The Partae
  • Music
    • News
    • Interviews
    • Festivals & Events
  • Fashion / Culture
  • Stay & Play
  • About Us
  • Contact Us / Advertise
  • Submit Event

Power duo DJ Sammy x Chris Diver ignite festival season with “Don’t...

April 12, 2026

Interview: Bud Rokesky on Dusk — Fear, Grief and the Power of...

April 11, 2026

Interview: Figurehead talk new single “Heart Like A Sunset”

April 9, 2026

FESTIVAL OF THE STONE 2026 LINEUP ANNOUNCEMENT Saturday 20 June, Byron Bay...

April 9, 2026

MATT CORBY ANNOUNCES THE TRAGIC MAGIC TOUR – ADELAIDE, PERTH, MELBOURNE, NEWCASTLE,...

April 8, 2026

Karnivool Announce Biggest Headline Shows of Their Career

April 8, 2026

DEAN TURNLEY EXCLUSIVE MELBOURNE SHOW

April 8, 2026

FREMANTLE INDIE ACT FIGUREHEAD RETURN WITH NEW SINGLE “HEART LIKE A SUNSET”

April 8, 2026

JACK WHITE RETURNS WITH TWO NEW SONGS, ‘G.O.D. AND THE BROKEN RIBS’...

April 7, 2026

COURTNEY BARNETT ANNOUNCES CREATURE OF HABIT TOUR ​FOR NOVEMBER 2026

April 7, 2026
Monthly Archives

March 2026

Festival NewsMusic News

The Horrors (UK) welcome Sydney band G.U.N as support on upcoming Australian tour – The Horrors’ Australian tour starts April 10

by the partae March 31, 2026
written by the partae

Iconic UK band The Horrors’ first Australian tour in more than a decade is just around the corner, kicking off next Friday 10th April at Brisbane’s Princess Theatre. Today they announce Sydney outfit G.U.N will join them as support in Brisbane, Sydney, Melbourne and Adelaide. Tickets are available HERE.

Self proclaimed as drama class with sex appeal, G.U.N have punctuated their voice deep into the heart of Sydney’s underground music scene. Driven by vulnerability, vanity, and soul, G.U.N blur music, performance art and theatre into a unique live experience. G.U.N’s unique live shows have been widely recognised and celebrated as a loving contribution to Australian alternative music and performance art alike. In 2024 G.U.N was nominated for FBi Radio’s best live act and recognized as #2 in the top 15 best live acts of SXSW Sydney 2024. Returning high from their Dark Mofo 2025 debut – where The Horrors also made a captivating exclusive appearance – G.U.N are not to be missed.

G.U.N 

Photo Credit: Ben Westover

Last year’s performances at Dark Mofo and 3RRR marked The Horrors’ first Australian shows since 2012, when they appeared at Laneway Festival alongside a run of headline shows in support of their third studio album Skying.

After nearly 20 years making music, there are few bands who’ve created a canon as determinedly innovative and consistently critically-acclaimed as The Horrors. Emerging as  zeitgeist-shaking garage-goths on their 2007 debut Strange House, before taking a sharp left  turn for their Mercury-nominated follow up Primary Colours, since the beginning they have  roamed freely between genres. 2011’s Skying won the NME Award for Best Album; V was  heralded as “a triumph” in a five-star Guardian review, while 2021’s pair of EPs – Lout and Against The Blade – marked a new chapter with their most industrial, uncompromising output yet.

The band’s brand new album, Night Life, is a record of weight and space; of melancholy and euphoria; a record that  has the ability to make bedfellows of seemingly disparate ideas as only The Horrors can. The ‘Night Life’ here is not the vim and vigour of pubs and clubs. It’s the thoughts that happen under  the cover of darkness; the places your mind takes you when the rest of the world is asleep. A  record born out of a desire to revive the raw, instinctive spirit of the band’s early work.

