearances everywhere. She took home the Global Icon Award at the BRITs, won a Grammy for  Padam Padam , stole the show at the Met Gala, and performed at WeHo Pride, all while her  Tension  album soared past half a billion streams. Once again, Kylie has proven she’s not just a pop star—she’s a global sensation who continues to dominate the charts and the hearts of fans around the world. With  Tension II  out now and the  Tension Tour  2025 around the corner, Kylie Minogue is about to make 2025 a year to remember. Get your tickets, play the album, and prepare to dance—Kylie’s back, and she’s bringing all the sparkle and Padaming magic with her!

Live Music and Nightlife set to thrive under Inner West Council's expanded entertainment precinct plan More on Balmain The Inner West Council is backing Balmain’s vibrant cultural identity with a bold new plan to designate the suburb as a Special Entertainment Precinct (SEP)—bringing late-night music, arts and hospitality into the spotlight. Already home to iconic venues and a rich musical legacy, Balmain is set to join a shortlist of areas proposed to follow in the footsteps of Enmore Road, NSW’s first official Special Entertainment Precinct. The SEP framework allows live music venues and late-night businesses to thrive under clearer, more supportive rules, balancing a lively nightlife with community wellbeing. The proposal would not only give formal recognition to Balmain’s cultural significance but also offer practical benefits for venues and performers alike: extended trading hours, streamlined noise controls, and more flexibility for live performance programming. The move comes after a round of extensive community consultation in early 2024. Across the Inner West, support was resounding, with all six proposed precincts—including Dulwich Hill, Leichhardt, Marrickville North, Marrickville Town Centre, Rozelle, and Balmain—receiving majority approval. Feedback Process for Special Entertainment Precinct While areas like Marrickville North (94% support) and Dulwich Hill (90%) showed especially strong backing, Balmain stood out for the passionate feedback from residents, performers and business owners who’ve long championed its cultural scene. In response to that feedback, Council has refined the draft plan. Key changes include reworked boundaries, added protections for live music, and new rules that reflect community values, such as limits on adult entertainment venues, and updated soundproofing standards for new developments within SEPs. The expanded plan also recognises the vital role played by beloved local venues, and seeks to future-proof them against redevelopment and noise complaints. From Wednesday, 5 March to Sunday, 6 April 2025, the community will have a chance to comment on the final proposal, including trading hours, sound levels, and operational rules specific to each precinct. Whether you're a Balmain muso, a late-night barfly, or a supporter of live local culture, now’s the moment to help shape the future. Have your say and help keep the beat alive in Balmain.  Visit the council’s website  to explore the proposed changes and submit your feedback via the online survey

From Donburi to Shibuya Toast: DOPA Is the Feel-Good Fast Food You’ll Actually Crave in Sydney More on Sydney CBD DOPA Donburi & Dessert is redefining the fast food culture with a fresh take on Japanese comfort classics. It’s giving…wholesome, conscientious, healthy, Insta-worthy Japanese eats that are good for you, easy on your wallet, and seriously delicious! Its name is literally a contraction of the word “dopamine”, and its food has the same addictive, feel-good, want-more effect. But unlike typical fast food, DOPA’s menu is rooted in authenticity, quality, and crave-worthy precision. Inspired by the street food of Tokyo, the DOPA team have developed a savoury menu that revolves around the classic Japanese staple, donburi. Donburi is a rice bowl that is topped with any of a number of meats, vegetables and sauces. DOPA has a range of variations that include chicken, beef, seafood, vegetarian and even beef tongue for the adventurous - with an option to level up your Donburi with Fras Gois. You can also choose from a mouth-watering selection of entrees and snacks including edamame, crispy chicken pieces, (Karaage), seaweed salad, Agadashi Tofu among many more. Leave room for dessert. DOPA’s range of cakes, sweets, shakes and gelato are as pleasing to the eye as they are to the taste buds: from refreshing kakigori (shaved ice with flavoured syrup) to the delightful shibuya toast (honey toast) to the glorious shakes. You’ll walk out with a happy tummy, and you can have a happy heart and mind, too, because DOPA sources its ingredients ethically, focusing on small-scale producers who prioritise the welfare of their animals and purity of their produce. All of their produce comes from Australia and New Zealand. Their entire philosophy revolves around six principle values: quality, consistency, conscience, inclusivity, efficiency, and satisfaction. And you can taste it in every bowl. When DOPA’s flagship store opened in Darling Square in 2019, it was an immediate success with locals and visitors. Its cult-like following deliciously fuelled rapid growth, with outlets popping up across Sydney CBD: from Sydney Place to The Galeries, Regent Place, Broadway, and Darling Quarter. And the momentum isn’t slowing down: a new city location at the MLC Centre in Martin Place is set to open next month. With the DOPA brand earning strong trust and recognition, it has launched exciting collaborations: from Gimme One Fried Skewer during Chinese New Year to Duo Duo Ice Cream for Vivid Sydney 2025 - with more on the horizon. DOPA goes beyond delicious food by weaving authentic storytelling into its marketing and experiences. This September, it’s been named the official food partner for the upcoming Demon Slayer film trilogy. Expect anime-themed activations, limited-edition meals, and a celebration of the vibrant world that inspires DOPA’s brand. Whether you’re working, studying, living, or just hanging about in the city, there will be a store near you where you can get your DOPA fix. Feel Good. Every Time. www.dopa.com.au

