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Deborah Conway
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Key Information
Deborah Ann Conway AM (born 8 August 1959) is an Australian rock singer-songwriter and guitarist, and had a career as a model and actress. She was a founding member of the 1980s rock band Do-Ré-Mi with their top-5 hit "Man Overboard".
Conway performs solo and has a top-20 hit single with "It's Only the Beginning" (1991). The associated album, String of Pearls, also peaked in the top 20. She won the ARIA Award for Best Female Artist at the 1992 awards. Her next album, Bitch Epic, reached the top 20 in November 1993. Conway organised and performed on the Broad Festivals from 2005 to 2008—show-casing contemporary Australian female artists.
Early life and education
[edit]Deborah Ann Conway was born on 8 August 1959 in Melbourne, Victoria.[1][2] Her father Carl was a lawyer, entrepreneur, realtor and stockbroker in Toorak (died 2011).[3] Conway attended Lauriston Girls' School—photos of her as a schoolgirl were displayed at the Sydney Jewish Museum.[1][3]
She started Media Studies at Royal Melbourne Institute of Technology (RMIT) but left in 1979.[3] Next, she attended University of Melbourne for an arts degree with modelling and singing to support her way through.[1][4] A billboard campaign for Bluegrass jeans featured Conway's nude backside and the phrase "Get yours into Bluegrass".[1][5] Other ads with Conway as a model include Big M and Crunchie.[6]
Career
[edit]1959–1980: Early years and The Benders
[edit]At the age of 18, Conway started playing guitar, and in 1980 she joined the Benders as a vocalist whilst still at university.[7] Her father was so concerned when she joined the pop band that he sent her to a psychiatrist.[1] Other members of The Benders included Neville Aresca (bass guitar), Les Barker (guitars, vocals), Dorland Bray (drums, vocals), John Campbell, Daniel Solowiej and Greg Thomas (guitar, keyboards).[8][9] They performed mostly in Melbourne pubs playing original material—mostly written by Conway and Thomas as well as Blondie and Devo cover versions.[4] Conway also wrote songs with Bray.[1]
Conway had minor roles in the films Mallacoota Stampede (1979) and Hard Knocks (1980).[6][10]
1981–1991: Do-Ré-Mi to Rose Amongst Thorns
[edit]In 1981, Conway and Bray relocated to Sydney and formed pop rock band Do-Ré-Mi, with Helen Carter on bass guitar and Stephen Philip on guitar.[11][12][13] They recorded two albums, Domestic Harmony (1985) and The Happiest Place in Town (1988), and eight singles.[8] Their best performed hit, "Man Overboard", peaked at No. 5 on the Australia Kent Music Report Singles Chart and became the eighth-highest-positioned Australian song on the 1985 End of Year Chart.[14][15] In the early 1980s, Conway was the domestic partner of Paul Hester—drummer for Deckchairs Overboard and then Split Enz—before he left for Los Angeles in 1985 and formed Crowded House there.[1][16]
Conway played the lead role of "Julie" in an Australian teenage road movie called Running on Empty, which was released in 1982.[6][17]
In late 1983, Conway supplied vocals for actor Tracy Mann's singing in the ABC Television series Sweet and Sour (1984), including the hit title song, "Sweet and Sour".[18] Two soundtrack albums and three singles from the series were credited to The Takeaways (and various artists).[19] Conway sang lead vocals on half the songs and backing vocals on almost all the rest.[18] She had a minor role, credited as Debbie Conway, in The Coca-Cola Kid (1985).[6][10]
In 1986 Conway performed with The Rock Party, a charity project initiated by The National Campaign Against Drug Abuse, which included many Australasian musicians: Neil Finn, Eddie Rayner, Tim Finn, Nick Seymour and Hester (all from Crowded House); Geoff Stapleton, Robbie James and Mark Callaghan (all from GANGgajang); Reg Mombassa and Martin Plaza (both from Mental As Anything); Andrew Barnum and Lissa Barnum (Vitabeats); Mary Azzopardi (Rockmelons), Michael Barclay, Peter Blakeley, Jenny Morris, Danny De Costa, Greg Herbert (The Promise), Spencer P Jones, Sean Kelly (Models), John Kennedy, Paul Kelly, Robert Susz (Dynamic Hepnotics) and Rick Swinn (The Venetians).[20] The Rock Party released a 12" single "Everything to Live For", which was produced by Joe Wissert, Phil Rigger and Phil Beazley.[20]
Do-Ré-Mi disbanded in 1988 not long after their second album was released.[7][11] Rolling Stone (Australia) named Conway 'Best Australian Female Singer' for that year.[21]
While Do-Ré-Mi were working in England in 1988, Conway became involved in Pete Townshend's project The Iron Man: The Musical by Pete Townshend.[6][7] Shortly afterwards she recorded an album of dance music in Los Angeles which was not released except for a solo single, a cover of Bad Company's "Feel Like Makin' Love" (1990), produced by Scott Cutler.[6][8]
In 1990, Conway formed Drawcards as a semi-acoustic band with Vika and Linda, Stephen Cummings, Dror Erez, Tim Finn, Ross Hannaford, Peter Jones, Shane O'Mara and Chris Wilson.[8][21] Almost immediately it split with half its members—Conway, Hester, Erez, Jones and Wilson—forming Rose Amongst Thorns as a pub rock band from 1990 to 1991.[8][21]
1991–1996: String of Pearls & Bitch Epic
[edit]In 1991, Conway played Juno in Peter Greenaway's Prospero's Books, singing a setting of William Shakespeare's masque from The Tempest to music by Michael Nyman.[6][21]
Deborah Conway's debut solo album was released in October 1991, titled String of Pearls, which peaked at No. 20 on the ARIA Albums Chart.[22] The album was produced by Richard Pleasance, Joe Hardy and Michael den Elzen.[8][21] Singles from the album include "It's Only the Beginning" which reached No. 19 on the ARIA Singles Chart in August, "Under My Skin" (December) and "Release Me" (February 1992),[1][22] all three of which were co-written with Scott Cutler. For her work on the album, she won ARIA Award for Best Female Artist at the ARIA Music Awards of 1992.[23] To support the releases, Deborah Conway and the Mothers of Pearl was formed with Alan Harding (keyboards), Peter Jones (drums, ex-Drawcards and Rose Amongst Thorns), Bill McDonald (bass guitar) and Willy Zygier (guitar).[8][21] Conway and Zygier became domestic partners and have written and performed much of Conway's subsequent material.[3]
Conway released her second album Bitch Epic in 1993, which peaked at No. 18 and was produced by Jim Rondinelli and Zygier.[8][22] The cover features an upper body shot of a topless Conway, covered in Nutella and cream,[21] as she is about to eat a slice of cake thereby illustrating the concept of Gluttony for ABC TV mini-series Seven Deadly Sins (1993).[7][24] Conway, Paul Kelly, Vika Bull and Renée Geyer provided vocals and song writing for the related soundtrack.[25] An eight-track extended play of live songs was added to Bitch Epic to form 1994's Epic Theatre, which was produced by Zygier.[8][21] Her backing band were Zygier, Harding, McDonald and Hughie Benjamin (ex-Yothu Yindi) on drums.[21]
