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ICYMI: K-Pop Festival Hello, Melbourne Unveils Line-up For 2026 Debut Event
K-Pop Festival Hello, Melbourne Unveils Line-up For 2026 Debut Event
Earlier this week, it was announced that a new K-pop festival, 안녕, MELBOURNE (“Hello, Melbourne”), would make its debut in 2026. Today, festival promoters APPLEWOOD have revealed the leading acts who will perform at the inaugural event. Three beloved K-pop acts, boy bands ENHYPEN and TREASURE, and singer-songwriter Taemin, have been announced as next year’s performers. “We’re thrilled to announce that a rising K-pop festival is officially coming to Melbourne,” said festival promoters APPLEWOOD in a social media post today. They added, “Get ready for an incredible celebration of music and culture! Brought to you by APPLEWOOD, see you in March 2026.” Hello, Melbourne will take place at the Flemington Racecourse on Saturday, 14 March. Fans can purchase tickets on Tuesday, 16 December, at 12 pm AEDT via Megatix. Two ticketing options are available for punters, including GA Area 1 and 2 and VIP Area 1 and 2. Ticket prices start at $249.90 for general admission, and VIP tickets will cost $349.90. You can find more ticketing information here. Hello, Melbourne will be produced by the team behind major Australian music festivals, such as Wildlands and Beyond The Valley, with APPLEWOOD partnering with local promoters Untitled Group to make the new festival a reality. APPLEWOOD has presented concert tours featuring some of the most prominent K-pop artists in the world, including BLACKPINK, SEVENTEEN, ENHYPEN, BAEKHYUN, LE SSERAFIM, GFRIEND, and G-DRAGON. Since its launch in 2013, APPLEWOOD has become a globally renowned entertainment leader, having produced over 120 concerts and amassed more than 750,000 attendees across 18 countries. Their portfolio includes massive events, such as BLACKPINK’s 2019 World Tour, which featured six sold-out arena shows in Bangkok and a stadium-scale production broadcast to millions of fans worldwide. APPLEWOOD has already developed a strong international footprint in Hong Kong, Taiwan, Thailand, Indonesia, Vietnam, and the Philippines. Now, it’s Australia’s turn. Embedded Content
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December 13, 2025 at 11:27 AM
ICYMI: World Record Attempt For Longest Metal Scream Taking Place In Melbourne This Weekend
World Record Attempt For Longest Metal Scream Taking Place In Melbourne This Weekend
On Saturday (13 December), Melbourne Metal Mates is holding a fundraiser gig for independent radio station Triple R—and hosting a World Record Attempt for the Longest Metal Scream. The gig will take place from 7 pm tomorrow at The Worker’s Club in Fitzroy and will be held in partnership with Brutal Realms. Fluffy from the Melbourne hard rock band Katana Cartel will attempt the record, and in addition to Fluffy’s performance, five other bands are performing. Melodic death metal band Eye Of The Enemy are headlining the event, where they’ll be accompanied by progressive thrash outfit Dreadnaught, blackened metalcore outfit R U N, progressive metal band Transience, and death metal act Carthus. Tickets to the Melbourne Metal Mates event are just $20, and include entry in a door prize draw. In addition to the World Record Attempt for the Longest Metal Scream, Eye Of The Enemy will premiere two brand-new songs at the fundraiser. You can find tickets here. In a statement, Melbourne Metal Mates founder Kat Wartooth explained that the organisation wanted to support metal on Melbourne-based independent radio for their last show of the year, and Triple R was the natural choice. “Stu Carlson from Brutal Realms is broadcast on Triple R. Stu was one of our earliest supporters and the first person to interview me on radio. It was a natural choice to fundraise for an organisation that promotes heavy music across Melbourne’s airwaves,” Wartooth explained. She added, “Triple R do so much to encourage live music with their gig guides on air and on their website, by holding gigs at their onsite venue, by interviewing local artists and promoting Australian music, running shows like Brutal Realms, The Graveyard Shift, LiveWire, Live at Triple R and Represented. “As music and arts become more homogenised, artificial intelligence (AI) begins to infiltrate niche music genres and media organisations tend towards having common parent companies, it is becoming more and more important to support organisations that are independent in order to protect grassroots music communities and keep the live scene thriving.” Melbourne Metal Mates & Brutal Realms presents  EYE OF THE ENEMY, DREADNAUGHT, RUN, TRANSIENCE & CARTHUS  Special appearance by Fluffy from Katana Cartel  The Workers Club | 51 Brunswick Street, Fitzroy 7 pm, Saturday, 13 December 2025 Embedded Content
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December 13, 2025 at 11:27 AM
ICYMI: Eurovision Winner Nemo Returns Trophy Over Israel Being Allowed To Compete In 2026
Eurovision Winner Nemo Returns Trophy Over Israel Being Allowed To Compete In 2026
Last year’s winner of the Eurovision Song Contest, Swiss singer Nemo, is sending their winner’s trophy back to the competition’s headquarters in Geneva, with “gratitude and a clear message.” Nemo – the first non-binary artist to win Eurovision – is sending their trophy back in protest over the European Broadcasting Union (EBU) recently voting to allow Israel to compete in the 2026 contest. After the announcement earlier this month, Spain, Ireland, the Netherlands, and Slovenia withdrew from the event, citing the ongoing conflict between Israel and Hamas in Gaza. Overnight, Iceland also announced it would withdraw from next year’s competition. Taking to social media, Nemo explained their decision to return their winner’s trophy. “Last year I won Eurovision, and with it I was awarded the trophy. And even though I’m immensely grateful for the community around this contest and everything this experience has taught me both as a person and artist, today I no longer feel this trophy belongs on my shelf,” Nemo wrote. “Eurovision says it stands for unity, inclusion, and dignity for all. Those values made this contest meaningful to me. “Israel's continued participation, during what the UN's Independent International Commission of Inquiry has concluded to be a genocide, shows a clear conflict between those ideals and the decisions made by the EBU.” Nemo continued, “This is not about individuals or artists. The contest was repeatedly used to soften the image of a state accused of severe wrongdoing, all while the EBU insisted Eurovision is ‘non-political.’ “And when entire countries withdraw over this contradiction, it should be clear that something is deeply wrong.” Discussing the return of their winner’s trophy, Nemo said, “That’s why I’ve decided that I’m sending my trophy back to the EBU headquarters in Geneva. “With gratitude and with a clear message: Live what you claim. “If the values we celebrate onstage aren't lived offstage, then even the most beautiful songs lose their meaning. I’m waiting for the moment those words and actions align. “Until then, this trophy is yours. Nemo.” Captioning the post, Nemo expressed gratitude to the Eurovision community and their fans, noting that they haven’t rejected what makes the contest special, but will return the award because they care about “the values Eurovision promises.” “I will always be grateful to the Eurovision community, to the fans who voted, the artists I shared the stage with, and the experience that shaped me as a person and musician,” Nemo explained. “This decision comes from care for the values Eurovision promises, not from rejection of the people who make it special. Music still connects us. That belief hasn’t changed.” Embedded Content Embedded Content Earlier this month, the EBU argued that changes to the rules were “designed to reinforce trust, transparency and the neutrality of the event.” In a statement, they added: “Ahead of the vote, there was a wide-ranging discussion where Members expressed a variety of views on participation in the Eurovision Song Contest. Many Members also took the opportunity to stress the importance of protecting the independence of public service media and the freedom of the press to report, not least in conflict zones such as Gaza.” The long-running song contest has long maintained political neutrality but has also taken positions on conflicts, including suspending Russia in 2022 over its invasion of Ukraine. The EBU’s meeting reportedly aired concerns from some countries about “undue promotion methods” after Israel topped the public vote at the contest in May. Israel’s entry from October 7 survivor Yuval Raphel, with the ballad A New Day Will Rise, finished second overall after winning the public vote but was pegged back by a less emphatic jury result. The EBU will reveal the final list of countries competing at the 2026 Eurovision Song Contest before Christmas. Next year’s event will be held in Austria. SBS, an associate member of the EBU and Australia’s official broadcaster of Eurovision, will air the contest again in 2026. Embedded Content
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December 13, 2025 at 10:31 AM
ICYMI: GALLERY: Garbage @ Palais Theatre, Melbourne
GALLERY: Garbage @ Palais Theatre, Melbourne
The highlights from Garbage’s headline show at the Palais Theatre, Melbourne.
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December 13, 2025 at 9:34 AM
ICYMI: Grace Jones Plots 2026 Australian Tour Dates, Named WOMADelaide Saturday Headliner
Grace Jones Plots 2026 Australian Tour Dates, Named WOMADelaide Saturday Headliner
Global icon and boundary-pushing artist, Grace Jones, has announced 2026 Australian tour dates – including a Saturday night headline slot at next year’s WOMADelaide Festival. The Jamaican singer, LGBTQIA+ icon, art-rock symbol, and Bond film villain will return to Australia next February and March. Recognised for classic tracks like Pull Up To The Bumper, My Jamaican Guy, and Slave To The Rhythm, Jones remains unrivalled with her distinctive, husky voice and theatrical stage presence. Jones will be playing all-outdoor shows next year, starting at the Sydney Opera House Forecourt on Saturday, 28 February. The tour continues at Melbourne’s Palace Foreshore on Monday, 2 March, Brisbane’s South Bank Cultural Forecourt (as part of the On The Banks live music series) on Thursday, 5 March, and concludes at WOMADelaide on Saturday, 7 March. Pre-sale tickets will be available on Thursday, 18 December, at 9 am local time—you can register for access here—followed by the general sale on Friday, 19 December, at 9 am local time. Head to the Handsome Tours website to lock in tickets. WOMADelaide tickets are already available. At the festival, Jones will perform alongside Arrested Development, BADBADNOTGOOD, Baker Boy, Ganavya, Kankawa Nagarra, Troy Cassar-Daley, and many others. You can find out more on the WOMADelaide website. Jones has transformed music, fashion, performance and identity across generations. Last in Australia in 2018, these shows are experiences fans won’t want to miss. Reviewing her show at Elder Park in 2018, The Music’s Darren M. Leach remarked, “Musically, the band was tight; they are amazing musicians. Jones's voice is still fantastic after all these years. She was chatty throughout the entire show and is a wonderful show(wo)man. If you missed this, prepare for a regretful period of your life!” Astral People & Handsome Tours Presents GRACE JONES 2026 AUSTRALIAN TOUR Saturday 28 February – Sydney Opera House Forecourt Monday 2 March – Palace Foreshore, Melbourne Thursday 5 March – On The Banks at the South Bank Cultural Forecourt, Brisbane Saturday 7 March – WOMADelaide Festival Embedded Content
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December 13, 2025 at 8:37 AM
ICYMI: The Amity Affliction Announce 2026 Regional Australian Tour
The Amity Affliction Announce 2026 Regional Australian Tour
In the wake of the cancellation of the inaugural Park Waves festival, The Amity Affliction have announced a massive regional tour for early 2026. Across 21 dates, the rockers will play shows in Queensland, New South Wales, Tasmania, Victoria, and South Australia. The tour begins on Thursday, 12 February, on the Gold Coast, and concludes on Saturday, 21 March, in Adelaide. You can see the full list of tour dates below. For this tour, The Amity Affliction will be joined by a smorgasbord of Australian heavy music special guests In Hearts Wake, RedHook and HEADWRECK. The upcoming tour gives fans in regional areas across the country the opportunity to see The Amity Affliction once more before they head to the US for a tour in April. Tickets are available now via SBM Presents. Earlier this year, The Amity Affliction released their latest single, the standalone track All That I Remember. The song marked their first release with new bassist and singer Jonny Reeves—their forthcoming regional tour would mark the first time Australian fans would see the band with their new line-up. One of Australia’s premier heavy acts, The Amity Affliction have eight albums under their belt – including five that have hit #1 in Australia – seven ARIA nominations, numerous sold-out tours, and over one billion streams to their name. The Amity Affliction released their most recent album, Not Without My Ghosts, in May 2023. Following the album’s release, the band went on tour and celebrated the tenth anniversary of Let The Ocean Take Me in 2024. SBM & SELECT MUSIC PRESENTS THE AMITY AFFLICTION 2026 REGIONAL TOUR DATES WITH SPECIAL GUESTS IN HEARTS WAKE, REDHOOK & HEADWRECK Thursday 12 February - Miami Marketta Laneway, Gold Coast, QLD w/ In Hearts Wake, Redhook, HEADWRECK Friday 13 February - The Station, Sunshine Coast, QLD w/ In Hearts Wake, Redhook, HEADWRECK Saturday 14 February - Powerhouse, Toowoomba, QLD w/ In Hearts Wake, Redhook, HEADWRECK Wednesday 18 February - McGuire’s Hotel, Mackay, QLD w/ In Hearts Wake, Redhook, HEADWRECK Thursday 19 February - Magnum’s, Airlie Beach, QLD w/ In Hearts Wake, Redhook, HEADWRECK Friday 20 February - JCU, Townsville, QLD w/ In Hearts Wake, Redhook, HEADWRECK Saturday 21 February - Ellis Beach Bar & Grill, Cairns, QLD w/ In Hearts Wake, Redhook, HEADWRECK Wednesday 25 February - Dee Why RSL, Dee Why, NSW w/ In Hearts Wake, Redhook Thursday 26 February - Bar On The Hill, Newcastle, NSW w/ In Hearts Wake, Redhook, HEADWRECK Friday 27 February - Wests, Tamworth, NSW w/ In Hearts Wake, Redhook, HEADWRECK Saturday 28 February - Jetty Beach House, Coffs Harbour, NSW w/ In Hearts Wake, Redhook, HEADWRECK Thursday 5 March - Panthers, Penrith, NSW w/ In Hearts Wake, Redhook Friday 6 March - UOW Hall, Wollongong, NSW w/ In Hearts Wake, Redhook, HEADWRECK Saturday 7 March - Woodport Hotel, Central Coast, NSW w/ In Hearts Wake, Redhook, HEADWRECK Wednesday 11 March - Beer Deluxe, Albury, NSW w/ In Hearts Wake, Redhook, HEADWRECK Friday 13 March - Odeon Theatre, Hobart, TAS w/HEADWRECK Saturday 14 March - Forth Pub, Forth, TAS w/HEADWRECK Wednesday 18 March - Eureka Hotel, Geelong, VIC w/ In Hearts Wake, Redhook, HEADWRECK Thursday 19 March - The Deck, Traralgon, VIC  w/ In Hearts Wake, Redhook, HEADWRECK Friday 20 March - The Pier, Frankston, VIC w/ In Hearts Wake, Redhook Saturday 21 March - Bridgeway Hotel, Adelaide, SA w/ Redhook  Embedded Content
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December 13, 2025 at 7:40 AM
ICYMI: 1927, Dragon, Loverboy & More On Board For Wanstock 2026
1927, Dragon, Loverboy & More On Board For Wanstock 2026