From Harsh Punishments to a Haunted Legacy, the history of the Albion Street Children’s Court is eye-opening. More on Surry Hills Sydney Metropolitan Boys Shelter 1913 Picture Surry Hills in the early 1900s: a rough-and-tumble neighbourhood of cramped terraces and smoky pubs. Back then, kids who broke the law faced a grim fate. As young as seven, they could be hauled into adult courts, facing juries for petty thefts like nicking bread. Punishment was brutal — jail alongside hardened crooks or a stint on training ships like the Vernon, where “reform” meant backbreaking work and little mercy. By the late 1800s, folks started worrying about these “larrikins” roaming the streets — kids neglected by poverty or tough homes, not just born bad. Something had to change. Enter the Albion Street Children’s Court, opened on October 7, 1911, at the corner of Albion and Commonwealth Streets. Designed by Walter Liberty Vernon, the Government Architect, this red-brick beauty with its fancy Ionic columns was a game-changer. It sprang from the Neglected Children and Juvenile Offenders Act 1905, a law that said kids deserved protection, not just punishment. No more adult jails — now they’d get probation or a shot at reform. Vernon’s courthouse, with its quiet courtyards, aimed to shield young offenders from the bustle of Surry Hills’ gritty lanes, a far cry from the dank cells of old. Attached was the Metropolitan Boys’ Shelter, a remand spot for lads awaiting hearings. Sir Charles K Mackellar, the bigwig behind the 1905 Act, hoped it’d be a bright, humane place. But inside, it was gloomy, especially the basement where the boys bunked. In its first six months, 553 passed through, petty thieves and truants from nearby streets. The idea was reform, but reality bit hard. Boys mingled too close to adults facing charges like neglect or abuse, and by the 1970s, whispers of brutality grew loud. The Royal Commission into Institutional Responses to Child Sexual Abuse later dug into claims of a savage culture, dark stains on a noble plan. Outside view of the boys shelter on Albion Street Some of Sydney’s most notorious names did time there: Arthur “Neddy” Smith, the murderer; Raymond Denning, the escape artist; Russell “Mad Dog” Cox; and underworld kings George Freeman and Lennie McPherson. Before its 1983 closure, this shelter shaped a rogue’s gallery, just blocks from today’s hip cafes. The court shut down too, moving to Glebe as Surry Hills swapped slums for style. Focus shifted — less locking kids up, more figuring out why they went astray. Detention numbers crashed from 460 to 230 daily between 2012 and 2016, says Judge Peter Johnstone. By 2016, a $38 million facelift brought the old court back to life, reopening in 2017 with slick courtrooms behind its classic facade. A quirky find popped up during renos — a 1911 boot stashed behind a fireplace, a builder’s old-school luck charm for the kids inside. The place even starred in Come In Spinner, its wartime chaos echoing down Commonwealth Street. Today, it’s a Surry Hills icon, blending past and present. From the harsh old days of jailing tots to a modern court tackling root causes, Albion Street’s story spans a wild century. It started with hope — replacing punishment with care — but the shelter’s shadows, and the crooks it housed, remind us reform wasn’t always rosy. Still, its revival proves this corner of Surry Hills keeps evolving, a stone’s throw from your next coffee spot.

By drawing inspiration from the community Guy James Whitworth has become something of a local identity in the 2010 area and a respected artist in the wider queer community and art community in general. More on Surry Hills Guy James Whitworth prefers to describe himself as a creative because, while he is predominantly known as a painter, he has dabbled in sculpture, performance and other disciplines, and has published two books with a third (a collection of original poetry called Never Held A Gun) due to be released.  “For me, my art practice is a creative thing that I use to process trauma and to deal with the challenges that life throws up,” says Whitworth.  Whitworth was born in the UK and moved to Sydney in 1997 when he was in his twenties. The move was motivated by love, but his visa lasted longer than the relationship did. However, he soon began a new love affair — with Sydney.  “I grew up in Northumberland in a very rural, underpopulated part of the world and the moment that I could, I got out and I ran down to London…and then, when I felt I was all partied out in London I moved to Sydney,” says Whitworth.  “I’ve always lived within the 2010 postcode…I’ve always lived within 10 minutes walk from Taylor Square. I love living near Taylor Square, I think it’s the epicentre of the world. It’s so exciting and so inspiring and the energy that I encounter most days when I’m in there is just so infectious and so uplifting, and I love it.” Whitworth describes Taylor Square as the nexus of three distinct localities: Paddington, Surry Hills, and Darlinghurst, each of which have a range of offerings that appeal to him.  “As a vegan, there are lots of plant-based cafes in the area. I’ve got Miss Sina, Shift Eatery, and most coffee shops in this area have a really good plant-based menu or plant-based options… If I want to write, Berkelouw (in Paddington) has the best coffee shop in the world because it’s a coffee shop and bookshop and hardly anyone talks. It’s very shooshy in there and I like it,” says Whitworth.  There are a lot of independent galleries within the postcode. Whitworth has held several exhibitions of his own work in M2 Gallery on Elizabeth Street.  “If I feel I want to curb my ego, then I go to the arts precinct in Paddington and look at all the proper grown up artists,” he laughs. “There’s certainly never any lack of galleries or places to go to seek inspiration. One of my favourite things is plonking down in a coffee shop in Surry Hills or Darlinghurst with my little A5 sketch book and a pencil and just drawing people. And I know that consent is important when it comes to any kind of creative project, however, the people in my sketches really wouldn’t recognise themselves because I’m not that good, if truth be told.” Whitworth’s humility belies the fact that his paintings are highly sought after and he has received commissions from a number of notable clients, and he has painted portraits of well-known Australian identities.  Since Whitworth first moved to the district many things have changed, especially with regard to the physicality of the area. Buildings have been demolished and replaced, neighbourhoods have gentrified, de-gentrified, and re-gentrified in a continuous cycle.  “But the big constant for me and the reason I will always live here is community. The community has always been there, the community has stayed, and the local community and the community that I call home, I think, will always be there,” says Whitworth.  The high density population of the 2010 postcode comprises a broad spectrum of demographics, with a particularly vibrant creative and queer segment, both to which Whitworth belongs. What he loves is the way culturally diverse people interact within the community in mostly pleasant and positive ways.  Whitworth runs a life-drawing group in the basement of Kinselas every second Wednesday night. It’s a relaxed, fun, and most importantly, safe space, open to everyone regardless of their artistic ability or how they identify.  You might also catch him in a local coffee shop, sketching interesting, colourful local characters. In fact, he hopes to one day have an exhibition based on the people of 2010.   www.guyjameswhitworth.com