Ultrasound, an experimental band, with Conway, Zygier, McDonald and Hester, recorded and produced their self-titled album, Ultrasound (1995).[26]
1997–2003: My Third Husband to Only the Bones
[edit]Conway recorded a new album My Third Husband with Dave Anderson producing and, after returning to Australia in mid-1997, it was released in October 1997.[8][21]
In May 2000, Conway released her fourth studio album, Exquisite Stereo, on Shock Records.[21] Her backing band, Deborah Conway and the City of Women, was Zygier, Cameron Reynolds (samples), Edmond Amendola (bass guitar) and Dave Williams (drums)—the latter two are members of Augie March.[8][21] This was much more of a rock record than previous releases, it "was a mature album featuring a wide variety of styles, from acoustic love song ("You Come to Earth") and Radiohead-styled epics ("Interzone") to full tilt rockers ("I Lay Down on My Pillow and Cried All Night")".[7][21]
Following Exquisite Stereo, Conway played the lead role of Patsy Cline in the Australian stage production of Always... Patsy Cline and recorded a covers album of Cline's songs, called PC: The Songs of Patsy Cline (2001), which was produced by Zygier and Reynolds.[8] She supported the release by touring as Deborah Conway and the Patsy Clones which contained Zygier and Reynolds, and Gerry Hale.[citation needed]
Only the Bones is Conway's compilation album which was released in 2002. The cover showed Conway at a table picking over a meal. The album was re-titled Definitive Collection, with a different cover, and re-released in 2004.[citation needed]
Conway performed Dreaming Transportation: Voice Portraits of the First Women of White Settlement at Port Jackson which was scripted and directed by Andrée Greenwell.[27] The performance premiered at the Sydney Festival in 2003 and a year later was staged again, at the Sydney Opera House. Performing with Conway were Susan Prior, Christine Douglas, Amie McKenna and Jeannie Van de Velde and musicians, Hope Csuturos (violin), James Nightingale (clarinet, saxophone), Jane Williams (cello), Kim Poole (guitar/mandolin), Denise Papaluca (piano), Mardi Chillingworth (double bass) and Jared Underwood (percussion).[27] The work was inspired by a series of poems by Jordie Albiston.[27]
2004–2016: Conway and Zygier
[edit]
In August 2004, Conway released Summertown, under the name of Conway and Zygier on the Another Intercorps label and was produced by Conway, Zygier and Hale.[8] It has a 1960s folk-pop sound to it. Conway and Zygier supported sales by appearing in fans' homes.[4] Brisbane group, george, recorded Do-Ré-Mi's hit single "Man Overboard", with Conway providing vocals, on their 2004 single "Still Real".[28] Katie Noonan from george also performed with Conway in 2005. In 2005, Conway provided vocals for Man Bites God's single "Bride of the Dragon" from their album The Popular Alternative.[citation needed]
From 2005 to 2008, Conway collaborated with different female artists to tour Australia as part of the Broad Festival project.[7] Each year's roster performed their own and each other's songs: Sara Storer, Katie Noonan, Ruby Hunter, Conway, and Clare Bowditch in 2005;[29] Melinda Schneider, Mia Dyson, Kate Miller-Heidke, Conway, and Ella Hooper in 2006;[30] Anne McCue, Sally Seltmann, Conway, Jade Macrae, and Abbe May in 2007;[31] and Laura Jean, Elana Stone, Liz Stringer, Dianna Corcoran, and Conway in 2008.[32][7][33]
In 2008, Conway was appointed artistic director of the Queensland Music Festival, which runs biennially in late July in odd-numbered years.[34]
In May 2010, Conway and Zygier released Half Man Half Woman, which was produced by James Black (from stage band for RocKwiz) who also provided keyboards.[34] The album included a track, "Into the Blue" recorded with Conway and Zygier joined by their three daughters, Syd, Alma and Hettie on vocals.[35] The Age's Michael Dwyer observed that Conway and Zygier did not compromise, "from [Zygier's] jaunty Wes Montgomery-styled instrumental overture to a charming banjo lullaby featuring their three daughters, it fairly saunters with a relaxed resolve to be whatever it wants to be".[36]
Stories of Ghosts, released in February 2013, explored Old Testament themes, and received positive reviews in the Australian music press.[citation needed]
In August 2016, Conway announced the release of her ninth studio album Everybody's Begging on 2 September 2016. The album is a collection of mainly acoustic songs about an unbeliever's take on Old Testament themes from a Jewish perspective. This was accompanied by a tour in August and September.[37]
2023: Book of Life
[edit]In September 2023, Conway and Zygier premiered their musical theatrical show, Songs From The Book of Life, at the Brisbane Festival, based on Conway's forthcoming memoir.[38] On 3 October 2023, Conway published her memoir, Book of Life.[39] It was shortlisted for the 2024 Nib Literary Award.[40]
In August 2025, Conway and Zygier released the album Right Wing Propaganda.[41]
Portraits and other recognition
[edit]In 1996, a portrait of Conway as Medusa, painted by Rosemary Valadon, was a finalist in the Archibald Prize. The prize is awarded for the "best portrait painting preferentially of some man or woman distinguished in Art, Letters, Science or Politics".[42]
A portrait of Conway by Lewis Miller was a finalist in the 2022 Archibald Prize.[43]
Personal life
[edit]Conway was in a relationship with Paul Hester before he moved to Los Angeles in 1985.[3][44] Conway is married to guitarist and musical collaborator Willy Zygier.[3] The pair had met in 1991 when Conway was vetting guitarists for her touring band, they formed a domestic partnership in that decade and married in 2007.[3] As of September 2016, they have three adult daughters, Syd, Alma and Hettie, who are all musicians.[3][35][45] In 2024 in the context of reactions to the Gaza war, Conway described her efforts to expose "the antisemitism among the 'good', the 'kind', the 'righteous', the 'educated' - people I never imagined would fall for it".[46]
In a radio interview with ABC Australia in 2023 she disputed the large number of children being killed by Israel. "It depends what you call kids. You see 16-, 17-year-olds, young boys, toting rifles. Unfortunately Hamas recruits boys that are not men yet," she said.[47]
Discography
[edit]Studio albums
[edit]| Title | Album details | Peak chart positions | Certifications |