Premier Artists, ThePhoenix.au & 3RRR* present

*Melbourne only

THE HORRORS

NIGHT LIFE AUSTRALIA 2026

with special guests

Friday 10th April – Princess Theatre – Brisbane

Saturday 11th April – Manning Bar – Sydney

Sunday 12th April – Northcote Theatre – Melbourne

Tuesday 14th April – Lion Arts Factory – Adelaide

Wednesday 15th April – Rosemount – Perth **

For tickets & more information visit thephoenix.au

Brisbane: https://www.ticketmaster.com.au/event/2500635497384666
Sydney: https://moshtix.com.au/v2/event/the-horrors/187577
Melbourne: https://moshtix.com.au/v2/event/the-horrors-uk/187213?skin=northcotetheatre
Adelaide: https://moshtix.com.au/v2/event/the-horrors/187359?skin=LAF20
Perth: https://rosemounthotel.oztix.com.au/outlet/event/4b275db2-6354-4d65-ba21-d1b49d2058d1

**G.U.N not appearing

Connect with The Horrors

Facebook icon
Instagram icon
Website icon
YouTube icon
Spotify icon
March 31, 2026 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic News

1tbsp – Pink Dress (feat. Cherry Chola)

by the partae March 27, 2026
written by the partae

Australian dj/producer 1tbsp returns with a new single this week, ‘Pink Dress’, teaming up once again with Australian-Venezuelan artist cherry chola.

1tbsp and Cherry Chola first wrote together a few years ago, sparking a creative partnership that has continued to evolve ever since. That chemistry is pushed even further on ‘Pink Dress’, as they explore new textures and energy that lean into a bolder, dance-punk-tinged direction.

Speaking on the collaboration, 1tbsp explains that Cherry Chola’s versatility has been central to their ongoing work together, noting how her voice adapts effortlessly across styles. That freedom is on full display here and will continue across his forthcoming album “big soaps”, where the pair explore an even wider sonic palette.

“Fabiola (Cherry Chola) and I wrote together for the first time a couple of years ago, making ‘Limosina’ in about an hour before she had to run to another session. Fabby is quite prolific, and since then we’ve made a lot of music together. I love how her voice sits on different styles, and we got to explore that more on pink dress and on my upcoming album big soaps; a mutli-genre dance record that’s out on August 7th via my own label dottidot, and French imprint Recherche et Developpement.” ~ 1tbsp

The single is accompanied by a self-directed music video shot in Sydney, starring Cherry Chola alongside Soltera, and Sonido Sex on keys and drums. While the track itself was entirely produced digitally, the band-led visual reflects the raw, live energy that ‘Pink Dress’ channels, signalling a confident step forward in 1tbsp’s ever-expanding sound.

“We shot the music video in Sydney together with Soltera and Sonido Sex on keys & drums. Pink Dress felt like a strong step into a more dance punk direction, so it was fun to reflect that by having a band in the video, even though everything in the song was made on Ableton.” ~ 1tbsp

‘Pink Dress’ follows closely on the heels of 1tbsp’s recent single ‘Soulseek’, featuring Colombian-American artist Soltera, which also arrived alongside a wave of major announcements. The producer revealed details of a brand-new album, his upcoming North American “bubble tour,” his first-ever appearance at Coachella, and a month-long residency at London venue Phonox this May.

Stream/Watch:
https://bfan.link/pink-dress

Upcoming Shows:

(tickets)

bubble tour ~ USA

Thursday, March 26th – Terminal West, Atlanta

Friday, March 27th – El Club, Detroit

Saturday, March 28th – Outset, Chicago

Thursday, April 2 – A&R Music Bar, Columbus

Friday, April 3rd – The Sinclair, Cambridge

Saturday, April 4th – Brooklyn Steel, Brooklyn

Friday, April 10th – Coachella (Do Lab Stage)
Sunday, April 12th – Gop Tun Festival, Brazil