Darlington Public School recognised as a global leader at World Architecture Festival More on Surry Hills At the edge of Sydney Uni’s Cadigal Green, a squat, steepled building hunches over a dry concrete pond. It looks like a chapel gone to seed. On the back verandah, ratty carpets trap wind-blown dust. Through dirty windows, dim, bulbous lights do their best to create a sense that the owners are still home.  This is the original Darlington Public School building, opened in 1878. Its shabbiness owes a great deal to the fact that it closed 50 years ago, the victim of a campus expansion by Sydney Uni. In 1975, with just three days remaining in the school year, staff and students left the building for the last time and walked to the corner of Abercrombie and Golden Grove Street, the site of the new Darlington Public.  Last year, the school was transformed again, after a series of renovations designed to update classrooms and help accommodate a growing student body. There was no migration required this time – construction was managed in stages, so teachers and students could continue on at the school throughout the year. The centrepiece of the upgrade, a perforated aluminium screen that wends its way around much of the building’s upper level, gives the impression of a fish-net mid-cast. Art pieces by Blak Douglas and Neil Thorne recognise the Indigenous heritage of the area, while a rainwater-harvesting system and a focus on natural light and ventilation in the design reflect the school’s sustainability aims.  In a ringing endorsement of architect fjcstudio’s design, Darlington Public beat over 800 entrants to take the coveted World Building of the Year prize at last year’s World Architecture Festival. Paul Finch, the Festival Director, described the design as “poetic, a building in which topography and landscape inside and outside, form and materials, flow seamlessly in an unexpectedly delightful way.” The win was the second for fjcstudios, who also scooped the pool in 2013 for their work on Auckland Art Gallery. But, as studio associate Alessandro Rossi told the Guardian “The real winners are the children who will spend time in the building – a place of enrichment for years to come.”

Neighbourhood Media  talks to CJ Morello, owner of A.H Salon in Newtown and Rozelle, on his company’s expansion from two to three locations, and the importance of community. More on Surry Hills What inspired the decision to rebrand Edwards & Co Crown Street to A.H Salon Surry Hills, and what does this change mean for the salon and its clients? Before acquiring Edwards & Co Crown Street, we already had two beautiful salons - A.H Salon Newtown and A.H Salon Rozelle . While we admired the Edwards & Co brand, we felt it was the right time to unify all three locations under the A.H Salon name, which has a stellar reputation in the industry.  Our team is a blend of youth and experience, including award-winning and globally recognized stylists. The existing Crown Street team is phenomenal, and since taking over in October, we’ve seen firsthand their passion and talent. They’re excited about the name change, and from what we’ve heard, our clients are too! A.H Salon has grown significantly over the past seven years. What do you think has been the key to that success, and how does the Surry Hills location fit into this vision? Seven years ago, we started with a team of seven in one location. Today, we have a team of 60 across three stunning salons. Our success stems from several factors, including an unwavering focus on customer service and our commitment to recruiting stylists who understand our clients' unique hair needs.  Each A.H Salon has its own personality and vibe, tailored to the local culture of its suburb. Our salons are run by locals for  locals, and our dedicated teams - from managers to apprentices - are the heart of our success. They genuinely care about our clients, and it's inspiring to watch them work their magic every day. You’ve built A.H Salon on a culture-first approach. Can you share what that means in practice and how it shapes the experience for both clients and staff? Too often, businesses focus solely on profitability. While that’s important, our priority is creating a fun, welcoming environment where guests can relax. We want clients to feel good inside while enjoying a laugh with their stylist over a glass of wine or champagne and then leave feeling beautiful on the outside.  That energy is tangible in every A.H Salon. It’s not just about the high ceilings, polished concrete floors, or natural light - it’s about a team that loves what they do, and enjoys doing it. The salon is getting a light refresh as part of the rebrand. What can clients expect from the new look and feel of A.H Salon Surry Hills? We’re making some changes, but we can’t reveal all our secrets just yet! What we can say is that for the first month of the name change, every guest with an appointment will receive a "Welcome to A.H" gift pack worth around $100.  Our guests have been incredibly loyal and supportive since we took over in October, and we want to show our appreciation while also welcoming new clients. You’ve mentioned that all the things clients love about the salon will stay the same. Are there any exciting additions or updates they can look forward to? Absolutely! We recently transitioned the team to using Redken colour, which is our go-to across all A.H Salons. It’s a premium brand that delivers the warmth, depth, and vibrancy our clients love.  We’ve also maintained most of the luxury haircare brands on our shelves and added Kérastase to our lineup. Healthy hair starts in the salon but continues at home, and both Redken and Kérastase help ensure our clients' hair stays in top condition between visits. A.H Salon is known for its commitment to community initiatives, like the Come Together charity event and the Giant Steps Cutting Program. Why is giving back such an important part of the brand? At A.H Salon, we are all about togetherness, inclusiveness, and community - not just in our salons, but beyond them as well. Our partnership with Giant Steps, an autism-specific organization, allows us to support young people and their families navigating the challenges of autism.  This relationship inspired our inaugural Come Together charity event, a two-day education experience where top industry leaders teach fellow hairdressers, with 100% of proceeds going to Giant Steps. Additionally, our Giant Steps Cutting Program brings A.H stylists to Giant Steps to provide positive haircutting experiences for children who have found traditional salon visits traumatic.  Last year, we delivered over 175 complimentary haircuts, creating a foundation for future inclusivity. Of all the incredible things A.H Salon has achieved; this is what I’m most proud of. Looking ahead, what’s next for A.H Salon? Do you have any future plans or expansions in mind? Right now, our focus is on continuing the success of our three existing salons and the launch of A.H Salon Surry Hills. Our spaces are large - Rozelle has 10 stations, Newtown has 16, and Surry Hills boasts 22 stations, plus two colour tables seating an additional 20 guests over a massive 430sqm space. With up to 2,000 guests visiting us each month, our priority is delivering a unique, personalized experience for each of them. We do have clients who travel from all over Sydney and frequently tell us we need more A.H Salons — so who knows what the future holds!