|---|---|---|---|
| AUS [22][48] | |||
| String of Pearls | 20 | ||
| Bitch Epic |
|
18 |
|
| My Third Husband |
|
79 | |
| Exquisite Stereo | - | ||
| PC: The Songs of Patsy Cline |
|
- | |
| Summertown (with Willy Zygier) |
|
- | |
| Half Man Half Woman (with Willy Zygier) |
|
- | |
| Stories Of Ghosts (with Willy Zygier) |
|
- | |
| Everybody's Begging (with Willy Zygier) |
|
- | |
| The Words of Men (with Willy Zygier) |
|
- | |
| Right Wing Propaganda (with Willy Zygier) |
|
- |
Soundtrack albums
[edit]| Title | Album details | Peak chart positions |
|---|---|---|
| AUS [22][48] | ||
| Seven Deadly Sins (with Paul Kelly, Vika and Linda, and Renée Geyer) |
|
71 |
Compilation albums
[edit]| Title | Album details |
|---|---|
| Only the Bones – Deborah Conway's Greatest Hits |
|
| The Definitive Collection |
|
EPs
[edit]| Title | Album details |
|---|---|
| Epic Theatre |
|
Singles
[edit]| Title | Year | Peak chart positions | Album |
|---|---|---|---|
| AUS [22][48][57][58] | |||
| "Feel Like Makin' Love" | 1990 | — | non-album single |
| "It's Only the Beginning" | 1991 | 19 | String of Pearls |
| "Under My Skin" | 34 | ||
| "Release Me" | 1992 | 58 | |
| "White Roses" | 87 | ||
| "He Can't Decide" (with Paul Kelly, Renee Geyer and Vika Bull) |
1993 | 112 | Seven Deadly Sins |
| "Alive and Brilliant" | 64 | Bitch Epic | |
| "Today I am a Daisy" | 1994 | 98 | |
| "Consider This"/"Now That We're Apart" | 141 | ||
| "Only the Bones (Will Show)" | 1997 | 196 | My Third Husband |
| "2001 Ultrasound" | 1998 | 189 | |
| "It's a Girl Thing" | — | ||
| "Happy New Year" | 1999 | — | non album single |
| "Radio Loves This" | 2000 | 63 | Exquisite Stereo |
| "She's Coming for It" | — | ||
| "Exquisite Stereo" | 2001 | — | |
| "Accidents Happen in the Home" (with Willy Zygier) |
2004 | — | Summertown |
| "Something's Right" (with Willy Zygier)| |
2004 | Summertown | |
| "I Am Woman" (with Judith Lucy) |
2015 | — | non album single |
Charity singles
[edit]| Title | Year | Peak chart positions | Notes |
|---|---|---|---|
| AUS [59] | |||
| "I Touch Myself" (as part of the I Touch Myself Project) | 2014 | 72 | The I Touch Myself Project launched in 2014 with a mission to encourage young women to touch themselves regularly to find early signs of cancer.[60] |
See also
[edit]Awards and nominations
[edit]Conway was honoured as a Member of the Order of Australia in January 2020, "For significant service to the performing arts as a singer, songwriter and producer."[61][62] In December 2022 she was inducted into the Music Victoria Hall of Fame.[63]
ARIA Music Awards
[edit]The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation and achievement across all genres of Australian music. They Commenced in 1987.[64]
| Year | Nominee / work | Award | Result |
|---|---|---|---|
| 1992 | Strings of Pearls | Best Female Artist | Won |
| Album of the Year | Nominated | ||
| Best Cover Art | Nominated | ||
| Breakthrough Artist - Album | Nominated | ||
| "It's Only the Beginning" | Single of the Year | Nominated | |
| Breakthrough Artist - Single | Nominated | ||
| 1993 | "Release Me" | Best Female Artist | Nominated |
| 1994 | Bitch Epic | Best Female Artist | Nominated |
| Best Cover Art | Won |
Australian Women in Music Awards
[edit]The Australian Women in Music Awards is an annual event that celebrates outstanding women in the Australian Music Industry who have made significant and lasting contributions in their chosen field. They commenced in 2018.
| Year | Nominee / work | Award | Result | Ref. |
|---|---|---|---|---|
| 2024 | Deborah Conway | Lifetime Achievement Award | Nominated | [65] |
Countdown Music Awards
[edit]Countdown was an Australian pop music TV series on national broadcaster ABC-TV from 1974 to 1987, it presented music awards from 1979 to 1987, initially in conjunction with magazine TV Week. The TV Week / Countdown Awards were a combination of popular-voted and peer-voted awards.[66][67]
| Year | Nominee / work | Award | Result |
|---|---|---|---|
| 1986 | Deborah Conway in "Guns and Butter" by Do-Ré-Mi | Best Female Performance in a Video | Nominated |
Don Banks Music Award
[edit]The Don Banks Music Award was established in 1984 to publicly honour a senior artist of high distinction who has made an outstanding and sustained contribution to music in Australia.[68] It was founded by the Australia Council in honour of Don Banks, Australian composer, performer and the first chair of its music board.
| Year | Nominee / work | Award | Result |
|---|---|---|---|
| 2020[69] | Deborah Conway | Don Banks Music Award | awarded |
Helpmann Awards
[edit]The Helpmann Awards is an awards show, celebrating live entertainment and performing arts in Australia, presented by industry group Live Performance Australia since 2001.[70] Note: 2020 and 2021 were cancelled due to the COVID-19 pandemic.
| Year | Nominee / work | Award | Result | Ref. |
|---|---|---|---|---|
| 2002 | Deborah Conway - Always... Patsy Cline | Best Female Actor in a Musical | Nominated | [71] |
| 2017 | Deborah Conway - The Beginning & The End (with Willy Zygier) | Best Australian Contemporary Concert | Nominated | [72] |
Music Victoria Awards
[edit]The Music Victoria Awards are an annual awards night celebrating Victorian music. They commenced in 2005.
| Year | Nominee / work | Award | Result | Ref. |
|---|---|---|---|---|
| 2022 | Deborah Conway | Hall of Fame | inductee | [63] |
National Live Music Awards
[edit]The National Live Music Awards (NLMAs) are a broad recognition of Australia's diverse live industry, celebrating the success of the Australian live scene. The awards commenced in 2016.
| Year | Nominee / work | Award | Result |
|---|---|---|---|
| 2019[73] | Deborah Conway | Live Legends (Hall of Fame) | inductee |
References
[edit]- General
- McFarlane, Ian (1999). "Whammo Homepage". Encyclopedia of Australian Rock and Pop. St Leonards, NSW: Allen & Unwin. ISBN 1-86508-072-1. Archived from the original on 5 April 2004. Retrieved 4 June 2011. Note: Archived [on-line] copy has limited functionality.
- Specific
- ^ a b c d e f g h Harris, Anna (30 January 2004). "Deborah Conway – Still Alive and Brilliant". Anna Harris. Archived from the original on 14 May 2006. Retrieved 4 June 2011.
- ^ Zuel, Bernard (11 June 2005). "Adult Themes". The Sydney Morning Herald. Fairfax Media. Retrieved 4 June 2011.
- ^ a b c d e f g h Rocca, Jane (15 September 2016). "What I Know About Men ... Deborah Conway". Archived from the original on 27 May 2023.
- ^ a b c "Deborah Conway". Deborah Conway Official Website. Deborah Conway Willy Zygier. Retrieved 4 June 2011.
- ^ Kelly, Paul (21 September 2010). How to Make Gravy. Australia: Penguin Books (Australia). pp. 94, 139–140. ISBN 978-1-926428-22-2.