Phonox Residency ~ UK

Friday, May 8th – Phonox, London

Friday, May 15th – Phonox, London

Friday, May 22nd – Phonox, London

Friday, May 29th – Phonox, London

1tbsp:

https://linktr.ee/1tbsp

Cherry Chola:
https://linktr.ee/cherrychola

Credits:
Co-Written by Maxwell Byrne & Fabiola Vit Exposito

Produced by Maxwell Byrne
Mixing by Doug Wright

Mastering by Ryan Schwabe

Artwork by piggybankshoe

Photos by James Caswell

March 27, 2026 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic News

Hideout Festival announces full line up & brand Radio 1 Dance X Stage!

by the partae March 26, 2026
written by the partae
Hideout Festival, situated on the legendary Zrće Beach, has grown from humble beginnings to leading Croatia’s summer scene for a decade and a half. Having sold out the 2026 edition in just an hour, the buzz around the festival is huge, and with the full line up now announced, it’s looking like the most impressive year yet!
Spread across some of the best-rated clubs in the world, Papaya, Kalypso, and Aquarius, and also welcoming a brand new festival stage in partnership with BBC Radio 1 Dance X. Complete with pool parties, high-spec sound systems, bespoke production and a dedicated community, Hideout Festival has established itself as Croatia’s most essential festival experience.
Auditions to the existing stellar line up are the likes of Radio 1 dance legend Danny Howard, cult DJ / Producer Partiboi 69, multi-genre high-energy up and comer Arthi, bass-forward legend Lou Nour (FKA Sicaria), viral producers Riordan and Badger, Irish floor-filler Krytsal Klear, plus a host of other incredible acts.
They’ll be joining the already announced Interplanetary Criminal, Eliza Rose, Ewan McVicar, sim0ne, Josh Baker and more.
BBC Radio 1 Dance will also be in the mix at Hideout this year with a brand new stage for 2026 – BBC Radio 1 Dance X. The stage will be featuring the very best selectors in the business, with the likes of Dr Dubplate, Malugi, DJ Heartstring, Jack Marlow, Sasha Gigi, sim0ne, Daisy, Cicely and more.
Registration is also now open for Hideout 2027 tickets here – with this year’s edition selling out in an hour, it’s essential to sign up to boost chances of securing a place!
Hideout Festival has an unmatched offering with an array of boat parties, pool parties and exclusive performances. But the fun doesn’t stop when the music ends, with a wealth of extra adventures to be had from thrilling water sports, banana boats, jet skis, pedalos, and the famous bungee jump, to more chilled-out offerings like massages, cocktails, and sushi.
2025 was a big year to follow, but with this stellar line up, Hideout Festival is set to be an unmissable event in the 2026 festival calendar.
FULL LINE UP
(A-Z)
4am Kru / AK SPORTS / Alan Fitzpatrick / AMMARA / Arielle Free / Arthi / Badger / Bakery / Ben Hemsley / BIG REG / Charlie Boon / CICELY / Daire / Daisy / Danny Howard / Darius Syrossian / DART / Denney / Diffrent / DJ HEARTSTRING / Doorly / Dr Dubplate / East ENd Dubs / Eliza Rose / Ella Knight / Ellam / Ellia Jaya / Elliot Schooling & Liam Palmer / Enzo Is Burning / Ewan McVicar / Faster Horses / Fish56Octagon / Gaskin / Gorgon City / Hamdi / Interplanetary Criminal / Jack Marlow / Jack Swift / Jakkob / Jamback / Josh Baker / Juicy Romance / Kepler / KETTAMA / KILIMANJARO / Krystal Klear / Kyle Starkey / L.P Rhythm / La La / Laidlaw / LF SYSTEM / Locklead / Locky / Loéca / Lou Nour (FKA SICARIA) / Luke Dean / Luuk Van Dijk / MALUGI / Max Dean / MC AD / Molly D / Morgan Seatree / n4tee / Nautica / Nicola Bear / Obskür / Oden & Fatzo (Live) /Live F / Omar + / Paige Tomlinson / Partiboi69 / Paul Woolford / Prospa / RILEY / Rio Tashan / Riordan / Rossi. / Sam Divine / Sarah Story / Sasha GIGI / Silva Bumpa / sim0ne / Skream / SOSA / Special Request / Wildish
RADIO 1 Dance X Stage
(A-Z)
CICELY / Daisy / Danny Howard / DJ HEARTSTRING / Interplanetary Criminal / Jack Marlow / L.P Rhythm / Malugi / Nautica / Obskür / Omar + / Paige Tomlinson / Sarah Story / Sasha GIGI / Silva Bumpa / sim0ne
INSTAGRAM
March 26, 2026 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic News

