+ joined at all shows by special guests The Beaches (CA) + Ayesha Madon (AU) | Tickets on sale Monday!
From breakout artist to global sensation, multi-talented drummer, singer, songwriter and producer G Flip is a force like no other. Frontier Touring is thrilled to announce that G Flip will return to Australia with the Dream Ride Tour this February and March, bringing their explosive live show to fans in Brisbane, Sydney, Melbourne, Adelaide and Perth.
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The ARIA Award-winner artist is set to deliver their most evolved and personal work yet in upcoming third studio album Dream Ride, released globally on Friday 5 September 2025 via AWAL Recordings (pre-order here). Promising big pop hooks and even bigger feels, the record leans deep into neon-lit ‘80s textures while staying rooted in G Flip’s raw, confessional songwriting. Featuring previously released singles ‘Disco Cowgirl’ and ‘Big Ol’ Hammer’, plus the just released ‘In Another Life’, Dream Ride is a bold evolution of G Flip’s sound.
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Watch: G Flip – Big Ol’ Hammer
The Dream Ride Tour will kick off in Brisbane at Riverstage on Friday 27 February, before rolling through Sydney’s iconic Hordern Pavilion on Tuesday 3 March, Margaret Court Arena in Melbourne on Saturday 7 March, Adelaide Entertainment Centre Theatre on Thursday 12 March, and wrapping up at Fremantle Arts Centre in Perth on Saturday 14 March.
Tickets go on sale Monday 21 July (1pm local time) via www.frontiertouring.com/gflip. Sign up for early access to the Frontier Presale, which starts Thursday 17 July (12pm local time).
Joining G Flip on the road are two very special guests who fans won’t want to miss…
Making their highly anticipated return to AU after selling out major venues worldwide is Canada four-piece The Beaches! The Toronto outfit broke the internet in 2023 with their global single ‘Blame Brett’, which quickly becoming a runaway smash, clocking over 115+ million streams, 20 million views, and 15 weeks at #1 on Alt Radio at home, not to mention earning the band fans such as Mark Hoppus, Demi Lovato, and Nelly Furtado. Now, The Beaches have a new album titled No Hard Feelings set for release in August – and they’ve just released a new single, ‘Touch Myself’. More than just a band, The Beaches are a movement: loud, fearless, and completely in their own lane.
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Watch: The Beach – Touch Myself
Opening proceedings each night is multi-disciplinary creative Ayesha Madon. Ayesha is everywhere right now: from radio airwaves and streaming – listen to latest single, ‘Jenga’ – as well as magazine covers and Logie nominations. Music and songwriting remain at the forefront of her creative output, tracks earning praise from the likes of Rolling Stone, Clash Music, NME and more, all while captivating fans across the globe. Recently seen on stage at Sydney’s VIVID Festival, Ayesha’s authentic storytelling marks a star on the rise.
Don’t miss the Dream Ride Tour this February and March – a homecoming run from G Flip, one of Australia’s most compelling and boundary-pushing artists.
About G Flip
Acclaimed singer, songwriter, producer, and multi-instrumentalist G Flip is stepping into a new character they have coined as Butch Springsteen while revving the engine on a thrilling new album era, an ‘80s-inspired blast where no drumbeat is too big and neon signs flash and glow over a raucous Sunset Boulevard. Get in the car, we’re going on a Dream Ride. Following the massive success of their sophomore effort, 2023’s DRUMMER, which debuted at No. 1 on the ARIA Charts and was named best album of the year by triple j, Dream Ride finds the Melbourne-born, LA-based musical polymath playing nearly every instrument and teaming back up with co-writer/producer Aidan Hogg to create an album both unpacks their experience as a queer, non-binary artist and is unabashedly inspired by Bruce Springsteen, late-night drives around Los Angeles, ‘80s reverb, and maximalist drums. Introducing this new era is the exuberant “Disco Cowgirl”, which rumbles in with the sound of a car engine and captures the ache of fleeting love and its emotional aftermath. Already a force of personality and multi-faceted artistry, G Flip is putting rubber to the road on Dream Ride, which burns so hot it’ll leave a trail of flames in the rearview.