- ^ a b c d e f g Prasad, Anil (1997). "Deborah Conway – "It's a Girl Thing"". Innerviews: Music Without Borders. Anil Prasad. Retrieved 4 June 2011.
- ^ a b c d e f g Elliott, Tim (19 August 2008). "Lady's Night at the Beckoning Microphone". The Sydney Morning Herald. Fairfax Media. Retrieved 4 June 2011.
- ^ a b c d e f g h i j k l m n Holmgren, Magnus. "Deborah Conway". Australian Rock Database. Passagen.se (Magnus Holmgren). Archived from the original on 30 September 2013. Retrieved 16 March 2014.
- ^ "The Benders". Deborah Conway Web site: Officially Unofficial Since 1994. Mark O'Meara. Archived from the original on 20 July 1999. Retrieved 4 June 2011.
- ^ a b "Deborah Conway". Internet Movie Database (IMDb). Retrieved 7 November 2007.
- ^ a b McFarlane, 'Do-Ré-Mi' entry at the Wayback Machine (archived 30 September 2004). Archived from the original on 30 September 2004. Retrieved 4 June 2011.
- ^ Nimmervoll, Ed. "Do-Ré-Mi". Howlspace – The Living History of Our Music. White Room Electronic Publishing Pty Ltd (Ed Nimmervoll). Archived from the original on 26 July 2012. Retrieved 23 January 2014.
- ^ Holmgren, Magnus. "Do-Ré-Mi". Australian Rock Database. Passagen.se (Magnus Holmgren). Archived from the original on 5 November 2013. Retrieved 16 March 2014.
- ^ Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. p. 91. ISBN 0-646-11917-6. Note: Used for Australian Singles and Albums charting from 1974 until Australian Recording Industry Association (ARIA) created their own charts in mid-1988. In 1992, Kent back calculated chart positions for 1970–1974.
- ^ "1985 End of Year Chart". Oz Net Music Database. Archived from the original on 1 July 2007. Retrieved 19 July 2007.
- ^ Ellingsen, Peter (3 April 2005). "Something so Wrong". The Age. Fairfax Media. Retrieved 2 May 2008.
- ^ "Running on Empty". Internet Movie Database (IMDb). Retrieved 4 June 2011.
- ^ a b The Takeaways and Various Artists (1984). Sweet and Sour – TV Sound (LP album). ABC Records. L-38159.
- ^ "Australian Television Memorabilia & Collectables". Nodette Enterprises. Archived from the original on 17 July 2011. Retrieved 5 June 2011.
- ^ a b Holmgren, Magnus; Warnqvist, Stefan. "The Rock Party". Australian Rock Database. Passagen.se (Magnus Holmgren). Archived from the original on 30 September 2013. Retrieved 16 March 2014.
- ^ a b c d e f g h i j k l m McFarlane, 'Deborah Conway' entry at the Wayback Machine (archived 15 June 2004). Archived from the original on 15 June 2004. Retrieved 4 June 2011.
- ^ a b c d e f Australian (ARIA Chart) peaks: *Top 50 peaks: "Discography Deborah Conway". Australian Charts Portal. Hung Medien. Archived from the original on 25 October 2012. Retrieved 4 June 2011. *Top 100 peaks to December 2010: Ryan, Gavin (2011). Australia's Music Charts 1988-2010. Mt. Martha, Victoria: Moonlight Publishing. *"Alive and Brilliant": "The ARIA Australian Top 100 Singles Chart – Week Ending 06 Feb 1994". ARIA. Retrieved 22 February 2016. *"Today I Am a Daisy": "The ARIA Australian Top 100 Singles Chart – Week Ending 01 May 1994". ARIA. Retrieved 22 February 2016.
- ^ "Year: 1992: 6th Annual ARIA Awards". ARIA Awards 2010: History: Winners by Year. Australian Recording Industry Association (ARIA). Archived from the original on 26 September 2007. Retrieved 4 June 2011.
- ^ "Seven Deadly Sins". Internet Movie Database (IMDb). Retrieved 4 June 2011.
- ^ Nicholson, Dennis Way, ed. (2007) [1997]. "Seven Deadly Sins Soundtrack: Music from the ABC TV Series". Australian Soundtrack Recordings. Sydney, NSW: Australian Music Centre (Nodette Enterprises Pty Ltd). ISBN 978-0-646-31753-3. Archived from the original on 17 July 2011. Retrieved 5 June 2011. Note: [online] version expanded from 1997 edition.
- ^ Holmgren, Magnus. "Ultrasound". Australian Rock Database. Passagen.se (Magnus Holmgren). Archived from the original on 8 October 2012. Retrieved 16 March 2014.
- ^ a b c "Dreaming Transportation : Voice Portraits of the First Women of White Settlement at Port Jackson / Composer Andree Greenwell; Poet Jordie Albiston". Trove. National Library of Australia. Retrieved 4 June 2011.
- ^ "Still Real EP". george Official Website. Archived from the original on 14 June 2011. Retrieved 5 June 2011.
- ^ Broad 2005
- ^ Broad 2006
- ^ Broad 2007
- ^ Broad 2008
- ^ Smith, Megan (3 April 2008). "Deborah Conway: Not Just Another Broad". Out in Perth. Archived from the original on 15 July 2011. Retrieved 5 June 2011.
- ^ a b "Artistic Director". Queensland Music Festival. Archived from the original on 25 August 2011. Retrieved 5 June 2011.
- ^ a b Lau, Kristie (9 May 2010). "Conway Girls Singing the Same Tune". The Sydney Morning Herald. Fairfax Media. Archived from the original on 10 May 2010. Retrieved 5 May 2024.
- ^ Dwyer, Michael (20 April 2010). "Deborah Conway and Willy Zygier: Half Man Half Woman". The Age. Fairfax Media. Retrieved 5 June 2011.
- ^ "Deborah Conway still alive and brilliant 25 years on with new recording". Daily Telegraph. 24 August 2016. Retrieved 24 August 2016.
- ^ "Songs from the Book of Life". Brisbane Festival. 17 September 2023. Retrieved 2 February 2024.
- ^ "Book of Life". Allen & Unwin. Retrieved 2 February 2024.
- ^ "Nib Literary Award 2024 finalists announced". Books+Publishing. 18 September 2024. Retrieved 19 September 2024.
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- ^ "Archibald Prize 2011". Art Gallery of New South Wales. Retrieved 4 June 2011.
- ^ "Archibald Prize Archibald 2022 work: Deborah Conway by Lewis Miller". Art Gallery of New South Wales. Retrieved 6 May 2022.
- ^ "Something so wrong". 3 April 2005.
- ^ Kraner-Tucci, Ruby (15 April 2024). Alma Zygier on jazz, Judaism and her rising star The Jewish Independent. Retrieved on 26 July 2025
- ^ Alhadeff, Vic (14 November 2024). "'If I have to pick a hill to die on, exposing antisemitism among 'the good' is the one'". The Jewish Independent. Retrieved 9 September 2025.
- ^ Ghirmezian, Shiryn (14 November 2024). "'Jewish Musician Denounces 'Dreadful Display of Extreme Intolerance' by Anti-Israel Protesters". Algemeiner. Retrieved 29 December 2025.
