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Legendary guitarist Tom Morello joins metalcore powerhouse Beartooth with new single “Everything Burns” (out now on Mom+Pop Music) produced by two-time GRAMMY-nominated songwriter, musician and producer Tyler Smyth (Falling in Reverse, I Prevail, Blessthefall, Royal & the Serpent). This fierce collaboration fuses Morello’s signature guitar riffs with soaring, aggressive vocals from singer Caleb Shomo noting: “Creating ‘Everything Burns’ was the definition of lightning in a bottle. Pressure makes diamonds. When I got a call saying Tom Morello wants you to sing on a song for a huge project and it’s due in a few hours I had no idea what would happen, but I gave it all I had and it turned into something that’s truly once in a lifetime. I couldn’t be more honored to be a part of this with Tom and the entire Final Fantasy family that made this happen. Life goal achieved.”
Yesterday, the song made its in-game debut for the latest update of Final Fantasy XIV, where players will get to experience the track in one of the most pivotal parts of the game – earlier today it premiered on SiriusXM Octane and is now available globally on all streaming platforms along with a music video directed by AxiA.
On his collaboration with Beartooth, Morello adds: “Everything Burns is a high energy riff heavy banger that feels like it’s rising from the streets. Collaborating with Beartooth and super producer Tyler Smyth to forge this ferocious next single from my upcoming solo album was a real thrill.”
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Ahead of its opening in 2026, LATE CLUB is gearing up for a spectacular debut showcase on 17 January 2026 at the Amphitheater in Nuanu. The 9-hour open air event, starting at sunset, promises cutting-edge electronic music, a mystical venue, spectacular stage production and light design, and an unforgettable day-to-night journey. Situated just in front of the club, which is currently under construction, the amphitheater offers a setting where timeless elegance meets lush tropical surroundings. Guests will be immersed in an enchanting atmosphere enhanced by cocktails, street food, and striking art, creating a fully multi-sensory experience. The event will be headlined by musical maverick VIKEN ARMAN, followed by the groundbreaking duo GEJU and the up-and-coming KUMA.
French producer, DJ, and musician VIKEN ARMAN crafts a distinctive sound blending jazz, house, minimal, hip hop and world music, delivering hypnotic performances on some of the world’s most iconic dancefloors, from Fusion to Burning Man. His latest release ‘Willow’ topped N*1 of the Beatport Chart Electronica, while his Cercle Live reached over 1 million views, cementing his status as one of the most innovative artists of the scene. Defining the genre of Chillrave, GEJU fuses meditative chillout with ecstatic rave energy, captivating audiences from Moscow to festivals like Burning Man, Fusion Festival, and ADE. KUMA, resident of GEJU’s Leveldva Records, brings musical tenderness and confident dance grooves.
The immersive event kicks off at 6 PM and pulses through the night until 3 AM in a space where the classic amphitheater architecture blends with cozy corners. Guests can sip cocktails crafted by the LATE head bartender, unwind in chill-out zones with plush carpets and pillows, marvel at striking robotic art objects, and indulge in street food from open-air stalls.
LATE is a bold new concept set to open in Nuanu, Bali, in 2026. The venue will feature a nightclub, a fusion cuisine restaurant and a cocktail bar, a listening vinyl bar, chill-out zones, and themed rooms that double as immersive event spaces. With its forward-thinking music programming, state-of-the-art Void sound system and striking interior design, LATE CLUB promises to redefine nightlife on the island. Developed by 19:19, a boutique Bali promoter, the project blends unparalleled experiences with visionary design setting a new benchmark for entertainment and connection in Bali.
“We are thrilled to open LATE in Bali and to organize a series of showcaseS, starting with this one,” says LATE management. “Our vision is to create a space where cutting-edge electronic music meets bold design, curated experiences, and meaningful social connections. This event is just a glimpse of what LATE will offer – an all-night journey through sound, style, and atmosphere that sets a new standard for nightlife on the island.”
The Early Bird tickets cost 432,600 Rp while the VIP Early Bird tickets cost 741,600 Rp. Secure your tickets online through Megatix at https://megatix.co.id/events/late-invites-viken-arman-geju-kuma
Lineup:
Viken Arman
GEJU
Kuma
Set to kick off the year will be the likes of Ron Trent, Joe Claussell, Lauren Lo Sung, Eats Everything, Tony Humphries, Fiorella, Pete Tong, Kölsch, Zed Bias, Konstantin Sibold and more
Ministry of Sound unveils the first wave of artists set to soundtrack its historic 35th Anniversary Programme, marking the beginning of a year-long celebration for one of electronic music’s most influential club institutions. The opening announcements preview a milestone moment for the London powerhouse as it prepares for its most transformative year yet. After 35 years at the forefront of global club culture, Ministry of Sound is readying a new chapter that will reshape the clubbing experience, with major plans to reinvent the look and feel of the club from January 2026.
Heading up the bill are heavyweight artists whose sounds have defined generations and shaped the rhythm of London nightlife. From house legends Ron Trent, Joe Claussell and Tony Humphries to global powerhouses Pete Tong, Kölsch, Darius Syrossian, Eats Everything and more, reflecting the club’s enduring influence on the city’s musical identity and sonic legacy, which continues to be the blueprint for club culture across the globe.
Alongside the headline acts, Ministry of Sound continue to put a spotlight on London’s most vital and exciting new talent. Lauren Lo Sung brings the genre-blurring house sets that have made her a fixture on the capital’s floors, Fiorella pushes deep house and minimal sounds into fresh territory, Riva Starr and Matrefakt inject tech and house flavours, and Konstantin Sibold’s melodic techno has won him acclaim across Europe.
Landing in the new year, Blink takes over Fridays at Ministry, championing the best in melodic and afro-house. Launched with Louder, it kicks off on Friday 30th January with a headline set from afro-house artist &Friends. Building on the club’s cross-genre ethos, Blink forms part of a 2026 programme that shines a light on emerging talent and brings the world’s standout artists to London’s floors.
“Everyone at Ministry of Sound is incredibly proud of what we’ve built over the last 35 years, the nights, the artists, the energy that has defined London’s sound. But we’re also thinking ahead, about what the club could become over the next 30 years. Next year marks the start of that chapter.” – Matt Long, Club Director.
The anniversary kicks off in January with Carnival of Sound on Friday 9, followed by celebrating 23 Years of Select Radio on Saturday 10. Mas Que Nada brings house and disco-infused energy on Saturday 17, while Sound of Garage revisits UKG classics on Friday 23. The month closes with two standout headline nights: &friends on Saturday 30 January, and a landmark back-to-back set from Pete Tong and Kölsch on Saturday 31, supported by Lauren Lo Sung and Jansons.
February continues the momentum with Hard Times hosting a rare daytime session on Saturday 7, featuring house pioneers Ron Trent, Joe Claussell and Tony Humphries. Later on in the month, URGE, Siesta, La Discothèque (celebrating 10 years), Smoove and Room Service bring a mix of underground and genre-spanning sounds, while Konstantin Sibold takes to the decks on Friday 20 February.
