Alessi Rose rounds out a massive 2025 with her Voyeur Tour

Mumford & Sons will return to Australia and New Zealand in 2026 for three arena shows supporting their upcoming album Prizefighter, joined by Folk Bitch Trio on all dates.

Charlotte de Witte will bring her trademark intensity to the Hordern Pavilion on 6 March 2025, a rare standalone Sydney show set between global festival appearances and the release of her self-titled debut album.

Effervescent rock and roll troubadour, Dave Graney brought his long-time compadres, The Coral Snakes, to The Longley International Hotel’s outdoor stage on Sunday afternoon on the final stop of his national tour marking 30 years since the release of the bands iconic, 1995 Gold-selling album, The Soft 'n' Sexy Sound. Despite the threat of inclement weather, over 300 fans poured into The Longley to soak up a performance from one of Australia’s finest purveyors of musical hip, chic, eloquence and sartorial elegance. Alongside original partners-in-crime, drummer Clare Moore, guitar player Rod Hayward, keyboard player Robin Casinader and relative ‘newcomer’ and bass-player, Stu Thomas, Graney not only entertained with the songs and music, but in fact mesmerized the crowd with his penchant for comedic witticisms, musings on life and other banter between songs.

Frankie Alpha shines on the radiant debut EP Fragrances. Across the EP, Frankie Alpha’s captures a creative unsettledness, an eagerness to experiment whilst delivering some danceable, interesting electronic music. From the opener ‘Leave My Bones’ the influence of the likes of Jamie XX, BICEP, Bonobo and Caribou feels evident. Moving through well placed vocal samples, punchy beats and gradually building yet minimal synths, the track is at once experimental and yet infectious.  ‘Coma Toes (Yay)’ continues this approach with deep sub bass, tight electronic drums and atmospheric use of samples and synth top lines.

Rock N Roll Circus announce Richard Ashcroft as headliner for Sheffield in 2026

King Princess kicks off UK & European Tour in Dublin

Halestorm’s headline show at the O2 felt like one of those gigs where you just know you’re in for a wild night the second you walk in. The place was packed, the crowd was buzzing, and even before the main lights dropped, everyone seemed ready to blow the roof off. But first up were the support acts, and they definitely weren’t there to fill space. Kelsey Karter & The Heroines kicked things off with a cool, gritty rock ‘n’ roll vibe. Karter’s voice had this mix of raspy attitude and real warmth that instantly grabbed the room, and the band kept things fun and upbeat without trying too hard.

There are gigs that entertain, gigs that satisfy, and—every once in a while—gigs that leave you slightly dazed, giddy, and wondering quite how you’re supposed to go back to normal life the next day. The Young Knives’ night at The Fulford Arms fell squarely into the third category, helped in no small part by a support slot from Leeds experimentalists Thank, who delivered a performance so weird, gripping and gloriously unhinged that they felt less like an opener and more like an unavoidable event. Thank were—in a word—incredible. Their set was a barrage of experimental guitars, half-shouted, half-observed commentary on life, and a rhythm section that felt seismic.

We are very excited to premiere the video for the new track 'The Letters' from Barcelona's shoegaze/dream pop maestros Celestial Bums. It's the second single from the band's forthcoming album 'Minutes From Heaven', out in February 2026 via the Italo-American label We Were Never Being Boring (WWNBB). 'The Letters' is a shimmering, glittering tack that seems to float in the ether like contrails in the sky. The guitars sparkle over a synth wash and the vocals, sung in English, are soft and reflective, dreamy and ethereal. A twisted guitar riff snakes in-between the notes, with a slight twang - enigmatic and haunting.

PistonFist’s new single ‘The Road’ draws from their recent two-month tour through Europe and the UK, capturing the grind, freedom and late-night momentum of life lived in transit.

Lennon Wells first caught my attention last year when they supported iconic Australian band Jet celebrating 20 years since the release of their album ‘Get Born’ in Hobart – a special night bejewelled by the visible appearance of the spectacular Aurora Australia in the skies that evening. They put on an incredibly immersive performance lead by their charismatic and animated lead singer who prowled, cajoled and threw himself around the stage. Presciently, I comared them to fellow Taswegians A. Swayze and the Ghosts with the level of commitment to entertaining and the post punk vibes, threaded through a whiff of bluesy riffs.