Australian rock festival Wanstock is returning for its largest year to date in 2026. Locking in a line-up of local and international talent, the events will take place at the Shoppingtown Hotel in Doncaster, Melbourne, and Selina’s in Sydney. Melbourne punters can be part of the fun across two nights – Friday, 20 March, and Saturday, 21 March, and Selina’s on Friday, 20 March. Canadian Hall of Famers Loverboy will play their first-ever Australian shows next March. They’ll be joined by New Zealand rock icons Dragon, and Aussie heroes 1927, Choirboys, Pseudo Echo, Bachelor Girl, Taxiride featuring Jason Singh, Ventura, and more. You can find the line-up per date and city below. Tickets for Wanstock 2026 are available now via the festival website for Melbourne and the Selina’s website for Sydney. Embedded Content “We are excited to be coming to Australia for the first time in the band’s history next year,” Loverboy said. “It is a dream come true; we are honoured to join the fantastic line-up for Wanstock in Melbourne and play in the beautiful city of Sydney! Get your tickets now, and we’ll see you down under!” Dragon added, “We are so excited to be part of Wanstock once again; it’s been too long. It’s always a pleasure to have a spot on such a great line-up with so much Australian talent, and the legendary LOVERBOY from Canada!” Organiser Geoff Wansbrough launched Wanstock in 2018 after being inspired to ask his favourite bands to play at his birthday. Since its 2018 beginnings, the festival has gradually expanded from its original home, the Burvale Hotel, to its current home, the Shoppingtown Hotel, in 2019. Each year, the event features classic rock bands and emerging acts. “I grew up in that awesome Aussie pub rock era of the 1980s and 90s. Every pub had bands, and the cream rose to the top, and we gave the world some great acts. As such, I used to see a lot of bands back in the day, and I still do,” Wansbrough explained. Wansbrough added, “Each year, I try and make it bigger and better. Now, it consists of a few components: to have two or three of the classic acts from back in the day, to give some of the emerging talent a chance to play, and to have a cover band playing all our favourites to get everyone partying and dancing. Basically, I put it on to support our local music talent, and so we can have a bit of fun while we still can. “I really look forward to putting on Wanstock each year. It gives us all a chance to forget about our worries and enjoy some of that great music of our youth. For this next event, I am particularly proud to be bringing Loverboy to Australian shores for the first time. The line-up for both nights is stacked with talent, including hall of famers 1927, Dragon and Pseudo Echo - it is bound to have you rocking out all night!” Embedded Content WANSTOCK 2026 FRIDAY 20 MARCH | SELINA’S, COOGEE NSW | 18+   LOVERBOY (CAN) CHOIRBOYS TAXIRIDE FEAT. JASON SINGH VENTURA FRI 20 MARCH | SHOPPINGTOWN HOTEL, DONCASTER VIC | 18+   1927 DRAGON BACHELOR GIRL STONETRIP STRAIT SHOOTERS SAT 21 MARCH | SHOPPINGTOWN HOTEL, DONCASTER VIC | 18+   LOVERBOY (CAN) PSEUDO ECHO TAXIRIDE FEAT. JASON SINGH STANDING ROOM ONLY DAYDREAMERS
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December 13, 2025 at 6:42 AM
Queen + Adam Lambert Reportedly Planning To Scale Back 'Big Tours'
Queen + Adam Lambert Reportedly Planning To Scale Back 'Big Tours'
It seems that Queen + Adam Lambert might not go on full-blown tours anymore, with guitarist Brian May’s wife Anita Dobson hinting that those days are coming to an end. Speaking with the British publication The Mirror, Dobson said their touring plans will consist of “little bits of bobs,” but not “those big tours.” “They will do little bits and bobs, but they won’t do those big tours. We are all getting old,” she said. Dobson’s comments arrived a week after drummer Roger Taylor said the group are “resting at the moment.” May also commented last week that touring plans weren’t currently on the agenda, as he’s “done 50 years of it.” He added that he’s been enjoying pursuing other interests, such as astrophysics and animal rights, as well as spending time with his family and animals. Easing fans’ worries, May added that he still enjoys making music when he said, “I love to play. Everybody knows I love to play.” Dobson’s comments came after May revealed he had a minor stroke and lost control of his arm last year. In 2020, the guitarist was admitted to the hospital after suffering a heart attack that was caused by a form of arterial disease. At the time, he told fans that he was “very near death” after doctors discovered he had three congested arteries. While Queen are on a break from touring, Adam Lambert made his Broadway debut last year, taking over Eddie Redmayne’s role as the Emcee in the revival of Cabaret. His most recent solo album, High Drama, was released in 2023. Earlier this year, May hinted that new Queen music with Adam Lambert “could happen.” “Both Roger and I are constantly writing and coming up with ideas and doing things in our studios,” he explained. “I could have the beginnings of a Queen song right there in front of me now. It’s just whether the idea reaches maturity or not. It’s whether that seed can grow.” Queen haven’t released any ‘new’ material since the ‘90s, following the death of vocalist Freddie Mercury in 1991. While the Made In Heaven record would arrive in 1995 as their final album, other unheard songs recorded with Mercury have been issued since, especially alongside archival reissues. Last year, Taylor hinted at new music from Queen, having previously claimed they had “dabbled” with new music involving Lambert. “I think we might [record new material],” Taylor said. “Brian and myself were talking the other day, and we both said that if we feel we have some good material, why not? We can still play. We can still sing. So, I don’t see why not.” Embedded Content
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December 13, 2025 at 2:11 AM
Paul Dempsey's 'Ramona Was A Waitress' Goes Gold
Paul Dempsey's 'Ramona Was A Waitress' Goes Gold
Ramona Was A Waitress, one of the most-loved solo songs recorded by Paul Dempsey, has officially gone Gold. * 'As Spontaneous And Raw As Possible': Paul Dempsey Reigns As King Of The Cover On 'Shotgun Karaoke Vol. II' The song was released in 2009 and features on Dempsey’s debut solo record, Everything Is True, which was recorded between the two Something For Kate albums, Desert Lights (2006) and Leave Your Soul To Science (2012). Upon its release, Dempsey commented that the song was about a conversation between a man and a robot waitress – the eponymous Ramona. “Ramona Was A Waitress… It’s an unusual song,” he said. “It’s about a guy arguing with an artificial-intelligence robot waitress about mortality. Sort of an unusual subject for a pop song, but that’s just what I was thinking about as I scrawled the lyrics. Artificial intelligence and conscious robots arguing about the meaning of life.” A mainstay of Dempsey’s solo sets – including his Shotgun Karaoke shows – and played at Fanning Dempsey National Park shows (his team-up with Bernard Fanning), we’re not surprised to see Ramona Was A Waitress go Gold. It’s one of the great modern Australian songs, after all. Embedded Content Reacting to the song going Gold, Dempsey shared a photo of himself holding the physical Gold record and wrote: “Back in 2008, I wrote a song about Artificial intelligence & look what turned up on my doorstep this week! Ramona Was a Gold Record!” He continued, “Endless thanks to the dream team at Winterman & Goldstein & @emimusicau & @raykurzweil for the inspiration. “People writing songs about AI is much better than AI writing songs about people.” Dempsey returned with Shotgun Karaoke Vol. II in October, twelve years after the release of the original, classic Shotgun Karaoke. Featuring covers of songs by Cher, R.E.M., Max Q, Don Henley, and many others, Dempsey challenged himself to sing each track in their original key and just perform songs he loves. He then took the album on the road for huge shows across the country. The most recent Something For Kate album, The Modern Medieval, was released in 2020. Embedded Content
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December 13, 2025 at 1:14 AM
Faithless Add Extra Show To 2026 Australian Tour
Faithless Add Extra Show To 2026 Australian Tour
British club music icons Faithless are returning to Australia for the first time in 15 years in 2026, and the hype is real. Demand is so high that a second Brisbane show has already been announced, with the first selling out fast. Faithless will perform in Sydney, Melbourne, and Brisbane in March 2026. With the new tour date added, Faithless will play at Sydney’s Hordern Pavilion on Friday, 13 March, Melbourne’s PICA on Saturday, 14 March, and Brisbane’s The Tivoli across two nights – the newly announced date of Tuesday, 17 March, and the sold-out Wednesday, 18 March. After their Australian dates, Faithless will head to New Zealand for the Synthony Festival. Tickets to the tour are moving fast. Punters can purchase tickets via the Untitled Group website. With a 30-year history, Faithless have released hits such as Insomnia, God Is A DJ, and We Come 1. They’ve amassed seven Top 10 singles, six Top 5 albums – three landing at #1 – and received a Mercury Prize nomination. The group’s use of club rhythms with sociopolitical lyrics has put them at the forefront of electronic music, with sales of over 20 million records worldwide. Formed by Rollo Armstrong and DJ Sister Bliss in 1995, Faithless are best known for their line-up starring rapper Maxi Jazz, while also performing with singer/instrumentalist Jamie Catto and guitarist Dave Randall over the years. In 2020, Faithless dropped their first studio album of new material in a decade with All Blessed. After Maxi Jazz’s tragic passing in 2022, the group entered yet another musical chapter, releasing their eighth album, Champion Sound, in September. Maxi Jazz was the lead vocalist for Faithless from 1995 to 2011. Faithless last visited Australia for the Good Vibrations Festival in 2011. FAITHLESS AUSTRALIA AND NEW ZEALAND 2026 TOUR Special guests to be announced   Friday 13 March - Hordern Pavilion, Sydney, NSW Saturday 14 March - PICA, Melbourne, VIC Tuesday 17 March - The Tivoli, Brisbane, QLD | SOLD OUT Wednesday 18 March - The Tivoli, Brisbane, QLD | NEW SHOW Saturday 21 March - Synthony Festival, Auckland, NZ Tickets and info from synthony.com Embedded Content
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December 13, 2025 at 12:17 AM
Lenny Kravitz To Play Villain In Upcoming James Bond Game
Lenny Kravitz To Play Villain In Upcoming James Bond Game
Love James Bond? Love video games? You’ll be in for a surprise when the new 007-based game, First Light, is released and features Lenny Kravitz as the villain. That’s right – the American singer, musician and actor will make his video game debut in 007: First Light, where he’ll appear as the character Bawma. Announcing the news at this week’s Game Awards, Kravitz wrote on X (formerly known as Twitter) after the award ceremony: “I’ll be bringing the character of Bawma to life in 007 First Light. @007gameIOI.” He continued, “Introducing Bawma, the largest black-market dealer in the Western Hemisphere, who’s as charismatic as he is unpredictable. He rose from nothing, broke free, and built his own Kingdom of Aleph.” 007: First Light is due for release next year. Actor Patrick Gibson (Dexter: Original Sin) will play the titular character, and will be joined by Kravitz, as well as an impressive cast including Steeltown Murders star Priyanga Burford, The Walking Dead’s Lennie James, Crazy Rich Asians’ Gemma Chan, and others. The game is expected to be available on multiple platforms, including PlayStation 5, Xbox Series X|S, Nintendo Switch 2, and PC via Steam and the Epic Games Store. Bawma can be seen in the new trailer for First Light, looking ominous but somehow, like Lenny Kravitz. “The Bond franchise has such an incredible legacy in video games, so to step into it with a brand-new character like Bawma is amazing,” Kravitz commented in a statement (per Billboard). Kravitz added, “He’s magnetic and unpredictable, there’s danger in him, but also heart and purpose. He’s not just a man with power; he is a man who has to fight for every inch of it. Bringing that energy into 007’s world felt incredible.” You can watch the video game trailer below. Last month, Lenny Kravitz toured Australia for the first time since 2012. In a recent interview with The Music, Kravitz opened up about his long-awaited return to Australia and his previously axed tour dates due to COVID-19. “We were supposed to come there a few years ago, unfortunately, when COVID started,” he said. “That cut my Australian tour, so we weren't able to make it on that cycle. And of course, I've been touring now for about two years on this album. So, it was very important to me to get down there, see everybody, and celebrate together.” Embedded Content
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December 12, 2025 at 11:21 PM
100 Warm Tunas Taking A Break From Predicting Triple J's Hottest 100
100 Warm Tunas Taking A Break From Predicting Triple J's Hottest 100
100 Warm Tunas, the “most accurate” predictor of songs on the triple j Hottest 100, will take a break ahead of the 2026 countdown. As the ABC noted in 2022, software engineer Nick Whyte’s predictive algorithm has enjoyed great success, especially in its first six years. From 2016 to 2022, 100 Warm Tunas correctly predicted approximately eight of the top ten songs on the countdown, while it predicted the top song 67% of the time. However, over the last year, social media algorithms have changed – 100 Warm Tunas relies on screenshots of triple j listeners’ votes for the Hottest 100 – to the point where rounding up votes and developing an accurate algorithm has become increasingly complex. “triple j’s Hottest 100 of 2025 is back, but after ~10 years of running my side-project 100 Warm Tunas, I’ve decided to wrap it up and not run it this year. Instead, I’ll divert the time I would normally spend on this over summer to other side-projects,” Whyte shared in a blog post. The post continued, “Why? Because 100 Warm Tunas relies on data that, these days, is too difficult to obtain. 100 Warm Tunas uses screenshots that people post to social media of the songs they voted for. In the past, this data was plentiful, and easy to gather, but these days it’s too difficult to get my hands on for numerous reasons.” Whyte then broke down the challenges of gathering data for 100 Warm Tunas, citing changes in Instagram’s API and bot detection; Instagram removing chronological hashtag searches, so you’ll only see “popular” posts; Instagram removing story hashtags in hashtag search, making it impossible to track Hottest 100 votes on Stories; X (formerly known as Twitter) paywalling their API, and changes in social media trends, such as users having private accounts and sharing to their Stories rather than a traditional post. “For the last ~3 years the site has relied on data submitted by voters directly, either via the website or via Instagram direct message,” Whyte continued. “This ultimately resulted in data skew, because only the most motivated/die-hard triple j listeners are providing their data.” Whyte then cited the technical and personal career opportunities that have presented themselves as a result of running 100 Warm Tunas, including interviews on ABC and offers to buy the website. The post concluded, “It’ll be a shame to wrap it up, especially after putting in a large volume of effort over the last 12 months to modernise the platform, but I think the project’s prime time is now over. I’m excited to see what new projects others spin up in this space and where they take it next.” Fans can follow Whyte on his website or GitHub. 100 Warm Tunas has correctly predicted the 2018 #1 (Ocean Alley’s Confidence) and the 2017 winner (Kendrick Lamar’s HUMBLE). For the 2020 countdown, 100 Warm Tunas correctly predicted that the UK outfit Glass Animals’ Heat Waves would come out on top. In 2021, 100 Warm Tunas predicted 84% of the songs in the top 100 tracks of the year, including the correct prediction of The Wiggles’ Like A Version of Tame Impala’s Elephant landing at #1. For the 2023 countdown, though, the prediction that Troye Sivan’s Rush would come in at #1 wasn’t quite as accurate—the song ended up at #8. Doja Cat surprised listeners when she topped the countdown with Paint The Town Red. With the 2024 countdown, 100 Warm Tunas nailed it once again by predicting that Chappell Roan would top the countdown with Good Luck, Babe!. Embedded Content