March rounds out the opening season with the Latin energy of BRESH on Saturday 7, global big-room star KSHMR on Friday 13, and the technicolour rhythms of Zamna Soundsystem on Friday 20. The month closes with Mak10 + Friends on Saturday 28, a showcase of grime, UKG, and UK funky celebrating the club’s underground spirit.
The 2026 programme honours the venue’s rich history while pushing forward into new creative territory, blending heritage with innovation, legends with rising talents and London roots with worldwide reach.
Visit the website to secure your tickets here: https://www.ministryofsound.
Ministry of Sound 35th Anniversary – Opening Season
A-Z
&friends, Alcemist, Andy FunkFusion, Angel Lee, Anthony Godfather, Artful Dodger, Basso, Billie Jean, Bresh, Chanel Carmichael, Chapter & Verse, Charlotte Devaney, Daniella Font, Danny Decibel, Darius Syrossian, Eats Everything, Ellzy B, Fiorella, Higgo, Hotsteppa, James Alexander, James Carter, Jansons, Jesse Calosso, Joëlla Jackson, Joezi, Joe Claussell, Josh Parkinson, Joshua Roberts, Kismet, Kölsch, Konstantin Sibold, KSHMR, La Discotheque (Celebrating 10 years), Lauren Lo Sung, DJ Majesty, Mak 10, Marcus Nasty, Mark Love, Mas Que Nada Brothers, Matrefakt, Moeaike, Murdock, Nick Christoforou, Omari, P.O.U, Padre Guilherme, Pete Tong, Philip George, Pioneer, Remixia, Rennie Peters, Riva Starr, Ron Trent, Rooby, Royal-T, RUZE, Ryan Nicholls, Sam Supplier, Sandra Omari, Sassy B, Supa D, Tebra, Tom Enzy, Tom Short, Tony Humphries, Vibe Chemistry, Vini Vici, Zamna Soundsystem, Zed Bias, Zofia.
Friday 9th January 2026
Carnival of Sound
Alcemist
Murdock
Katalyst
Saturday 10th January 2026
23 Years of Select Radio
Billie Jean
Josh Parkinson
Zofia
Friday 16th January 2026
Citizens Vol 4
Chapter & Verse
Sam Supplier
Issy Smith
Saturday 17th January 2026
Mas Que Nada
Riva Starr
Mas Que Nada Brothers
Matrefakt
Friday 23rd January 2026
Sound of Garage
Artful Dodger
Zed Bias
Higgo
Saturday 24th January 2026
RUZE
Ryan Nicholls
Rennie Peters
Friday 30th January 2026
&friends Show
&friends
Moeaike
Joezi
Saturday 31st January 2026
Pete Tong b2b Kölsch
Lauren Lo Sung
Jansons
Friday 6th February 2026
Padre Guilherme
Hinchy
Sweiz
Saturday 7th February 2026 (DAY TIME)
Hard Times
Ron Trent
Joe Claussell
Tony Humphries
Saturday 7th February 2026
URGE
Special Guest TBA
Jesse Calosso
Fiorella
Friday 13th February 2026
Vibe Chemistry + more
Saturday 14th February 2026
Siesta
Line up TBA
Friday 20th February 2026
Konstantin Sibold
WREX
P.O.U
Saturday 21st February 2026
La Discothèque
Todd Terje + more TBA
Friday 27th February 2026
Smoove
Line up TBA
Saturday 28th February 2026
Room Service
Line up TBA
Friday 6th March 2026
Alteza
Vini Vici
Omiki
Camacho
Saturday 7th March 2026
BRESH
Residents + special guests
Friday 13th March 2026
KSHMR
James Carter
Nova
Saturday 14th March 2026
Line up TBA
Friday 20th March 2026
Zamna
Zamna Soundsystem
Tebra
James Alexander
Saturday 21st March 2026
Bitch, Please!
Line up TBA
Friday 27th March 2026
Madafreaks
Tom Enzy
+ more TBA
Saturday 28th March 2026
Mak10 + Friends
Line up TBA
Ministry of Sound
103 Gaunt St, London SE1 6DP
ministryofsound.com | instagram.com/
Beyond The Valley has revealed its highly anticipated set times for the 2025/26 edition, with Australia’s largest multi-day festival now officially less than two weeks away.
With a milestone 10th birthday celebration on the horizon, this year’s festival is primed to deliver four unforgettable days of world-class performances, surprise moments, and immersive programming for tens of thousands of attendees.
On December 28, the iconic Dance Dome kicks open the festivities, welcoming a stacked first-day programme featuring Séarlait, Cooper Smith, Mon Franco, House Mum b2b Haus of Ralph, Afrodisiac b2b Baby G, Kilimanjaro, Bullet Tooth, Not Without Friends, and more, before a late-night close from TV Rock. Across the festival site, stages come alive with early DJ sets, emerging talent, and an energy that will set the tone for the days to come.
December 29 sees the Valley Stage come to life with standout appearances from triple j’s Unearthed competition winner Lucky, EGOISM, 2Charm, Miss Kaninna, DICE, Mallrat, JoJo, and 070 Shake, before Addison Rae takes the coveted late-night slot. Over at the Dance Dome, heavy hitters including Linska, BL3SS, Josh Baker, Prospa, Chris Stussy, KETTAMA, and Juicy Romance take crowds deep into the night, while DJ Heartstring commands the festival’s closing hours. A Welcome to Country will take place at the Valley Stage at 4:15pm – Beyond The Valley encourages all attendees to be present in respect.
On December 30, the Valley Stage delivers a powerful mix of international and homegrown talent with REDD., The Tullamarines, Boy Soda, glaive, 49th & Main, Balu Brigada, Ben Böhmer, Channel Tres, and Spacey Jane, while Luude ignites one of the festival’s most in-demand nighttime moments. Over at the Dance Dome, festival-goers can expect electric sets from RONA., Jazzy, Inside Kru, ZULAN, Patrick Mason, and Narciss, with I Hate Models closing the evening in emphatic fashion.
Then on December 31, the final day builds to one of the most anticipated moments in BTV history: global dance music powerhouse Dom Dolla will deliver the official New Year’s Eve countdown set at the Valley Stage from 23:59–02:00, ringing in 2026 in what promises to be a defining moment of the festival’s 10th anniversary edition. Leading into the countdown are performances from Chloe Parché, Larissa Lambert, Kaiit, Julia Wolf, Jane Remover, Fcukers, The Temper Trap, Turnstile, and Kid Cudi. Meanwhile, the Dance Dome features Tina Disco, Emma Moon, Brent Honey, Torren Foot x Airwolf Paradise, Cassian, Pegassi, VTSS, Bella Claxton, Sim0ne and a massive closing set from SWIM.
