As Scott Bradlee’s Postmodern Jukebox (“Postmodern Jukebox”) returns to Australia for another run of sold-out shows, vocalist Tatum Langley brings her theatrical flair, vintage glamour, and storytelling sensibility back to local stages, from the Sydney Opera House to the Adelaide Cabaret Festival. Reflecting on a whirlwind global tour that has quite literally taken her around the world, Langley shares her love of reimagining modern hits through a vintage lens, the joy of reconnecting with Australian audiences, and the artistry behind creating bold, character-driven performances that feel like stepping into a different era each night.
Tour & Australian Connection
This is Postmodern Jukebox’s return to Australia after multiple sold-out tours across Oceania. What are you most excited about performing for Australian audiences, and do you have any personal connections to Australia?
I am absolutely thrilled to be returning to Australia with Postmodern Jukebox! Last year was my first time visiting Australia while touring with the group, and I have been longing to return ever since. While I don’t have any personal connections to Australia (besides falling in love with it last year), I am most excited about returning to some of the same venues and cities again, while also getting the chance to visit some new cities as well! One of the coolest parts of touring is getting to build a connection with our international audiences, and see fans once again.
You’ll be performing at iconic venues like Sydney Opera House and Adelaide Festival Theatre at Adelaide Cabaret Festival. How does it feel to be part of Postmodern Jukebox’s 1,000+ shows across six continents, and what makes this Australian tour special?
It has been the joy of a lifetime to tour the world with this band. When I think about the last 3 years, I could’ve never imagined I’d be spending them bringing music & entertainment that I love to so many different countries, cities, venues, and people. I mean, how many people can say they have played the Sydney Opera House 2 years in a row?! This Australian tour is extra special to me because it’s coming right out of our UK & Europe tours, and when I return home to Chicago in July I can TRULY say Postmodern Jukebox has taken me around the entire world… because I will have actually circumnavigated the globe!!
When I think about the last 3 years, I could’ve never imagined I’d be spending them bringing music & entertainment that I love to so many different countries, cities, venues, and people. I mean, how many people can say they have played the Sydney Opera House 2 years in a row?!
Postmodern Jukebox Songs & Performances
How would you describe Postmodern Jukebox for those who don’t know it?
I always like to describe Postmodern Jukebox as a vintage-style variety show featuring songs you already know & love, spun in a way you will fall in love with all over again. The concept of PMJ’s live performance is so unique, especially in this day and age, because we are doing absolutely everything 100% live with no pre-recorded tracks, no autotune, no lip syncing, AND we feature a rotating cast of diverse singers, tap dancers, and musicians – not many bands these days operate like an old-style travelling variety show would’ve. Seeing the show multiple times across multiple years is a fantastic way to discover new talent, new songs, and new vintage styles. It really is quite special.
I always like to describe Postmodern Jukebox as a vintage-style variety show featuring songs you already know & love, spun in a way you will fall in love with all over again.
Your ‘Basket Case‘ (Green Day) vintage cover with Postmodern Jukebox passed 1 million views on YouTube. What was it like creating that ‘Mrs. Maisel’ style arrangement, and how did that breakthrough moment affect your career?
Ahhhh Basket Case is so special to me! It marked my debut with the band, and set the bar for the type of theatrical extravagance (and absurdity!) I love bringing to life onstage. Scott Bradlee is the one who suggested the song & style, not knowing that Green Day is my favorite band and The Marvelous Mrs. Maisel is my favorite TV show – it was a magical coincidence! The stars truly felt like they aligned with that arrangement.
Ahhhh Basket Case is so special to me! It marked my debut with the band, and set the bar for the type of theatrical extravagance (and absurdity!) I love bringing to life onstage. Scott Bradlee is the one who suggested the song & style, not knowing that Green Day is my favorite band and The Marvelous Mrs. Maisel is my favorite TV show – it was a magical coincidence! The stars truly felt like they aligned with that arrangement.