Electronic music can often seem fixed on darkness and dystopia, cavernous scale and vastness but Kristian Shelley’s electro-fusion projects as Inwards have always focused on the small things. Inpired by the countryside around his Worcestershire home there’s a folktronica playfulness about his music and a warmth to his quirkiness. Past Inwards tracks been built around his sadly departed dog’s family tree (‘Zoomies’), lucky charms (When It Rains It pours) and the optimism of everyday people (Feeling So Fun Reality). So probably a hint of unassuming new age mindfulness hovers around Shelley’s motivations as well.

There are nights when a venue feels restless before anything even happens, humming with a kind of low-voltage anticipation that seeps into the walls. Leeds Stylus had that charge the moment the first bodies filtered through the doors, the kind of energy that a bill comprising of Nonpoint and Lacuna Coil can conjure. With the PA thumping overhead and the familiar glow of the bar lights bouncing off eager faces, the atmosphere carried the weight of expectation, an unspoken understanding that this wouldn’t be just another night on the touring calendar.

In the close warmth of the Red Rattler, Malaika Mfalme guides the room through Unfurling, a set shaped by grief, tenderness and quiet transformation. It’s a reminder of how deeply music can heal when witnessed up close.

South Arcade set Stylus alight

Earth, Wind & Fire will return to Australia for the first time in 14 years, headlining Byron Bay Bluesfest and playing two intimate sideshows in Sydney and Melbourne. The soul and funk pioneers bring with them more than five decades of groundbreaking music, from “September” and “Let’s Groove” to “Reasons” and “Shining Star.”

Spin Doctors will return to Australia for the first time since 1993 — and visit New Zealand for the first time ever — for an 11-date tour celebrating the 35th anniversary of Pocket Full of Kryptonite, performing the album in full.

Ninajirachi has announced Dark Crystal V, her biggest Australian headline tour to date, hitting iconic venues across Sydney, Brisbane, Adelaide, Melbourne and Perth in July 2026. Following her acclaimed debut album I Love My Computer and a career-making year of global festival appearances and ARIA Award wins, the tour marks a defining moment for one of Australia’s most influential electronic artists.

The Used will make their Sydney Opera House debut next March, performing a once-in-a-lifetime black-tie show with a full orchestra and choir. Titled A Mid Summer Night’s Symphony, the event marks the band’s most ambitious Australian performance yet, reimagining their emo classics on one of the world’s most iconic stages. Tickets are expected to move fast.

Conrad Sewell returns next year with the Bloodline Tour — an intimate, soul-driven run celebrating family, legacy and the unmistakable power of his voice, joined for the first time by his Grammy-nominated sister SAYGRACE. With a new single “Deserve” landing this Friday and dates across Melbourne, Adelaide, Brisbane and Sydney, the tour marks a rare and emotional collaboration between two of Australia’s most distinctive voices.

Before Holly Humberstone even reached the chorus of ‘The Walls Are Way Too Thin’, something remarkable was happening in the crowd. Strangers along the barrier were catching each other's eyes across the darkness of Factory Theatre, exchanging those knowing glances that say "you too?". They were singing every word back to her and to each other. The British singer-songwriter has built her reputation on turning these sweet moments into whole experiences, and her Sydney show on Sunday night proved exactly why over 260 million streams still can't quite capture what she does to a room.

Factory Theatre was properly humming on Saturday night, with half the room seated and the rest of us staking out whatever floor space we could claim and not dare move from. What we got in return was two hours of world-class performance from Eric Gales, the man who, when it comes to instrumentation, lives on a different plane entirely. Five years sober and touring 'Crown', he carried himself with the pride of a musician who’s rebuilt both the personal and the professional parts of his life. He let the guitar speak first, second, and basically every time after that.

On a cool, rainy night at Moore Park, Holly Humberstone’s quiet intensity and Sam Fender’s Springsteen-scale power turn a the Sydney crowd into a chorus, proving why both artists continue to define the modern UK sound.

The Last Dinner Party continue their inexorable rise to world domination on their latest "From The Pyre" tour