G FLIP – DREAM RIDE TOUR
+ special guests The Beaches and Ayesha Madon (all shows)
AUSTRALIA
FEBRUARY & MARCH 2025
Presented by Frontier Touring, Chugg Entertainment & triple j
FRONTIER MEMBER PRESALE
via www.frontiertouring.com/gflip
Runs 24 hours from: Thursday 17 July (12pm local time)
or until presale allocation exhausted
TICKETS ON SALE
Begins: Monday 21 July (1pm local time)
Friday 27 February
Riverstage | Brisbane, QLD
Lic. All Ages
ticketmaster.com.au
Tuesday 3 March
Hordern Pavilion | Sydney, NSW
Lic. All Ages
ticketek.com.au
Saturday 7 March
Margaret Court Arena | Melbourne, VIC
Lic. All Ages
ticketek.com.au
Thursday 12 March
Adelaide Entertainment Centre Theatre | Adelaide, SA
Lic. All Ages
ticketek.com.au
Saturday 14 March
Fremantle Arts Centre, Perth, WA
18+**
oztix.com.au
** minors are permitted to attend if accompanied by a parent or legal guardian, aged 25+ – check Frontier tour page for further information
Patrons are advised to purchase tickets only through authorised ticket sellers.
We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website.
The Man. The Myth. The Music.
Celebrating Lou Reed, The Velvet Underground & Nico!
An evening honouring a true Rock’n’roll Original with a setlist that explores his ground-breaking years with the Velvets into his idiosyncratic Solo career
“To me, Lou stood out. The real deal! Something important to American music and to ALL MUSIC! (Keith Richards)
This stellar evening pays homage to one of rock’s most important singer/songwriters enduring influence—as well as the timeless, enduring appeal of his songs. Performances by –
Robert Forster (The Go-Betweens)
Mick Harvey (The Bad Seeds, The Birthday Party)
Dave Graney (Dave Graney and the Coral Snakes)
Rob Snarski (The Blackeyed Susans, The Triffids)
Stefanie Duzel
The Band is – Robbie Warren (Died Pretty), Barton Price (Models, The Winged Heels), Roger Mason (Models), Paul McDonald (Glide, the Gin Palace, Steve Kilbey) and Mark Tobin (Caligula, the Gin Palace, Steve Kilbey)
“My God is rock’n’roll” (Lou Reed)
Watch Lou Reed ‘Walk On The Wild Side’: https://youtu.be/S05JrOJ1_ik?si=pxDcOEQkqw5Xx5_z
All eras of Lou Reed will be celebrated including everything from I’m Waiting For The Man to Perfect Day, from Venus In Furs to Satellite of Love, from Sweet Jane to Vicious, from Pale Blue Eyes to Walk On The Wild Side, from Femme Fatale to Coney Island Baby and so much more!
“Lou was the Charles Bukowski of rock singers” (Americana Highways)
This event is a unique opportunity to immerse yourself in the Mystery & Majesty of Lou Reed – the Visionary, the Cult Artist, the Raw Storyteller
“Sound is more than just noise. Ordered sound is music. My life is music” (Lou Reed)
Celebrating Lou Reed, The Velvet Underground & Nico! January 2026 Australian Tour Dates
Saturday 24th January SYDNEY, The Metro
Sunday 25th January BRISBANE, The Triffid
Friday 30th January MELBOURNE, 170 Russell
Saturday 31st January ADELAIDE, The Gov
Tickets:
Pre-sale: Thursday 17th July 10:00am local
General Public On Sale: Monday 20th July 10:00am local
From: https://metropolistouring.com/celebrating-lou-reed-2026/
Tech House, House & Deep Tech all night long
Date: 26th July
Location: Luna Beach Club, Bali
Time: 2PM – Late
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The first wave of names for this edition makes for a tasteful blend of house, techno and minimal and everything in between from the likes of Apollonia, Arapu, Bonobo (DJ Set), Bedouin, DJ Tennis, Folamour, Janeret, Patrick Mason, Saoirse, and more.
All this goes down at the Hôtel le Golf d’Essaouira & Spa, from 2:00 PM until 3:00 AM across four diverse stages – Main, Garden, Wild, and Terrace, with a diverse program featuring over 70 artists from around the world. Between sets, they can cool off in two refreshing swimming pools or wander through a beautiful palm grove.