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December 12, 2025 at 10:24 PM
ICYMI: Black Flag Reveal 2026 Australian Tour Dates
Black Flag Reveal 2026 Australian Tour Dates
Punk icons Black Flag will return to Australia in May 2026. Their first shows Down Under since December 2023, the tour also marks the Australian debut of the band’s new line-up as they enter a new era. For the upcoming tour, founding guitarist Greg Ginn will be accompanied by three new members as Black Flag opens a new creative chapter. Ginn will be joined by vocalist Max Zanelly, bassist David Rodriguez, and drummer Bryce Weston. The Australian dates will showcase Black Flag with revitalised energy, new shows, and fresh music production—with the group set to perform two sets a night. The new four-piece is already in the midst of writing and rehearsing, with plans to build on the band’s signature punk sound while embracing new inspirations. The tour begins at Melbourne’s Corner Hotel on Thursday, 28 May. The fun continues at Sydney’s Crowbar on Friday, 29 May, Brisbane’s Crowbar on Saturday, 30 May, and concludes at the Gold Coast’s Vinnie’s Dive Bar on Sunday, 31 May. Tickets are available now via the Troubadour Presents website. On their 2023 Australian shows, Black Flag returned Down Under after ten years and performed My War in its entirety. The 2013 shows arrived shortly after the band’s second reunion was locked in earlier that year. It came in support of their seventh album, What The…, which arrived the same month and remains Black Flag’s most recent studio effort. Black Flag’s original era took place in the 80s, when they released albums such as Damaged (1981), My War (1984), In My Head (1985), and more. Troubadour Presents AN EVENING WITH BLACK FLAG AUSTRALIA 2026 – PERFORMING TWO SETS   THURSDAY 28 MAY - CORNER HOTEL, MELBOURNE FRIDAY 29 MAY - CROWBAR, SYDNEY SATURDAY 30 MAY - CROWBAR, BRISBANE SUNDAY 31 MAY - VINNIE’S DIVE BAR, GOLD COAST Embedded Content
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December 12, 2025 at 5:24 PM
ICYMI: The Music's Most Anticipated Australian Albums Of 2026
The Music's Most Anticipated Australian Albums Of 2026
2025 has been another remarkable year for Australian music. Aussie artists have topped charts, performed at international festivals like Coachella and Bonnaroo, and opened for the likes of Pearl Jam and Fontaines D.C. overseas and AC/DC at home. In terms of albums, 2025 has been an incredibly memorable year for Australian music. From the long-awaited breakthrough of Ninajirachi, to impressive rock LPs from Teen Jesus And The Jean Teasers, dust, Spacey Jane, and The Belair Lip Bombs, the emergence of hip-hop stars such as BARKAA and Miss Kaninna, stunning pop moves by Mallrat, and much more, we haven’t been able to stop spinning Australian records. And it already looks like 2026 is shaping up to be another incredible year of Australian music. With Kisschasy and Karnivool making their long-awaited comebacks, Keli Holiday following the success of Dancing2 with a new full-length, and favourites such as The Paper Kites and Matt Corby set to release new albums next year – plus some artists we think will release new LPs next year, but they’re unconfirmed – these are The Music’s most anticipated Australian albums of 2026. The Music’s Most Anticipated Australian Albums Of 2026 The Kid LAROI – BEFORE I FORGET – 9 January In November, The Kid LAROI confirmed that his long-awaited second album, BEFORE I FORGET, is arriving on 9 January 2026. The Gamilaraay man, living in the US, revealed that he made his forthcoming album across four months and scrapped another album he had “completed.” BEFORE I FORGET is the STAY singer’s “favourite” thing he’s ever made, as well as “the most personal” work he’s created. The record follows The Kid LAROI’s debut record, THE FIRST TIME, released in November 2023, and his mixtape, F*CK LOVE, released in July 2020. Taking home the Song of the Year award at this year’s ARIA Awards with GIRLS, it already seems like BEFORE I FORGET will continue The Kid LAROI’s momentum. Embedded Content DZ Deathrays – Easing Out Of Control – 16 January DZ Deathrays have built a reputation as one of the country’s most consistent rock bands, and so their forthcoming album, Easing Out Of Control, was a no-brainer for inclusion on this list. Following their last record, R.I.F.F.’s mantra: “Remember, It’s For Fun,” the garage rock-inspired outfit continues looking to the future. Originally planned as two separate EPs, the album gradually unfolded into a cohesive whole that explores new territory while retaining that classic DZ Deathrays atmosphere. Of course, it wouldn’t be a DZ Deathrays record without some chaos. But this time, they balance it out with restraint, new textures, and expansive topics, ranging from existentialism to societal criticism of surveillance and environmentalism to familial relationships. Embedded Content The Paper Kites – If You Go There, I Hope You Find It – 23 January In September 2023, The Paper Kites released a concept album of sorts with At The Roadhouse, a record inspired by the collective vision of capturing a real-life roadside property. Next year’s If You Go There, I Hope You Find It is something different once again. Recorded at Melbourne’s Sing Sing Studios and mixed by multi-Grammy Award winner Jon Low (Taylor Swift, Ed Sheeran, Gracie Abrams), If You Go There, I Hope You Find It is achingly intimate and reflective. With their new album, The Paper Kites seek connection, simplicity, and emotional clarity. They explore themes of nature, healing, and hope; each track unfolds like a secret conversation, offering comfort through its vulnerability and sincerity. The introspective album still promises to showcase the atmosphere we’ve come to know and love from The Paper Kites, though, still feeling like home. Embedded Content sleepazoid – NEW AGE EP – 5 February After a huge year, sleepazoid will return in 2026 with their second EP, NEW AGE. The Melbourne rockers launched the release with the single, FIG TREE, in November – perfect timing as they’ll be opening for Fcukers in Melbourne in January. FIG TREE follows the release of the EP’s title track, the latter of which debuted on triple j’s Drive program and was added to full rotation on the station, plus triple j Unearthed. With additions on FBi Radio, SYN, and making a debut on AMRAP’s Metro Charts, NEW AGE has seen sleepazoid receive hundreds of thousands of streams and attention in Australia and abroad. This year also saw them open for Faye Webster and perform at BIGSOUND and SXSW Sydney. If 2025 was the year of sleepazoid, then we predict 2026 to be even bigger. Embedded Content Karnivool – In Verses – 6 February It’s been twelve long years since we’ve experienced a new Karnivool album. In 2026, the Perth progressive rockers will return with an expansive, heavy album, In Verses. The long-awaited follow-up to 2013’s Asymmetry, In Verses is the band’s fourth album, following Themata (2005), Sound Awake (2009), and the ARIA Award-winning, #1 record, Asymmetry. Of course, each member of Karnivool has their own creative pursuits, most notably vocalist Ian Kenny, who also fronts Birds Of Tokyo. “In Verses is a culmination of the last decade of life experiences that have brought Karnivool to this point,” a statement about the album reads. “Meticulously formed and delivered, the album’s ten tracks journey collective feelings of frustration, catharsis and a rediscovery of identity. “In Verses not only provides a fitting moment of reintroduction for longtime and casual Karnivool fans but for newcomers, the new album marks a striking gateway to a body of work built on an intense love for the craft.” Embedded Content Keli Holiday – Capital Fiction – 6 February It’s been a breakout year for Adam Hyde, who’s one-half of the Australian dance music duo, Peking Duk, and makes music as a solo artist under the moniker Keli Holiday. Capital Fiction, arriving in February, is Holiday’s second album, but will serve as a fresh introduction for those who discovered his music through the #1 single, Dancing2. Both Dancing2 and his latest single, Ecstasy, will appear on the album. “This album feels like the first Keli Holiday offering that is true to who I am,” he explained. “It explores themes of longing for more, finding love in a crowded room, and the union of sex. I have spent the majority of my days since the birth of Keli Holiday focusing on what I want to say, how I want to say it, and what I want it to sound like. Capital Fiction captures the essence of who Keli Holiday truly is.” Embedded Content Kisschasy – The Terrors Of Comfort – 13 February Like Karnivool, fans have been waiting a long time for a new Kisschasy album. In November, the Aussie pop-rockers announced that they’d be releasing their first album in 16 years in February. The Terrors Of Comfort follows the release of new singles Lie To Me and Parasite, which are the band’s first taste of new music since their third album, 2009’s Seizures. “The title came from an old ‘70s Museum of Modern Art exhibition called The Pleasures And Terrors of Domestic Comfort,” said frontman Darren Cordeux. “I’d rediscovered the catalogue on my bookshelf and thought to myself, ‘That’s the common thread to all these songs.’ “Lie To Me, Parasite, Uncomfortably Numb, are all about where you end up when you seek comfort above all else.” Embedded Content Donny Benét - Il Basso – 13 February One of Australia’s most prolific artists, Donny Benét, is continuing his instrumental streak with another chapter of the series, Il Basso. The album pays tribute to the instrument that acts as the foundation for music itself: the bass. For his forthcoming album, Benét has revisited some of his favourite bassists, including Paul Jackson, Bernard Edwards, Freddie Washington, Leon Sylvers, Stanley Clarke, Eberhard Weber, and Mr Pastorius. Written, performed, recorded and produced by Benét, the album came together at his vintage-equipped studio, Donnyland Records. He said of the record: Rather than presenting a ‘bass heavy’ record full of tricks and illusions, I wanted to create a body of complementing songs that allowed various instruments to equally shine at their given moments. I had so many great memories and a fondness associated with my favourite 70’s jazz fusion records, which can simultaneously fit into the background or draw in the listener at any given time. I hope that Il Basso can serve the listener in the same way, drawing them into the beauty of the bass in its various roles! Embedded Content Chet Faker – A Love For Strangers – 13 February Chet Faker is back with another new record. The follow-up to 2021’s Hotel Surrender, which emerged from a sense of personal reflection and rediscovery after the tenth anniversary of his debut full-length, Built On Glass, A Love For Strangers again captures the spirit of reinvention. Nick Murphy’s first record as Chet Faker in four years, he utilises moonlit saxophones and earworms, pulling from The Blue Nile and David Gray in equal measure. The 12-track LP finds Murphy ruminating on heartbreak and uncertainty on a grand scale, asking questions of humanity – how we relate to each other and what happens when we don’t – and finding hope in repairing relationships. Embedded Content Telenova – THE WARNING – 27 February Telenova have been on the up and up since forming in 2020. Consisting of lead vocalist, writer and filmmaker Angeline Armstrong, and multi-instrumentalists and producers Edward Quinn and Joshua Moriarty, the trio were formed by Chris Walla of Death Cab for Cutie fame during the APRA AMCOS SongHubs initiative. Their first album, Time Is A Flower, arrived in August 2024, following a string of impressive, dance-ready singles and their EP, Tranquilize. Before the album’s release, Telenova had already racked up hype, winning the Breakthrough Independent Artist of the Year award at the 2022 AIR Awards. With so much excitement around them, THE WARNING drops in February to growing hype. The album strips away the group’s cinematic mystique to display raw, chaotic, yet deeply human truths: it’s gritty, uneasy, and vulnerable – the headspace of some of the best music. Embedded Content Matt Corby – Tragic Magic – 6 March Matt Corby is releasing his fourth album next March, channelling Motown on Tragic Magic. Featuring 13 tracks, Corby co-produced Tragic Magic with Chris Collins (Middle Kids, Old Mervs), which contains the already-released singles Long And Short and Burn It Out, the latter of which was co-written with Collins and Meg Mac. An example of what’s to come on the record: Corby can be heard playing drums, bass, piano, percussion, and mellotron, and arranging the string section alongside Collins and Stephen Mowat. “It’s awesome to finally be telling everyone about this album, Tragic Magic,” Corby said. “We’ve been working on it for about 18 months, and I’m really proud of it. It feels very reflective of where my life is at right now; how my family, my kids, are the most important thing and watching them grow up has completely rewired my brain and outlook on life.” One of Australia’s most powerful voices, Corby broke through with the single Brother, which has been certified 10x Platinum by ARIA. He’s consecutively received Top Ten albums in Australia with his first three albums and received ARIA and J Award nominations, to name a few. Embedded Content Pacific Avenue - Lovesick Sentimental – 6 March Pacific Avenue are touring across the country in support of their forthcoming album, Lovesick Sentimental, set for release next March. Lovesick Sentimental marks the highly anticipated follow-up to Pacific Avenue’s 2023 debut album, Flowers. For that album, the band experienced major breakout success, scoring #1 on the ARIA Australian Albums Chart, #2 on the ARIA Albums Chart, #4 on the ARIA Vinyl Chart, and received two nominations at last year’s ARIA Awards for Best Rock Album and Michael Gudinski Breakthrough Artist. Lovesick Sentimental is the album released by a band coming into full bloom and one of the country’s most dynamic live acts. Embedded Content Morgan Evans – Steel Town – 20 March Australian country music star Morgan Evans will return to the spotlight with a return to his roots next March. Evans’ forthcoming album, Steel Town, marks his first full-length in two years. The time away from the stage and the studio allowed Evans to reset and come up with a heartfelt new album that features collaborations with singer Laci Kaye Booth and William Barton, one of Australia’s most recognised yidaki players, on the track Back To Country, which will no doubt be a powerful nod to Australian culture. Speaking on the inspiration of the album, Evans shared, “I had to get outta this town. I needed something real. Old mates, familiar places, and salt water. I reconnected with where I came from, who I was, and who I wanna be. This record is a journey, and it all started with a beer back home.” Embedded Content Dream On Dreamer – Heavens – 1 May It’s been five years since Melbourne heavy outfit Dream On Dreamer announced that they’d be disbanding, which they marked with the release of their album, What If I Told You It Doesn't Get Better. In 2023, Dream On Dreamer returned—albeit on a smaller scale. And next May, they’ll release their first new album in six years, Heavens, which has already been preceded by killer singles such as Focused On Heaven, All My Life, and White Room. “When Dream on Dreamer ended in 2019, we were burnt out and unsure of who we were becoming. Some of us were about to be dads, some were struggling with what the band meant to us,” the band shared. They added, “We had just started to regain our footing off the back of It Comes and Goes, which today is our highest performing work. Yet despite