- ^ a b c d e Ryan, Gavin (2011). Australia's Music Charts 1988–2010 (pdf ed.). Mt. Martha, VIC, Australia: Moonlight Publishing.
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- ^ "Summertown (DD)". Apple Music. January 2004. Retrieved 9 September 2020.
- ^ "Half Man Half Woman (DD)". Apple Music. 3 May 2010. Retrieved 9 September 2020.
- ^ "Stories Of Ghosts (DD)". Apple Music. 14 February 2013. Retrieved 9 September 2020.
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- ^ "The Words of Men (DD)". Apple Music. 15 February 2019. Retrieved 9 September 2020.
- ^ "ARIA Singles Chart w/c 22-2-1993". ARIA. Retrieved 5 July 2024 – via Imgur.com.
- ^ "Deborah Conway singles chart history 1994-1998, received from ARIA in May 2024". ARIA. Retrieved 5 July 2024 – via Imgur.com. N.B. The High Point number in the NAT column represents the release's peak on the national chart.
- ^ "Chart Watch". 5 July 2014. Archived from the original on 15 May 2021. Retrieved 18 March 2021.
- ^ "I Touch Myself 2014". I Touch Myself. Archived from the original on 19 January 2021. Retrieved 18 March 2021.
- ^ "Australian honours roll for the Arts". 25 January 2020.
- ^ "Award Extract - Australian Honours Search Facility". pmc.gov.au. 26 January 2020. Retrieved 6 May 2024.
- ^ a b "Music Victoria Awards Unveil 2022 Hall of Fame Inductees". The Music Network. December 2022. Retrieved 11 December 2022.
- ^ "ARIA Awards search Deborah Conway". ARIA Awards. Retrieved 9 September 2020.
- ^ "2024 Finalists". Australian Women in Music. 24 July 2023. Retrieved 4 August 2024.
- ^ "Countdown to the Awards" (Portable document format (PDF)). Countdown Magazine. Australian Broadcasting Corporation (ABC). March 1987. Retrieved 16 December 2010.
- ^ "Final episode of Countdown". 1970scountdown. Retrieved 23 October 2020.
- ^ "Don Banks Music Award: Prize". Australian Music Centre. Archived from the original on 18 August 2015. Retrieved 2 October 2017.
- ^ "Australia Council Don Banks Music Award to Deborah Conway". Australian Music Centre. 10 March 2020. Retrieved 19 April 2021.
- ^ "Events & Programs". Live Performance Australia. Retrieved 4 October 2022.
- ^ "2002 Helpmann Awards Nominees & Winners". Helpmann Awards. Australian Entertainment Industry Association (AEIA). Retrieved 8 October 2022.
- ^ "2017 Helpmann Awards Nominees & Winners". Helpmann Awards. Australian Entertainment Industry Association (AEIA). Retrieved 8 October 2022.
- ^ "AND THE WINNERS OF THE 2019 NATIONAL LIVE MUSIC AWARDS ARE..." NLMA. 5 December 2020. Retrieved 5 September 2020.
External links
[edit]
| International | |
|---|---|
| National | |
| Artists | |
| People | |
| Other | |
Deborah Conway
View on GrokipediaEarly life and background
Family origins and childhood
Deborah Ann Conway was born on 8 August 1959 in Melbourne, Victoria, Australia, to Jewish parents.[12][13] She grew up in the affluent suburb of Toorak within Melbourne's vibrant Jewish community, raised in a traditional yet non-religious but observant Jewish household.[14][15] Her father, Carl Conway (originally Cohen), changed the family surname to Conway to shield against antisemitism, reflecting the postwar challenges faced by many Jewish families in Australia; the family name had evolved over generations from Podnovsky to Podnow to Cohen before her father adopted Conway.[14][16] This heritage deeply influenced Conway's sense of identity, with her later DNA test confirming she is 96% Ashkenazi Jewish, underscoring the enduring cultural and historical ties to her roots.[5] Conway's childhood was immersed in Melbourne's Jewish cultural milieu, where community traditions and family dynamics fostered a strong connection to her heritage despite the family's secular leanings.[17] These formative years in Toorak provided a stable, supportive environment that nurtured her emerging creativity, though marked by the complexities of her father's personality, described in her memoir as that of an "incredibly complicated, difficult human being who loved me very much."[5] As a teenager, Conway began exploring interests in art, performance, and modeling, starting the latter at age 18 to earn money for a car and independence, finding it empowering with minimal demands beyond "pouting" for photos.[18] These pursuits, alongside her passion for music that developed early, laid the groundwork for her artistic path, though formal musical training came later.[19]Education and early influences
Conway attended Lauriston Girls' School in Melbourne, a prestigious private institution where she received a formal education amid an affluent environment.[20] During her time there, she engaged in extracurricular activities that hinted at her emerging creative interests, though she was often seen as a rebellious figure in this structured setting.[21] After high school, she enrolled in Media Studies at the Royal Melbourne Institute of Technology (RMIT) but dropped out in 1979; the following year, she briefly pursued an Arts degree at the University of Melbourne but did not complete it either.[20][22][23] In her teens, Conway ventured into modeling, which provided early exposure to the performing arts and offered perks such as financial independence and social opportunities in Melbourne's cultural scene.[18] She also dipped into acting, securing minor roles including a brief appearance in the 1979 short film Mallacoota Stampede directed by Peter Tammer, marking her initial foray into on-screen performance around age 20.[24] Conway's musical awakening came during adolescence, influenced by her Jewish family's record collection that introduced her to folk and rock icons. Around age 15, she discovered artists like Joni Mitchell and Bob Dylan, whose introspective songwriting profoundly shaped her artistic outlook and shifted her away from earlier Broadway musical interests.[2][25] This period sparked her first musical experiments; at 18, she picked up the guitar, inspired by these singer-songwriters, and began tentative songwriting efforts that laid the groundwork for her future career.[26]Career
1959–1980: Early musical beginnings and The Benders
Deborah Conway began exploring music in her late teens while studying at the Royal Melbourne Institute of Technology (RMIT), where she started teaching herself guitar at age 18 around 1977. Concurrently, she pursued a modeling career, appearing in advertisements and the Australian film Running on Empty, which provided financial support but conflicted with her growing interest in performance. These early years marked her transition from passive listener—influenced by artists like Carole King and Joni Mitchell—to active participant, as she sang in university revues and placed a newspaper advertisement seeking a band: "Singer Needs Band."[2][27] In 1980, at age 20, Conway joined The Benders, her first band, after auditioning and selecting them from several options for their progressive rock style characterized by extended solos. The group, formed earlier in Melbourne, consisted of Conway on lead vocals, Les Barker on guitar and vocals, Greg Thomas on guitar and keyboards, Neville Aresca on bass, and Dorland Bray on drums and vocals. They focused on original material primarily written by Thomas, performing regularly in the city's pub circuit and securing support slots at major venues, though audiences were often small, serving as a rigorous training ground for Conway's stage presence.[28][25][2] The Benders' activity was short-lived, lasting about eight months with Conway before fizzling out by late 1980, with no formal recordings released. During this period, Conway contributed vocally and began honing her performative skills, though her songwriting would develop more fully later. Balancing these musical pursuits with university studies and modeling proved challenging, compounded by familial opposition—her father, a lawyer, disapproved of her ambitions and even consulted a psychiatrist in an effort to steer her toward a conventional career like law. Despite these pressures, the experience solidified her commitment to music over modeling, which she eventually abandoned as incompatible with her artistic goals.[28][25][2]1981–1989: Do-Re-Mi years