In the heart of Darlinghurst, a quiet revolution is unfolding in the world of dentistry. Sage Space, a practice that challenges the conventional clinical approach, is reshaping what it means to visit the dentist.  More on Surry Hills Dr. Corbin Barry Founder Dr. Corbin Barry has always been driven by a desire to rethink the status quo of dental care. After more than a decade in the industry, he questioned why dentistry focused so heavily on invasive treatments and cosmetic procedures, often overlooking the preventable nature of dental diseases. "Why does dentistry have to be clinical and intimidating? Why should patients feel anxious or uncomfortable?" Dr. Barry asks, reflecting on the inspiration behind creating Sage Space.  "I’ve always believed that if we empower patients with the right knowledge and tools, we can shift the narrative — making preventative care an act of self-care rather than an afterthought." Sage Space was born from this philosophy, with the vision to prioritize prevention and overall well-being over reactive treatments. "When I first walked into the space in Darlinghurst, it felt right - it was where my vision could come to life," he recalls. "Something about it just clicked, and looking back, it felt like it was meant to be." From the moment you step inside Sage Space, it’s clear this isn’t your typical dental clinic. Gone are the harsh fluorescent lights, the clinical smells, and the intimidating trays of sharp instruments. Instead, every detail is designed to ease anxiety and create an environment that feels more like a sanctuary than a dentist's office. "Patients often walk in and ask if we offer spa services because the space feels so calming," says Dr. Barry. Soft Maison Balzac candles fill the air with soothing scents, and patients are offered personalized music or shows to enjoy during their appointments. But the comfort doesn’t stop with aesthetics. The focus is on fostering a deeper connection with patients, creating an atmosphere where they feel heard, seen, and actively involved in their own health journey.  "We take the time to listen. It’s not just about teeth; it’s about overall well-being," explains Dr. Barry. "This isn’t just a dental visit—it’s a chance to talk about health holistically." Sage Space is redefining how dental care is perceived by focusing on prevention. Dr. Barry shares that the most rewarding feedback he receives is when patients express how excited they are to return.  "We’re seeing a shift," he says. "People are actually looking forward to their visits, which was unthinkable in traditional dentistry. Prevention starts with education, and we use cutting-edge technology—like X-rays, 3D scans, and visual presentations—to help patients truly understand their oral health." A key aspect of Sage Space’s approach is its emphasis on holistic care. Dr. Barry collaborates with other specialists to discuss factors like sleep health, airway health, and the effects of teeth grinding or clenching. By approaching oral health from multiple angles, Sage Space empowers patients to take control of their health in a more comprehensive and positive way. While premium care is central to the Sage Space experience, Dr. Barry also believes that high-quality dental care should be accessible. "Running a practice in this industry with rising costs is challenging," he admits. "But we’re committed to ensuring more people can experience Sage Space. We have some exciting initiatives planned for this year to make this happen." Beyond dental care, Dr. Barry is passionate about the role oral health plays in holistic wellness. "Your mouth is the gateway to your body. It impacts everything from digestion to cardiovascular health, sleep quality, and even mental well-being," he explains. "Oral health shouldn’t be treated as separate from overall wellness. It’s just as essential as skincare, exercise, or meditation." As Sage Space continues to grow, Dr. Barry hopes to inspire others to embrace self-care through prevention. "We want to make dental care something people look forward to, not something they dread." Looking ahead, Dr. Barry is more determined than ever to transform the dental experience, one patient at a time. Through Sage Space, he is not only challenging the industry norms but also creating a community where prevention and well-being are the true priorities. Want your smile looking its best? Book your appointment at Sage Space Address : Ground Floor/105 Crown St, Darlinghurst NSW 2010 Phone: (02) 8607 8559 Hours : Open ⋅ Closes 6 pm Website: https://sagespace.au/

Aussies are known for their coffee — now, the world agrees More on Surry Hills Toby’s Estate Chippendale By Lucy Pearson Australians take their coffee seriously. From hole-in-the-wall espresso bars to sprawling roasteries, the country’s coffee culture is revered worldwide. Now, it’s official — one of our own has taken the crown. Toby’s Estate Chippendale has just been named The World’s Best Coffee Shop at the inaugural World’s 100 Best Coffee Shops awards, held in Madrid, Spain. The global recognition comes as part of a newly established ranking system that celebrates excellence in coffee. The awards assess cafes worldwide based on a series of factors: coffee quality, barista expertise, customer service, innovation, ambience, sustainability, food quality, and consistency. After a rigorous selection process—incorporating both public votes and expert panel evaluations — Toby’s Estate emerged victorious. Australia’s reputation for outstanding coffee is well-earned, and Toby’s Estate Chippendale’s win cements Sydney’s status as a global coffee capital. The Chippendale flagship, home to Toby’s Estate’s renowned roastery and Island Brew Bar, has long been a favourite among coffee aficionados, and now the world has taken notice. Jody Leslie, General Manager of Toby’s Estate, spoke of her enormous pride in the team’s achievement: “Our whole team puts in an immense amount of effort to make the best coffee possible, so we’re absolutely delighted to be awarded this incredible recognition. Coffee is at the heart of everything we do, and this honour is a testament to our commitment to quality and innovation.” It wasn’t just a win for Sydney — Australian coffee culture made