First international guests announced for BIGSOUND 2026

by the partae March 26, 2026
written by the partae

Pictured: Márk Bóna – Sziget Festival (Hungary), Christie Medina-Gonzalez – Hellfest (FR), Carole Ann Vetter – Low Profile Sync Agency (US), Nigel House – Rough Trade Record Stores (UK) & Mariana Timony – Bandcamp (US).

The Biggest Week in Australian Music Returns, International Industry Guests Rough Trade Record Stores (UK), Bandcamp (US), Hellfest (FR), Low Profile Sync Agency (US) & Sziget Festival (Hungary) set tone for 2026 delegation

First international guests announced for BIGSOUND 2026 – Guests from the UK, US, France and Hungary to descend on Brisbane’s Fortitude Valley from 1–4 September 2026.

Full guest list includes representatives from ROAM Artists (UK), Reeperbahn (GER), DMT Law Firm (US), Carpark Records (US), The Great Escape (UK), True Panther (US) and SXSW (US)

Artist Applications Extended 11:59pm – Tuesday, 7 April 2026.

Magandjin (Brisbane), Queensland – Representatives from ROAM Artists (UK), Reeperbahn (GER), DMT Law Firm (US), Carpark Records (US), The Great Escape (UK), True Panther (US) and SXSW (US) lead the first international guest announcements for BIGSOUND 2026 (1-4 September Fortitude Valley, Brisbane). 

Alongside the conference, the BIGSOUND 2026 festival will showcase the BIGSOUND 100 – made up of Australian and New Zealand acts ready to capitalise on the momentum and opportunities offered through the BIGSOUND Artist Hub, Content House, tailored meetings, mentoring and performance schedules.

Artist Applications have been extended, closing 11.59pm – Tuesday, 7 April 2026, with the official program to be revealed in the coming months.

Kicking off their 25th year, the Southern Hemisphere’s largest music industry event, BIGSOUND has gone early with a first announce that reads like a wish list for any Australian musician, manager or music business looking for opportunities outside of their city and our shores.

Taking over Fortitude Valley each September, BIGSOUND is where the global music industry does business with Australia. It’s where deals get done, rosters get signed, tours get booked, and the conversations that define careers happen between panels, after showcases, and over a drink at the Artist Hub.

International Guests include:

Nigel House, Rough Trade Retail – Driven by a deep and longstanding passion for music, Nigel is the OG of one of the most influential names in independent retail. The 50-year-old institution operates stores across the UK, in NYC, and Berlin, combining record retail with in-store and out-of-store performances that play a key role in artist discovery and fan connection, championing artists with recent performances from Geese and Courtney Barnett.

Mariana Timony, Bandcamp Daily -The editorial arm of Bandcamp helps shape global music discovery while supporting independent artists through a direct-to-fan model. As Senior Editor, Timony will write a Brisbane Scene Report during BIGSOUND, spotlighting the region’s emerging artists and culture.

Christie Medina-Gonzalez, Hellfest – One of the world’s leading heavy music festivals held in France. Known for its large-scale production and line-ups featuring established acts like Metallica, Iron Maiden and Parkway Drive along with emerging artists programmed across the six stages.

Carole Ann Vetter, Low Profile – As the Senior Director of Licensing & Admin, for the last 8 years Vetter has been overseeing all things sync at the company, from creative pitching to business administration. Low Profile is a Brooklyn-based, female-run agency working across global campaigns in film, television, and brand partnerships, connecting culturally relevant and emerging artists with leading brands including Nike, Apple, and Netflix.

