Brendan Maclean is known as a singer-songwriter brandishing over ten million streams on Spotify for their original music and just as many views for his spectacular dance-heavy music
videos.

Signed to Universal Publishing in 2014 after Brendan’s debut single cracked through to a young online market, Maclean followed this up with funbang1 in 2016: An electro-pop
record that won over a queer Australian audience and found fresh international ears with multiple tracks licensed by Netflix and Hulu.

A thriving talent, Brendan has been nominated for an ARIA for their work alongside Marcia Hines in the disco musical Velvet, made a cameo in Baz Luhrmann’s The Great Gatsby and

is currently riding high after a superstar run as the titular roles in Australia’s premiere production of Jekyll & Hyde The Musical at The Hayes.

Brendan Maclean has collaborated and performed with a myriad of impressive acts including Kate Miller-Heidke, Neil Gaiman, Amanda Palmer, John Grant and Alan Cumming and continues to release his own music alongside their blossoming theatre career.

VOCAL RANGE: Tenor D3 – A4
HEIGHT: 178cm
PRONOUNS: He/They

STAGE

JEKYLL & HYDE
Role: Dr. Jekyll / Mr. Hyde, Dir: Hayden Tee, The Hayes Theatre, 2022
L’HOTEL
Role: Lead, Opera House Studio, 2022
PAUL MAC’S THE RISE AND FALL OF ST GEORGE
Role: Principal Singer, Sydney Festival, 2020
THE ASO PLAYS JAMES BOND
Role: Principal Singer. Adelaide Festival Centre, 2018
PRAYING FOR TIME W/ THE SSO
Role: Principal Singer, Opera House Concert Hall, 2017
VELVET
Role: Lead, National Tour, Edinburgh Fringe, 2014
AN EVENING WITH AMANDA PALMER & NEIL GAIMAN
Role: Principal Singer, Sydney Festival, 2013

TV/FILM

EUROVISION SONG CONTEST 2024
Role: Dance Captain. SBS | 2024
HOW TO MAKE GRAVY
Role: Possum. Dir: Nick Waterman. Warner Bros. International Television Production Aus | 2024
NCIS: SYDNEY
Role: Protestor, Dir: Shawn Seet, EndemolShine Australia | Paramount +, 2023
F**KING ADELAIDE
Role: Eli, ABC / Closer Productions, 2018
THE GREAT GATSBY
Role: Klipspringer, Dir: Baz Luhrmann, 2013