MOGA will welcome 16,000 attendees, including a strong international presence that reinforces its role as an unmissable destination festival that brings like-minded people together. As ever, MOGA is more than a festival, it’s a lifestyle, a tribe, and a celebration of cultural fusion.
Lineup [A-Z]
ADASSIYA (live) – ANZAR – APOLLONIA – ARAPU – ARYMÉ – AVÖ – BEDOUIN – BONOBO (DJ SET) – CABANNE – CHOUJAA – DANIEL BELL – DEATRA – DJ TENNIS – FOLAMOUR – GARRETT DAVID – HOLLY MOLLY – JANERET – JAWORA – JNJS – KOSH (LIVE) – LIVER J – MANUEL COTTA – MASSALA – MIISHU – MIROLOJA – MOBLACK – NATHABES – NEYL & NADRUMS (live) – NITEFREAK – NOMADS – PATRICK MASON – PRASLEA – PRIKU – SAOIRSE – STEVE O’SULLIVAN (live) – THOMAS MELCHIOR – TOMAS STATION – ZEINA – ZULU NAWFEL – YAYA (MA) & MORE TBC
Release Date: August 22, 2025
Two-time Grammy® Award-winning and multi-platinum-selling pianist and composer Peter Kater is set to unveil his latest studio album, Untethered Heart, on August 22, 2025. A deeply cinematic and emotionally resonant journey, the album pairs Kater’s signature solo piano with lush orchestral arrangements — inviting listeners into a soundscape of release, transformation, and renewal.
Renowned for his pioneering role in contemporary instrumental and New Age music, Kater’s influence spans more than four decades. With 14 Grammy nominations (and two wins) to his name, he has released over 70 critically acclaimed albums, scored more than 100 film and television projects, and composed for 11 On- and Off-Broadway productions. From Carnegie Hall to the Olympic Games, his music has transcended borders — reaching hearts around the world.
A Journey Toward Liberation
Described by Kater as both a “culmination and a threshold,” Untethered Heart is a meditation on the power of letting go and stepping into the unknown. With every note, the album expresses the emotional strength that can be found in surrender — and the freedom of unbinding oneself from past limitations.
“With every note, it reflects the liberation found in letting go and the strength discovered in surrender… to an Untethered Heart.” — Peter Kater
Whether you’re seeking stillness, introspection, or simply a moment of sonic beauty, this album offers an immersive listening experience for longtime fans and newcomers alike.
Tracklist
Free – 3:48
Flight (Extended) – 5:47
Spellbound – 3:24
Spirit (Extended) – 4:51
Hinterlight – 2:14
Untethered Heart – 5:08
Boundless – 4:14
More Than Music
Beyond his musical achievements, Peter Kater is also celebrated for his humanitarian and environmental efforts. He is the recipient of the United Nations Environment Leadership Award, recognizing his ongoing work to raise awareness and support global causes through music and advocacy.
Fans of meditative piano, heartfelt instrumental compositions, and genre-defying brilliance will find Untethered Heart to be one of Kater’s most powerful and poignant releases to date.
Mikey Jose lives at the crossroads of R&B, Gospel, and Pop, blending genres as fluidly as he navigates identities. A Filipino-Canadian independent artist and PhD neuroscience candidate, he bridges the worlds of intellect and instinct, science and soul. His music is more than sound—it’s intention, healing, and heart. With a vocal style shaped by greats like Stevie Wonder, Allen Stone, Jazmine Sullivan, and Lucky Daye, Mikey crafts melodies that hit hard and lyrics that speak to the realities of now. His songs have already racked up 8+ million streams—proof that people are listening, and feeling, deeply.
On “AY NAKO!” he fuses Western grooves with Filipino soul, capturing the messy highs and lows of impulsive love. Sung mostly in English but threaded with Tagalog—the first time he’s incorporated his heritage language—the song resonates especially with bilingual listeners and children of immigrants who know the weight of those “untranslatable” words. As the lead single from his upcoming debut album CHASING / STILL, “AY NAKO!” sets the tone for a record that’s all about the tension between wanting more and learning to be still.
Spacey Jane’s stardom is hardly a mystery, fluttering on Hordern Pavillion’s stage with tenacity. The enigmatic 4-piece band is made up of lead vocalist Caleb Harper, lead guitarist Ashton Hardman-Le Cornu, bassist Peppa Lane and drummer Kieran Lama. Hailing from Fremantle, Spacey Jane performed with a playful boldness, selling out all 3 nights in the Hordern Pavillion.