Basket Case will forever hold the most precious place in my heart in terms of Postmodern Jukebox, and I hope to keep performing it for years and years and years… I don’t think I’ll ever get sick of it.
You’ve recorded several Postmodern Jukebox hits including ‘Die For You‘ (007 style), ‘This Kiss‘ (Doris Day style), ‘Copacabana,’ and ‘Good Luck, Babe!’ (1960s pop). Which of these Postmodern Jukebox songs has been the most fun to perform live, and why?”
How can I choose?! Each of these songs are so special to me, however performing Copacabana on this current tour has been such a blast. Not only is the song full of unexpectedly, ridiculously fun yet tragic storytelling, but I get to share the stage with my best friend and fellow PMJ superstar, Demi Remick. Performing it live has also involved some of the other onstage musicians getting in on the fun… but I won’t spoil it too much for those coming to see the show in Australia soon! It is always very fulfilling to craft a new arrangement’s live performance over the course of an entire tour. It really takes on new flavours every day!
‘Copacabana‘ was your fifth Postmodern Jukebox feature. How has your role with Postmodern Jukebox evolved since your debut, and what do you bring to each new vintage arrangement that’s unique to your voice?
It’s crazy to think I am on my fifth feature with the band already… I truly feel as though I have come such a long way since my PMJ debut. I have grown as a performer so much, and still take every tour as an opportunity to learn from the other performers and musicians I am sharing the stage with. Everyone has their own specialty, their own charm, their own vibe, and I feel as though I find the greatest joy in creating a separate world for each of my songs. With each song, I want the audience to feel like they are stepping into a different world and character with me. I wear many (imaginary) hats with PMJ: from featured singer, to background singer, dancer, and not to mention the show that happens backstage with all of our costume changes, prop movement, style changes, etc. It’s like a full Broadway production behind the curtain every night as well!
I feel as though I find the greatest joy in creating a separate world for each of my songs. With each song, I want the audience to feel like they are stepping into a different world and character with me.
Your ‘Die For You‘ James Bond-style performance is described as ‘a showstopper every time.’ Can you tell us about creating that 007 vibe and how you approach transforming modern pop into vintage styles?
Die For You holds such a precious place in my heart. I grew up watching my dad’s collection of James Bond movies, and fell in love with the glamorous yet dangerous world of 007. When Scott presented me with the opportunity to turn this song by The Weeknd into an epic Bond-girl power ballad, I was originally quite intimidated. I wasn’t sure it was something I could bring to life as vividly as I imagined it in my head. However, I have spent the last 3 years growing through this song onstage, and it’s been one of the greatest gifts.
To me, pop and vintage are just two different coloured lenses placed over whatever story you are trying to tell from the pre-existing lyrics and melodies of a song. At the core of everything is a story, and my goal as a performer is to tell that story. When I approach bringing things into a more vintage style, I try and think about which storytelling tactics feel the most appropriate to whatever world I am taking the song into. The rest tends to fall in place from there. In the case of Die For You, I have created a multitude of different character and story scenarios to pull from – it also helps keep it fresh for me during a long tour, and allows me to continue making discoveries in my voice, my body, my performance, etc.
To me, pop and vintage are just two different coloured lenses placed over whatever story you are trying to tell from the pre-existing lyrics and melodies of a song.
French & Francophone Connections
Postmodern Jukebox has performed dozens of concerts in France since 2014, including sold-out shows in Paris, Lille, Strasbourg, and Toulouse. And you’ve toured French-speaking cities like Geneva, Brussels, and Monaco with them. What was it like performing for French audiences who have such a deep jazz and musical theatre tradition?
Touring in France is amazing! I’ve been lucky enough to tour through many French-speaking cities, and the energy they bring to an audience is nothing short of spectacular. I wish I could spend more time in France when I am not touring so I can go experience the jazz clubs and performances around the country myself!