a strong showing in the global rankings. Melbourne’s Proud Mary secured fourth place, while Brisbane’s Coffee Anthology landed in eighth. In total, nine Australian coffee shops featured in the top 100, solidifying the country’s reputation as a coffee powerhouse. Toby’s Estate is no stranger to pushing boundaries. What began in a Woolloomooloo garage over 25 years ago has grown into an internationally recognised brand, with flagship locations in Brisbane, Singapore, the Middle East, the Philippines, and, most recently, Melbourne’s Fitzroy. But Chippendale remains its beating heart — a space where coffee innovation thrives. Toby’s Estate Chippendale stands out thanks to its unique Island Brew Bar, where there are no barriers between customers and baristas, offering an interactive, immersive coffee experience. The roastery is also a key highlight, allowing visitors to observe the roasting process through glass doors, gaining insight into the craftsmanship behind each cup. Though coffee is the main attraction, Toby’s Estate goes beyond just serving exceptional brews, with a selection of high-quality offerings that complement the coffee experience. The combination of these elements makes it a must-visit for coffee lovers seeking both education and enjoyment. The World’s 100 Best Coffee Shops awards aim to spotlight the finest coffee experiences worldwide. The ranking process combines public votes (30%) with expert evaluations (70%), ensuring a balance of popular opinion and industry expertise. Nominations are open to the public, and a panel of seasoned baristas, coffee roasters, and industry professionals assesses the final contenders. The winners represent the very best in specialty coffee, showcasing those that have mastered the delicate balance between craft, innovation, and community. For Sydneysiders and tourists alike, there’s never been a better time to visit Toby’s Estate Chippendale. Located at 32-36 City Rd, Chippendale, the cafe welcomes coffee lovers to experience its award-winning brews firsthand. Even better? The roastery hosts free monthly coffee tastings, inviting guests to deepen their appreciation for specialty coffee in a space that champions knowledge-sharing and experimentation. Toby’s Estate has always been about more than just coffee — it’s about passion, craftsmanship, and the connection forged over a great cup. Now, with the world watching, Sydney’s coffee culture has never shone brighter.

Over 60 years of community service More on St Ives St Ives Uniting Church, a multi-use venue that also caters for youth gymnastics and ballet lessons and inter-school sport matches as well as Sunday religious services, is situated at the corner of Douglas St and Mona Vale Rd in the suburb’s north.  In 2023 the church celebrated its sixth decade of community service. The 60th anniversary was also mentioned in Hansard , the official record of the NSW Parliament, when Matt Cross MP (Davidson) spoke about the church in the Legislative Assembly. St Ives Uniting Church is born “The St Ives Uniting Church was born in 1963 of the union between the Methodist and Protestant churches to serve the parishioners of the rapidly growing suburb of St Ives,” he said. “The church has been an integral and important part of the St Ives community since that time…” Cross also mentioned the booklet 60 Memorable Years by Fay Laginestra and Bob Knox, recounting the church's history. A decade earlier, in the 50th anniversary booklet, St Ives Uniting Church – Fifty Memorable Years , by Howard Walker, further details of the church’s origins were revealed. “St  Ives, in 1963, was a serene, bushy, semi-rural  Sydney North Shore suburb with a village green and  a  showground, a suburb where you would still find cows and horses grazing in quiet pastures. It was into this pleasant but fast-growing neighbourhood, in 1963, that Rev Lockhart  Finlay, BA, OAM with his wife Carol, son Mark and daughter Michelle, moved from Bellingen, a  small town on  the  NSW Mid North Coast where he was Minister of the Presbyterian Church, to take up the role as Minister of the new St Ives Presbyterian Church, a role which he was to hold for the next 28 years.” A new St Ives Uniting Church The main building was designed with meeting rooms below and a large hall that, when the seating was removed, doubled as a gymnasium. The article continued, “In 1963, the  St  Ives  Presbyterian Church was established on our present site and, in the same year, the new St Ives Methodist Church was opened and dedicated nearby on Mona Vale Road. At the time of Church Union, the congregation of the Methodist Church made the decision to move to the Presbyterian Church, to form the  St Ives Uniting Church. We are now .. celebrating.. this very successful and happy union…” The original venue in which the Methodists met for Sunday services in the 1950s was the old Masonic Hall on Stanley St, adjacent to the ambulance station and the former Gillott’s bus depot (now a residential estate). According  to the St Ives Pymble Presbyterian Church, “In 1957, it was agreed to purchase 2 blocks of land at the corner of Mona Vale Road and Douglas Street for $11,000. A Church Hall was completed at a cost of $18,000 and opened on Sunday, 1st April 1962 by the Moderator of North Sydney Presbytery, Rev. Harold Durbin. “On 1st January 1963, St. Ives was declared a sanctioned Charge… Talks commenced in the 1960s between the Congregational, Methodist and Presbyterian Churches that culminated with Church Union in June 1977. The majority of the St. Ives Congregation voted to join the Uniting Church, a minority wished to remain Presbyterian. Buoyed by like-minded members from other Presbyterian Churches (predominantly Pymble, Turramurra and Wahroonga), a viable St Ives-Pymble congregation was formed soon after …” Website: www.stives.unitingchurch.org.au