this success, there was an element that felt dishonest. Perhaps it was the unknown expectations we were putting on ourselves as soon-to-be fathers. Or maybe in the face of things going well, not being able to fully devote ourselves to what should be a passion became too daunting, all whilst having the realisation that our love had to be focused elsewhere. In any case, we weren’t in it 100% so we stepped away. “Time gave us perspective. We reconnected not just as a band, but as friends who still love making music together. We spent some time to find what felt like a more honest way to approach the band and a way to enjoy the process together as brothers.” Embedded Content BONUS: Artists who have teased new music but haven’t officially announced an album Peach PRC With Peach PRC recently announcing her massive Wandering Spirit Tour, her largest Australian shows to date, we can’t help but think her debut album might be on the way in 2026. In 2023, she released her debut EP, Manic Dream Pixie, which debuted atop the ARIA Albums Chart in May 2023. Last November, she released the compilation, Chapter 1: Singles Collection. Then, this year, Peach PRC released two new singles. Sweet n Low arrived in July, and last month, she released Miss Erotica, two songs that signify the next era of Peach PRC. We have to say, Miss Erotica would be a pretty great album title. Embedded Content Genesis Owusu Over the last few months, Genesis Owusu has treated fans to electronica, punk-inspired new tracks, such as PIRATE RADIO and DEATH CULT ZOMBIE. His 2021 album Smiling With No Teeth won the Australian Music Prize and ARIA Awards, including Album of the Year, Best Hip Hop Release and Best Independent Release, with Owusu’s effortless blend of funk, punk, and rap proving him to be a genre-defying artist. In 2023, Owusu dropped the follow-up album, STRUGGLER, another huge success. Last year, he shared the standalone singles Good Times and WUTD, with performances at Vivid Sydney, Spilt Milk, and more, showcasing his reputation as one of Australia’s most visceral performers. With a bunch of standalone singles, we can’t help but wonder if they’ll feature on a new album. Embedded Content Ecca Vandal Ecca Vandal has enjoyed an incredible year, opening for Limp Bizkit and Deftones at huge international shows—while also releasing some of her strongest music to date. With singles such as MOLLY, CRUISING TO SELF SOOTHE, BLEED BUT NEVER DIE, and THEN THERE’S ONE released in the last twelve months, fans have waited patiently for an announcement of a new album, which would mark Vandal’s first full-length since 2017. 2026 might just be her (and our) year, though, with a recent press release noting that MOLLY is “a taste of a larger body of work.” We can’t wait. Embedded Content Polaris It’s been two years since we heard new music from Polaris. The Sydney metalcore group dropped their third album, Fatalism, in September 2023. The last album to feature lead guitarist Ryan Siew, who tragically passed away in June 2023, was released posthumously and received widespread praise, including nominations for the Australian Music Prize, ARIA Awards, AIR Awards, and J Awards. Earlier this year, vocalist Jamie Hails confirmed that the band had begun songwriting sessions for a new studio project, post-Fatalism, in an interview with The Music. In a separate chat, they added that they’re “deep in the creative process” for their forthcoming fourth album. Levelling up with each album, what comes next from Polaris is sure to be a thrill. Embedded Content ONE MORE BONUS: King Gizzard & The Lizard Wizard What good is a list of most-anticipated Australian albums without King Gizzard & The Lizard Wizard? Australia’s most prolific band, the psych rockers have released 27 albums in 13 years. And while they’ve seemingly slowed down – they released two albums in 2023 and just one in 2024 and this year – even if they release one album a year, they belong on this list. The last few King Gizzard & The Lizard Wizard albums can make arguments for the most diverse period of their career, from heavy metal to electronica to orchestral tunes; you never know what you’re going to hear next from the group. We’ll just have to wait and listen to whatever comes next. Embedded Content
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December 12, 2025 at 4:28 PM
ICYMI: Ollie Wards Announces His Departure As TikTok's Director Of Music
Ollie Wards Announces His Departure As TikTok's Director Of Music
After more than five years in the role, Ollie Wards has announced that he is "hanging up my headphones" as TikTok's Director Of Music for Australia and New Zealand. Wards shared the news via LinkedIn today, looking back on the myriad achievements he's clocked up since taking over the role in August of 2020. Some of these achievements included the likes of designing content best practices for musicians to make short form content part of their creative process, leading campaigns for the platform including launching their Sounds Of Summer in the local market, building the world’s first TikTok radio station partnership with iHeart which has since become Australia's top digital station for those under 30, and helping to produce the TikTok Awards alongside promoting local music on a global scale. "But rather than ‘what’ I was part of, it’s the ‘how’ that I’m most proud of," Wards continued. "One of the first things I did at TikTok was create ‘liner notes’. A list of 11 guiding principles (turn it up to 11!) to work by.  “A set of stated values we’d aim to live up to in service of our artists, music industry and TikTok audience." He continued: For example, #3 liner note is:  “We aim to be contactable, while being effective at scale and as transparent as possible with our artists and industry partners - the most ‘human’ team at a music platform.” In a world of increasingly opaque pathways for artists, pitch portals, helpdesks and bots - hopefully that approach of being a human amongst it all helped. Though maybe being ‘human’ is the minimum. Wards took on the role of Director Of Music in mid-2020, just a week after announcing his departure from triple j, where he had served as Content Director since 2010, having begun as producer for Tom Ballard and Alex Dyson's breakfast show earlier that same year. "It’s been an absolute honour to work with the best in the biz at triple j, as one of the caretakers of an institution that means so much to our audience and the music industry," Wards said at the time. In closing his post, Wards noted that as he goes into 2026, he's "open for business," adding that he is "all about creative processes and connecting content with audiences, whatever the format." With a focus on leading creative teams, crafting content partnerships, building digital products to meet audience needs, and shining a light on music and creative industry promotion across platforms, Wards is looking to bring an authentic, genuine approach to his future endeavours. "Call me," he closed. "I’m a human."
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December 12, 2025 at 3:30 PM
ICYMI: Venues: New Openings in Canberra & Sydney, Townsville Petition For Foos, Theatre Delay, Jail Sentences, Lady Gaga Numbers & More
Venues: New Openings in Canberra & Sydney, Townsville Petition For Foos, Theatre Delay, Jail Sentences, Lady Gaga Numbers & More
ChiChiz, Embassy CBR, Open In Canberra Canberra has two new clubs while the ACT Government plans to expand its night time economy. ChiChiz, opening this Saturday (December 14th) in the Sydney Building, is designed to be a safe LGBTQIA+ community. It takes its name from the iconic New York queer club which offered sanctuary especially to people of colour, and which closed in 2010. US-born co-owner Travis Moore frequented the NY club, as did NSW-born Oliver McLean who was in the Big Apple on work. The third owner is another recent arrival, writer Anastasia Tyler. The entertainment menu includes live music, karaoke, queer art, drag shows, DJ nights, community takeovers, trivia nights, and themed parties. Focussing heavily on R&B is cocktail bar and nightclub The Embassy CBR, which launched this month on Northbourne Avenue. Felons Barrel Room Brings Live Music Hub To Manly Wharf Dynamic brewing company Felons, which has been operating the Felons Barrel Room as a combined microbrewery, live music space, and dining hub in Brisbane since October 2020, has brought the concept to Manly Wharf in Sydney. Manly Wharf is being developed as a go-to-destination since Artemus Group took it over last year. The 700-capacity Felons Barrel Room Manly has a custom-built, steam-powered 18.5-hectolitre brewhouse and Vietnamese dining restaurant for 300, and a hidden cocktail bar. The entertainment draws on local and emerging talent, covering live music, DJs, comedy, jazz night and acoustic sessions – supported by an advanced sound system and adaptable lighting from German maker d&b audiotechnik. The venue signalled its commitment to a wide range of music at the long weekend surrounding its December 5th launch when Winston Surfshirt, Mental As Anything and a “dancefloor heat” session with James Pepper, Yolanda Be Cool, Bella Backe, Joel Cantone, and Ashlea Milinkovic of dance troupe Sweat It Out lined up for the event. Thursday December 11th marks the Jazz Club and the 14th with Hondeyslidders, with January’s slate including The Growlers, Canada’s Tops, and Norway’s SMERZ. Foo Fighters Fans Push For Townsville Show With 24,000 Foo Fighters fans snapping up  all tickets for the band’s one-off Tasmanian show next at the UTAS Stadium “in record time” of 20 minutes on its day of sale (Wednesday, December 10th),a gaggle of Townsville fans set up a Facebook group pushing for Frontier Touring to get them to play at the 25,455 seat Queensland Country Bank Stadium 3,000 kms away. Group administrator Michael Chamberlain says big turnouts for Pink and Jelly Roll in Townsville proves there’s a substantial crowd for the rock’n’Grohlers in the Far North Queensland. The band's one-night-only UTAS Stadium show on Saturday, January 24th has sold out in record time, fans from across the country snapping up tickets today for what is gearing up to be the hottest show of the summer. Spilt Milk Attracts Record Number Of Brands As Kicks Entertainment & Live Nation’s Spilt Milk festival currently plays Ballarat, Perth, Canberra and the Gold Coast led by Kendrick Lamar, Doechii, and Sara Landry, Live Nation reported that it attracted a record amount of brand partners. They include Red Bull, Smirnoff, Vodafone, Coopers, American Apparel®, Jim Beam, Liquid IV, Rimmel London, Schwarzkopf Got2b, White Claw, Platypus and Transport Accident Commission.  “Each partner will deliver a uniquely tailored activation, promising to elevate the festival experience and foster authentic connections with Australia’s next generation of cultural tastemakers,” the promoter said. The Red Bull Capsule, a high energy, boutique-turned-party destination features exclusive Spilt Milk merchandise and customisation courtesy of American Apparel®. The space has DJ sets, signature Red Bull drinks and an outdoor zone designed to keep the vibes high into the night. Vodafone was the first brand to partner with Spilt Milk this year, giving Vodafone customers exclusive pre-sale access and the chance to win a ticket upgrade.  Coopers’ Finders Coopers provides roaming bar service of Coopers Aussie Lager cans. Official merch supplier American Apparel® joined Spilt Milk as the presenting partner of the festival app, keeping fans connected and in the loop from first act to final set.  Liquid I.V. offers bold new flavours for punters. Makeup partner Rimmel London returning with its London bus is offering complementary makeovers, product drops and a resident DJ. White Claw’s Shore Club serves up refreshments and DJ sets. NESCAFÉ Espresso Concentrates is serving up chilled coffee to help festival goers cool down and recharge. Official footwear retail sponsor Platypus’ Kicks Club members win VIP tickets by getting festi-ready, shopping the edit in-store and online.  After more than a decade on the road, the Transport Accident Commission’s Vanessa bus had a major glow up and debuted as ‘Vanessa’s Place’ at Ballarat Victoria as a share-house with giveaways and safer choices on the road.  Live Nation said the partner line-up “reflects deep insights into the values and expectations of Gen Z, with this audience shaping the festival’s identity and driving year-on-year demand.” According to its latest Love Song study, 92% of Gen Z crave in-person experiences and nearly 88% say music is central to their happiness and sense of identity. Kristy Rosser, Senior Vice President and Head of Media and Sponsorship at Live Nation ANZ, “We know Gen Z value real-life experiences that are both authentic and relevant, so our goal is to create spaces where brands can connect with fans in a memorable way.” ICC Sydney Invests Over Half A Million Dollars In Lighting International Convention Centre Sydney (ICC Sydney), managed by Legends Global, is investing $554,000 in its lighting assets to open up visual creativity for shows. A substantial part of the outlay is in LED technology. ICC CEO Adam Mather-Brown said, “This latest investment underscores our commitment to innovation and excellence. By continually enhancing our AV capabilities, we empower clients to deliver events that inspire, engage, and leave lasting legacies.” ICC Sydney’s new lighting inventory includes: * 16 × Elation Paragon M (3700 lumen profile at CRI 80 with framing capabilities) * 16 × Acme Tornado (1m LED bar with 5 individual moving heads, pan and tilt capabilities) * 40 × Acme Super Dotline (1m LED strip light with tilt functions) * 1 × GrandMA Processing Unit M (increases parameter count by 4096, accommodating LED Bars) * 48 × Astera Titan Tubes (1m LED tubes with tunable whites, ultra-high colour rendering, and pixel control) Cloudland Clouds Cloudland in Brisbane’s Fortitude Valley has introduced Cumulus Thursdays, starting at 9pm each week.  House band Cumulus delivers a range of soul and funk grooves featuring some of the best musicians in the city. After the band, DJ Two Dee takes to the decks until late. Gaga Numbers While Lady Gaga’s Australian tour set off this week in Brisbane with a share of dramas, figures for the singer’s overseas dates are showing she’s on top of the game. She’s been topping Pollstar’s Artist Power Index since mid-October. The European leg took 24 shows at 10 arenas, grossing over US$65.6 million from 368,145 tix. A four-night run at Accor Arena in Paris generated $10.5 million from 61,815 tickets sold. The Mayhem Ball began in Las Vegas on July 16th. Combine all dates, and Gaga has whipped up $168 million with almost three quarters of a million tickets sold at 51 performances. A four-night stay at Madison Square Garden in New York in late August swelled the coffers by $17.4 million to 54,390 fans. Meantime, social media went into overdrive at the first Aussie show in Brisbane. Due to a technical glitch discovered during soundcheck concerning the opening of the venue gates, punters only started getting into the venue an hour after a 5pm schedule. Long queues snaked back to the railway station, there was an estimated two-hour wait, tempers were frayed in the heat, some apparently needed medical help and others maintained they missed some of Gaga’s set (their estimates ranging from 3 to 6 songs). Suncorp Stadium stated 95% of patrons were already in the venue by the time the delayed show got underway at 7.40pm. It added: “This delay resulted in a backlog of patrons queuing on the stadium’s external plazas. This backlog exacerbated the already delayed entry, resulting in patrons experiencing unusually long wait times.” Read The Music’s report on how serial pest Pyjama Man (aka Johnson Wen, 26), who had been thrown out of Singapore for lunging at Ariana Grande at the Wicked premiere, was at the Brisbane show in disguise.  