Tina Harrod, born in New Zealand with Fijian and Welsh heritage, is a multi-award winning Australian recording artist. Tina’s four albums have received high critical acclaim and her fifth album, City of Longing, is released in 2018.

Tina’s innovative music draws from the deep well of soul and jazz, yet in a totally contemporary style.

“One of our finest vocalists.” – Bernard Zuel, SMH

“The power of Nina Simone with the expression of Billie Holiday, yet Harrod’s individuality is never compromised.” – The Australian

Tina has also performed with Jimmy Barnes, Paul Kelly, Diesel, Vika & Linda Bull, Katie Noonan, Paul Grabowsky, The Whitlams, Guy Sebastian, Thirsty Merc, Wendy Matthews and Jackie Orszaczky.

She has performed extensively in Australia and Europe including Sydney Opera House, Perth International Arts Festival, Melbourne Jazz Festival, Sydney Festival, JazzAhead in Bremen, and in Hungary: Sziget Festival, the Palace of Arts and Budapest Blues Festival.

“Like Eartha Kitt in a contemporary context, blowing your mind with its lyrical content and luscious sonic capability, Harrod’s voice … gives the gift of musical ascension.” – Sydney Morning Herald.

Tina Harrod is based on Scotland Island in Sydney’s Pittwater, and is the founding creative director of the popular Northern Beaches music venue, The Co-op Club.

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Sydney Morning Herald, 31 March, 2018
“This is the album Tina Harrod had in her all along. Here there’s no attempt to be something, whether an R&B singer, a jazz singer or anything else. Here she just is …Burning through the dazzling arrangements comes Harrod’s voice, a blowtorch of intensity that can subside to moments of affecting tenderness.” JOHN SHAND

* City of Longing was co-written and produced by brilliant composer /pianist /producer STU HUNTER – who has worked with Passenger, silverchair, Portishead, Alex Lloyd, Delta Goodrem, Russell Crowe, Katie Noonan and many others.

Tina’s fifth album takes her songwriting and mind-blowing vocal skills to another plane. City of Longing is an emotionally charged, soul-wrenching set with real musical depth, performed by creative and adventurous musicians. The songs are delivered with cutting edge production in an aural landscape of cinematic breadth: Stu Hunter’s innovative arrangements are outstanding.

City of Longing draws from the deep well of soul and jazz yet is edgy, unusual, definitely innovative.

Tina is acknowledged as one of Australia’s finest vocalists and she continues to find further seams to mine and depths to plumb within her craft. Her voice is a mature and powerful tool conveying emotions that many of us wouldn’t dare feel. Brace yourself and grab a drink before listening.

Most of the material was co-written with Stu Hunter. Trophy Girl was written with Dave Symes (Boy & Bear, Sarah Blasko, Missy Higgins, The Sleepy Jackson). The title track City of Longing was written with acclaimed jazz pianist Matt McMahon and Until I Hear from You was written with Aron Ottignon another extraordinary jazz pianist, in Paris.

Tina Harrod: “There are songs about relationships, about turmoil in relationships, another about leaving the city … but I’m driven by what I see in politics and the way the world is run and the systems that run it.”

“Stu & my musical relationship is the real glue in this album because we started it together from the ground up. We wanted a cohesive sound and recorded it with the one rhythm section of Dave Symes (bass), Evan Mannell (drums), Stu (keys) and Cameron Deyell from LA on guitar.”

The music draws from the deep well of soul and jazz yet is edgy, unusual, definitely innovative. For a moment you’ll feel a familiar groove but in the next, a jolt from an unexpected twist will drive the song to a darker place or an emotional space you’ve never thought of before.

Review of ‘City of Longing’ Sydney Morning Herald 31 March 2018: “Now she has achieved the exceptional, almost song by song and bar by bar. Alongside her spearing lyrics a huge slice of the credit goes to her chief collaborator, Stu Hunter, one of Australia’s most imaginative and ambitious composers. Their jointly-penned songs defy categorisation and continually jolt the listener with improbable musical leaps – not to be arty for the sake of it, but simply to maximise each song’s potential.” JOHN SHAND


” …urgency was tempered by a quality that too few singers have the courage or capacity to bring to the table: vulnerability. Sometimes it was as though she were holding a magnifying glass above her lyrics and turning heat into fire, whether on the sadness and drama of Blue On the Inside, the searing intensity of Holding On, or the gripping theatricality of Dear Henry.”
John Shand Sydney Morning Herald 2016

“Harrod takes a lot of care with lyrics that speak of the fragility of love and relationships, life on the edge and loss. Her voice fits the moods, ranging from strong and rich to raw and desperate.”
Brad Northington The Australian 2013

“Tina Harrod can sing about love, loss and pain like no other. In baring her soul, both on stage and in her recorded work, she channels personal experience into universal themes that continue to resonate long after the last note has been played.” 2013

“… Harrod in concert as a solo artist … what struck me most powerfully was the aura of authenticity that surrounds her as she sings. Her world feels very real. It’s not a fairytale world of happy ever after, nor a world of melodramatic, overly emotional outpourings. But there is emotion – the sense of a life fully lived, and a willingness to expose the frailties and yearnings of the characters she inhabits onstage.”
The Age 2009

” … the unmistakably kettle-cooked, whiskey-smooth, smoky, velvety, rich, chocolate Harrod stamp. Her perfectly contoured, cultivated and controlled instrument crosses genres.”
Lloyd Bradford Syke Australian Stage 2008

“The album concludes with the ballad Don’t Explain, a tribute to composer Billie Holiday, delivered with consummate timing, an aching understanding of its love-betrayed lyrics, and pitch perfect tonality. This album fixes Tina Harrod’s position as a foremost jazz vocalist who has developed a superb musical combination.”
John McBeath, The Australian 2008

” … her strong contralto leaps into the song with the force of a blow to the abdomen. Itís the power of Nina Simone with the expression of Billie Holiday, yet Harrod’s individuality is never compromised; these past great singers are influences, not models to be copied.”
John McBeath The Australian 2008

“Harrod gives you goosebumps. It’s as if she’s singing about the last night of life, stretching vowels for telling timbral effect and sometimes letting her voice crack like a mirror held up to the soul. She pours herself – every inch, sinew and synapse – into the songs, so the words throb with commitment rather than shudder with pretence.”
John Shand SMH 2008

“There are really only two great Australian soul and R&B singers: Renee Geyer and Tina Harrod. Harrod connects with the song more deeply than ordinary singers.”
Bernard Zuel, Sydney Morning Herald 2008

“Ms Harrod: what a woman – what an upright, down-home, open mouthed powerhouse of a triple A rated instrument she has at her disposal.”
Drum Media

“Tina Harrod has one of those gorgeous vocal instruments, which just oozes soul, sex and sensuality!”
Sydney Morning Herald

“Now Harrod didn’t occupy the stage, she prowled it, staring her audience in the eyes. Where that edginess had made her seem somewhat ill-at-ease before, now it was fully harnessed, and line after line, song after song, crackled with electricity.”
Sydney Morning Herald 2016

“Tina Harrod and her sensational band could help power the electricity grid with performances like this.”
Sydney Morning Herald 2016

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