Beyond The Valley’s 10th birthday edition also brings a refreshed lineup of onsite favourites, with Jack Daniel’s House Party, POOF DOOF’s Cirque Du Slay, Red Bull Unforeseen, Smirnoff Schmall Klub and creating standout side missions throughout Downtown BTV. The Sanctuary presented by QV Ceramides will offer a wellness hub including revitalising ice baths, yoga, pilates and meditation, while The Lounge Room features the new Salomon Run Club and a full program of podcasts presented by The Daily Aus.
Beyond The Valley has also launched the BTV App, powered by Woov, which is home to the BTV25 Information Guide and helps patrons stay connected and updated throughout the festival with personalised schedules, interactive mapping and real-time updates – available now on the App Store and Google Play.
Supported by triple j, Visit Victoria and brought to you by Untitled Group, the team behind Pitch Music & Arts, Wildlands, and Ability Fest, this year’s Beyond The Valley promises a milestone celebration like no other.
Full set times are available via the official Beyond The Valley app below
App Store (iPhone / iOS): https://gowoov.com/event/18407
Google Play (Android): https://gowoov.com/event/18407
Get ready – Beyond The Valley is almost here.
LINEUP
Dom Dolla
Addison Rae
Kid Cudi
Turnstile
Spacey Jane
I Hate Models
KETTAMA
Chris Stussy
Ben Böhmer
The Temper Trap
Luude
JoJo
070 Shake
DJ HEARTSTRING
VTSS
Patrick Mason
SWIM
Prospa
Josh Baker
NOTION
Pegassi
Cassian
Channel Tres
Mallrat
Balu Brigada
Fcukers
glaive
Jazzy
ZULAN
sim0ne
TEED
Bad Boombox b2b mischluft
Clouds
bullet tooth
KILIMANJARO
Narciss
not without friends
Juicy Romance
Ollie Lishman
Chromeo (DJ set)
RONA.
Bella Claxton
DICE
Jane Remover
Julia Wolf
Young Franco
Kaiit
Miss Kaninna
49th & Main
Dombresky
BL3SS
Torren Foot b2b Airwolf Paradise
ATRIP
Linska
CYRIL
HoneyLuv
Larissa Lambert
Inside Kru
Tyson O’Brien
SYREETA
Tv Rock
Willo
Sex Mask
BOY SODA
The Tullamarines
EGOISM
Chloe Parché
Brent Honey
Emma Moon
Morphena
MAD.DAY
Mell Hall
Tina Disco
Séarlait
House Mum b2b Haus of Ralph
Loosie Grind
Afrodisiac b2b Baby G
Cooper Smith
Mon Franco
Bertie
Shanti
With more to come
The Lounge Room
hosted by Kat Sasso
200 Plus
Ash McGregor
Ball Magnets
Club Elevate
David The Medium
Esmé Louise James
Sez
Undiagnosed Anthony
Teach Us Consent
With more to come
With 20 Grammy awards and a music catalogue spanning 13 albums, gospel icon Kirk Franklin made his debut tour to Australia, lighting up Melbourne’s historic Palais Theatre with an electrifying night of praise, soul, and unstoppable energy.
Soli set the tone for the night, delivering a heartfelt set, filling the room with her dynamic vocals and spirit-filled performance.
Photography: Darren Chan + Words
Driven by a desire to evolve rather than repeat himself, Yubik continues to refine a sound that is raw, dancefloor-ready, and emotionally charged. That identity reaches a new peak on “Never Alone,” a powerful three-way collaboration with Adriatique and Vincent Vossen that brings together three distinct creative voices with striking cohesion.
Released via Adriatique’s X Recordings, “Never Alone” is a peak-time Melodic House and Techno weapon, meticulously engineered for both physical impact and emotional weight. Pulsing low-end grooves form the foundation, while soaring, intricately sculpted synth lines rise and fall with a sense of tension and release designed to command large rooms.
Yubik leads the record with a refined and deeply emotive vision, continuing a creative trajectory shaped by standout releases on Afterlife, Siamese, and beyond. Adriatique inject their unmistakable touch, informed by a legacy of genre-defining work on Diynamic and Afterlife, their influential Siamese imprint, and a catalogue of landmark BBC Radio 1 Essential Mixes—credentials that place the track firmly in the sights of the global DJ elite. Completing the collaboration, Vincent Vossen adds his signature emotional depth, blending genre boundaries with finesse and restraint.
The result is “Never Alone”: a record that balances power and vulnerability, engineered for peak moments while resonating far beyond the dancefloor.
About Yubik:
Since the project’s creation in 2018, Yubik has continuously reshaped his sound, leading to releases on respected labels such as Afterlife, Siamese, and others. Each chapter has marked a shift, revealing an artist in constant evolution.
On his musical journey Yubik has been travelling off the beaten path. Cabalistic and groovy at the same time, his raw, feral and most of all irresistibly danceable sound effortlessly crosses borders.
Over the past year, Yubik has pushed further into new territory with a series of high-impact releases. Highlights include “Relax Your Mind” alongside 19:26 on afterlife, “Fears of Transcendence” with Innellea, “Dragonfly” with Enai, the hypnotic “Paradox of Perception” on Errorr, and the latest one “Never Alone” with Adriatique & Vicent Vossen. These works reflect a refined artistic direction , deeper, more expressive, and unmistakably his own.
| Spotify | Instagram | Soundcloud | Beatport |
Wildlands festival has just revealed the official set times for its highly anticipated return to Brisbane and Perth this summer.
Presented by Untitled Group, Beyond The Valley and triple j, the festival will take over Brisbane Showgrounds on New Year’s Day, January 1, 2026, before heading to Arena Joondalup in Perth on Saturday, January 3, 2026.
New Year’s Day in Brisbane will see Dom Dolla close out the Sahara Main Stage following a huge run of performances from WALTA, Miss Kaninna, Fcukers, Balu Brigada, 070 Shake, Addison Rae, and Kid Cudi. Over on the Summit Stage, fans can expect peak-time sets from Jazzy, Channel Tres, Chris Stussy, KETTAMA, and NOTION, with a closing set from Luude, while The Wilds stage hosts a stacked program featuring RONA., Cassian, sim0ne, SOTA, and many more throughout the day.
In Perth, Dom Dolla will once again close out the Sahara Main Stage, with BRAT and Miss Kaninna kicking things off before Balu Brigada, Luude, 070 Shake, Addison Rae, and Kid Cudi lead into the evening. The Summit Stage will showcase heavy-hitters including Willo, Jazzy, Fcukers, Channel Tres, Chris Stussy, KETTAMA, NOTION, and SOTA, while The Wilds stage brings energy from Mincy, WAXX OFF, TEED, ZULAN, RONA., Cassian, with sim0ne set to take the closing slot.
Each city will feature a Welcome to Country ceremony acknowledging the Traditional Owners of the land.