Alas, security threw him out. “Take off your wig, take off your wig!” Gaga fans yelped at him as he shuffled off. Musical Chairs * Janis Carren, who served for almost 15 years as Director of Strategy and Partnerships at VenuesWest (its 14 venues include RAC Arena, Optus Stadium) before heading to WA Arts and Culture Trust as CEO, returns to the organisation in May 2026 as its CEO. * Melbourne’s The Substation’s new Executive Producer, Nicholas Tee joins in January. Tee worked as performer (CHILLIDXDDY) and festival director in Singapore, UK and Australia, gaining acclaim for the sold out Bunker By Night, of electronic and experimental music sets in a disused World War II military bunker. * Acclaimed chef Alex Katsman will helm The Angry Penguin, a new restaurant opening at Adelaide Festival Centre as part of its $35 million redevelopment. Marvel Stadium Wins Global Kudos Melbourne’s Marvel Stadium has picked up a win at the global 2025 Access All Areas Awards. It took the Best Outdoor Venue gong, up against Hyde Park, The Royal Parks in London, Castle Park in Colchester, UK, and the 450-acre Ragley Estate in Warwickshire, England. Marvel Stadium marks its 25th year this year. “Over 730,000 fans have attended major events and concerts outside of football at Marvel Stadium this year,” it reported. It’s hosted 19 major events, including eight international concerts. They included Luke Combs, Oasis (170,000 fans), Metallica (61,000 fans), and Fridayz Live featuring Pitbull and Mariah Carey. Lady Gaga on the weekend (December 6th), “registered in the top ten highest attendances all time at Marvel Stadium.” Tooheys Turns Taps On At Tamworth Festival Tooheys is the new official beer partner of the Toyota Tamworth Country Music Festival (TCMF), marking the first time the NSW brand has aligned with the event which draws an aggregated 300,000 through ten days in January. It will be poured at the Tooheys Country Pub in Toyota Park and venues including Wests Tamworth, Wests Diggers, The Longyard Hotel, The Tudor, Joe Maguire’s, Courthouse Hotel, and Tamworth Services Club. The Tooheys blue and red will feature prominently throughout festival venues, precincts, and media, “ensuring the brand is front and centre during this cultural celebration.” Tooheys supports live music venues through its Tooheys On Tour campaign, helping them reconnect with fans. This year Dune Rats got an ARIA nomination for their reimagined version of the I Feel Like A Tooheys jingle. No Shaky Ground: Renée Geyer Lane After the unveiling of street artist Ling’s mural of Renée Geyer outside the Galleon Café in St. Kilda, Melbourne, the City of Port Phillip is proposing to name a laneway in her honour. It’s asking for possible names. Singer Jane Clifton has one. She posted, “Renée Right of Way has a nice ring to it. With a sign reading ‘Yes, you’re heading in the right direction’.” Vale Melbourne nightclub promoter Trent Theodore who was involved in clubs as The Osborne, Bar Bambi, and Eve, succumbed to health complications aged 39. Canberra musician Garth Lawrence Mansfield, who died at 94, set up the Wesley Music Centre as a sought after venue for small classical recitals and sound recordings and served as its director from 2002 to 2013. Rave Up On Air New Zealand Flight Air New Zealand flight NZ1331 became a nightclub at 30,000 feet with Synthony In The Sky. While it transported 160 members and fans of the classical/EDM ensemble Synthony from Auckland to Sydney, the act performed a concert (no passouts or walk-offs!) complete with vibrant visuals and atmospheric lighting courtesy of the airline's engineering team working closely with promoter Duco Events. Ravers who paid NZD$549 (including the Sydney show on the steps of the Opera House) got a Shapeshifter DJ set, sets from EMD icon DJ Dick Johnson and singer Emily Williams, and a surprise appearance by Lewis McCallum and Matthew Ottignon, who played sax, flute and clarinet. Celebrations included two birthdays and a hen’s party.  Synthony’s Opera House gig was to an audience of close to 5,000, the ensemble told The Music. Captain David Elmsly, a pilot of more than 20 years, is a founder of Synthony. Cairns Nightclub Manager Gets Jail Sentence Cairns nightclub manager Shanesse May Perry, 32, was jailed for five years (suspended after 12 months) after pleading guilty in the Cairns Supreme Court to cocaine trafficking. As reported by the Cairns Post she admitted to selling more than $355,000 worth of cocaine for 17 months from May 2022 to October 2023 to just one customer.  The court was told she provided the powder 50 times in that period to a FIFO worker who had received about $400,000 inheritance and was quite happy to pay Perry’s marked up price of $9,800 an ounce. Perry was most recently manager at Gilligan’s Nightclub. Legends Global Enters JV With Saudi Arabia Harvey Lister, Brisbane-based think-big President and Chief Executive of Legends Global Asia Pacific and Middle East, was in the Saudi Arabian capital Riyadh to announce a new joint venture with the country’s Event Investment Fund. The JV will see Legends Global offer management services including design and technology for a slate of new venues in the capital. An indoor entertainment and sporting arena will be among the first three to be built, along with an Olympic-standard shooting range and a business convention and exhibition centre. Legends Global’s Australian portfolio includes Suncorp Stadium, the Brisbane Entertainment Centre, and Brisbane Convention and Exhibition Centre. Queenscliff Festival Draws 11,000 Victoria’s Queenscliff Music Festival reported drawing 11,000 punters over three days on Wadawurrung Country/Bellarine Peninsula. The 75 acts who hit the stages (along with the new floating stage) included The Preatures, Thelma Plum, The Cat Empire, The Waifs, Cosmic Psychos, Mama Kin Spender, and King Stingray, with a surprise appearance from Baker Boy and a heap of local acts. Riverside Theatres To Be Scaled Back With costs to remake Western Sydney’s Riverside Theatres into a “world-class performing arts centre” blowing out well over its $276.8 million budget, the City of Parramatta this week decided it would delay plans for a rebuild to start to late 2026, and scale back on its redesign. The venue will remain operating as usual.
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December 12, 2025 at 3:30 PM
ICYMI: The WA Music Festival That Doesn’t Focus On Headline Acts: ‘It’s About The Whole Event’
The WA Music Festival That Doesn’t Focus On Headline Acts: ‘It’s About The Whole Event’
Phaedra Watts has been involved with southwest WA’s Nannup Music Festival for 20 years. First it was as one of the many volunteers who make it work. 17 years ago she became full-time Programmer and Festival Director/Programmer for 13. Watts made her name internationally for the free spirit with which the festival operates. Firstly, it actually started out as a folk music club, in the front room of Bernie and Rubela Wilborn’s home ‘Dry Brook’. The first Nannup Music Festival was held on the Easter of 1990 in the midst of centenary celebrations of the 1890 establishment of Nannup as a town. With a focus on new emerging and indigenous artists (and an Emerging Artist award presented each year along with a Festival Director's award), it early on showcasing the likes of Gurrumul, Passenger, and Stella Donnelly early in their solo careers. The festival does not focus on headliners. “Because your headliner will differ to mine,” Watts explains. “Because there are so many performers that for one reason or another haven’t hit the big time but perhaps should have. “It’s about the whole event, the whole experience. It’s not just an act you are coming to see, it’s many. I’m certain that you will go home with a new previously unknown favourite.” Out of 500 applications a year, Watts uses her gut instinct to make the choice. The 2026 edition (February 27th to March 2nd) draws on many from WA, including The Gray Brothers, RatSalad, Timothy Nelson, Rick Neil Jr, Grub, Stella Moon & The Dark Knights, Kangaroos With Machine Guns, Tanaya Harper, Downsyde, Blue & Bird, and Helen Townsend & The Wayward Hearts. The net is cast wider to NSW (Nathan Cavaleri, Mack & Cook, Emily Lubitz, Vanessa Jade), Victoria (AC Saunders, Albert The Second, Liv Cartledge), Ireland (The Ocelots), Canada (Belle Miners, Inn Echo, Mia Kelly, Nico Paulo) and the US (Steve Poltz, Jeffrey Martin, Rachel Laven). Others are making the trek from South Australia (Anya Anastasia), Northern Territory (Eleanor Jawurlngali Dixon, Gleny Rae Virus And Her Grass Brazoos), New Zealand (Tess Liautaud), Scotland (Elephant Sessions), the ACT (Fred Smith) and the UK (Winter Wilson). Watts and her team work closely with the First Nations communities when programming all aspects of the festival. “Absolutely, this has been something that’s been very important to me for many many years,” she says.  “It’s really wonderful to have an event that is so welcoming and attentive and to have an audience that trusts my programming and has come to expect to see some of these incredible performers that don’t often get the same opportunities as metro bands.” Embedded Content Environment Nannup’s environment also plays a large role in the festival. Originally a timber town on the Blackwood River, it is surrounded by idyllic rolling hills and forests. There is a united cause by locals and visitors with respect and care for it. Watts stresses, “Nature is a big aspect of Nannup, being surrounded by so much bushland. All communities, including the festival community are made up of so many people from all walks of life that come together to share in a common love – music! The site and the venues are right in town and within nature.” The festival draws 4,000 ticket holders, with performers, volunteers, crew and others making up an additional 1,000. About 10,000 come without tickets. The markets and five free venues bring in 10,000 a day. The average age of attendees is between 45 and 60. First timers to the festival are struck by how friendly and welcoming the place is. Watts describes it as “a bubble of love”.  Over 100 acts from punk to folk play on nine stages. There are workshops and panels ranging from music skills and singing to death and mental health, along with poetry, camping, food stalls and artisan markets. Last year they made a massive 10 foot x 5 foot love heart layered with love stories. Next year will see more love themed creations from ticket holders. Watts is described by her colleagues as running the festival with a “let love rule” creed, working tirelessly to build the event “with vision, heart and an ethos that inspires people and changes lives.” Her life was already busy when she joined the festival. She had three small children, and her partner (now husband) were owner-building their home brick by brick. She was involved in many community groups in the need for connection and creativity. With midwifery and women’s health a passion, she was also doing a course for Mature Age entry to study nursing. Four weeks into a nursing degree, music won out. She also trained as a doula, a non-medical companion who provides emotional, physical, and informational support to a person before, during, and after childbirth. Working at the festival, she’s delighted to see a major transformation. “It’s wonderful seeing the change in women and the industry over the years. Women are bloody incredible!” she enthuses. “I love them bringing their babies while they perform, seeing their power shine and shine onto their kin. “It’s so special. Mums touring and letting their creative forces breathe is an honour to watch. We can do anything!” We ask her response to the Saudi Arabia music festival last month announcing it was going to introduce female-only spaces.  “I think that all festivals operate as they need to for their situations,” she muses. “Perhaps in Saudi this is an important space needed within a festival.  “I don’t feel the need to do so for Nannup, it’s very inclusive. But we are also lucky that we can gather as women, yet The Red Tent idea is always an important part of strength and story. Women nurture and encourage each other ...mostly.” Tickets for the 2026 edition of the Nannup Music Festival are on sale now. Embedded Content
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December 12, 2025 at 2:34 PM
ICYMI: Don West Signs With Kobalt
Don West Signs With Kobalt
Rising Australian soul singer Don West is looking to the next chapter of his career, today announcing his signing with Kobalt, the world’s leading independent music publisher. Since the release of his debut self-titled EP last November, Don West has steadily built a reputation as one of Australia’s most exciting new artists. Last month, he released his debut album, Give Me All Your Love, featuring standout tracks including the title track, Julia, and Send It Back. West recently returned to Australia from Europe following a sold-out run, marking his debut European tour. His return Down Under includes another headline tour and festival appearances at Spilt Milk, New Year’s At The Bowl, and Electric Avenue in New Zealand. More tour dates are pencilled in for 2026, but right now, the Kobalt team is celebrating an exciting partnership with West. “Don is effortlessly cool and charismatic. His deep-rooted love of classic soul and blues, combined with his coastal upbringing, has shaped a sound that’s resonating with audiences around the world,” commented Briese Abbott, Kobalt’s Head of Creative Services Australia & New Zealand. “His songwriting feels instantly familiar, nostalgic yet contemporary, and inherently inviting. We’re thrilled to be working with Don and his team as more people discover his remarkable talent.” Max McKeith at FRNDS Management added, “We are thrilled to have Kobalt representing Don West for his publishing. “Briese, Simon & the international teams have all been hugely supportive of Don’s songwriting, and we immediately felt like it was the right home for his music. We are looking forward to working with Kobalt to support Don on the next chapter of his creative endeavours.” Inspired by the likes of Marvin Gaye, D’Angelo, Sharon Jones and The Dap Kings, and Thee Sacred Souls, Don West is quickly becoming a must-watch soul artist. Embedded Content
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December 12, 2025 at 1:37 PM
ICYMI: Music Victoria Unveils 'Victorian Artists Roundtable'
Music Victoria Unveils 'Victorian Artists Roundtable'
Music Victoria has revealed the members of its Victorian Artists Roundtable. By securing a diverse and respected group of local artists, the Roundtable will guide sector priorities, contribute to advocacy, and strengthen the future of the state’s contemporary music scene. The Victorian Artists Roundtable has been launched as part of Music Victoria’s ongoing commitment to artist-led consultation, cultural leadership and community engagement. The members have already contributed to Music Victoria’s papers, government submissions, and strategic planning, while informing the government about issues facing artists, venues, and the broader Victorian music ecosystem. Within the Roundtable’s aims are: providing a safe space for artists to speak openly about issues affecting the industry; impacting Music Victoria’s advocacy, funding strategies, and program development; reassessing the function of the Music Victoria Awards; and strengthening the quality of information Music Victoria provides to local government. 2024-2025 Roundtable members are a thrilling bunch, including Alice Ivy, Briggs, Stephanie Ashworth of Something For Kate fame, Eliza Hull, Nina Las Vegas, Mickey Cavs of King Gizzard & The Lizard Wizard fame, Nkechi Anele, Queenie, and more. You can see the complete list of members below. Going into 2026, the Roundtable members will continue to offer their guidance, expertise, and community insight. Music Victoria CEO Fiona Duncan said of the Roundtable members announcement, “The Victorian Artists Roundtable is absolutely central to who we are and how we work at Music Victoria. “These artists bring courage, clarity and lived experience that cuts through the noise and keeps us grounded in what really matters. Their leadership helps shape our priorities, sharpen our advocacy and ensure that the programs we design reflect the real needs of Victoria’s creative community.” Duncan added, “We’re profoundly grateful for their voices, their energy and their commitment - they make our work stronger, smarter and deeply connected to the people we exist to serve.” 2024–25 Victorian Artists Roundtable Members * Alice Ivy * Bumpy * Briggs * Cash Savage * Chelsea Wilson * Dallas Frasca * Davey Lane * Eliza Hull * Emily Ulman * Immy Owusu * Kerryn Fields * Lachlan Stuckey * Lochlan Watt * Mickey Cavs (King Gizzard) * Nina Las Vegas (Nina Agzarian) * Nkechi Anele * Queenie * Stephanie Ashworth (Something for Kate) * Wild Gloriosa * Yeo