Coming hot off their third studio album release, If That Makes Sense, a sun-kissed record cataloguing the band’s fascination with the gritty elements of garage rock and indie. Spacey Jane’s sound mixes various elements, varying from 2000s indie rock powerhouses The Strokes, The Pixies and Arctic Monkeys, to Dreampop and Shoegaze. However, elements of However, their earlier catalogue plays with elements of psychedelic rock such as Santana and Funkadelic as the guitar inputs are distorted beyond recognition. In live performances, lead guitarist Ashton uses inversion chords, its distortion and gritty sounds straight out of Mk. Gee’s record Two Star and The Dream Police.
I had heard of Spacey Jane from their debut EP No Way to Treat an Animal, an authentic retrospect of upbringing set under a rebellious, grungy sound. I paid closer attention to Spacey Jane with the release of their debut album Sunlight, a delicate mix of 2000’s alternative rock and hazy guitar riffs. It became clear why this release had been received with lauded praise, a reflective journey of self-discovery born out of the COVID-19 pandemic. Booster Seat, Spacey Jane’s infamous song that had a chokehold on Triple J and every bar in Byron.
After the release of their sophomore album, Here Comes Everybody, my growing expectation for their records dropped as Spacey’s ostentatious sound was watered down compared to Sunlight. Taking a break from touring in 2024, their third album release and subsequent tour selling out Hordern over multiple days did not surprise me. Leading up to the gig, chatter filled the air as hordes of young Australians poured in` the venue. Many were starry-eyed teenagers enjoying their first gig and the older crowd that have seen in all. Hordern’s floor was so full you could barely muster a wiggle through the crowds. As the lights dimmed, screams filled the room as glimmering lights were strobing across the stage, we stood in anticipation to witness the beating heart of Australia’s rock scene. Shouts of wonder beamed as lead vocalist Caleb’s voice echoed in the venue and their energy magnetic. The light show was simply a spectacle, technicoloured and representative of the band’s high energy during the night.
The first thing I noticed was Caleb’s exceptional range throughout the performance. Although I did not doubt his vocals were rich, his vocal range from airy falsettos to deep bellowing was something to behold. However, Hordern’s sound design is left to be
desired as the acoustics could not capture all the nuanced vocal delivery. Ashton and Peppa contrasted Caleb’s vocals with groovy bass riffs and raw chord progressions, all with a driving beat by Kieran maintaining the crowd’s tempo as the night continued. The 19-song track list blended their new release with classics from prior works, melding into a single sound as each song transitioned seamlessly.
Skin’s leading guitar riffs caused a frenzy as the audience began chanting the lyrics. The song has a notable place on my heart as the album was constantly on rotation as my friends. Growing up with my mates, exploring countless waterholes and beaches across Northern NSW. In some sense, we were finding ourselves across the unique part of the world we called home. It was all underpinned with this song and a flood of nostalgia washed over me as I remember watching sundown on the headland. Another track off their debut album, Head Cold took me back into memories of unrequited love. The dizzying guitar melody riding along a syncopated drumbeat was beautiful to see live and reminded me of the soft murmur of the Wilson River during springtime.
The new tracks off the album play with their sound by adding synth leads, mixing influences of indie rock and synthpop. Whateverrr begins with sweet guitar leads onto airy vocals, which contrasts with Dep Leppard like guitar leads and Caleb’s almost strained pleas for unreciprocated love. Through My Teeth plays with shoegaze sounds with washed out guitar chords, complementing Caleb’s soft and melancholic tone throughout the album. It was during this song a young girl began asking me a question, which I couldn’t hear initially. She comes up to me asking to go on my shoulders, which I hesitantly agree to, not wanting to drop the poor girl. Once she got up, we were dancing together, and the gig began to feel livelier for me. It’s these strange but beautiful moments between strangers, all from different backgrounds coming together for good music.