From Bohemian beginnings with Norman Lindsay to decades of artistic brilliance in St Ives, Margaret Coen’s vivid flower studies and serene Australian landscapes secured her legacy in Australia’s cultural canon. By ALEC SMART More on St Ives A selection of Margaret Coen Landscapes. L-R: Creek ; Old Cottages, Berrima ; Trees by the Creek ; Snowy Mountains Paddock with Parrots Margaret Coen (1909-1993), who lived most of her adult life on Sydney’s Upper North Shore in St Ives, was a successful artist who specialised in watercolours. She is renowned for her still-lifes (she enjoyed painting colourful arrangements of flowers), landscapes and portraits, and several of her artworks are displayed in major galleries, including the Art Gallery of NSW  and the National Gallery of Australia . Her personal letters are also archived in national collections because she was a close friend of one of Australia’s most influential artists, Norman Lindsay , an important mentor who introduced young Margaret to watercolour painting.  Margaret Coen's Personal History In 1945, she married poet and playwright Douglas Stewart  (1913-1985), who was, for 20 years, the Literary Editor of  The Bulletin  magazine. They had one daughter, writer and filmmaker Meg Stewart, who still resides in their St Ives family home. Meg kindly spoke to us for this article, sharing details of her mother’s life story.  Margaret's daughter Meg beside a portrait her mum painted of her with the family cat. Photo: Alec Smart Born in Yass to Irish immigrants, Margaret Coen moved to Randwick at a young age and attended Kincoppal  in Elizabeth Bay, an independent Roman Catholic school for girls. She showed early promise with her artistic talent and attended lessons by Antonio Dattilo-Rubbo , the celebrated and flamboyant Italian-born art teacher from the Naples Art Academy, who gave art classes in selective schools across Sydney, and at the Royal Art Society of NSW . From 1898, the year after he arrived in Sydney, Dattilo-Rubbo taught at St Joseph's, Scots College, Kambala, Newington College as well as Kincoppal. He gave his pupils nicknames, and according  to his grandson Mark, he dubbed young Margaret Coen ‘Gunner’, because he predicted that one day she would go, “boom, boom!”, in an explosion of artistic talent.  Dattilo-Rubbo was not distinguished as a painter (although 130 of his works are in the Manly Art Gallery & Museum , which he founded), but he was highly influential in introducing a generation of young Australians to Modernism . He further encouraged experimentation and abstract expression via mediums such as Post-Impressionism  (with luminaries Paul Cézanne, Édouard Manet and Paul Gaugin) and Cubism  (Pablo Picasso and Georges Braque). These influences can be seen in some of Coen’s artworks. Antonio Dattilo-Rubbo, 1901. Photo: Wikipedia In a 2022 interview  with the National Trust , Meg revealed her mum, “was very lucky to have Antonio Dattilo-Rubbo as her art teacher. The nuns recognised her talent and actually, when the family couldn't afford them anymore, they paid for her art lessons to continue.” After graduating from high school Coen attended drawing classes four nights a week at the Royal Art Society of NSW  in Pitt Street, as well as continuing her lessons with Datillo-Rubbo. Coen also found work as a commercial artist in the City. I asked Meg about her mother’s reported talent for drawing from memory. She revealed: “This was when I was a baby and she had to look after me and, since we living in a city flat, this meant going out on excursions such as ferry rides or walking up to the Botanic Gardens.  “Because I was so little she could not really draw [in detail] at that time so she would draw what she had seen while we were out and then when she came home, and I was presumably asleep, recreate it…. She never went anywhere without a sketch book; in her later years she would even take a sketch book with her when she was a patient in hospital.” Margaret Coen in 1932 - painted by Edmund Harvey Meeting her mentor Sometime in 1929, when she was aged 20, Coen travelled up to Faulconbridge in the Blue Mountains with two friends to meet the celebrated artist Norman Lindsay  and his wife, the famous model Rose Soady , at their home studio . Lindsay, author of the comic fantasy children’s book The Magic Pudding  (published 1918), was renowned as a talented painter, sculptor, etcher, cartoonist and illustrator as well as a writer and critic.  Did she model for Lindsay on their first meeting, or approach him for artistic advice? “Mum always said that the first time she went to ‘ Springwood ’, as we always referred to the Lindsay property in the Blue Mountains, that Norman did a watercolour painting - just a head study - of her and the woman who was visiting with her,” Meg revealed.  “Mum had been hearing about Norman and wanting to meet him since she was a schoolgirl… Mum also said that what really impressed her on that first visit to Springwood was to see how Norman worked with watercolours. He showed her how to put down a watercolour wash and she came away determined to be a watercolour artist herself. Her introduction to the medium of watercolour is the really crucial point about her first meeting with Norman.” Norman and Rose Lindsay c. 1920. Photo: Harold Cazneaux Becoming a professional A regular contributor of cartoons to The Bulletin  magazine, a trustee of the National Art Gallery of NSW and former president of the Australian Painter-Etchers' Society, Norman Lindsay lived a ‘Bohemian’ lifestyle. However, due to his love of painting naked women  in bawdy scenes inspired by Greek mythology , and his risqué fiction (his 1930 novel Redheap  was banned) he was frequently censored and derided as a pornographer. The 1994 film  Sirens , starring Sam Neil, Tara Fitzgerald and Hugh Grant (and 'supermodel' Elle Macpherson in her film debut), is inspired by Norman Lindsay’s creative works  and was filmed at his Faulconbridge home.  Sirens (1994) the John Duigan-directed film, based on the life of artist and author Norman Lindsay. The film features a lot of nude models, unrestrained passion and sapphic intimacy. Was this accurate of the 'Bohemian' lifestyle of Lindsay, his muses and his wife Rose, or a fanciful exaggeration closer to his Greek myths-inspired paintings than real life? “I was not around for the heyday of whatever bohemian high-jinx took place at Springwood,” Meg said. “Rose did love parties – and I’m sure there were some wild ones – and she was at great entertaining visitors. Norman, on the other hand, in fact, was usually trying to escape from most visitors and just wanted to get on with work uninterrupted. So, I would think there was a degree of fanciful exaggeration to Sirens .  “By the time Mum and Dad were staying there in the 1940s, there was a still a Bohemian atmosphere but Norman was in his 60s then and generally things around him were quite quiet. At night when Mum and Dad were staying there, Mum would read the works of writers like Dickens aloud to them. By the time I first knew Norman he was in his seventies and there was no unrestrained passion or Sapphic intimacy at Springwood outside artworks.”   Although his principal muse was his wife Rose  (probably Australia’s most-painted woman), Lindsay utilised a collection of art models from which he sketched poses that were incorporated into his larger compositions. His biographer Lin Bloomfield estimates that between 1930 and 1940, Lindsay employed 140 models.  Margaret Coen reportedly appears in several of his artworks, notably The Party  (1933). “She is generally acknowledged to be the woman in Happiness ,” Meg revealed. “Painted in 1933, Happiness is a lovely water colour in which she is depicted standing in a garden with a white peacock perched nearby and which is now part of the Howard Hinton collection at NERAM ( New England Regional Art Museum ). “I’m sure Norman drew Mum often, and her face and body do appear in a number of his works, but she never considered herself an artists’ model and was always determined to be an artist.” 'Happiness' with Margaret Coen as the model - by Norman Lindsay (1933) In 1934, Lindsay began renting a studio at 12 Bridge St, close to Circular Quay and based himself in the city. Around this time Margaret Coen found her own calling as a respected painter. Her friendship with Lindsay blossomed and at one stage (during Lindsay’s separation from Rose, his second wife), the pair were lovers, despite him being 30 years her senior.  How long did their affair last? “Because neither Mum nor Norman ever talked about their love affair it’s impossible to know this for sure. Norman moved into the Bridge Street studio in 1934. Mum had her own painting studio where she worked most days at 38A Pitt Street, not far away and was still living with her parents at Randwick. She often came over at the end of day and helped Norman clean up after his day’s painting and also helped him by arranging for the various models he wished to paint for whatever composition he was working on to pose for him. Mum met my father in 1938 and by 1939 was beginning to become involved with him.   “So, somewhere in that four-year period, what had begun as a flirtation between Mum and Norman sometime earlier, perhaps soon after their first meeting, changed from a love affair into a deep friendship and abiding friendship that included my father. Norman had enormous respect for my father as a poet and was deeply encouraging of his writing as he was of Mum’s painting. “To sum up: the love affair was relatively brief, the friendship long-lasting.” After Lindsay returned to Faulconbridge in 1940, Coen took custody of his 12 Bridge St studio and continued her painting there. In 1945 she married Douglas Stewart (having waited until the end of World War II), and they initially lived in a flatette in Potts Point.  'Sydney Harbour' by Margaret Coen When Coen became pregnant with Meg, they realised the Potts Point flatette was too small to raise a child, so the couple relocated to the 2-room studio and began living there shortly before Meg Stewart was born. Douglas continued working for The Bulletin  magazine (for which he’d been Literary Editor since 1940), which was now conveniently close in George St.  “They moved in there at the end of 1947 just before I was born in January 1948,” Meg confirmed. “12 Bridge belonged to the Huddart Parker shipping company building so it was a commercial type old-fashioned city building rather than a Paddington-style terrace. It had three floors... A flight of stairs from there led to the roof where there was a communal clothes line.  “My father, in his memoir  of Norman Lindsay, wrote that he thought you could have climbed over the rooftops from building to building from George Street right along to Pitt Street in those days. There had been artists renting rooms there since at least the 1930s... Above us on the third floor, until my persistent crying as a baby soon drove her out, was the artist Adelaide Perry .” Just before Meg turned six, in December 1953, the trio relocated to St Ives, then a semi-rural forested suburb dominated by market gardens in Sydney’s far north. They settled into a house in Banool Ave, which became Coen’s home studio where she hosted art classes and became a prolific painter. Meg and her father Douglas in the sand dunes, going fishing - by Margaret Coen “All her life she loved painting landscapes, whether in the bush, or at the beach or even inner-city suburbs with old buildings such as Balmain, and she always worked in situ,” Meg revealed. “Every year, when I was growing up, we went for three weeks to the Snowy Mountains in January. Dad and I went trout fishing and Mum painted, she especially loved the ‘blue’ bush there. She had to battle the March flies particularly on these trips and used to wrap her legs up in blankets to keep her from biting her! “Before that in the 1930s and ‘40s she often painted around the harbour and did landscapes of suburbs like Balmain. In the ‘40s when she stayed at Springwood she did landscapes of the gullies and a waterfall in the bush surrounding the property there…  “One of the reasons why we moved to St. Ives was that it was so close to the bush and the Northern Beaches, such as Mona Vale… “Apart from a proximity to landscape, the other aspect of living in St. Ives that was special to Mum was that for the first time in her life she was able to have a garden of her own… It was much, much better for her have a whole range of subjects growing in her own garden. She loved watching what she called the ‘movement’ of flowers. ‘Flowers have a life of their own,’ she said. ‘Flowers aren’t static; they move. It’s fantastic how some flowers move.’