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December 12, 2025 at 1:37 PM
ICYMI: 4 Non Blondes To Release Their Long-Awaited Second Album 34 Years After Their Debut
4 Non Blondes To Release Their Long-Awaited Second Album 34 Years After Their Debut
90s rockers 4 Non Blondes are preparing for a reunion—and to finally release a follow-up album to their only album, Bigger, Better, Faster, More!. Pitchfork reports that the band, led by singer-songwriter Linda Perry, are preparing to return to the studio to record their long-awaited second album, 34 years after their debut record was released. While no title has been revealed and details are sparse, the band have signed to the independent record label Kill Rock Stars for the album, which is earmarked for release at some point in 2026. Kill Rock Stars has partnered with Perry to launch an imprint, 670 Records, which will release the second 4 Non Blondes album and Linda Perry's solo record, Let It Die Here. Joining Perry will be bassist Christa Hillhouse, who was with 4 Non Blondes during their early phases, and two original touring members: drummer Dawn Richardson and guitarist Roger Rocha. 4 Non Blondes disbanded in 1995, following the success of Bigger, Better, Faster, More! and the world-conquering single, What’s Up?. In a 2011 interview with Rolling Stone, Perry admitted that she wasn’t a fan of the band or their resulting debut album, citing Drifting and What’s Up? (criticising its production) as the only songs she loved from the album. Embedded Content Since the band’s disbandment, Linda Perry has gone on to become one of pop music’s most successful and prolific songwriters. She’s composed and produced hits such as Christina Aguilera’s Beautiful, Gwen Stefani’s What You Waiting For?, and Pink’s Get The Party Started. Perry has also worked with artists including Adele, Dolly Parton, Alicia Keys, and Courtney Love, and signed James Blunt in the US. 4 Non Blondes’ original guitarist, Shaunna Hall, left the band during the recording of their debut album, which spawned What’s Up?—and joined Parliament-Funkadelic in 2007. On a sadder note, the band’s original drummer, Wanda Day, was fired in 1991 and later passed away from a drug overdose. “I put my feelers out into the universe. Playing some songs with 4 Non Blondes just seemed like a fun thing to do; in a way, it hadn’t [been] before now,” Perry explained of the band’s surprise reunion, adding that the second 4 Non Blondes album will contain new and revisited older material. She continued, “I’ve been behind the scenes for far too long. I want to step out to be the artist I am. I’m just open to all the possibilities that I’ve created around me. I manifest things all the time.” Embedded Content
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December 12, 2025 at 12:39 PM
ICYMI: James Reyne Reclaims The Legacy Of Australian Crawl – 40 Years After They Split
James Reyne Reclaims The Legacy Of Australian Crawl – 40 Years After They Split
An old radio mate of mine always thought that James Reyne’s solo single Fall of Rome was about the demise of his band, Australian Crawl. But the singer was surprised when that proposition was put to him. “Wow, I’d never thought of it like that,” he said, “but I love hearing different interpretations of songs.  “People will always ask, ‘What’s that song about?’ And I’ll reply, ‘Well, whatever you get from it is as valid as anything I might say.’” Embedded Content Australian Crawl announced their split 40 years ago this week. It was the lead item on the 4 pm news bulletin on EON-FM. I was rocked. Australian Crawl were my favourite band. Four days later, they became the first band I ever saw at a pub. I was 16, but I snuck into The Palace in St Kilda, clutching my mate’s ID. Reyne reflects on that time as he prepares to embark on “The Fall of Crawl”, his tour marking “the derailment of Australian Crawl”. “It was a wrap. It was time. A wind-up. A sign-off. A relief. A joy. Funny. Sometimes slightly sad but resolute. A swansong. A kiss-off; a sign-off; under the belt, on the wagon and headed for the barn. Put to bed, wiped up, wiped out, cleaned up, mopped up, polished and polished off.  “That was all, folks, that was all she ever wrote.” Well, all these dragons are just a’draggin’ me down “When we made the final Australian Crawl album, we knew the band was over,” Reyne reveals.  “That’s why the record was called Between A Rock And A Hard Place. I just wanted to get the hell out of there. Things had become tense and unpleasant. When you spend a lot of time with certain people, these things happen.  “I was sick of James Reyne, really. “I had to get away from ‘James Reyne! Boys Light Up! Boys Light Up!’ I will go to my grave, and someone will still be saying, ‘Boys Light Up!’  Like a trackless tram, I’m Bondi bound. “It was absolutely liberating leaving the band,” Reyne continues. “I had no real ties. I lived in a little flat in Albert Park, which I rented, and I was not in a relationship. So, I just packed up and left. “For the first time since leaving school, I felt free.” Reyne headed to America. “All I had was a box of cassettes and a few names and addresses. It was great not knowing what was around the next corner. I was open to anything and everything. I used to joke that I could end up being a greengrocer in Arkansas.” In LA, Reyne contacted Roger Davies, Sherbet’s former manager, who had become one of the biggest managers in the world after orchestrating the remarkable return of Tina Turner. Roger and his business partner, Lindsay Scott, loved Reyne’s demos, and they got him a deal with Capitol Records. He was not going to become a greengrocer in Arkansas. When Reyne finished making his first solo album, the Capitol president took him out to lunch. The Fall of Rome video had a big budget. The label remixed the album in London. And spent a lot of money on the artwork. Embedded Content “This is really going to happen,” Reyne thought. “I’ve got Roger Davies managing me, the Capitol president is taking me out to lunch … they’re really committed.” The label was buzzing in the lead-up to the release of Fall of Rome. “We’re going to get 350 adds first week,” they confidently told the artist, which meant that 350 radio stations across America would be playing the song. This is going to happen. But in its first week on the radio, Fall of Rome didn’t get the anticipated 350 adds. It was more like 25. The label gave it one more week, when the song received an additional 15 more adds. And that was that. This is not going to happen. Reyne reflected on those days in A Little Ol’ Town South Of Bakersfield, a song on his most recent solo album, Toon Town Lullaby. Embedded Content “Maybe opportunity opened its doors, and I didn’t recognise it, or maybe it didn’t open its doors,” Reyne ponders.  The song mentions David Allan Coe and Jimmy Buffett. “Capitol didn’t know what to do with me. Was I David Allan Coe or Jimmy Buffett? They didn’t really know what I was.”  Reyne remembers visiting the Capitol office, where the staff were in the boardroom watching the video for Poison’s Every Rose Has Its Thorn. As they exclaimed, “This is a smash!”, Reyne thought, “This is the biggest load of shit I’ve ever heard.” “Whether they wanted me to be more like that … Well, I can’t do that.” And everybody said, ‘What’s that sound?’ The legendary local critic Ed Nimmervoll said James Reyne’s voice “is as familiar to us as the taste of Vegemite, as essentially Australian”. His diction is often derided, but even Prime Minister Anthony Albanese is a fan, highlighting what a great frontman he is, with a distinctive Aussie accent. In her 1992 book Your Name’s On The Door, Tracee Hutchison noted that Australian Crawl “boldly explored an ‘Australian-ness’ that was unique at the time and which broke a lot of ground in the development of an Australian ‘sound’.” From the very first Aussie Crawl release, I was hooked. I still reckon that Beautiful People is one of the greatest debut singles of all time. All nervous energy and magical one-liners. Embedded Content The Crawl catalogue is the sound of surf, sun, sand and sex. These songs are timeless. Still thinking ’bout the fall of Rome. Fun fact: Australian Crawl had just one Top 10 single (1983’s chart-topping Semantics EP featuring Reckless), whereas Reyne has had five Top 10 solo hits.  Not-so fun fact: The Australian Crawl story is tinged with tragedy. Singer and guitarist Guy McDonough died of viral pneumonia in 1984, just as the band was about to embark on an American tour. He was only 28 years old. When there were rumours of a reunion tour in the mid-’90s, guitarist and keyboard player Brad Robinson was struck down by lymphoma. He died two weeks after the band was inducted into the ARIA Hall of Fame in 1996. He was 38. And guitarist Simon Binks suffered a brain injury in a car crash in Sydney in 1995. When Brad died, Reyne paid tribute to his best mate at the memorial service. “Australian Crawl went for about seven years – that was just seven years of our lives. His life encapsulated so much more than just that.” Brad’s passing triggered a memory of something he told me at the end of the ’80s. Speaking about his old bandmate, Brad predicted: “One day he’ll make the Great Australian Album.” But you know what? I’d argue that Reyne and Australian Crawl had already made two Great Australian Albums – The Boys Light Up and Sirocco. This is suburban satire that never ages.  Embedded Content I grew up in a working-class town where it was compulsory to like Cold Chisel. Sure, I dug Chisel, but I always thought that Australian Crawl were cooler and smarter. Critic Craig Mathieson reflected on the band’s legacy in his excellent book Playlisted. “Like Joseph Stalin, popular culture can obliterate history,” he wrote. “Bands truly cease to exist not when the final gig is played, or the last lawsuit is resolved, but when no one remembers them. “Nowadays, it appears that Australian Crawl are on the cusp of disappearing.” Mathieson asserted that the band’s legacy was being kept alive by one song – Reckless. “The song is Australian Crawl’s life-support system.” Embedded Content When Ryan Adams heard Reckless, he tweeted: “HOLY CRAP – consider me obsessed.” And Mathieson called it “as haunted and impervious an Australian classic as you will ever hear”. Reyne has clearly struggled with the shadow of his old band. “James is his own worst enemy,” younger brother David says, “and I’m proud of him for that. He’s unbelievably uncompromising, and all that matters to him is recording, writing and performing.” He doesn’t enjoy looking back. But something has shifted in the past few years. Reyne has now embraced Australian Crawl’s legacy. I saw him do his traditional Cup Eve show at the Corner this year, and he opened with The Boys Light Up. What followed was a crowd-pleasing set. As well as his solo hits, Reyne played Beautiful People, Daughters Of The Northern Coast, Lakeside, Downhearted, Reckless, Oh No Not You Again, Errol and Things Don’t Seem. Embedded Content He even engaged in a good-natured exchange with one punter who requested Hoochie Gucci Fiorucci Mama. As Reyne describes the Fall of Crawl tour, “It’s everything you know and love, celebrating things been and gone; and how time really does fucking fly!” Just one more hit before I can die Forty years after the fall of Crawl, James Reyne remains a remarkable singer and songwriter. I’m reminded of what Wilbur Wilde says when people tell Joe Camilleri, “Oh man, I saw you 20 years ago, you’re just as good.” Wilbur will step in and say, “Hey mate, he’s 20 years fucking better!” If I have a criticism, Reyne has not released enough records. In five frantic years, Australian Crawl released four studio albums, a live record, a chart-topping EP and a best-of compilation. In the past decade, Reyne has released just one studio album, an EP and a couple of live records. But the quality remains high. The EP, 2015’s The Magnificent Few, featured a gem that only James Reyne could write.  Embedded Content This year, Reyne released a sparkling new single called Going Back To Nashville. Despite the title, it’s a classic driving Reyne rock song. The AI-assisted clip features some subtle shout-outs to Reyne’s past and present, including the RKNHARDPLCE Bar, the Hammerhead Ranch and the Mt Eliza School “for waywood kids”. Embedded Content And the clip concludes with the star with both arms in plaster, a nod to Reyne’s memorable Countdown debut, after he’d been hit by a car crossing Swanston Street in Melbourne. Embedded Content Each last thrill, the penultimate high Whether or not you believe that Fall of Rome is about the end of Australian Crawl, James Reyne actually wrote the song for a film called Pandemonium, directed by Haydn Keenan. Keenan had made a movie called Going Down at the start of the ’80s starring Reyne’s girlfriend, Vera Plevnik, who had won a Logie for Best New Talent for her performance as Nadia in The John Sullivan Story, a telemovie spinoff of The Sullivans. Tragically, Vera died before Going Down was released – she was killed in a car crash near Batemans Bay. Reyne wrote two songs for Going Down, which also starred Tracy Mann and David Argue. Australian Crawl recorded the songs – What’s It Like and Ah, Fuckit – but were listed in the credits as The Park Rats. Embedded Content A few years later, Keenan asked Reyne if he could write an up-tempo rock song for Pandemonium. “The script was pretty out-there, telling the tale of a young woman raised by dingoes who was now looking for her real family.” Reyne presented the director with Fall of Rome. Keenan made the movie but didn’t use the song. Whenever he bumps into the director, Reyne relishes in reminding him of the fact that a lot of people heard Fall of Rome, but not many people have heard of Pandemonium. The IMDb review of the movie called it: “Farcical slapstick supernatural dark sex comedy with a touch of Shakespeare spoof.” There is a lot in that one sentence, but that would be just one part of the Australian Crawl story. And the Crawl story comes with a much better soundtrack. James Reyne will tour ‘The Fall of Crawl’ across the country in 2026. Tickets are available here. Presented by Triple M JAMES REYNE – FALL OF CRAWL TOUR 2026 with Boom Crash Opera February Friday 6 – Hotel Brunswick, Brunswick Heads, NSW Saturday 7 – Jetty Beach House, Coffs Harbour, NSW Friday 27- Evans Theatre, Penrith, NSW Saturday 28 – Enmore Theatre, Enmore, NSW March Friday 6 – Hindley Street Music Hall, Adelaide, SA Sunday 8 – Bellarine Estate, Bellarine, VIC + Nick Barker Saturday 21 – Red Hill Auditorium, Red Hill, WA + 1927 & MODELS Friday 27 – Eatons Hill Hotel, Brisbane, QLD + 1927
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December 12, 2025 at 11:42 AM
ICYMI: 'It's The Sound Of Me Stepping Into Freedom': Kesha Is Rewriting Her Own Story
'It's The Sound Of Me Stepping Into Freedom': Kesha Is Rewriting Her Own Story