As the night began to end, Booster Seat’s soft pads began ringing out of Hordern as drilling strumming sets the song’s cadence. Caleb’s wiry vocals move the crowd as lyrics speak on reminiscing on love long gone, an anthem for Australia’s youth for the past few years. Peppa’s airy harmonisation with blares of dreamy guitar riffs was surreal to see live. Although the song had been overplayed to death on radio stations, you cannot help but appreciate the band’s commitment to alternative sounds to contrast its melancholic lyricism. Spacey Jane is a dynamic band conscience of its place in Australia’s rock scene, highlighting the brash and bold sounds underpinning your 20s in the sunburnt country.
A powerful birthday gift for the cult festival’s 30th anniversary
In 2025, NATURE ONE celebrates its 30th anniversary – three decades of electrifying nights, legendary sets, and unforgettable festival moments. An occasion that calls for a truly special musical statement. None other than Paul van Dyk, one of the most influential artists in the electronic music scene and a NATURE ONE artist from the very beginning, delivers the official anniversary anthem with his new single “Power.”
Since the early days at the Pydna missile base in Kastellaun, Paul van Dyk has been closely connected with NATURE ONE. He has been there from the start – as a pioneer, headliner, and fan favorite. Over the years, the festival has grown into an international flagship of the electronic music scene – with a production and line-up that are second to none worldwide.
With “Power,” Paul has created a high-energy techno statement that captures the essence of NATURE ONE: strength, joy, energy, and diversity. The track is a driving, straight-forward high-energy techno piece with a hypnotic bass, catchy vocals, and guaranteed goosebumps – made for the big moments in front of the main stages and the emotional dawn hours.
Paul van Dyk on 30 years of NATURE ONE:
“NATURE ONE is more than just a festival to me – it’s a piece of home, a place full of memories, friendships, and fantastic nights. I’ve witnessed the growth of this event over three decades, and it fills me with pride to be part of this journey. ‘Power’ is my musical thank-you to the people who made NATURE ONE what it is today – a symbol of the power of electronic music and the energy of its community.”
“Power” is more than just a track – it’s a musical birthday gift and a love letter to one of Europe’s most significant festivals.
Experience “Power” live – at the NATURE ONE 2025 anniversary. CELEBRATING 30 YEARS.
Yeah, I often have very vivid dreams. I was dreaming that I was performing a song at a show and at some point the dream became lucid because I was able to wake myself up from it and I quickly wrote it all down. It was one of those feelings like ‘I know this song is supposed to exist’ and the strangest part was literally only a month or so later we were performing the exact song from my dream at our show at the Gaso. It was a surreal feeling, like the whole thing was pulled out of my head and brought life.
There’s a strong emotional undercurrent in your music—how do you channel such raw feeling while still delivering big, anthemic sounds?
Ooh, I guess for me they go hand in hand. I think a song can get massive and anthemic sometimes to emphasise something in a way that hopefully does justice to the strength of the feeling. The Mill carries a lot of real frustration but I didn’t want it to feel like despair because it doesn’t have to end there. I felt like it needed to sound reflective of the current mood of our society, like yes, life is tough, but people are also resilient and hopeful, and I love how we can carry optimism, hope and frustration all at once. And the grind isn’t easy, the more you grind and the more pressure builds up, it feels natural to me that there has to be a release, and in this case, builds to a big, raw anthemic moment.
You’ve mentioned feeling let down by summer—can you unpack that theme in the EP title I Once Loved You, Summer?
The title ‘I once loved you, Summer‘ is actually a line from one of the tracks on the EP called ‘Summer Chapter’. That song in particular, I wrote with a lot of intention. I realised that I had written a collection of songs over a small period of time that all had a recurring theme surrounding summer, and so many really tragic things had happened to me and a lot of my loved ones all at once last year. I felt like I really wasn’t managing anything very well at that time, and I saw that I could tie all of these different experiences together in Summer Chapter to try my best to explain what was going on, and maybe why I suddenly stopped being the person people knew me as up until then. I felt like I fell out of love with summer. I took that, and wrote some stuff that I had to get out, and I had the idea of personifying summer so I could acknowledge some of those expectations and disappointments I had.
This new body of work feels like a collective reflection—how have your friendships and community shaped the EP?
If I could sum it all up best, I have to say the EP is written like many conversations with my friends and people in my world. It’s all confession, declaration, checking in, trying my best to encourage and give hope. That’s really just how things are with my community. I love everyone so much and I just felt so hard for this EP that I can’t wait around for it to be ‘too late’ and in retrospect wish that I had had the chance to tell someone what I needed to tell them. That already happened last summer and I learnt the hard way, people need to know they are loved and valued. So I feel like people do that for me and I want to do that for them too. This EP is absolutely collaborative in that way and very shaped by my relationships.