… 'Iris in the Garden' by Margaret Coen “Jane Glad, Norman Lindsay’s daughter, who was great friends with Mum, has also described how in those days Mum would also bring up bunches of flowers from the city to paint with Norman in the studio there. “Because she had subjects so close at hand at St. Ives, over the years her work became much freer. In her early watercolours, she drew very carefully in pencil but over the years at St. Ives, she came to just draw with her brush. ‘You have to be in complete control of your technique before you can free yourself,’ was how she explained it.” 'Meg Lying On The Floor With Snowball' by Margaret Coen c1960 I read an interview with Meg  in which she revealed her mum painted a lot of portraits of her with her school friends when they were teenagers in the 1960s. In how many of paintings did Meg feature? “Lots!” she admitted. “I honestly have never counted them but there were many, many. I also sometimes used to sit for the once-a-week art class for women that she held in the house here.”   How many of Margaret Coen's paintings feature scenes from around St Ives? “She lived at St. Ives for nearly forty years,” Meg replied, “and, until ill-health stopped her for the last two years of her life, she was painting often every day of the week - that’s a lot of paintings. Not all the paintings of those forty years, either landscapes or flower painting, were St. Ives-inspired, and it’s hard to estimate, but I would say perhaps sixty percent or more were. One of her most-loved paintings is called The Moon over Ku-ring-gai . My father loved this work so much that he bought it from her as soon as it was finished so it wouldn’t leave the house.” Margaret's daughter Meg beside her father's beloved painting, 'Moon Over Ku-Ring-Gai'. Photo: Alec Smart ==============================

Madeleine Steel is a passionate advocate for parents navigating the complexities of raising teenagers in crisis. More on St Ives Madeleine Steel As the founder and CEO of EPIC (Empowering Parents in Crisis), she has dedicated herself to creating a strong, supportive community that recognises parents and carers as first responders to their children’s struggles. Through EPIC, she has established a safe, non-judgmental space where parents can find the knowledge, skills, and confidence needed to support their families effectively. Her journey began three years ago when she recognised a critical gap in support for parents facing the emotional and practical challenges of raising young people with mental health difficulties. Having experienced these struggles herself, she knew that many parents felt overwhelmed and isolated, often lacking the guidance and reassurance they desperately needed. Understanding the power of connection, she set out to create an organisation that not only provided direct assistance but also fostered a sense of belonging for those in similar situations. Since its inception, EPIC has grown into a vital resource for families in the community. With nearly 400 members, the organisation has touched countless lives, offering peer support and a strong network for parents seeking understanding and encouragement. In the past year alone, EPIC facilitated over 1,100 parent and carer connections, provided direct assistance to more than 700 individuals through its phone helpline, and hosted 29 workshops and forums aimed at equipping parents with practical strategies for managing their unique challenges. The organisation has also organised regular walk-and-talk events, providing parents with an informal way to connect, share experiences, and support one another. Madeleine’s work extends beyond direct peer support—she actively collaborates with schools, police, hospitals, and other organisations to raise awareness about youth mental health and improve support pathways for families. By forging these connections, she has helped bridge the gap between parents and the wider support networks available, ensuring that families receive the right guidance at the right time. Her advocacy has played a crucial role in increasing recognition of parents’ needs within the broader mental health conversation. Madeleine Steel recognised as Citizen of the Year In February, Madeleine was honoured as Ku-ring-gai Citizen of the Year, a well-deserved recognition of her dedication and impact. Her leadership and relentless commitment have not only strengthened individual families but have also contributed to a more connected, resilient community. Through EPIC, she has demonstrated that when parents feel empowered and supported, they are better equipped to guide their children through life’s most challenging moments. Beyond her work with EPIC, Madeleine is a keen horticulturist, landscape designer, and travel consultant. However, among all the roles she has embraced, her most treasured is being a mother to two wonderful teenagers. It is this personal experience that fuels her passion for her work, reminding her every day of the importance of connection, understanding, and support in parenting. She firmly believes that no parent facing a crisis should have to navigate it alone and that through peer support, shared experiences, and practical resources, parents can learn from one another and build the resilience needed to support themselves and their families. Madeleine’s vision for EPIC is clear—to continue expanding its reach and impact, ensuring that more parents and carers have access to the support they need. She hopes to further develop partnerships with organisations that align with EPIC’s mission, increase awareness of the importance of peer support, and continue breaking down the stigma surrounding youth mental health. Her dedication has not only changed the lives of those she directly supports but has also inspired a broader movement of kindness, awareness, and collective strength within the community. Through her work, Madeleine has shown that parenting in crisis does not have to be a lonely journey. By fostering open conversations, creating safe spaces for connection, and advocating for greater awareness, she is helping to redefine what it means to support parents and carers. Her efforts have made a lasting difference, ensuring that more families feel empowered rather than overwhelmed. In a world where mental health challenges continue to affect so many, her work serves as a beacon of hope and support for those who need it most.