As Kesha jumps on a Zoom call from Los Angeles, it's an exciting day for the pop icon. We're chatting 15 years to the day since she released her Cannibal EP – the companion piece to her debut album Animal, which had arrived just 11 months earlier and swiftly topped the US charts. Bolstered by the success of its lead single We R Who We R, the EP was the culmination of a massive year for Kesha, who had burst onto the scene the year prior with the chart-topping TiK ToK. "It's really fun to look back on everything that I've done, and where I came from,” she gushes. "I was just looking at pictures of me at my first photo shoot, and I was so excited and so happy to just be [experiencing a] total full expression of self." When it comes to where she's come from, Kesha acknowledges that a lot has changed in those years, ranging from the mundane to the fact that TiK ToK has a totally different meaning 15 years later.  Embedded Content But whereas many of us may look at photos from that same time period and cringe, she embraces everything about who she was and who she is now. "Oh my God, the cringing is like, the best part," she explains. "The name of my current tour is called Tits Out, and I've just always been a tits out kind of girl, and I love that about myself. When I look back at the girl that I was, I feel very protective over her 'cause she was such a free spirit and so naïve, but so full of life, creativity, and optimism. "There's a lot of that still inside of me, it's just 15 years later. So I have a lot of wisdom, and I've learned a lot of things." The strangest part about looking back to that formative period in the spotlight, however, is the tangible personification of the passage of time. "It does not feel like 15 years have passed," she admits.  "When I'm looking at these photos, it's so weird. 15 years is a long time. I don't have children yet, so Animal was my first child, and for Animal + Cannibal, it's like the combination child. They're kind of twins, they're 15 years old today, and that's just crazy – in a year they could be driving." Embedded Content Back in 2010, Kesha was just beginning her professional musical career, which had begun just a few years earlier, when she was known to most as Kesha Rose Sebert, cutting her teeth in the industry as an uncredited backing vocalist for Paris Hilton and co-writing songs for artists like The Veronicas. However, a lot has changed in the past 15 years. While she's experienced massive highs with chart-topping records such as 2010's Animal and 2017's Rainbow, she's also seen the darker side of the industry.  That dark side was underlined by a near-decade-long series of lawsuits between Kesha and former producer Dr Luke, with the pop star alleging physical, sexual, and emotional abuse.  While her 2023 album Eat The Acid was heavily influenced by the then-ongoing lawsuit (which reached a settlement one month before it was to go to trial, and one month after the record's release), her latest era has been one underlined by a sense of freedom and reclamation of self. "It felt like I was in The Matrix when I got a call on December 6th, 2023," she remembers. "That was from my lawyer, and he had said to me, while I was cooking breakfast, 'In three months' time, you will get the freedom you've been fighting for.' In that moment, everything changed, and I feel like the colour came back to the whole world. "I felt like I really had just put my life on pause for almost a decade, and I'd been waiting for this day to come for me to really have autonomy over my mind, body, and spirit, and all of my faculties.  "From that moment on, I just felt like I had more energy than I've ever had in my entire life." Embedded Content That energy manifested itself as an overwhelming, almost kaleidoscopic exploration of what it means to be free. By her own admission, Kesha explains this time was spent with friends, on vacation, and writing copious amounts of music in the studio – often staying until 5 am before repeating the whole process. "I didn't want to just sit in Burbank in a vocal booth," she explains. "I was like, 'I want to capture the sound of what it sounds like to become a free woman for the first time in your adult life.' "I signed that deal when I was 18 years old, so this is the sound of true freedom and coming home to oneself, and it was so much fun, there was so much exploration, and I really just allowed myself to try everything, including an accordion, which ended up being the iconic part of Joyride." Fans received the first taste of Kesha as a free woman in July 2024 when she released the aforementioned Joyride. The first taste from her sixth studio album, . (stylised as a full-stop and pronounced as Period), it was followed by cuts such as Delusional, Yippee-Ki-Yay, and Boy Crazy ahead of the record's official release in July. Her first release on her newly minted Kesha Records label was a fresh start, and one that was dripping with the palpable sound of liberation for the artist at the heart of it all. "It's the sound of me stepping into freedom," she notes. However, one of the most unique aspects of Period is the fact that it has granted Kesha the rare opportunity to have a second chance at her career. Underlined by a sense of autonomy and self-assuredness, she does admit that it comes with a mixture of joy and intimidation in equal measure. "It feels like for the first time in my life, I'm really allowed to contractually, spiritually step into my own power and really embody the leadership role that I know I'm capable of standing in," she explains. "Energetically and spiritually, it just always felt like I was previously under the thumb of someone or something because I was in a system, and now I am building the type of system that I believe is fair. And from the perspective of a CEO and record label executive, a founder of an app, a songwriter, an artist – all of these perspectives are where I come from when I'm building the infrastructure of the music business I would like to see, and I know what feels fair from both sides. "I'm simply just trying to build a business around music that feels fair and just and sustainable," she adds. Embedded Content Given the history that Kesha has had within the music industry and the opportunities presented to her over these past two years, it makes sense that Period is an album that serves as something of an auditory safe space. After all, Kesha has long been considered a queer icon, creating music that speaks to her legions of fans and the wider LGBTQI+ community and offering the chance to experience their true selves through music. However, she's long been denied the opportunity to experience her own true self, so this time, she was not simply curating music for her extensive fanbase; she was both creating music and constructing a safe space for herself as well. So how does one go about creating an atmosphere in which they can thrive, not just personally, but creatively and spiritually? "I've been really looking at what is a safe space for me and what I require to feel safe," she explains. "What comes of that is safety and for me to feel safe is basic human needs. Obviously, there's food, water, and sunlight, but you can't really be surrounded with hate and judgment. You can't be starving; you can't be in excruciating amounts of pain.  "So for both me and my future artists, I just want them to feel really not judged, really safe in expressing all the parts of them that they need to exorcise out of their body, because that's why we make music. Even songs like TiK ToK. Like, that is a stupid fucking song, and we love it for being a stupid fucking song. It's so much fun, it's so silly, and we all love that song.  "For that reason, I want to create a safe space for people to go really, really stupid or really, really sad, or really, really mad, and really exorcise these feelings out of your body," she explains. The importance of a safe space was underlined by Kesha's experience in making her previous record with veteran producer Rick Rubin.  Embedded Content Initially released under the title Gag Order but now known as Eat The Acid, the culmination of years spent dealing with the ongoing lawsuit resulted in a record that was difficult to make, but one whose process was aided by Rubin's presence and his role in not just promoting vulnerability, but actively creating a safe space for Kesha to flourish. "I felt so safe, and I felt like I could actually get out so much of the pain I'd been holding in my body," she explains. "In other rooms I would walk into, I would almost become a caricature of what people expected of me sometimes.  "I want to bring people joy, and I want to write joyful songs, but the safe space that Rick created for me was so important for my nervous system to be able to settle and really get to the truth of what I was experiencing. "I could not have made Period if I didn't make the album before, because to get to real true joy, I had to give space, and give the pain and sadness a voice," she continues. "And I feel happier than I've felt my entire life right now because after working with Rick and him creating that safe space, I would like to create that kind of safe space for other artists, especially in this business for women." Indeed, it's her own lived experiences and knowing what is now possible for other artists to experience when it comes to the music industry that informs how Kesha wants to lead by example, bringing a sense of possibility, purity, and liberation into her role as an executive. But still, it's important for her to remember to put herself first sometimes. "Another way that I feel safe in my life is that I've got really strong boundaries about who I let into my life and who I don't any more," she explains. "It used to be that we're having a great time and everybody's invited, but then once you get kind of taken advantage of enough times, you start to realise that who you give your energy to and what you give your energy to is so important. "So I spend a lot of time by myself, I spend a lot of time making music with people that I love, and I spend a lot of time meditating, taking care of my body, and I spend a lot of time in nature. And then I fucking love spending time on stage with my fans.  "My fans are one of the most healing forces in the universe. The love that they've given me this year has been so genuinely healing for my heart. I literally felt my heart ripping open when I was on stage at Madison Square Garden. It's such an amazing experience to sort of have that sort of love given back to you, especially when you put so much into something like this." "I hope that my shows and my label and my app – everything that I'm creating – I just want it to be a safe place to play and express yourself," she continues. "So for my fans to also give that back to me was just so beautiful." Embedded Content This theme of self-love and self-expression is paramount to the experience of Period, but it's also underlined by a deep sense of self-reliance and self-acceptance. Nowhere more is this seen than on the album cut THE ONE., which sees Kesha specifically asserting, "I'm the one I've waited for." It's this level of self-love which goes back into the safe space mentality of the album, with Kesha noting that much of the reason for these aspects comes from an "internalised shame" that she wasn't living her life in the "perfect" manner. "Everybody out there knows I'm not known to be the most perfect and polished human being that walks the planet," she admits. "I was just carrying around this really mean voice inside of myself – towards myself – and the beautiful part about the Animal + Cannibal anniversary and preparing for my tour that I'm bringing to Australia is that I made it. "My intention was to really embody the self-love that I talk about at my shows, and I've always really been striving for. But from the moment I got that phone call on December 6th, 2023, I said to myself, 'I'm going to heal as fast as humanly possible because I cannot walk around with this pain and this shame inside of my body when I know that I've been doing my best.' "I've always been trying to do my best, and it has not always been perfect," she continues. "I went on a really intense spiritual healing journey this past year-and-a-half, and I've made everything part of my spiritual practice to bring love, not only to others, but really, I had to start with myself." Embedded Content The bringing of this spirituality to others has been underlined by the high-profile launch of Kesha Records. Officially launched in September 2024, the label provides an opportunity for its namesake to not only promote themselves independently but also work with other artists to offer the sort of guidance and support that she wishes she had received years ago. "I'm proud of who I am, and I'm proud of what I've come through, and I'm really proud of the person that I am on the other side of everything that I've gone through," she explains. "That's why I wanted to call my label Kesha Records, I want my name to be synonymous with integrity and transparency, and that's what I'm committed to." So what makes a Kesha Records artist? Well, while its first release is Period, it will also host the release of a long-lost album by her mother, chart-topping songwriter Pebe Sebert. "It is some of the most unique, authentic music you've ever heard, and I cannot wait for the world to hear it," Kesha enthuses. "It's like Kate Bush and Talking Heads. It's very one of a kind." As for the artist selection process, it's all about authenticity and honesty. Apart from that, it's something of a 'know it when she sees it' approach, but you can be sure the artists will be representative of Kesha’s wider vision for a more equal, welcoming, and supportive industry. Embedded Content Apart from the massive moves in terms of releasing new music in 2025, Kesha has also spent a large portion of the year touring North America as part of her extensive Tits Out Tour.  Describing the tour as equally amazing and healing, the audience response to the shows has been incredible as well. Following a July performance in Detroit, crowds began responding to a performance of Praying with extended periods of applause. By the time the shows reached New York City just under a fortnight later, the Madison Square Garden crowd's applause lasted to the point where Kesha almost had to pay overage fees of $80,000 a minute to facilitate the extended response. "It was fucking insane," she admits. "The shows have honestly been the most healing experience of my life," she adds, warning that this area of discussion will soon make her emotional. "To go from being a girl that felt so weird, questioning your sexuality, totally alone, eating lunch in the bathroom by yourself, to becoming a pop star. “Then, going through the 10-year litigation process, I went through and once again feeling so cut off from the world and alone, to getting on stage in front of 25,000 people that are just clapping for you… "Just standing there has just reminded me that I'm not alone, that I never have been, and that I'm never going to be alone," she explains. "I think that message is really important because it isn't just for me; for anybody who's ever survived anything they shouldn't have had to survive, you're not alone even in the moments that you feel so fucking alone." It's this sort of energy and healing mantra that Kesha will bring to Australia when she visits in February. Having visited Australia briefly for a pair of dates in January and prior to that, for Sydney Mardi Gras in 2020, her most recent headline tour took place back in October 2018. This time, she'll be visiting Brisbane, Sydney, Melbourne, Adelaide, and Perth, and though extended periods of overtime clapping can't be promised by her fans, she admits that she's eagerly looking forward to the shows, with fond memories of her formative visits still fresh in her mind. "I remember playing Future Music [in 2011], and the after parties for that were just out of control," she remembers. "I've had so much fun in Australia and the crowds and the fans. I feel like part of my DNA must be Australian because I really do feel like I'm part Australian. "Like, y'all go hard," she adds. "You're so much fun, and I feel like you're just always down for a good time. I feel like you really live by the words of Die Young." Embedded Content Indeed, while the majority of her Australian fans will indeed "make the most of the night like we're gonna die young," Kesha promises that the shows are going to not only be some of the best that fans have experienced, but that she's delivered. "You're about to see the best show of my life," she notes. "I really try to create community and a safe place for everyone to completely be themselves. I want you to go fucking crazy with your outfit and get ready to dance and make thousands and thousands and thousands of friends.  "That's my favourite part of my shows – I feel like people always leave with more friends than they came with. And I love that. "I also set an intentional journey to tell my life story in the name of self-love, not only for myself, but for everyone else," she adds. "And I reprogram all of the songs that are hard for me to listen to because of the personal things I've gone through. I reproduce them, and we reprogram them together in the audience." That's exactly where we find Kesha in 2025. It's not just about using art to overcome, but it's about using her station and her influence to ensure that no one is left behind as she continues to thrive.  She's an artist making full use of a rare second chance, and the music industry is about to be all the better for it. Kesha's Period is out now, while tickets to her 2026 Australian tour are on sale now. This article mentions assault and trauma. If you or someone you know is affected by these experiences and needs to contact someone, please get in touch with 1800RESPECT on 1800 737 732 or visit 1800RESPECT.org.au. Embedded Content