Márk Bóna, Sziget Festival – Bóna is a long-standing booker and event manager, having worked across its programming and production since 2004, now overseeing key stages and emerging artist bookings. Sziget Festival is one of Europe’s largest and most internationally recognised festivals, held in Budapest and drawing a global audience with a diverse, multi-genre lineup and large-scale production.

Joining them:

David Telfer, Lawyer at DMT Law Firm (US)

Christina Austin, Agent at Cobra (UK)

Kelley Lin, Label/General Manager at True Panther (US)

Lucy Atkinson, agent at ROAM Artists (UK)

Steph Salas, Label Manager at Carpark Records (US)

Reeperbahn (GER)

SXSW (USA)

The Great Escape (UK)

QMusic & BIGSOUND CEO Kris Stewart said “Each year, alongside our Conference Curators Cathy Oates and Niriko McLure, our commitment is to bring global music industry decision makers to Brisbane. We want people to leave BIGSOUND with relationships that support them across their entire career.”

Returning in just 159 days BIGSOUND 2026 will again feature the popular Roundtables, Conversation Corners, Artist Hub, Content House, Delegate Hub, and Goolwal Goolwal, (Yagara language for BIGSOUND) – BIGSOUND’s First Nations-led program bringing free cultural experiences by day and deadly tunes by night. Alongside these crowd favourites an expanded technology and partner showcase program will be launched in the coming months.

The full BIGSOUND program will launch in July, with early bird tickets set to go on sale in May. The team promises to tease more exciting news soon.

Be the first to hear when tickets go on-sale – subscribe now at www.bigsound.org.au/subscribe

About BIGSOUND

The biggest week in Australian music and largest music industry event in the Southern Hemisphere, BIGSOUND has been where the music industry does business for 25 years. Held annually in the sacred home and beating heart of Australia’s Live music scene – Fortitude Valley, Magandjin (Brisbane), BIGSOUND is four days and three nights of showcases, development, conversations and connections.

BIGSOUND is the place where managers find their next act, agents close touring deals, labels discover the artists that define the next generation, and where introductions made over a drink at the Artist Hub become the partnerships that shape careers. Part showcase, part conference, part pilgrimage for the Australian music industry and its global peers  – BIGSOUND is a cultural moment that has helped launched and propelled the careers of artists including Flume, Tash Sultana, Tones and I, and Courtney Barnettt, and continues to attract the international music industry to Brisbane each September.

BIGSOUND 2026 | 1–4 September, Fortitude Valley, Brisbane. Tickets on sale May 2026.

About QMusic
QMusic is the not-for-profit music industry peak body and development association for Queensland. The work of QMusic is critical to the success and development of Queensland’s music economy. It is the only significant and established not-for-profit organisation in Queensland dedicated to delivering sector and talent development, and recognition and capacity building initiatives including Industry Connect, the QMAs, and BIGSOUND.

TICKETS ON SALE MAY 2026

For more information on BIGSOUND 2026 visit
www.bigsound.org.au

BIGSOUND 2026
1 – 4 September Fortitude Valley Brisbane, QLD 

TICKET PRICING
ON SALE MAY 2026

FULL DELEGATE EXPERIENCE 

Early Bird Offer
General: $649 / QMusic Members: $599 / Students $425

Standard 
General: $799 / QMusic Members: $749 / Students $425

Late Round 
General: $899 / QMusic Members: $849 / Students $425

BIGSOUND BY NIGHT (3-DAY FESTIVAL PASS)

Early Bird Offer
General: $85 / Concession: $69

Late Round 
General: $99 / Concession: $69

SINGLE NIGHT FESTIVAL PASS

Early Bird Offer
General: $55 / Concession: $30

Late Round
General: $69 / Concession: $30

*Prices are subject to change and platform booking/processing fees

BIGSOUND: Official Website | Facebook | Instagram | Linkedin | YouTube | X

March 26, 2026 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic News

BEN GERRANS ANNOUNCES LARGEST AUSTRALIAN SHOWS TO DATE WITH WEAVER TOUR

by the partae March 24, 2026
written by the partae

Eora/Sydney-based DJ and producer Ben Gerrans is set to take his euphoric sound nationwide this winter, announcing his WEAVER tour, a run of shows spanning Brisbane, Sydney and Melbourne this May/ June presented by Untitled Group and triple j.