For those looking to elevate their festival experience, Casamigos House Of Friends VIP Packages are available, offering exclusive perks such as express entry, dedicated viewing areas, VIP bars, VIP-only amenities, and special onsite activations – providing a premium way to experience Wildlands in style.
To make it easier for fans to join the Wildlands adventure, flexible payment plan options remain available, allowing attendees to secure their tickets now and pay later.
Fans can expect Wildlands to once again deliver the best in electronic, hip-hop and indie music, with a stacked lineup of global pop icons and rising talent set to define the sonic year ahead. Previous editions have featured the likes of Tyler, The Creator, RÜFÜS DU SOL, Peggy Gou, Central Cee, FISHER, Diplo, BICEP, A$AP Ferg, G Flip, Becky Hill, Chase & Status, Lola Young and more.
Start 2026 with unforgettable moments at Wildlands – tickets available HERE.
FULL LINEUP
Dom Dolla
Addison Rae
Kid Cudi
Chris Stussy
KETTAMA
Luude
070 Shake
NOTION
SOTA
Cassian
Channel Tres
Balu Brigada
Fcukers
Jazzy
ZULAN
sim0ne
TEED
RONA.
Miss Kaninna
WAX OFF
Willo
Mincy
Mowgli May
+MORE
Get Connected:
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Handsome Tours present…
Sleaford Mods 2026 Australian & New Zealand Tour
Saturday Apr 11, 2026 – Perth FAC Front Lawn [tickets]
Tuesday Apr 14, 2026 – Melbourne Forum [tickets]
Friday Apr 17, 2026 – Sydney Enmore Theatre [tickets]
Sunday Apr 19, 2026 – Adelaide Hindley St Music Hall [tickets]
Tuesday Apr 21, 2026 – Brisbane Tivoli [tickets]
Thursday Apr 23, 2026 – Wellington Meow Nui [tickets]
Saturday Apr 25, 2026 – Auckland Powerstation [tickets]
Tickets on sale now via: https://www.
Having just wrapped their triumphant Spilt Milk national festival run over the weekend, The Rions today announce their Australian Regional Tour taking place from February through April 2026, presented by triple j. Pre-sale begins at 10am local time today, with general on-sale from Thursday 18 December at 9am local time. ALL INFO HERE.
After releasing their acclaimed debut album Everything Every Single Day in October, The Rions are riding the momentum of their national theatre tour, where they headlined some of the biggest venues of their career thus far – including sold-out shows at Melbourne’s Forum and Hobart’s Odeon Theatre. Their victory lap continued with a headline tour across the UK and Europe in November, before capping off the year back home, and the band are thrilled to continue their live run across 18 coast-to-coast regional dates. Across the tour, The Rions will also be joined by special guests Chloe Parché in NSW, Hey So Hungry in WA, Gordon’s Grandson in VIC, and bella amor in QLD.
Since their early beginnings as high school classmates, there’s been something special about The Rions from the jump. Winning triple j’s Unearthed High initiative in 2021, bandmates Noah Blockley, Harley Wilson, Asher McLean & Tom Partington swiftly catapulted to national recognition, releasing their first EP Minivan in 2023, and the #4 ARIA Australian Album-charting Happiness In A Place It Shouldn’t Be in 2024. The years spent honing their songwriting craft and building their identity as one of the country’s leading indie acts primed The Rions for a breakout 2025, with the release of their highly anticipated debut album in October.
Charting at #1 on the ARIA Australia Album Chart, #2 on the Vinyl Chart, and #5 overall, Everything Every Single Day showcases The Rions at their very best. Recorded over the course of a year with ARIA Award-winning producer Chris Collins (Ruby Fields, Pacific Avenue, Matt Corby), the album showcases a pensive, contemplative and emotionally-driven collection of pristine pop-rock – a major progression in the band’s’ sound, all while maintaining the charm and candour they’ve carried thus far.
Beyond the studio, The Rions bring equally as much passion into their live shows, earning their reputation as one of the country’s most prolific touring acts. No strangers to the Australian regional circuit, The Rions’ Happiness In Places tour last year encompassed 21 dates across the country, contributing to their massive 20,000 total headline tickets sold throughout 2024. Even now with their debut album out in the world, The Rions feel like they’re only just getting started, with plenty more action to come in the new year.
THE RIONS – AUS REGIONAL TOUR DATES
presented by triple j
Sat 28 Feb – The Mona – Mona Vale *
Thu 5 Mar – Dunsborough Tavern – Dunsborough ^
Fri 6 Mar – Froth Craft Bunbrewery – Bunbury ^
Sat 7 Mar – Astor Theatre – Perth ^
Thu 12 Mar – Barwon Heads Hotel – Barwon Heads #
Fri 13 Mar – The Pier – Frankston #
Sat 14 Mar – Bass In The Domain – Hobart
Thu 19 Mar – King Street Bandroom – Newcastle *
Fri 20 Mar – UOW Uni Bar – Wollongong *
Sat 21 Mar – UC Refectory – Canberra *
Fri 27 Mar – Hoey Moey – Coffs Harbour *
Sat 28 Mar – Finnians Tavern – Port Macquarie *
Thu 9 Apr – Brothers – Cairns >
Fri 10 Apr – JCU Uni Bar – Townsville >
Sat 11 Apr – Mcguires Hotel – Mackay >
Sun 12 Apr – Leichhardt Hotel – Rockhampton >
Thu 16 Apr – Hotel Brunswick – Brunswick Heads >
Fri 17 Apr – Miami Marketta [Laneway] – Gold Coast >
Sat 18 Apr – The Station – Sunshine Coast >
* w/ Chloe Parché
^ w/ Hey So Hungry
# w/ Gordon’s Grandson
> w/ bella amor
Pre-sale: Wed 17 Dec @ 10am local time
General on-sale: Thu 18 Dec @ 9am local time
For all ticketing information, visit HERE.
Everything Every Single Day LP is out now, buy/stream it here
TRACKLIST
Maybe I’m Just a Freak
Tonight’s Entertainment
Welcome To The Conversation
Shut You Out
The Art My Mother Likes
Married To The Job
Oh How Hard It is To Be 20
Maybe It’s Everything
Scumbag
Lobby Calls
Wear Me Thin
Cry
Adelaide
Stay connected with The Rions:
23 Profile | Website | Instagram | Facebook | X | Unearthed | YouTube
Aussie rock festival Wanstock returns in 2026 with its biggest lineup yet, announcing Sydney and Melbourne events, with the rock gods set to descend on Shoppingtown Hotel in Doncaster (Melb) for two nights on Friday 20 March and Saturday 21 March, and Selina’s (Syd) on Friday 20 March. Canadian Hall of Famers LOVERBOY will play their first ever Australian shows, alongside New Zealand icons Dragon, Aussie heroes 1927, Pseudo Echo, Bachelor Girl, Taxiride featuring Jason Singh and more in Melbourne, and Sydney will see LOVERBOY, Choirboys, Taxiride featuring Jason Singh and Ventura bringing the rock to the eastern beaches of Sydney.
