Artist Spotlight: Donna Dyson — Spotty Kites

I first met Donna Dyson through Brisbane's music scene, and it quickly became clear that we shared more than just a love of music — we shared a respect for the power of a well-crafted song. Interestingly, our paths are almost mirror images in reverse: I was a rock musician and songwriter who became a teacher later in life; Donna was a teacher who became a songwriter. That intersection of education and music is what makes her work so compelling.

Spotty Kites is the label under which Donna composes children's music. She collaborates with a range of artists who perform her songs with care. Her music has made a considerable impact, frequently charting at number one on the children's charts and earning numerous music awards over the years. Her influence has spread far beyond these shores, with her songs performed in family shows worldwide.

Donna is something of a powerhouse when it comes to songwriting, and the word prolific hardly does her justice. She's written a staggering number of songs, all with a clarity, warmth, and sophistication that leave them accessible to school choirs, teachers, and families alike. Even after facing a life-changing illness that left her partially sighted, she continues to create at a pace that feels almost impossible — her ideas landing with precision, always hitting the mark.

In addition to her songwriting career, Donna is also the author of several well-received educational children's books and shares her creative world through her growing YouTube channel. She has recently turned her attention to building that platform — including recording a forthcoming album titled Classic Nursery Rhymes, set for release this year. While nursery rhymes may seem like a departure from some of her more intricate original compositions, they sit squarely within her broader educational mission: literacy through music.

This year alone is shaping up to be remarkable. Alongside Classic Nursery Rhymes, Donna is preparing to release Celebrate All, currently awaiting a confirmed date as production wraps up. In total, she has four albums and one EP scheduled for release this year, as well as a string of singles — her creative momentum shows no sign of slowing.

Her catalogue continues to expand, now approaching nine studio albums, with themes ranging from Christmas and Easter to days of the week and bedtime stories. She runs a substantial creative team, manages a vast body of work, and somehow still finds the energy to generate new material at lightning speed.

One of her most imaginative ventures is Nonna Donna — a character and creative concept that blends storytelling, education, and performance. It is a natural extension of everything Donna has been building: literacy, music, and personality combined. As Nonna Donna formally launches in 2026 with an even stronger focus on advocating literacy through music, it feels less like a new chapter and more like the next summit. Watch this space!

For me, knowing Donna is a lesson in resilience, creativity, and generosity. She shows that music and education aren’t just careers — they’re a way of shaping the next generation, one song at a time.

Donna Dyson — a musical powerhouse.

A Grammy Moment That Meant More — Füytch & Aura V

When Füytch stepped up to accept the Grammy for Best Children’s Album, he didn’t just take home an award — he made a powerful statement.

Congratulations to all this year’s nominees — their work reflects the creativity, heart, and impact of today’s children’s music. While everyone may have their own favorite album, there was no doubt who delivered the most memorable speech of the night.

Füytch’s work consistently celebrates creativity, culture, and representation in ways that elevate what children’s music can be. But it wasn’t just the win that stood out — it was his words.

Instead of limiting his remarks to thank-yous, Füytch used the stage to speak about something bigger. He highlighted the importance of representation, affirming young people, and recognising the power of children’s art. It wasn’t political grandstanding — it was purposeful, aligned with his work, and deeply meaningful.

This raises an interesting question: should artists use their platforms to comment on issues beyond their music? Some believe entertainers should “just sing” or “just act.” But children’s musicians, especially, don’t create in a vacuum. Their songs shape how kids see themselves and others. They help define ideas about kindness, fairness, identity, and belonging. If that isn’t connected to the real world, what is?

Award stages are rare moments when millions are listening. When an artist chooses to reinforce the same values they embed in their music, it feels less like stepping out of bounds and more like standing fully in their purpose.

No artist is obligated to make a statement. But they should absolutely have the freedom to do so. Füytch’s Grammy win celebrated great music, and his speech reminded us why children’s music matters.

As he so eloquently put it:

'Children’s music is more than a genre; it is an intention of artists who have dedicated our craft to educating, entertaining and empowering the next generation, which is our highest calling to care for our children globally.'

I couldn’t agree more.

Füytch & Aura V — a family on a mission.

Album Review: Ride the Merry-Go-Round — Carol Nicodemi

Ride the Merry-Go-Round is the third and most recent album from Carol Nicodemi, an engaging children's music artist from the USA. It features thirteen original, absorbing, and educational songs for young children. Exploring themes as diverse as friendship, nature, animals, and emotional understanding, Nicodemi approaches each subject with a fun, engaging, and light-hearted touch.

The album is a true family affair. Her husband Ed is her co-writer and plays guitar and piano, her daughter Elyse is her vocal collaborator, and even the grandchildren weigh in, adding to the warmth and joy of the music. That sense of love and connection infuses every note, as Nicodemi delivers her artistic message with skill and heartfelt sincerity.

The title track, ‘Ride the Merry-Go-Round’, opens the album in uplifting fashion, with mother and daughter sharing vocal duties alongside a full band that truly packs a punch. Bass, drums, and acoustic guitar set the tone with both precision and drive. The musicality on display is superb — particularly the bass playing which, speaking as a bass player myself, really hits the mark with warmth, rhythm, and melody in perfect balance. One of Nicodemi’s major strengths lies in the vocal melodies she seems to conjure effortlessly out of thin air, further enhanced by her daughter’s equally impressive performance.