Marking his biggest headline shows on home soil to date,The WEAVER tour arrives at a defining moment in Gerrans’ ascent.

His latest single ‘This Feeling’, released March 20, captures his essence in full. Driven by euphoric builds and a sweeping melodic topline, the track is a clear reflection of Gerrans’ ability to merge nostalgia with modern club energy.

With an unmistakable social media presence, Gerrans’ reach continues to expand well beyond the club circuit, signalling a new generation of electronic artists whose impact spans both digital culture and physical dancefloors. That momentum has translated into sold-out headline shows across the country, as well as festival appearances including Ultra Australia.

Characterised by his larger-than-life stage presence and emotionally charged, high-intensity sets, Gerrans has built a reputation as one of Australia’s most compelling electronic exports.

With the announcement of his WEAVER Tour, Gerrans steps into his most ambitious chapter yet.

With demand continuing to surge and his profile rising globally, this tour stands as a defining moment for Ben Gerrans, another milestone from one of Australia’s most exciting electronic artists.

Kicking off on Friday, May 29 at Brisbane’s Princess Theatre, Gerrans is then set to perform at Byron Bay’s Beach Hotel (May 30), Melbourne’s Northcote Theatre (June 12), Sydney’s Metro Theatre (June 19), before closing in Perth at Badlands on June 20.

FULL TOUR DATES:

Friday May 29 – Princess Theatre, Brisbane
Saturday May 30 – Beach Hotel, Byron Bay
Friday, June 12 – Northcote Theatre, Melbourne
Friday 19 June – Metro Theatre, Sydney
Saturday 20 June – Badlands, Perth

Tickets + Info:
Pre-sale registration available now HERE

 Presale begins Tuesday 24th March 8AM AEDT

General Onsale begins Friday 27th March 9AM AEDT

March 24, 2026 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic News

OPEN SEASON 2026: LINEUP ANNOUNCEMENT

by the partae March 24, 2026
written by the partae
The Tivoli Group, Double J and QPAC presents
OPEN SEASON 2026
LINEUP ANNOUNCEMENT
WINTER 2026, BRISBANE / MAGANDJIN
Pre-sale Thursday 26 March 2026, 7:00am AEST
General on-sale Friday 27 March 2026, 8:00am AEST
Sign Up For Presale
Featuring… GIL SCOTT-HERON by BRIAN JACKSON & YASIIN BEY, ALISON WONDERLAND, SKIN ON SKIN, EARL SWEATSHIRT & MIKE, WEDNESDAY, HIATUS KAIYOTE, SHADY NASTY, MOGWAI, PEACH PRC, SAINT LEVANT, KAE TEMPEST, EDDY CURRENT SUPPRESSION RING, STEREOLAB, SPARKS, DRY CLEANING and many more!

Brisbane saves its best for winter and the soundtrack to winter 2026 has finally arrived. From 25 May to 25 July, Open Season returns for its sixth edition, bringing together over 100 artists and special events across 10+ venues – spanning theatres, clubs, galleries and public spaces – transforming the river city into a city of sound.

Produced by The Tivoli Group, Open Season has taken root as Brisbane’s defining winter cultural program, championing local, national and international artists and a bold expression of the city’s independent creative spirit. Unapologetically ambitious, the 2026 edition embraces unexpected venues and cross-disciplinary collaborations, creating experiences that are immersive, surprising and gritty.

Open Season is a true grass roots success story.  Since its inception in 2020 in the wake of the pandemic, the program has grown from a one-venue, 4-week event to an annual city-wide takeover that sets Brisbane alight each winter. Now spanning eight weeks, Open Season 2026 will activate The Tivoli, The Princess Theatre, QPAC’s new Glasshouse Theatre, South Brisbane’s Fish Lane, the entire Clarence Corner Precinct in Woolloongabba, the historic St Andrew’s Church, Quivr in Winn Lane, and various public spaces across the city.