Born from organiser Geoff Wansbrough’s love of the legendary Aussie pub rock era in the 80s and 90s, Wanstock has evolved since 2018 into an annual showcase of world-class acts alongside talented up-and-comers; and the 2026 edition is no exception when it comes to homegrown and international artists from the rock realms. Tickets for Wanstock 2026 are on sale now from https://www.wanstock.com.au/.
Headlining the Wanstock stage on Saturday will be none other than influential Canadian rockers LOVERBOY playing their first ever Australian shows. With their trademark red leather pants, bandanas, big rock sound and high-energy live shows, LOVERBOY has sold more than 15 million albums, earning four multi-platinum plaques, including the four-million-selling Get Lucky, and a trio of double-platinum releases in their self-titled 1980 debut, 1983’s Keep It Up and 1985’s Lovin’ Every Minute of It.
“We are excited to be coming to Australia for the first time in the band’s history next year,” exclaims LOVERBOY! “It is a dream come true; we are honoured to join the fantastic lineup for Wanstock in Melbourne, and play in the beautiful city of Sydney! Get your tickets now and we’ll see you down under!”
Headlining Friday’s stage will be 1927, formed in 1987, the band made a devastating entry into the ears of its listeners with the release of their debut album …iSH in 1988. Three months after the release, 1927 was catapulted to meteoric fame, with …iSH going on become the highest selling debut album release by an Australian artist. The quintuple Platinum selling album contained a staggering six charted singles, and for 46 weeks, …iSH remained in the TOP 50 of the Australian Music Charts. 1927 again found enormous success with the release of their multi-Platinum second album The Otherside. The band’s second album unleashed yet more charted singles, and for an astounding 19 weeks The Otherside remained in the TOP 50 of the Australian Music Charts. With 7x Platinum Records from multiple albums, a third self titled album, which also charted, and their best work to date…the most recent studio album ‘Generation-i’, 1927 has firmly established their status as an iconic Australian band.
Returning to the Wanstock stage, Dragon formed in New Zealand in the 1970s before relocating to Australia, the long-time rock purveyors have never been ones to play it safe throughout their colourful and ongoing creative journey. Leaning into a heavy progressive rock sound that garnered a cult-like following and early success, the group have remained a stalwart fixture in the rock world, with hit tracks Are You Old Enough, April Sun in Cuba and Rain solidifying Dragon’s staying power and widespread appeal.
“We are so excited to be part of Wanstock once again, it’s been too long,” says Dragon. 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!”
An event run by a music lover and for music lovers, the spark for Wanstock festival first ignited when organiser Geoff Wansbrough approached some of his favourite bands to play for his birthday a few years back. Spurred by his love of classic Australian rock and the spirit of the original Woodstock Music Festival, Wanstock was soon born, holding its inaugural event in 2018 at the Burvale Hotel before growing into the event’s current home, the Shoppingtown Hotel, in 2019. And, as Geoff Wansbrough explains, each year is designed to be bigger and better than ever before, with 2026 set to simultaneously offer two nights of amazing acts as well as the chance to catch LOVERBOY in Aus for the first time, “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. Wanstock came about when I was having a birthday a few years ago. I thought I would have a favourite band play. Then I thought: why not have a few of my favorite bands. That, plus the fact that I was a big admirer of the original Woodstock Music Festival, is really how it came about. 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 a some of the emerging talent a chance to play, and to have a cover band playing all our favorites 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!”
Tickets for Wanstock Melbourne are on sale now from www.wanstock.com.au/ and Sydney from https://selinas.com.au/.
WANSTOCK 2026
FRI 20 MARCH | SELINA’S, COOGEE NSW | 18+
Tickets available from https://selinas.com.au/
LOVERBOY (CAN)
CHOIRBOYS
TAXIRIDE FEAT. JASON SINGH
VENTURA
FRI 20 MARCH | SHOPPINGTOWN HOTEL, DONCASTER VIC | 18+
Tickets available from www.wanstock.com.au/
1927
DRAGON
BACHELOR GIRL
STONETRIP
STRAIT SHOOTERS
SAT 21 MARCH | SHOPPINGTOWN HOTEL, DONCASTER VIC | 18+
Tickets available from https://www.wanstock.com.au/
LOVERBOY (CAN)
PSEUDO ECHO
TAXIRIDE FEAT. JASON SINGH
STANDING ROOM ONLY
DAYDREAMERS
What did releasing this EP unlock for you personally, especially now that you’ve had distance from the heartbreak that inspired it?
First of all thank you for having me!
This EP is special in so many ways for me because I have many firsts on it. It’s my first ever EP [so that’s exciting], first time writing in Australia and also it documents my first ever heartbreak.
I’m really happy that I can now look back on this EP as like a time capsule for myself. I was in a lot of pain and hurt at the beginning of the year. It was a very dark and confusing time for me and there were moments where I thought it would never get better and I’ll forever rot in my bed grieving. I’m really proud of myself for getting back on both feet and how I, no pun intended, moved on with grace. I can proudly say the crashouts were done in private and in song!
I’m happy that I was able to create this body of work from that heartbreak. Writing with Cody Jon, Glenn Hopper and Maribelle in Australia really made me feel safe to share what I was going through. It was a perfect storm of events.
How did the moment that sparked Damaged reshape the way you write about vulnerability and emotional honesty?
I’ve always written from a place of vulnerability and honesty. But what made writing “Damaged” so different was that I had 2 collaborators with me, Cody Jon and Glenn Hopper. It was such a fun session and one I will never forget. It was the first session with the three of us and I think we made something really beautiful.
It all started with me catching Cody up with my breakup. It was so crazy because when I saw Cody last December I was telling him about my relationship and how happy I was. So the contrast between that and me telling him we’ve broken up and that I feel like I’ve lost the ability to love was quite the difference.
Glenn, Cody and I had really great writing chemistry and we created a very safe environment for all of us to share. So I thank Concord Australia and InQ International for putting these sessions together. I really felt like I was just venting to my friends about my breakup and how I was feeling at the time. “I woke up this morning with an alarm I set for you, with another stranger in my room” was the first lyric we wrote for this song and it came from just a simple conversation. So this whole process was extremely cathartic and freeflowing. I feel like these sessions were meant to happen for me as well as these songs because initially I was planning on releasing a completely different set of songs and EP before this australia trip.
Across the EP there’s a shift from pain to a kind of quiet clarity. Where did you feel that turning point creatively?
My goal with music is always to tell a story and with this EP I was able to tell a longer one and really bring my audience into a world that centered around the story of my breakup. I wanted each song to really feel different to each other and really show how turbulent the breakup felt for me. Healing wasn’t every linear and straight forward, one day I’d be fine, the next I’m at the club with my friends and then I’m back in square one again crying in bed. So I wanted it all to be captured in song.