You posted from Paris, France in April 2026, and Postmodern Jukebox just announced their 2026 France tour including the Magic & Moonlight Tour at Théâtre Fémina in Bordeaux. How does the French appreciation for vintage music and swing compare to Australian audiences?
Honestly, I don’t feel I have immersed myself deeply enough in the vintage & swing scenes of either country to make any sort of fair assessment or comparison! What I can say is that in both countries it is very apparent that vintage music, swing dancing, and jazz are all alive and well across a wide range of age groups, and it’s very refreshing to see the abundance of performances & events that are made accessible. France & Australia both know how to show up & show out!!!
Postmodern Jukebox collaborated with French star Thomas Dutronc, and you sang with a band that includes Adam Kubota, a French-speaking bassist. Has working in French-speaking countries influenced your approach to vintage jazz and musical theatre in any way?
I wish I spoke French because it is such a beautiful language! I’ve enjoyed learning more about French jazz & cabaret artists over the past couple of years, and have taken some performance influence from jazz manouche styles with the work I do back home in Chicago.
You’ve performed in France, Switzerland, and Belgium with Postmodern Jukebox, and French audiences have such a deep appreciation for jazz. Have you ever considered singing a French standard like Édith Piaf’s ‘La Vie en Rose’ or Charles Aznavour in your Postmodern Jukebox sets? Would you ever be interested in recording a French-language jazz song?
I actually have sung in French onstage with PMJ before… but only for a couple of lyrics of Lady Gaga’s “Bad Romance”. If I ever devote enough time to learning how to speak French, I would love to record a French-language jazz song!
I actually have sung in French onstage with PMJ before… but only for a couple of lyrics of Lady Gaga’s “Bad Romance”. If I ever devote enough time to learning how to speak French, I would love to record a French-language jazz song!
Career & Artistry
You’re a Chicago-based jazz and theatre vocalist who’s performed in London and Australia with Postmodern Jukebox. How do you balance your big band jazz work with musical theatre, and which style feels most natural to you?
My heart will always feel most strongly called to musical theatre, since it is the style I studied, got a degree in, and first fell in love with. However, there is so much crossover between jazz, big band, musical theatre, and the Great American Songbook! I feel as though my vast musical background has allowed me to become a well-rounded performer, pulling influence from many different genres and artists. I do absolutely love to create characters onstage though, regardless of the setting I am performing in.
I feel as though my vast musical background has allowed me to become a well-rounded performer, pulling influence from many different genres and artists. I do absolutely love to create characters onstage though, regardless of the setting I am performing in.
You’re known for your ‘mesmerizing vocal agility’ and ‘voice that’s larger than your small build may suggest.’ What’s your technique for commanding both cozy jazz clubs and massive performance halls like Sydney Opera House?
Like I mentioned earlier, it all comes down to telling the story. That is at the core of my approach to any performance. When it comes to different spaces, I do think of more logistical things that may alter my performance. For example, playing a large performance space such as the Sydney Opera House allows for you to physically take up more space – you have to perform as much for the front row as you do for the people all the way in the back of the balcony.
Transformation/Costuming
Postmodern Jukebox creates a vibe like ‘you’re back in the 1940s and you’re going to a New York Eve party with Frank Sinatra and the Rat Pack in old Hollywood.’ How do you prepare for that transformation from your everyday Chicago style into these vintage-glam looks for each song?
I prepare just as I imagine many singers & performers throughout history have: by creating an amplified stage character that is an extension of myself… just with a bit more glitz and glam! I’m all about showbiz, but I also try to always bring my honest self to the stage. I love to wear vintage gowns and style my hair in ways that I probably wouldn’t wear in my everyday life. Being onstage allows me to step into a larger-than-life version of myself that is still very grounded in my love of connecting with others, sharing music and stories, and having some good old fashioned goofy fun.
I prepare just as I imagine many singers & performers throughout history have: by creating an amplified stage character that is an extension of myself… just with a bit more glitz and glam!