In 1981, Deborah Conway and drummer Dorland Bray relocated from Melbourne to Sydney, where they formed the pop rock band Do-Re-Mi with bassist Helen Carter and guitarist Stephen Philip.[29] The group quickly gained attention for their sharp, feminist-leaning lyrics and energetic performances, drawing on Conway's experience from earlier bands like The Benders. The band quickly gained attention with their debut EP Standing on Wires (1982) on Green Records, followed by The Waiting Room EP (1983) on independent label Larrikan Records, featuring early versions of tracks including "Man Overboard," which showcased Conway's distinctive vocals and the band's blend of post-punk edge and pop accessibility.[30] Signed to Virgin Records, Do-Re-Mi achieved commercial breakthrough with the re-recorded single "Man Overboard" in 1985, which peaked at No. 5 on the Australian Kent Music Report charts and became one of the year's top Australian songs.[4] This success propelled their debut album Domestic Harmony that same year, a critically acclaimed collection of 10 tracks exploring themes of relationships and societal expectations, with production by Bruce Brown highlighting the band's tight instrumentation and Conway's commanding presence. Follow-up singles like "Guns and Butter" (1986) further solidified their chart presence, reaching the top 40, while the band toured extensively across Australia and ventured internationally to the UK and Europe in 1986, building a cult following abroad.[31] The band's second album, The Happiest Place in Town (1988), continued their momentum with singles such as "Adultery" (peaking at No. 27) and "Haunt You," both entering the Australian top 100 and reflecting evolving tensions in personal dynamics through witty, incisive songwriting.[30] However, internal strains emerged amid growing external pressures; the all-female-fronted lineup—uncommon in the 1980s rock scene—faced industry expectations favoring Conway as the star, leading to creative control disputes. In 1988, Virgin Records offered Conway a solo contract, exacerbating band frictions and prompting an extended hiatus that became permanent by 1989, marking the end of Do-Re-Mi's active years.[4]1990–1996: Solo debut and mid-1990s albums
Following the disbandment of Do-Re-Mi in 1989, Deborah Conway transitioned to a solo career, leveraging the band's legacy as a springboard for her individual artistic voice. An initial solo recording attempt with Virgin Records in the late 1980s proved unsatisfactory, resulting in an unreleased album that Conway later described as "dreadful" due to her feeling lost in the process.[32] She signed with Mushroom Records and released her debut solo album, String of Pearls, in 1991, marking a deliberate shift toward more personal songwriting and polished production.[33] The album was produced by Richard Pleasance (on seven tracks), Joe Hardy (five tracks), and Michael den Elzen (one track), with Conway co-writing much of the material alongside American songwriter Scott Cutler, former Do-Re-Mi drummer Dorland Bray, and Australian musician Paul Kelly.[33] Key singles included "It's Only the Beginning," which reached the top 20 on the Australian charts, "Release Me," and "Under My Skin," blending melodic pop with rock elements to explore themes of emotional vulnerability and new beginnings.[34] The record earned strong critical acclaim, including four-star reviews, and garnered multiple 1992 ARIA Award nominations, establishing Conway as a formidable solo artist despite challenges in navigating label expectations for a more commercial image.[35][36] Conway's follow-up album, Bitch Epic, arrived in November 1993 on Mushroom Records, further solidifying her solo identity through bolder experimentation and feminist undertones. Produced by Jim Rondinelli and William Zygier—whom Conway met during the String of Pearls tour and who became a key creative partner—the album featured collaborations with Australian musicians, including backing vocals from sisters Vika and Linda Bull, layered guitars from Zygier, and eclectic instrumentation like marimba and accordion.[37] Tracks such as "I'm Not Satisfied" and "Consider This" delved into themes of resentment, yearning, and unapologetic self-expression, with the title itself drawn randomly to evoke raw honesty; the provocative cover art depicted Conway topless and covered in chocolate while eating cake, reclaiming derogatory labels like "bitch" as empowering rather than gendered insults. Unlike the more accessible pop of her debut, Bitch Epic embraced theatrical folk-rock arrangements, prioritizing artistic integrity over commercial replication of past success. The transition from band frontwoman to solo artist presented notable challenges for Conway, including resistance to industry pressures for a "sexier" persona and broader market appeal, which she rejected to maintain creative control.[32] Efforts to expand internationally faltered, with U.S. executives deeming her work "too weird or not weird enough," limiting global exposure despite domestic chart success—Bitch Epic peaked at number 18 on the Australian albums chart.[38] Critics praised the album's evolution and authenticity, noting its departure from String of Pearls as a testament to Conway's refusal to compromise, though it underscored ongoing tensions between her vision and mainstream expectations.1997–2003: Continued solo work
In October 1997, Deborah Conway released her third solo album, My Third Husband, produced by Dave Anderson in London. The album explores universal themes of sex, death, memory, loss, and self-flagellation through a dark, throbbing, hypnotic, and dreamy sound. Despite receiving positive reviews for its introspective depth, the record struggled commercially and received limited promotion upon its return to Australia.[39][38][40] Building on this introspective direction, Conway's style evolved toward broader personal and emotional narratives in her fourth solo album, Exquisite Stereo, issued in May 2000 on Shock Records. Featuring her backing band, Deborah Conway and the City of Women, the album incorporates a mature range of styles, from acoustic love songs to fuller rock arrangements, reflecting influences from life experiences and artistic experimentation. It earned strong critical acclaim, including four stars from Rolling Stone Australia and designation as Album of the Week on ABC Radio National, though it too faced challenges with mainstream airplay.[8][41][25] In July 2002, Conway compiled her first greatest hits collection, Only the Bones – Deborah Conway's Greatest Hits, which chronologically surveys key tracks from her solo catalog up to that point. This release highlighted her mid-career consolidation, emphasizing enduring songs amid niche successes in live performances and independent circuits during the period. The compilation underscored thematic continuities in personal vulnerability and resilience, while her evolving solo work during these years deepened explorations of emotional and existential motifs without achieving widespread commercial breakthrough.[42][43]2004–2022: Collaboration with Willy Zygier