Like I said before, Australia was definitely a turning point for me. I remember coming back to Vietnam post trip and telling my manager how much I enjoyed that creative process and how much I loved the songs. I had the demos on repeat for, I’m not even kidding, everyday.
I think personally for me the most ah-ha moment was when I wrote “Thank God!”. When Glenn came back to Vietnam in October to help me write a few more songs for the project. I was starting to see someone new and honestly I felt the sparks again. I felt alive and it felt very sweet. “Thank God!” The song just flowed out of me and it felt like such a relief to write and sing. I never planned to write a song like this for the project because I had no idea if I was going to even fall in love again or not. Strangely I did, and it caught me off guard. Writing this EP really was just me finding out as I went on and going with the flow and the puzzle pieces just clicked. The EP tells a story beginning to end: the devastation, to the rebellion into new love. I think it’s a cycle, and “I Don’t Know” is the perfect end to the project because after every high we come down again and then the cycle restarts.
You’ve talked about waking up next to someone new and realising you weren’t healed yet. How did that moment change your understanding of yourself?
It was a crazy feeling. I weirdly felt so gross and disgusted with myself to be honest. I felt like I was cheating even though we were broken up and I had every right to do so. It was this feeling of an invisible string that kept me tied to my ex that in hindsight I felt was hope and me keeping that door slightly open just in case they were to come back.
That moment really forced me to reflect. It was almost like a hard wake up call like: “Hey! Let’s focus on ourselves first before we get into anything again.”. I learnt a lot about attachment styles and how I navigate relationships. It shows me where I could improve but also where I need to set clearer boundaries next time.
The waking up to a new person moment isn’t necessarily any bad will against the new person but it was more about myself and how I felt about me.
There’s a cinematic quality to Damaged, like the world tilts with every emotional hit. How intentional was that visual sense in the production?
When I went into the session with Cody and Glenn one of the things I told them was I wanted this song we wrote to sound like it could be played in a stadium, I wanted something big, something that builds and builds. And so, the production was just a result of that initial conversation. I am a pretty dramatic person as is, so there is always going to be a little bit of drama in the music but I wanted it times 10 for this record.
I also think the reason why the track feels the way it is is because I wrote it during a time where the wounds were so fresh. I was writing as I was going through it so every lyric was fresh off my mind and how I was feeling in that exact moment. I hadn’t had time to really process any of it before I put thought to paper, or in this case our shared Google Doc.
You worked between Vietnam and Australia with collaborators like Maribelle, Glenn Hopper, Cody Jon, and Michael Choi. How did those different environments and creative energies feed into the EP’s identity?
I’m so lucky and grateful to have worked with such great and talented individuals on this project. I think the biggest thing all these collaborators have brought into this project for me was their perspective and they brought to the table energetically. I think what this EP and my other projects have in common is my songwriting. That’s the throughline, it’s always written from my heart and experiences. However, there came a point where I needed to break outside of my comfort zone a little bit, I needed to reinvent myself. So Glenn, Cody, Maribelle and Michael really helped facilitate this discovery with new sounds and ways to look at a situation.
The writing rooms were always so much fun. It truly felt like summer camp. I never wanted to leave. I loved Melbourne so much. I’m gonna be back to write my next project very soon.
This project feels like a reintroduction. In your own words, who is MINH at this stage of your life and artistry?
It really is. I think for me, I’ve always tried to be the most authentic version of myself in my music and pride myself on it. 18 year old me writing and releasing his first single “Blame” was so serious and meant every lyric he wrote. However, I believe that at that point in my life there was a ceiling. I was not letting myself discover whether it be in my love life or just experiences in general. And the crazy thing was, I thought I knew everything. So between the years 2021-2025 I really made it my top priority to just experience life to the max. That meant not dropping music and just focus on developing myself as a person and artist. Perfecting my craft because I know the goals I want to achieve and it can only be executed and done right if I truly prepare and am at the top of my game.
So for me taking time off to rediscover and develop myself was critical because it’s made me more wise and honestly more confident. I used to feel like I was putting on an act or playing a role of this confident kid with all these experiences on his belt but now I can say I’ve experienced enough to share a fresher perspective. So now when it comes to liveshows or the music I’m dropping, I am confident that I am not just representing myself well but also my community and country!
Your songs often sit at the intersection of intimacy and pop ambition. What did you want listeners to feel in the space between those two worlds?
I’m such a pop music and pop culture fanatic and my inspirations are artists such as Julia Michaels, Taylor Swift, Ryan Tedda..etc. So I’ve always looked up to them when it comes to lyrics and melodies. I’ve always been drawn to story telling lyricism, saying in a different way because everything’s been said before. I want audiences to enjoy my music the way I enjoy my favourite artists’ music. I want them to feel like they’re being understood and like their problems don’t exist for a good 4 minutes or if you’re listening to my EP, 17 minutes.
Liveshows have also impacted the way I write my music. I love when a crowd is high energy and when I’m able to do that with music. There’s no better feeling than the energy of a crowd dancing and jumping to a song of yours so I definitely always have that thought in the back of my head when writing. Always trying to imagine how this song would translate live and where people would connect. It’s all very interconnected and I think that’s what makes it so fun. It’s like world building!
Tracks like Out With Grace and What I Never Had carry a sense of release, almost gratitude. How did acceptance shape your approach to writing them?
These tracks were the ones I wrote with Maribelle. They are so different to what I’ve made before and honestly I’m so happy they exist. This pop dance sound has always been something I’ve wanted to create and its a genre I love listening to. ‘What I Never Had’ was the first track I wrote at the writing camp and it was an instant favorite of mine. I was still a little bitter about my breakup and told Maribelle: “I just want to dance and not really care” and that was just the energy that we sustained for our sessions. I wanted to create songs that at first glance wasn’t serious and just made me feel like I was on cloud 9 but if you really dived into the writing it was layered and super emotional. I joked to Maribelle that if these songs were reproduced into ballads they would be so sad.
“Out With Grace” was written after a night out I had with Cody Jon in Melbourne. I still had one last writing session the day after but just had these reckless thoughts that I wanted to black out and go crazy. That night was cut very short when my manager called me back to the AirBnb. But I think it was meant to happen because “Out With Grace” was born in that very next session. The irresponsible thoughts inspired the lyrics “If it’s more than I can take then I’mma go out with grace. I’ll take it to the extreme, You’ll see it all on my face”. I think I was in a very dark place mentally during that time but I was acting like everything was okay. But I think that tension and conflict really created something interesting in the music and I’m really proud of both songs! It’s my favorite to perform live.
You’ve stepped onto global stages and pushed Vietnamese pop into new spaces. How does this EP reflect where you hope to take your sound next?