Creative Director Dave Sleswick describes this year’s program as Open Season at its most expansive yet “Open Season has always been about building something from the ground up, a program that belongs to the city and the people who live here. In 2026 we’re expanding further than ever: more venues, more artists, more unexpected spaces. It’s rough around the edges, full of bite and big ideas, and driven by people who genuinely care about making Brisbane a more interesting and culturally rich place to call home.”

QPAC Chief Executive Rachel Healy welcomed the return of the Open Season partnership as an opportunity to bring together two very different but complementary arts organisations to present acclaimed international musicians to Brisbane audiences.

“Last year’s Open Season collaboration was a such a roaring success with 35 percent of audiences for the series coming to QPAC for the very first time,” Ms Healy said.

“We’re excited that our Glasshouse is now open and ready to be a part of this year’s Open Season with in-demand international acts such as Mogwai and Sparks on our newest stage, adding to Brisbane’s reputation as a contemporary music destination.”

The 2026 lineup unites international icons, legendary pioneers, emerging voices and local innovators in a cross-genre collision of punk, indie, electronic, jazz, hip-hop, psych and beyond.

A 2026 program highlight is the world premiere, Gil Scott-Heron by Brian Jackson & Yasiin Bey. See jazz and soul luminary Brian Jackson join forces with hip hop legend Yasiin Bey to perform music that transformed a cultural landscape. Together, they celebrate the revolutionary artistry of Gil Scott-Heron, whose voice and vision continue to inspire generations. ‘The Revolution Will Not Be Televised’, but it will come to life at The Tivoli this May.

His legacy sits alongside the poetic conviction of rappers Earl Sweatshirt and MIKE, who together bring sharp, introspective lyricism to the stage for a night of unmissable hip-hop and showmanship.

Heartthrob Saint Levant brings his trilingual love songs to The Princess Theatre. Pulling from a range of cultural background and musical influences, the artist creates a distinct blend of R&B that is having audiences rushing to buy tickets across the globe.

The sonic weight of Mogwai (celebrating 30 years), Deafheaven, Nothing and Spy expands into immersive, heavy and transcendent territory, while electronic music pulses through sets from Skin on Skin, Alison Wonderland, RONA, Ben Gerrans, Bradley Zero, dameeeeela and C.Frim.

London four-piece avant garde outfit Dry Cleaning delivers punchy spoken-word minimalism, while North Carolina indie-rockers Wednesday blur alt-country and slacker rock. USA’s Current Joys is the lo-fi, genre-bending solo-project of Nick Rattigan (Surf Curse). The Black Angels and Silversun Pickups channel shoegaze and psych rock with a nostalgic ’90s twist – all on long-awaited, highly anticipated visits to Australia.

Intimate performances come from Welsh singer-songwriter Cate Le Bon (with support from Hana Stretton), whose idiosyncratic melodies and hypnotic guitar work captivate; Kae Tempest, the British poet and musician whose bold spoken-word roots give each song striking narrative force; UK producer Clara La San, known for her dark, delicate vocals and introspective songwriting; The National’s legendary baritone frontman Matt Berninger, making his solo Australian debut; and indie-rock stalwart Ben Kweller, whose melodic hooks and heartfelt delivery round out the international program defined by humanity and powerful songwriting.

Following the cancellation of her On The Banks performances due to illness, Peach PRC is welcomed into the Open Season program, reaffirming her commitment to her Brisbane fans. Bringing her unapologetically bold hyper-pop world to the stage—where candy-coated hooks meet razor-sharp lyricism, and vulnerability collides with high-gloss theatrics.

Australian artists remain at the heart of Open Season with internationally lauded Melbourne act Hiatus Kaiyote returning to Brisbane as part of a special 15-year anniversary tour. Exclusive to Open Season is a rare, long-awaited performance by garage-punk legends Eddy Current Suppression Ring. Rolling Blackouts Coastal Fever, Rum Jungle, Mulga Bore Hard Rock, Full Flower Moon Band, Shady Nasty, Beddy Rays, Hatchie and Jem Cassar-Daley are also set to perform across the jam-packed season.