In 2004, Deborah Conway and Willy Zygier formalized their long-standing musical partnership by releasing their debut collaborative album as a duo, Summertown, which featured intimate acoustic arrangements and personal songwriting reflecting their shared creative synergy.[44] Produced on the Another Intercorps label, the album explored themes of everyday resilience and emotional connection through tracks like "Stay On Track" and "Something's Right," marking a shift from Conway's earlier solo work to a more pared-back, duo-focused sound.[45] The duo continued their output with Half Man Half Woman in 2010, an album that delved into gender dynamics and relational intimacy with sparse instrumentation, produced by James Black and emphasizing Zygier's guitar work alongside Conway's vocals.[46] This was followed by Stories of Ghosts in 2013, which drew heavily on Jewish identity and heritage, reinterpreting Old Testament themes from an atheist perspective in songs like those addressing religious disillusionment and cultural legacy, blending folk elements with poignant storytelling.[47] Their collaboration often intertwined personal intimacy with broader political and cultural reflections, as seen in the politically charged undertones of their lyrics addressing social issues and identity.[48] Subsequent releases included Everybody's Begging in 2016, a collection of acoustic tracks co-written and performed by the pair, exploring vulnerability and societal pleas amid global tensions, and The Words of Men in 2019, which further examined power structures, Jewish mysticism, and activism through songs inspired by historical and contemporary narratives.[49][50] Throughout this period, Conway and Zygier maintained an emphasis on organic, unpolished production to preserve emotional authenticity, often recording in home studios to capture raw intimacy.[48] To support their albums, the duo undertook extensive national tours across Australia, performing in venues ranging from theaters to intimate lounges, including sold-out shows that highlighted their chemistry and evolving catalog.[51] These live performances, such as their 2016 NFSA concert and ongoing regional tours, allowed them to adapt material dynamically, fostering audience connections through unamplified sets that underscored themes of Jewish identity, political engagement, and personal partnership.[52] By 2022, their collaboration had solidified as a cornerstone of Australian indie music, with over a decade of joint releases emphasizing resilience, cultural reflection, and activist undertones without reliance on major label backing.[53]2023–present: Memoir, recent releases, and performances
In 2023, Deborah Conway published her memoir Book of Life, a candid account detailing the highs and lows of her music career, critiques of the industry, and personal reflections on family and identity.[5][54] The book, released by Allen & Unwin on October 3, was shortlisted for the 2024 Mark and Evette Moran Nib Literary Award and won the accompanying People's Choice Prize.[55][56] Building on her long-term collaboration with Willy Zygier, Conway released the album Right Wing Propaganda on August 8, 2025, an independent project featuring 14 acoustic tracks exploring themes of politics and trust.[6][57] The duo handled all writing, performance, and production, with additional family vocals providing minimal accompaniment, emphasizing a raw, stripped-back sound amid technological excess in music.[58][59] Conway's live performances in 2024 included appearances at the Perth Festival's Writers Weekend on February 23 at the State Library of Western Australia, where she shared songs and stories from her memoir alongside Zygier.[60][61] These events drew heightened security due to anticipated protests. In 2025, the pair embarked on the "Songs You Can Trust" tour, performing across Australia in venues from Victoria to Western Australia and New South Wales, promoting the new album through intimate sets.[62][63] Throughout 2024, Conway faced controversies stemming from her pro-Israel comments in interviews, including support for Israel's actions in Gaza, which prompted protests at performances such as her May concert in Hobart, where pro-Palestinian activists interrupted the show and one threatened violence with a glass shard.[10][64] She publicly condemned the disruptions as "extreme intolerance" while advocating for open dialogue on the Israel-Hamas conflict without silencing opposing views.[65][66]Personal life
Marriage and family
Deborah Conway met musician Willy Zygier in 1991 when she hired him as a guitarist for her touring band following the release of her solo debut album String of Pearls.[5] Their professional collaboration quickly evolved into a personal relationship, leading to their first joint album Bitch Epic in 1993 and a shared life in Melbourne, where they have resided in the city's south-east for decades.[67][5] The couple married on December 9, 2007.[68] Conway and Zygier have three daughters: Syd (born circa 1995), Alma (born circa 1998), and Hettie (born circa 2000).[69][70] The daughters, all of whom have pursued interests in music, contributed backing vocals to the family's 2025 album Right Wing Propaganda, adding harmonious layers to several tracks recorded at home.[71][72] During the child-rearing years of the 1990s and early 2000s, Conway navigated significant challenges in balancing her music career with motherhood, including managing home-based recording sessions while caring for infants like daughter Alma, born in 1998.[38] These experiences ultimately deepened her artistry, as she has noted that raising daughters transformed her perspective and enhanced her songwriting.[27] The family's Melbourne home served as a creative sanctuary, fostering collaborative music-making among Conway, Zygier, and their children, which influenced her ongoing output without overshadowing domestic priorities.[73][74]Jewish heritage and activism
Deborah Conway was raised in a non-religious but culturally observant Jewish family in Melbourne, which laid the foundation for her later exploration of her heritage.[5] Over the years, Conway has deepened her connection to her Jewish roots through musical performances that celebrate and reflect Jewish themes and experiences. In September 2025, she headlined the SHIR Australian Jewish Music Festival's "Songs of Strength" events in Sydney and Melbourne, performing alongside other Jewish artists to foster communal healing and resilience in the face of rising antisemitism.[75][76] Conway's 2023 memoir, Book of Life, further integrates her Jewish heritage, drawing its title from the Hebrew concept of the Book of Life opened on Rosh Hashanah and exploring her identity as 96% Ashkenazi Jewish based on DNA testing.[5][9] The book candidly addresses her journey of embracing Jewishness as central to her sense of self, despite not being religiously observant.[5] As an advocate for Jewish causes, Conway has been vocal in combating antisemitism, particularly in Australia following the October 7, 2023, Hamas attacks on Israel. In January 2025, she was named one of The Australian's 2024 Australians of the Year, alongside Josh Frydenberg and Alex Ryvchin, for their courageous campaign against antisemitism and efforts to expose hatred within progressive circles.[77] Her public comments on the Israel-Gaza conflict have sparked significant debate and backlash. The ABC canceled a scheduled March 2024 radio interview with Conway due to her pro-Israel stance.[78] Conway has publicly defended Israel's right to respond to Hamas while denouncing antisemitic rhetoric in protests. Later that year, her May 2024 concert in Hobart was interrupted by pro-Palestinian protesters objecting to her statements on Gaza, including her response to questions about civilian casualties, which she framed as a complex security issue rather than one-sided blame.[10] These incidents highlighted divisions in Australia's arts community and amplified discussions on free speech versus activism.[10]Recognition and legacy
Awards and nominations