I think my goal is to constantly elevate my music to a global scale. I’ve had such incredible opportunities that are unheard of and never been done by a Vietnamese artist before so I take it very seriously and try my best to represent not only myself, my team but also my community and country. This EP is a sneak peak into what everyone can expect from me moving forward. Definitely more trips to Australia for sure and also international collaborations will be something I will be doing more in the future. I’ve made so many friends from around the world over these couple of years and it truly feels like a big family of global friends.
I have plans to release 2 new EPs next year so expect that. The sound will only get more dramatic and grand and knowing myself, my life will only get more chaotic so expect more stories told! I hope to do lots of festivals next year and really bring this EP onto the global stage and perform the way I imagined when I was writing them.
GRADIENTS feels like a world built from colour and emotion. What made you want to map your inner landscape this way, and when did you realise colour was the right language for this EP?
I’ve never felt emotions in a straight line. Growing up between Taiwan, Australia, and several other places, my inner world has always been a blend — of cultures, tones, moods, and identities. Words like “happy” or “sad” felt too flat, but “warm,” “dim,” “hazy,” or “glowing” felt closer to how I actually experience things.
In many ways, I’ve always been a gradient myself: mixed in culture, mixed in genre, mixed in the roles I carry on a day to day basis. So even though I’m not a visual artist or naturally drawn to think visually, colour became the clearest way to capture the emotional layers of this project. When Make Time arrived with a very specific orange-red feeling, I realised the whole EP needed to live in that kind of blended space — where emotions shift, overlap, and don’t need to be one thing.
You’ve lived between cultures, languages, and continents your whole life. How did those in-between spaces shape the way these songs formed?
Living in-between places teaches you to read the atmosphere more than words. You learn to hold multiple identities at once, and that naturally spills into the music. These songs weren’t written from one cultural lens — they carry Taiwanese sensitivity, Australian openness, and pieces of everywhere I’ve lived or found community.
Instead of choosing one version of myself to write from, I let all those layers coexist. The EP reflects that same blended identity: not fixed, not singular, always shifting.
PEACE & LOVE opens the record with a softness that still feels incredibly powerful. What part of your own story were you reclaiming when you wrote it?
I was reconnecting with the gentler, more forgiving part of myself — the version of me that existed before I felt the constant need to be capable, endlessly adaptable and at times a people pleaser. Living and working across countries for years made me hold myself very tightly and let relationships with people drag on longer than it needed to be, and PEACE & LOVE became a moment where I could finally exhale.
It reminded me that softness doesn’t mean defeat; it means choosing peace even when life doesn’t go the way you want it to. Writing it felt like stepping back into a lighter version of myself, one who can still recognise beauty and gratitude even when things are imperfect.
It was a reclaiming of softness as strength.
This EP carries a sense of artistic clarity, as if you finally allowed all sides of your identity to speak at once. What did embracing that full spectrum unlock for you musically?
It unlocked a sense of relief. For years, I felt like I had to tidy myself up into one identity — jazz vocalist, R&B singer-songwriter, Taiwanese artist, Australian artist — when the truth is that my life has never existed in neat categories.
The moment I stopped trying to make the music “fit,” it started sounding more like me. Allowing all the parts of my identity to sit at the same table — culturally, musically, emotionally — created a freedom I didn’t expect. The songs became more fluid, more intuitive, and more honest. I think that’s the clarity people hear: not perfection, just alignment.
Your jazz background meets soul, R&B, and pop in such a fluid way here. How did your training guide the emotional weight of these arrangements?
Jazz taught me how to feel before it taught me how to sing. It gave me a deep respect for space, tension, surprise and the way one note can shift the emotional temperature of an entire song. That sensitivity carried into GRADIENTS.
Even in the more pop-leaning tracks, I’m always listening for the emotional arc — where the song needs to breathe, where it needs to crack open a little, where it needs to sit still. Jazz training made me comfortable sitting inside vulnerability, and that guided a lot of the production choices. The arrangements weren’t about being clever; they were about serving the feeling.
Each track is tied to a specific colour. Which shade challenged you the most while you were making it, and what did you learn about yourself in the process?
Colours in the Sky challenged me the most, not because of the sound at first, but because of why I wrote it. I originally wrote it for a friend who was feeling stuck and didn’t want to keep going — she felt like she didn’t fit anywhere, like life had no space for her. I wanted to offer her a vision of something bigger and softer, something that says: life is about embracing things fully, about painting your own colours in the sky even when you feel dull or invisible.
But after finishing the song, I realised I had unknowingly written it for a younger version of myself too — the Cait Lin who often felt left out, who moved countries and didn’t quite belong, who needed someone to tell her that her world could be brighter than what she could see at the time. Now when I sing it live, I feel like I’m speaking to the parts of me that still need that encouragement.
The live performance was another challenge. The rhythmic stops, the sudden shifts, the multiple sections — it felt like trying to hit something just out of reach. But once I learned to move through the pauses and bumps with trust instead of fear, it became the song I look forward to singing the most.
That whole journey taught me something important: optimism isn’t simple or effortless — it’s vulnerable. It requires the same level of honesty as sadness, maybe even more. You can’t fake hope; you have to open yourself to it. And for me, that was the real lesson behind this colour.
fragile love feels like the emotional centre of the EP — quiet, piercing, deeply human. What memories or truths were you holding when you wrote it?
fragile love came from a place of accepting responsibility, and also accepting that sometimes love doesn’t survive even when both people care deeply. The lyrics came out almost like a confession — acknowledging the mistakes, the weight, the emotional immaturity, and the parts of myself I was still learning how to face.
The song is about knowing you’ve caused harm, knowing you’ve held someone back, and choosing to let them go so they can become the version of themselves they deserve to be. It’s not a breakup song in the dramatic sense — it’s more like an admission that love can be beautiful and still not be strong enough, and that clinging onto it can hurt both people more.
Lines like “Wish I had a stronger soul, but I’m a child” came from a very honest place — recognising that I wasn’t the person I wanted to be yet. And “I would give up everything I had hoped for to see you shine instead” is a moment of selfless clarity: the kind of love that chooses someone’s wellbeing even if it breaks your own heart.
Writing it taught me that accountability is its own form of love, and that letting go isn’t always abandoning someone — sometimes it’s the most loving thing you can do. That quiet acceptance is what makes the song sit at the emotional centre of the EP for me.
You’ve travelled widely and built communities across Asia and Australia. How did performing in so many cultural contexts inform the way you approached storytelling on this project?
Performing in different countries taught me very quickly that people connect to sincerity before anything else. Some audiences lean into subtlety and intimacy, others love rawness and directness — but the emotional core is what carries across every room.
That understanding made me write more honestly, without worrying whether a feeling or story would “translate.” If the emotion is real, it travels.
And honestly, music is one of the very few things that truly connects everyone — regardless of age, language, culture, upbringing, or background. I’ve felt that again and again on stage. The details might shift, but the heartbeat underneath is universal.
You’re known for performances that cut through language barriers. What internal compass do you follow to make sure your songs resonate no matter where they land?