We are! I think people can be excited to see our supports, Yours, Georgina and Sean Hutton, I know I am! As for what they can expect from us, I’m stoked that we’re finally sharing all the songs from the EP live. We’ll be playing Summer Chapter for the very first time, no one has heard it yet, so it will be a sneak peek at the final song on the EP that will be released a few weeks after on 7th August. We also have a couple of other new songs we’ll be road testing and of course some old favourites. We’ll be playing with our full band. It’s big and it’s so much fun.
You’ve been building toward this EP with releases like “You All The Time” and “How It All Came Down”—how do you feel they connect with “The Mill”?
I think sonically, those three songs in particular are our more anthemic tracks on the EP. They all end a lot bigger than they begin, in my head they’re a lot like snowball songs, like pushing a little thought from the top of the mountain and they just pick up size and pace and they go until they’re big and heavy at the end. Hopefully they all hit like an avalanche!
Saint Victoire blends elements of folk, alt-rock, and even alt-country—how did that fusion come about, and how do you keep it cohesive?
Keeping it cohesive is a bit tricky, but I think having solid references helps. When I take the songs to the band to add in their instrumentation, there seems to be a few consistent artist references we fish out of the pool. There’s a bit of deliberation around ‘does this sound like it needs banjo or mandolin?’ and sometimes I’ve initially thought a song might be more folky and we end up feeling like we want to make really loud noise instead. We all love so many different genres of music, and I love to give each song what I think it needs, rather than thinking ‘this song has to sound like this because this is what people think we do’. There is a limit to that though for sure, I’m not exactly sure where the boundary is, but there have been occasions where the guys are just like ‘what, this is so far from our sound,’ I think I’ve ditched a few songs because they don’t get what I’m doing and I realise I don’t either!
Do you write most of your lyrics from personal experience, or do you find yourself stepping into different stories and voices?
Ooh, so far I think it’s all pretty personal. I’m sure I exaggerate and inflate ideas sometimes to add to the imagery, but at their core I reckon they’re mostly things I’ve experienced or derived from things that I think about. I’m a huge dreamer and daydreamer, so sometimes I’m not entirely sure if something actually happened or not. I also love philosophy so I think that informs a lot of the writing too.
The recording process took you from Phillip Island to Sydney—how did that environment influence the sound or mood of the EP?
When we recorded at the island, we had two days to work with to track the main body of the EP which is five songs. We decided to track everything live and overdub whatever we needed to in post. I personally love tracking like this because the energy just feels very different. It’s not like sitting there playing along to a guide by yourself. We play it like we’re performing, which does mean that there’s a lot more room for error and imperfections. I know that can grate on people, but it’s kind of my style. I’m not mad about a few little imperfections, I love live music more than anything, and what I love is that it isn’t perfect, it’s really raw and human and that’s something that tracking live in the studio allowed us to capture. Ethan mixed everything up in Sydney so we were on a few calls back and forth, but honestly he is amazing. He absolutely understood the vision so quickly. I think I just said I like it sounding full and big and he absolutely delivered on that!
With the EP dropping August 7, what’s next for Saint Victoire after the Sooki Lounge launch—more shows, videos, or surprises in the works?