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December 12, 2025 at 10:45 AM
ICYMI: Josh Groban: "There Are Times Where I'm The One Who Gets In My Own Way"
Josh Groban: "There Are Times Where I'm The One Who Gets In My Own Way"
“Who is Josh Groban?” This is the question that a teacher makes the mistake of asking in the third episode of the cult musical-comedy TV series Glee. “Who is Josh Groban?! Kill yourself!” his outraged coworker replies. Such is the fervour the best-selling artist - with over thirty-five million record sales to his name - inspires. From wowing audiences on Broadway to garnering Grammy, Tony, and Emmy nominations, he is renowned worldwide for his powerhouse vocals, his range as a performer, and his charming sense of humour. He first burst onto the scene as a baby-faced teenager when producer and composer David Foster called him to stand in for Andrea Bocelli to sing a duet with Celine Dion at the rehearsal for the 1999 Grammy Awards. He was then offered a contract at Warner Bros. Records and released his first album, which went double platinum. The rest is history. “I was very lucky that I actually had good people around me,” he says of his sudden, meteoric rise to fame. “The music business on a good day can be not the healthiest.” But the adults around him were not interested in exploiting him; they were interested in developing him as an artist. “I was so grateful that I had the team that I had with David and my label Warner, still my label twenty-five years later. They knew that I was really green.” The journey was not always smooth-sailing. “I was an anxious kid. I was not ready emotionally for the magnifying glass. So, I took things to heart. I was very sensitive. Putting myself out there and getting praise in one ear and really harsh criticism in the other ear… Your ego is not built for that at that age,” he says. Embedded Content “Your emotional sense of self, your own sense of worth, has not yet blossomed in the way that it needs to. Everything at that age was tainted by my own insecurities. And I would tell that kid, all these years later, you can worry and have anxiety attacks all you want, it’s not going to change your course. So, you might as well enjoy what you’ve been given to do,” he smiles. “But that’s easier said than done.” Groban boasts versatility as an artist: he writes, releases, and performs his own music, and is also a beacon of the Broadway Stage, playing iconic roles such as Sweeney Todd.  “My background before I got signed to a record deal as a solo artist was theatre. And so my first dream was to interpret a character’s story and sing from their perspective. The combination of acting and singing was something that really appealed to me as an introverted kid.” He explains, “The idea that I could disappear into a role and be something different from the super shy kid I was at school was like a portal to a new world.” When he was signed at seventeen, he was still that “shy” and “nervous” kid. “But then I realised I could tap into that love of storytelling with my own voice. Whether I’m portraying a character or singing as myself, I try to just find the truth in it.” Groban possesses a dramatic, virtuosic voice that allows him to make songs entirely his own. The average person would probably associate a song like the epic power ballad You Raise Me Up with Groban, for example, even though it was originally recorded by Norwegian-Irish band Secret Garden (who Groban describes as “wonderful”). Embedded Content “I think I was lucky that I was only the second person ever to sing it, and not, like, the hundred-and-fiftieth,” he laughs. The song has, indeed, been covered more than 125 times, according to a quick Wikipedia search. “When I brought [You Raise Me Up] to America, I didn’t expect it to become a hit song at all. I just loved the song. “I was excited to sing it because I thought it was beautiful. I had no idea that the label would choose it as a song to run with. And it was a good lesson for everything that I’ve chosen since then, because you don’t know what’s going to hit and what’s not, you’ve just got to go with your heart.”  It can be daunting to attempt to put one’s own spin on a revered track - and even Josh Groban suffers from frayed self-esteem. “There are times where I’m the one who gets in my own way, and I’m like, nobody needs to hear my version of this. A lot of times I have to be convinced, I need to be pushed.” The powerhouse vocalist is now about to tour Down Under for the first time in a decade. The GEMS World Tour kicks off in February - and he can’t wait to connect to audiences across the globe. Embedded Content “I have an interpretive heart. I love being a vocal vessel for great music, and it has always been a joy for me to be able to connect through music,” he says. Though his primary vocation is music, Josh Groban also has a noticeable penchant for comedy. His operatic voice characterises him as a Serious Musician, but he frequently opts to be involved in projects that showcase his humorous side. He plays ridiculous versions of himself on Glee and Crazy Ex-Girlfriend, he plays a pathetic douchebag in Crazy Stupid Love, he once challenged Michael Bublé to a battle of the voices, and he’s been known to put TripAdvisor Reviews and Kanye West tweets to music on late-night talk shows. Embedded Content “It was always in me,” he says of his comic leanings. “It was always something that I was super happy that I was able to get the opportunity to do.” He is well aware that the voice he has is not a “casual” one. “I knew that the songs I was going to sing were going to have a certain gravitas to them, no matter how casual a person I am when I’m not onstage.” So, he jumped at opportunities to scratch that comedic itch. “It gave me a chance to show a side of myself that was me when I came off the stage. And it also allowed me to punch back at anyone who might have thought, ‘Oh, this guy can’t hang.’ I wanted to challenge people who thought that, because my music is serious, I must take myself that seriously.” Comedy gave him an outlet. “And the cool thing about having that outlet was that it showed me that my fans are cool with both. And now I can really ride the emotional arc of an evening with the stuff that makes me cry, and the stuff that is loose and silly and fun. Because we are all of those things.” Embedded Content Josh Groban has built an enduring, multifaceted career in an industry that is famously fickle and ever-changing. Amidst what is arguably a challenging time for the arts world - from political uncertainty and division, to the rapid rise of artificial intelligence, to the debilitating cost of living - what advice would he have for young people who still want to pursue music? He exhales explosively. “That is a big one. These things are developing so rapidly, I think we’re all playing catch-up to what’s in front of us. The business that I was signed into is so night and day from the business that is currently around.” He adds, “I would say that some things remain the same, though. The thing about filters on your TikTok and AI and everything else is [that] we are drifting toward a new generation that is hyper-focused on perfection, hyper-focused on things being the same as the person to their left and the same as the person to their right. And my advice is that that is incredibly boring.  “I had a director on Broadway once who told me, ‘Josh, perfect is for assholes.’ And I kind of agree. The thing that is going to set young artists apart is the thing that gives them fringe, the thing that is nuanced. Go toward the unique rather than the perfection that all of these new emerging trends and technologies are making everybody feel like they need to jump onto. “At the end of the day, people want to feel like they’ve been connected with something that is unique, otherworldly, different from the thing they get from swiping a million times a night on their phone. And that can take bravery. It can take some loneliness to feel like you’re not jumping on those trends. But ultimately I think it will make you a more interesting artist, and a more interesting person.” Josh Groban will tour Australia and New Zealand in early 2026. You can find tickets on the Frontier Touring website. Josh Groban – GEMS World Tour Presented by MG Live, Arena Touring and Frontier Touring Wednesday, February 25th – Spark Arena, Auckland, NZ ticketmaster.co.nz Saturday, February 28th – ICC Sydney Theatre, Sydney, NSW ticketek.com.au Sunday, March 1st – Sidney Myer Music Bowl, Melbourne, VIC ticketek.com.au Wednesday, March 4th – QPAC Concert Hall, Brisbane, QLD qpac.com.au Saturday, March 7th – Thebarton Theatre, Adelaide, SA ticketmaster.com.au Monday, March 9th – Riverside Theatre, Perth, WA ticketek.com.au Embedded Content
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December 12, 2025 at 8:54 AM
ICYMI: Spotify Could Give You ACTUAL Control Of Your Algorithm
Spotify Could Give You ACTUAL Control Of Your Algorithm
Spotify is set to make some big changes in 2026, rolling out a beta test in New Zealand that lets users control their algorithms. * Spotify's Gustav Gyllenhammar Talks Australia's Position In The Music World: 'One Of The Most Successful Markets' Premium listeners in New Zealand will have early access to the beta feature, Prompted Playlist, from today. The feature marks the first time users have been in control of their own algorithm, plus the broader Spotify experience. The New Zealand trial could make “Ausifying” your algo a little easier if rolled out here.  Prompted Playlists will allow users to describe exactly what they want to hear, while tapping into their entire Spotify listening history. The playlists will reflect current obsessions as well as the full history of one’s musical tastes. According to a statement from Spotify, listeners can get as specific as they please with their prompts. From “music from my top artists from the last five years” to “plus deep cuts I haven’t heard yet,” listeners can also list genres and activities and receive a new playlist. The new feature has been described as “the next evolution of your Spotify,” following on from playlists including Discover Weekly and Release Radar, and tools such as Smart Shuffle, playlist song suggestions, and mixing tools. Spotify notes that listeners can fine-tune playlist results by editing their prompts or simply starting fresh. Users will also receive descriptions and context for the song selections, so the playlist feels specifically tailored to each listener’s musical taste. Users will have the option to set Prompted Playlists to refresh daily or weekly, so they can change with their moods. As it’s a beta feature, things will change before next year. Prompted Playlists won’t be the last of new, interactive features rolling out on the platform in 2026. The streaming giant notes that the new feature is “part of a broader shift” in how Spotify thinks about personalisation and listeners' expectations. “This is just the beginning of a new phase where listeners take the lead and make even more of every minute,” they said, going on to describe 2026 as an “epic” year for listeners and artists. Could Australia be the next to experience the new feature? Prompted Playlists follows the rollout of Spotify’s Venue Pages feature, which prioritised NSW in October. With its new feature, the streaming giant has partnered with the NSW Government to locally amplify the global rollout of Venue Pages, all while spotlighting four beloved NSW venues: Crowbar, the Metro Theatre, the Oxford Art Factory, and La La La’s. Venue Pages will allow Aussie listeners to search for and follow their favourite venues, establish a hyper-local, daily gig feed, and find tickets to shows directly through Spotify. By searching for your favourite venue, you’ll also find out which local artists are playing where and when.
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December 12, 2025 at 8:51 AM
ICYMI: Gene Simmons Apologises After Making Insensitive Remarks About Ace Frehley's Passing
Gene Simmons Apologises After Making Insensitive Remarks About Ace Frehley's Passing
KISS bassist, co-founder, and co-vocalist Gene Simmons has issued an apology after insinuating that drugs or alcohol had something to do with former bandmate Ace Frehley’s passing. * KISS's Paul Stanley, Gene Simmons & Peter Criss Share Tributes For Ace Frehley Frehley passed away in October at the age of 74. The musician’s sudden passing came shortly after news that he had been put on life support following a fall at his studio in September. In November, TMZ reported that Frehley’s cause of death was blunt trauma to the head following a fall. The Morris County, New Jersey Medical Examiner’s report explained that Frehley suffered a “fracture to the back of his skull, a subdural hematoma, and a stroke.” His death was ruled an accident. Earlier this month, Simmons suggested that “bad decisions” played a role in Frehley’s death, despite the guitarist proudly declaring that he had stayed sober for two decades. “[Ace] refused [advice] from people that cared about him – including yours truly – to try to change his lifestyle,” Simmons said in a recent interview. “In and out of bad decisions. Falling down the stairs — I’m not a doctor — doesn’t kill you. There may have been other issues, and it breaks my heart.” Following his 2016 allegations that Prince committed suicide, and subsequently apologising, Simmons has now apologised for insinuating drugs had something to do with Frehley’s passing. “On reflection, I was wrong for using the words I used. I humbly apologise,” Simmons wrote on X (formerly known as Twitter). “My hand to God, I didn’t intend to hurt Ace or his legacy, but upon rereading my words, I see how it hurt everyone. Again, I apologise. I’ve always loved Ace. Always.” Upon news of Frehley’s passing breaking last month, KISS singer Paul Stanley and Simmons shared, “We are devastated by the passing of Ace Frehley.” They added, “He was an essential and irreplaceable rock soldier during some of the most formative foundational chapters of the band and its history. He is and will always be a part of KISS’s legacy. Our thoughts are with Jeanette, Monique and all those who loved him, including our fans around the world.”
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December 12, 2025 at 7:54 AM