Presence has always been my compass. If I’m actually feeling what I’m singing — not performing the idea of the feeling, but genuinely in it — people understand, no matter what language it’s in.
Growing up bilingual taught me early that tone, intention, and emotion often communicate more clearly than vocabulary. And honestly, I love engaging with the crowd — a little stage banter, a shared laugh, getting everyone to clap along, or having them sing “PEACE & LOVE, PEACE & LOVE” with me. Those moments remind me that connection doesn’t require a shared language, just a shared moment.
So I always check in with myself: Am I being honest right now? Am I here? If yes, the audience feels it.
This EP introduces a new chapter for you — visually, sonically, emotionally. What horizon are you moving toward next, and how do you hope listeners grow with you?
I’m moving into a chapter that feels both more grounded and more expansive — a space where I can experiment visually and sonically while staying anchored in the emotional clarity that GRADIENTS gave me. I want to build worlds around the music: fuller live shows, richer visuals, and collaborations that reflect the cultures and communities that have shaped me.
What I hope most is that listeners feel permission to embrace their own transitions — the messy, shifting, in-between parts of their identities and emotions. If this EP helps anyone recognise the beauty in their own gradients, in the parts of themselves that don’t fit neatly into one place, then that means more to me than anything.
Your new single FLOWERS TO MY DOOR // SWORD OF SACRIFICE hits with a mix of heartbreak, fury and surrender. What sparked the first line or image that set this song in motion?
The first line of this track is exploring an alternate reality, questioning and wondering if things had gone a different way would the outcome have changed, or whether it actually was always destined to be the way it is.
You’ve described writing this song as an act of emotional release. What moment in your life made these lyrics arrive with so much urgency?
I was in the middle of a serious relationship rupture. I was feeling so much grief and anger spiced with a particular flavour of empowerment, because this was not the first time me and this person had gone through something like this, but I knew it would be the last.
The production moves from intimate vocals and sparse guitar into a darker, pulsing electronic world. How did you approach that shift so it reflected the emotional rupture you were working through?
In the chorus when that first kick drum comes in, that’s when the song starts having a feeling of movement and from there a lot of possibilities opened up. When I’m producing my own tracks, I rarely have an idea of what it’s going to be before I’m in the studio. I try to get out of the way as much as possible and listen to what the song is asking of me. How does it want to be brought to life? I believe songs really do have a life of their own and it’s my job as a producer to listen with an open mind and with open ears. The feeling of the song was already there and I just created the textures and movements that reflected that feeling.
The drum and bass breakdown is such a bold turn. What made you decide that this song needed that jolt, and what were you trying to express in that moment?
This was a decision that honestly surprised me. When I first made the track, that section was not fully going into a drum and bass territory, it was only alluding to it and honestly I was kind of scared to fully go there. But when I took this track to Callum Edwards who helped me finish it off, he said that it’s definitely asking to be a drum and bass breakdown and I think I just needed that affirmation to go there. This is such a big moment in the song both musically and lyrically where I’m literally yelling (in some of the vocal tracks) “That’s what I needed”, and it’s here that all the anger, grief and sadness culminate, creating the pinnacle of the song.
You took bigger risks as a producer on this single, working between your rural home studio and Sing Sing in Melbourne. What did stepping deeper into production allow you to say that you couldn’t before?
It has been and continues to be such a big journey learning the art of production and I still feel like I’ve only really scratched the surface. It’s been so empowering to be self-sufficient in making my own music and has really given me the permission to carve out a new sound for myself that previously was not possible. If someone had told me a couple of years ago that I would be releasing a self-produced single with a drum and bass breakdown in it, I would not have believed them. But here we are.
Making my own music has not only helped give my songs the life they have been asking for, but also has changed the way I write music. Some of the songs on my upcoming album just wouldn’t have been written if I didn’t know how to use Ableton. That DAW has literally changed my life. It’s also been such a joy to bring my projects to Callum Edwards who is an actual wizard. He has really affirmed and helped bring my ideas to life.
The theme of sacrifice runs through the entire track. While you were writing, what did “the sword of sacrifice” come to represent for you personally?
The act of choice making is something that I have been contemplating for many years now and I have come to my own understanding about what it actually means to choose. To me, “the sword of sacrifice” represents discernment. The blade that cuts away anything that is no longer serving or aligned and creates a clear pathway for you to walk down. That pathway can only appear when you are fully inhabiting a choice. Every choice we make, no matter how great or small, requires some kind of sacrifice, which is why it can be so difficult to choose.
I think in this modern western/capitalist world we are sold this idea that we can have it all, do it all, and that more is more. I think it’s this mindset that creates a lot of confusion. The reason I have been in such deep contemplation about this topic is because I myself have found it extremely difficult to make clear choices and found that being in indecision for long periods of time amounts to a lot of stagnancy. To choose wholeheartedly is to live, and I want to live fully. Therefore I have to live and die by the sword of sacrifice.
You often pull from folk sensibilities, but this single leans heavily into trip-hop and experimental electronic textures. What pushed you toward that sonic evolution?
As I said in the previous question, having the agency over creating my own sound through production has really allowed me to expand what is possible for my songs. I started out as a folk singer-songwriter but have never wanted to pigeonhole myself into any particular genre. The trip-hop and electronic textures were resonating at the time so I just trusted what I was being gravitated to. I think a big part of the creative process for me is to trust my own ear and go by the rule: if it sounds good, it is good.
You’ve spent years moving through collectives, bands, solo work, and global travel. How did all those creative chapters shape the artist who made this song?
Oh my goodness, all of these things have shaped me so much. I have been so privileged in my life to connect with people and places in Australia and all around the world. Through each of these chapters I’ve learnt many things, found endless inspiration, and faced many challenges, which has led to where I am as an artist now. Someone who trusts themselves more than ever, is willing to take more risks, is more process-than-outcome driven, and someone who feels they genuinely have something to offer.
This single is the gateway into your upcoming album FLOWER TONE SLAYER. What does this release reveal about the emotional and sonic territory you’re heading into next?
There’s a definite ’90s trip-hop thread woven throughout this body of work, with some songs leaning toward R&B and other songs leaning back into my folk foundations, all of which speak from my inner landscape. Most of the music I make is born from emotional waters and songs are written out of necessity to process my emotions, and this album is no different. Expect songs of love, loss, belonging, and taking power back.
The repeated question “Was it worth it?” hits like a wound and a challenge at the same time. Looking back now, has your answer changed since the day you wrote it?
Ooft, a wound and a challenge. Love that. The whole song is crafted around exploring that question and at the time of writing it, the answer was not yet clear to me. But now, if I was to ask that same question — was it worth it? Absolutely. It was all worth it. For one, I got a great song out of it. But more importantly, it was through the experience of this relationship rupture that I was able to return to myself in a way that I never had before. I was able to embody my own self-worth in a way that was so powerful it created a new trajectory for my life that I would not trade for anything. It was 100% worth it.