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Kicking off at Spark Arena in Auckland on February 11, 2026, the tour rolls through Christchurch, then crosses the Tasman Sea for Australian cities: Brisbane (16 Feb), Sydney (18 Feb), Melbourne (21 Feb), and culminating in Perth (25 Feb)
Tickets go on sale to cardholders and fan club members in mid-July, with American Express holders getting first dibs from 1 pm local time on July 15, Frontier Touring members next on July 17, and general public sales opening on July 18 at 2 pm
Lorde 2026 New Zealand & Australia Tour
Presented by Frontier Touring
All shows are licensed all ages
Pre-Sale and General Ticket Info
American Express Pre-sale: Tuesday, July 15th, 1pm local time
Frontier Member Pre-sale: Thursday, July 17th, 2pm local time
General Public On Sale: Friday, July 18th, 2pm local time
Wednesday, February 11th
Spark Arena, Auckland, NZ – ticketmaster.co.nz
Friday, February 13th
Wolfbrook Arena, Christchurch, NZ – ticketmaster.co.nz
Monday, February 16th
Brisbane Entertainment Centre, QLD – ticketek.com.au
Wednesday, February 18th
Qudos Bank Arena, Sydney, NSW – ticketek.com.au
Saturday, February 21st
Rod Laver Arena, Melbourne, VIC – ticketek.com.au
Wednesday, February 25th
RAC Arena, Perth, WA – ticketek.com.au
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Data evento 活動日期: 18-21 September
Luogo 地點: Tempio del Futuro Perduto, Via Luigi Nono 7, Milano|
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Aura Club Sydney: Friday, 27th June, 2025
Photo credit:
- Sydney: https://www.instagram.com/yogilan
- Melbourne: https://www.instagram.com/debbieyphotography
Lunation Festival, Melbourne: Saturday, 28th June, 2025
CURATED SERIES OF EMPOWERED EVENTS CELEBRATING FIRST NATIONS VOICES ANNOUNCED FOR 1-5 SEPTEMBER
TICKETS ON-SALE NOW
TICKETS
Already set to be a bustling hub of activity and creative inspiration this September, BIGSOUND proudly announces its celebration of Indigenous voices today, with the reveal of the 2025 Goolwal Goolwal Program.
Translated from the traditional Yuggera language, “Goolwal Goolwal” means “Big Sound” – as such, this deadly program of events and cultural experiences has become an integral part of BIGSOUND’s programming in recent years. Nestled within the busy district of Fortitude Valley, Magandjin (Brisbane), Goolwal Goolwal invites all attendees to immerse themselves in this dynamic series of panels, performances, workshops and more; discovering the wealth of talent thriving within First Nations communities nationwide. With a program boasting free events to attend within the dedicated Goolwal Garden, as well as a slew of free performances on the Brunswick Street Mall Stage, Goolwal Goolwal is a key calendar component of BIGSOUND 2025.
Curated and led by a team of First Nations industry professionals and artists, the Goolwal Goolwal program represents leaders and the next wave of industry gamechangers; all the while platforming and supporting First Nations artists and creative practitioners at BIGSOUND throughout the entirety of the event this 2-5 September.
“[The] Goolwal Goolwal program feels like family. Elders, youth and everyone in between connecting at BIGSOUND. The program gives us more visibility in the national and international music industries. Goolwal Goolwal team invests our time to share the combined knowledge of industry elders and hear the voice of the next generation. We prioritise space for multi-generational events, music and conversations, which encourages a more natural way to connect.” Deline Briscoe, First Nations Advisory Group & Programming Advisory Group
The Goolwal Goolwal program commences at the top of BIGSOUND week – Monday 1 September – with an official BIGSOUND Eve Welcome Event, a perfect opportunity for delegates and special guests to gather and begin building connections before the rush of both the BIGSOUND conference and music showcase festival sets in. Hosted at the Goolwal Garden, the official and dedicated First Nations space at Fortitude Valley’s Sound Garden, this event invites attendees to meet and ease into the week together.
“Each year BIGSOUND makes a significant contribution to the state’s live music industry, strengthening the state’s vibrant music scene. As a key part of the BIGSOUND program, Goolwal Goolwal amplifies the stories, voices and sounds of Aboriginal and Torres Strait Islander artists and creatives.
“The Crisafulli Government’s investment in QMusic and its presentation of Goolwal Goolwal provides an important platform for Indigenous artists, musicians and communities as we prepare for Queensland to take centre stage as host of the Brisbane 2032 Olympic and Paralympic Games.” The Hon John-Paul Langbroek, Minister for Education and the Arts.
Honouring the Traditional Owners of the land and waters on which BIGSOUND is held, renowned community and industry leader, Sandra King (O.A.M) will deliver a Welcome To Country on Tuesday 2 September as part of BIGSOUND’s Opening Ceremony for 2025. As part of this important event, a traditional Smoking Ceremony will also take place, an ancient custom that not only cleanses, but wards off bad spirits and welcomes people in positive energy.