With each song having such a different vintage era – from Doris Day style to James Bond style – do you have time for costume changes between songs, or do you wear one main outfit for the whole show?
We here at PMJ are quick changing between almost every song… we travel with more sequins than you could imagine. For me, costume really plays a part in creating new characters onstage – I love being able to make a FULL transformation number-to-number. I always tell people that there is a whole different show happening backstage at PMJ with how many costume changes, hair changes, and prop set-ups are going on back there… My goal is always to keep the element of transformation a magical moment for audience members (especially young audience members!).
We here at PMJ are quick changing between almost every song… we travel with more sequins than you could imagine. For me, costume really plays a part in creating new characters onstage – I love being able to make a FULL transformation number-to-number.
What’s your personal, off-stage style like, and how does it compare to the glamorous vintage looks you create for Postmodern Jukebox performances?
Though I do collect vintage dresses and pieces in my personal life, my off-stage style definitely leans towards comfort. I often run into PMJ fans after the show who are shocked that I don’t look like I do onstage! Especially when I am on the road, I like to pack light (with room to shop of course), and wear items that you can easily mix and match with each other. I absolutely love a big quirky knit sweater, purchase almost all of my clothes second-hand, and you can rarely catch me wearing footwear that isn’t my New Balance sneakers!
Personal & Future
You’ve said that ‘Music is a celebration, a protest, a constantly breathing thing with the true power to heal and connect us, always‘. How does that philosophy shape your performances, and what do you hope Australian audiences take away from your Postmodern Jukebox show?
I truly believe that specifically attending and being a part of a live performance is one of the most powerful experiences. Whether you are onstage, backstage, or in the audience, you are a part of the experience! I always try to tell my audiences back at home during my own shows that as much as the show is about what is happening onstage, it is also very much so about the act of gathering in a room with friends and strangers and taking time out of your day to connect with others. No performance will ever be composed of the exact same combination of people and circumstances, and in a world where algorithmically-curated experiences seem to be pushed more and more to us, it’s truly so powerful and important to realize the humanity that is all around us, and that IS us. It is so unique, so special, and I hope that everyone who comes to a PMJ show leaves feeling a bit more present in the world around them and uplifted by the joy of music & the company of others.
I truly believe that specifically attending and being a part of a live performance is one of the most powerful experiences. Whether you are onstage, backstage, or in the audience, you are a part of the experience! I always try to tell my audiences back at home during my own shows that as much as the show is about what is happening onstage, it is also very much so about the act of gathering in a room with friends and strangers and taking time out of your day to connect with others.
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We thank Tatum Langley for this interview and cannot wait to see Scott Bradlee’s Postmodern Jukebox at Adelaide Cabaret Festival.
KEY INFO FOR SCOTT BRADLEE’S POSTMODERN JUKEBOX
WHAT: Scott Bradlee’s Postmodern Jukebox ‘The Future is Vintage’ Tour
WHERE & WHEN:
ADELAIDE Adelaide Cabaret Festival – Sunday June 21
BENDIGO Ulumbarra Theatre – Saturday June 27
BRISBANE Brisbane City Hall – Wednesday July 8
CANBERRA Llewellyn Hall – Tuesday June 30
GEELONG Geelong Theatre Arts Centre The Playhouse – Sunday June 28
GOLD COAST HOTA, Home Of The Arts – Tuesday July 7
HOBART Theatre Royal – Wednesday June 24
MELBOURNE Hamer Hall – Friday June 26
NEWCASTLE Civic Theatre – Saturday July 4
PERTH Astor Theatre – Thursday June 18 (NEW SHOW) Friday June 19 SOLD OUT
SYDNEY Sydney Opera House – Monday July 6
THIRROUL Anita’s Theatre – Friday July 3
HOW: For ticket links go to the Teg Dainty website here
HOW MUCH: Ticket prices vary on the venue