As the album progresses, ‘I Like to Know’ features wonderful guitar work that carries the weight of the song, sparring beautifully with a piercing vocal that cuts through the backing track. Once again, a powerful melody hypnotises the listener, supported by thoughtful, perceptive lyrics. The song reflects on the desire to understand, the inevitability of impatience and the importance of feeling safe. The arrangement is particularly effective, with a rhythmic lift in the chorus and a soaring middle eight featuring elongated notes that add emotional impact.

‘Me and You’ is as sweet a ballad as you're ever likely to hear, featuring a chord progression that would sit comfortably on a Fleetwood Mac album. Speaking of inspired influences, ‘Be My Friend’ includes a guitar riff that wouldn’t sound out of place on a Dylan record, yet the lyrics remain comforting, reassuring, and uplifting. Once again, the vocal blend between mother and daughter is sublime.

There are also some delightful acoustic singalongs on this album, and none more so than ‘Mother Earth’, which bounces along with real purpose. Here the sun, the stars, the moon, and the trees are celebrated, with a clear message about preserving the beauty around us. Whether it’s saving water or protecting the flowers that grow, the environmental message contained here is both heartfelt and sincere.

There is also no shortage of variety on this album. ‘Gentle People’ leans toward a country vibe, complete with lively banjo underpinning the vocals. In contrast, ‘Little Blue Engine’ is pure fun — reminding us that despite the musical sophistication on display, this is first and foremost a family album designed to bring joy. Alternatively, ‘Fly on the Wall’ carries an almost Celtic flavour, with a catchy vocal phrasing that lingered in my head long after listening.

My favourite track is undoubtedly ‘What Should We Do on a Rainy Day?’ As someone originally from the north of England, I can certainly relate to such lyrics. The song offers a host of imaginative suggestions for those long, dreary days indoors. Slightly old-fashioned yet thoroughly refreshing — without a computer game in sight — it encourages children to use their imagination. Whether through make-believe games, listening to music, or baking chocolate cookies, boredom simply doesn’t exist in this world.

Nicodemi is also unafraid to experiment with genre, nowhere is this more evident than on ‘Up in the Swing’, which adopts a waltz rhythm with the occasional drum roll for added charm. The song pays homage to the simple joy of playground swings soaring high enough to ‘touch the sky’. Dreamy and poetic, it captures the innocent exhilaration of childhood, with ambitious vocals gliding effortlessly between mother and daughter.

The album closes with the gentle, slightly melancholy ballad ‘Stories’. Here a sparse piano arrangement provides space for the vocals to really cut through. The melody is exquisite, and the song feels perfectly suited to provide the final tune a child hears before bedtime. The haunting piano underpins a heartfelt vocal performance that drifts delicately through the closing moments.

All in all, Ride the Merry-Go-Round is a tremendous album from an artist who continues to evolve and explore different musical styles and genres on the way. Variety defines the project, both musically and thematically. Where Nicodemi combines descriptive, poetic, and informative lyrics with sumptuous vocals and delicate melodies, creating a collection that remains engaging from start to finish. This album takes the listener on an uplifting and inspiring journey — delivered with warmth, imagination, and undeniable heart.

Carol Nicodemi — timeless charm.

Artist Spotlight: Loopy Tunes

Christchurch-based duo Loopy Tunes are redefining children’s music in Aotearoa New Zealand. Specialising in songs that blend Māori, Pacific Island languages, and English, their music is bright, playful, and full of heart, offering preschoolers and young children a joyful, educational soundtrack for play, learning, and cultural connection.

Since their beginnings over fifteen years ago with a weekly preschool outreach programme, the sisters behind Loopy Tunes have grown into a beloved part of early childhood life. Their debut album, Kākāriki: Simply Us (2019), marked the start of a back catalogue approaching 200 songs, many of which feature on their popular YouTube channel, allowing children to join in from the comfort of home.

Movement, storytelling, and audience participation are central to their music, with catchy melodies that encourage singing, dancing, and cultural exploration. Many songs are bilingual in Māori and English, while projects such as Pasifika Beatz also showcase Kiribati, Samoan, Tongan, and other Pacific languages, normalising linguistic diversity in everyday life.

While I’m not deeply familiar with Pacific Island children’s music, I was immediately struck by the tuneful harmonies, lively rhythms, and thoughtful blending of languages on their latest album, Mā: Matariki for Tamariki.

The album brings the magic of the Māori New Year to children, with bright, playful songs that celebrate Matariki and inspire wonder and learning. Though I’m not an expert in the tradition, it’s clearly a joyful, educational introduction for children.

This album beautifully weaves a diversity of language, creating a seamless, bilingual tapestry. The harmonies are lush and tuneful, with vocals that shine front and centre, carrying both emotion and melody. Gentle rock grooves and upbeat, guitar-driven arrangements give the music a lively, accessible energy. Some tracks are fully in one language, while others transition fluidly between languages, highlighting the versatility and rhythm of the vocals. Listening feels immersive and transporting — not to a clichéd “tropical paradise,” but into a space where music, language, and culture intersect with both warmth and vitality.

Standout tracks highlight the album’s playful intent. ‘Urarangi Dance’ offers a joyful freeze dance, ‘Huarākau is Fruit (Tupuarangi)’ introduces Māori fruit names alongside English meanings, and ‘Animals of the Sea (Waiata)’ pairs music with actions that encourage movement and engagement. Gentler moments, such as ‘Feed the Stars (Hautapu Song)’, celebrate nature, rain, and stars with a sense of wonder.

Following a milestone year that included multiple Aotearoa Children’s Music Awards — among them Best Children’s Music Artist — Loopy Tunes continue to prove they are more than entertainers. Through playful, participatory music, they build language pride, celebrate diversity, and make learning joyful.

Loopy Tunes — a bilingual musical adventure for every child.