“We are honoured to be producing the 2025 Goolwal Goolwal program and to witness the continued evolution and amplification of First Nations voices within our industry. We are incredibly proud to support the strength, resilience and extraordinary talent of First Nations artists in music.
The Goolwal Goolwal Program continues to provide an empowering platform for both established and emerging First Nations artists. This year’s program will be a vibrant celebration of identity, culture, creativity and community; highlighting the importance of First Nations-led spaces in the music industry.” Kearna Sweeney & Bianca Kemister, Goolwal Goolwal Producer and Assistant Producer.
Throughout this year’s Goolwal Goolwal program, a number of highlight events are set to take place. Bad Apples Music, celebrating ten years of nurturing and supporting First Nations talent, bring their anniversary celebrations to Goolwal Goolwal for Now And Forever: BIGSOUND Edition, on Tuesday 2 September with a deadly lineup of artists set to perform. Having played a hand in changing the landscape for First Nations artists to be recognised and succeed in Australia across the last decade, Bad Apples Music is already looking ahead to its next decade of excellence – a hint of which will be on show for this special celebration.
Trailblazing artist BARKAA brings a wealth of knowledge and experience to Goolwal Goolwal, appearing on two special panel discussions in collaboration with Support Act across Tuesday 2 September and Wednesday 3 September. Having navigated a prolific rise herself in recent years, the Malyangapa, Barkindji superstar will be sharing her observations and tips for the Yarning Strong panel, “Pass The Mic, Not The Trauma: Navigating Parenthood in the Industry” – a session dedicated to exploring how to balance social and mental wellbeing with the artistic craft. BARKAA will also appear on the panel “Leave Britney Alone: Navigating Notoriety”, a session created to provide insights on the pressures artists face to speak out on pressing issues, and the impact on vocalising opinions in the public realm.
On Wednesday 3 September, Bad Apples founder and all-round Yorta Yorta multi-talent BRIGGS will appear in an unmissable keynote conversation with acclaimed Gomeroi rapper and master storyteller, Kobie Dee. Taking place at the Fortitude Music Hall, this keynote is set to be an illuminating conversation traversing not only two distinguished careers in Australian music, but also insights into the growth and evolution of First Nations excellence in this country.
Thanks to Awesome Black, Goolwal Goolwal plays host to a diverse and electric roster of First Nations artists on Tuesday 2 September – showcasing the dynamism and defining sounds of contemporary Blak music, in the heart of Fortitude Valley on the Brunswick Street Mall stage. Experience firsthand the artists who are shaping tomorrow’s sound: from hip hop to soul, indie to electronic and experimental, the Awesome Black Showcase is set to champion the next wave of First Nations storytellers, proving First Nations excellence has never been bound by genre or expectation.
The music celebration continues in the Goolwal Garden on Wednesday 3 September, with two special events: YANGADA and the Bush Day Out. YANGADA (Mutti Mutti: to speak), represents the sharing of knowledge and memory through songs and stories – think, Kutcha’s Koorioke and a campfire yarn! Presented by the Bush Music Fund, the Bush Day Out will feature a stellar lineup of talent.
On Thursday 4 September, the Brunswick Street Mall Stage plays host to The BLOCK PARTY CONNECT: FROM BOORLOO TO MEANJIN , presented by FNFOCUS & FLEWNT. Featuring a staunch line up of West Coast talent including FLEWNT, INKABEE, Downsyde, Taija, JJ Vacant and TEHIIRI + special guests, this block party brings an unforgettable series of hip hop performances as part of Goolwal Goolwal 2025.
“It has been a fantastic journey over the past years at QMusic, witnessing the increasing engagement and recognition of First Nations artists at Goolwal Goolwal, BIGSOUND and other events such as the Queensland Music Awards. First Nations artists and musicians play a vital role in the Queensland music industry. Music is a powerful tool to ensure that First Nations voices are heard loudly and proudly.
Goolwal Goolwal is a signature event that brings people and cultures together through the sharing of music and deeply personal stories that have a lasting and profound impact on everyone involved. We look forward once again to an amazing program in 2025!” – Toni Janke, Chair – First Nations Advisory Group
BIGSOUND 2025
2 – 5 September Fortitude Valley Brisbane, QLD
For more information on this year’s Goolwal Goolwal Program at BIGSOUND 2025 visit
www.bigsound.org.au/first-nations-house
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