Deborah Conway has received numerous accolades throughout her career, recognizing her contributions to Australian music as both a performer and songwriter. Early in her tenure with the band Do-Re-Mi, she garnered attention at the Countdown Music Awards, where the group's single "Man Overboard" won Best Debut Single in 1985. At the 1986 Countdown Music Awards (for 1985 achievements), Do-Re-Mi secured three awards related to their album Domestic Harmony, including Best Debut Album, Best Debut Single ("Man Overboard"), and Best Female Vocalist for Conway.[79] Conway's solo career and band efforts also earned her significant recognition at the ARIA Music Awards. She received multiple nominations across various years, winning Best Female Artist at the 1992 ARIA Music Awards for her debut solo album String of Pearls.[72][80] Her theatrical contributions were honored with Helpmann Award nominations, including Best Female Actor in a Musical in 2002 for Always... Patsy Cline, and Best Original Score for the 2017 production The Beginning & The End with Willy Zygier.[81][82] In recognition of her lifetime achievements, Conway was inducted into the Music Victoria Hall of Fame in 2022.[83] She received the prestigious Australia Council Don Banks Music Award in 2020 for her outstanding and sustained contribution to Australian cultural life through music.[84] More recently, she was named a finalist for Lifetime Achievement at the 2024 Australian Women in Music Awards.[85] In 2025, Conway was a finalist in the Melbourne Prize for Music, one of Australia's most valuable arts prizes, and won the $2,000 Civic Choice Award (public vote) on November 13, 2025.[86] Conway's 2024 memoir Book of Life extended her accolades into literary honors, earning a shortlist spot for the Nib Literary Award and winning the $4,000 Nib People's Choice Prize.[56][87]Portraits and honors
Deborah Conway has been the subject of several notable portraits by prominent Australian artists, featured in prestigious exhibitions that highlight her cultural significance. In 1996, Rosemary Valadon painted Deborah Conway - in epic mode, which was selected as a finalist for the Archibald Prize at the Art Gallery of New South Wales, capturing Conway in a dynamic, expressive pose reflective of her stage presence.[88] This was followed in 2002 by Esther Erlich's portrait of Conway, another Archibald Prize finalist, emphasizing her role as a trailblazing musician.[89] More recently, in 2022, Lewis Miller's oil on linen portrait of Conway was shortlisted for the Archibald Prize, portraying her in a contemplative yet commanding manner during a period of personal and artistic reflection.[90] Additionally, a 1979 photograph of Conway by Rennie Ellis was exhibited in the National Portrait Gallery's 2006 show Rennie Ellis: Aussies all, showcasing her early career energy in Melbourne's music scene.[91] A c.1985 image of Conway with bandmate Dorland Bray from Do-Re-Mi is also held in the National Portrait Gallery's collection, part of its documentation of Australian pub rock and indie music history.[92] Conway's contributions to Australian music have earned her significant non-competitive honors. In January 2020, she was appointed a Member of the Order of Australia (AM) in the general division for her "significant service to the performing arts as a singer, songwriter and producer." That same year, she received the Australia Council's Don Banks Music Award, recognizing her outstanding and sustained contribution to the music industry over four decades, including her influence on contemporary songwriting and performance. In 2019, Conway was inducted into the National Live Music Awards Hall of Fame for her enduring impact on live performance culture. This was followed by her 2022 induction into the Music Victoria Hall of Fame, honoring her as a pivotal figure in Victoria's music landscape.[93] These tributes underscore Conway's status as a feminist and Jewish icon in the Australian music scene, where her unapologetic voice has challenged gender norms and celebrated her heritage through song and activism. As a pioneer for women in rock, her fearless lyricism and stage presence have inspired generations, positioning her as a key figure in advancing female representation in the industry.[94] Her Jewish identity, woven into works like those exploring cultural resilience, has made her a symbol of intersectional strength in Australian arts.[95]Discography
Studio albums
Deborah Conway's studio albums span her work with the band Do-Re-Mi in the 1980s, her solo career from the 1990s onward, and her collaborative efforts with husband and musical partner Willy Zygier starting in 2004. These releases showcase her evolution from pop-rock anthems to more introspective folk-pop, often exploring themes of personal reflection, relationships, and social issues. Producers for her early work included industry figures like Gavin MacKillop, while later albums were largely self-produced by Conway and Zygier, highlighting key tracks that blend raw emotion with melodic accessibility.- Domestic Harmony (1985) with Do-Re-Mi, released on Virgin Records, peaked at No. 6 on the ARIA Albums Chart. Produced by Gavin MacKillop at Townhouse III Studios in London, it featured the hit single "Man Overboard," a re-recorded version of their breakthrough track that addressed themes of emotional turmoil.[96]
- The Happiest Place in Town (1988) with Do-Re-Mi, released on Virgin Records, peaked at No. 24 on the ARIA Albums Chart. Produced by Martin Rushent, it included key tracks like "King of Moomba" and "Idiot Grin," marking the band's final studio effort before their breakup.[96]
- String of Pearls (1991), solo debut released on Columbia Records, peaked at No. 20 on the ARIA Albums Chart. Produced by Joe Hardy, it highlighted Conway's transition to solo work with standout tracks "It's Only the Beginning" and "Release Me," earning platinum certification for its blend of rock and introspective lyrics.[8][97]
- Bitch Epic (1993), solo release on Mushroom Records, peaked at No. 18 on the ARIA Albums Chart. Co-produced by Conway and Willy Zygier, it featured bold tracks like "Alive and Brilliant" and "One More Time," going gold and reflecting her unapologetic feminist perspective.[8][98]
- Ultrasound (1995) with Ultrasound (Paul Hester, Bill McDonald, Willy Zygier), released on Columbia Records. Produced by the band, it featured experimental tracks like "One" and "Anyone Who Had a Heart."
- My Third Husband (1997), solo on Mushroom Records. Produced by Conway and Zygier, it included key songs such as "Only the Bones (Will Show)" and "White Roses," exploring marriage and maturity with acoustic elements.[99][1]
- Exquisite Stereo (2000), solo on Shock Records. Co-produced by Conway, Zygier, and the City of Women backing band, notable tracks included "Never Far Away" and "The Freeway Is Falling," emphasizing layered production and emotional depth.[99][100]
- PC: The Songs of Patsy Cline (2001), solo covers album released on ABC Music. Produced by Conway and Zygier, it reinterpreted classics like "Crazy" and "I Fall to Pieces."
- Summertown (2004) with Willy Zygier, released on MGM Distribution/Intercorps. Self-produced, it marked their first full collaboration with acoustic-driven tracks like "Any Fool" and "Stay On Track," capturing a sense of domestic optimism.[44][101]
- Half Man Half Woman (2010) with Willy Zygier, released on Another Intercorps Production. Self-produced in a sparse style, key tracks such as "One More Time" (revisited) and "Holes in the Road" explored gender dynamics and partnership.[1][102]
- Stories of Ghosts (2013) with Willy Zygier, independent release. Self-produced, it featured haunting narratives in tracks like "Technical Difficulties" and "Let It Go," drawing on personal and historical ghosts.[102][103]
- Everybody's Begging (2016) with Willy Zygier, independent release. Self-produced with acoustic focus, including Jewish-inspired tracks like "Kol Nidre" and "Blessed," reflecting themes of faith and resilience.[104][102]
- The Words of Men (2019) with Willy Zygier, independent release. Self-produced, it deconstructed male perspectives through songs like "We'd Rather Have Nothing" and "Always," blending folk and pop elements.[102]
- Right Wing Propaganda (2025) with Willy Zygier, independent release via Waterfront Records. Self-produced with AI-assisted artwork, tracks such as "Beautiful Mess" and "War" critique contemporary politics and society in stripped-back folk style.[105][57]