In 2026, Open Season moves beyond stages into the city’s streets, galleries and unexpected spaces.

A keystone event of the program is Against The Grain Festival, celebrating the 10-year anniversary of Brisbane-based event promoters GRAIN. The event is a one-day, multi-venue block party with 30+ artists set to transform The Princess Theatre and the surrounding Clarence Corner precinct into a bustling hub of art and community. The sneak-preview, first-round announcement features Stereolab, Rolling Blackouts Coastal Fever and Hatchie, with the full program set to announce of April 1(no fools).

Blak Day Out, co-presented by Blak Social, is an annual celebration of Blak excellence and First Nations voices, stories and sound will feature Beddy Rays and Jem Cassar-Daley with many more artists to be announced.

After a stellar first edition in 2025, South System Vol. 2 is ready to roll back into Fish Lane at South Brisbane, taking the dance party to the back street with free performances from RONA. and many more. Speaking of free dancefloors; Quivr co-presents Centrefold, a celebration of women and GNC creatives and electronic artists including C.Frim, dameeeela, nikitasilly, Peachtings, Squidgenini and more.

Photographic exhibition Nowhere Fast will take over the Woolloongabba Art Gallery. Curated by John Willstead and Robert Forster, the exhibition features Paul O’Brian’s photographs of Brisbane’s punk and post-punk scene from 1978-1982. Interdisciplinary collaborations see Open Season extend beyond music, including Australasian Dance Collective’s dance piece Assembly Vol. 2 – Dull Boy, Kiosk Films’ dance/film event Cruisin’ For A Brusin’, and SKIN, a dance and live music double bill from Brisbane’s VOiiiD Collective and Bcharre بشرّي,. Together, these projects stretch Open Season into something porous, unpredictable and tactile, where music, dance, visual art and community collide.

More than a lineup, Open Season 2026 is an invitation to experience Brisbane through music and togetherness, to move between venues, genres, scenes and ideas, and be part of a city coming to life in real time.

What’s better?? There is still more to come. Stay tuned for the next round of artist and venue announcements on 10 April.

Open Season = Music for Brisbane!
ALISON WONDERLAND, ARTIFICIAL (LIVE), BEDDY RAYS, BEN GERRANS, BEN KWELLER, BRADLEY ZERO, C.FRIM, CATE LE BON, CLARA LA SAN, CURRENT JOYS, DAMEEEELA, DEAFHEAVEN, DRY CLEANING, EARL SWEATSHIRT & MIKE, EDDY CURRENT SUPPRESSION RING, FULL FLOWER MOON BAND, GIL SCOTT-HERON BY BRIAN JACKSON & YASIIN BEY, HANA STRETTON, HATCHIE, HAITUS KAIYOTE, JEM CASSAR-DALEY, KAE TEMPEST, MATT BERNINGER (THE NATIONAL), MOGWAI, MULGA BORE HARD ROCK, NOTHING, PEACH PRC, ROLLING BLACKOUTS COASTAL FEVER, RONA., RUM JUNGLE, SAINT LEVANT, SHADY NASTY, SILVERSUN PICKUPS, SKIN ON SKIN, SORRY, SPARKS, SPY, STEREOLAB, THE BLACK ANGELS, WEDNESDAY and more to come!
FULL OPEN SEASON PROGRAM
Gil Scott-Heron by Brian Jackson and Yasiin Bey (USA) – Monday 25 May – The Tivoli
Earl Sweatshirt and MIKE (USA) – Wednesday 27 May – The Tivoli
Current Joys (USA) – Wednesday 27 May – The Princess Theatre
Mogwai (SCT) – Wednesday 27 May – Glasshouse Theatre, QPAC
Dry Cleaning (GBR) – Thursday 28 May – The Princess Theatre
Ben Gerrans – Friday 29 May – The Princess Theatre
Bradley Zero and Das Druid – Friday 29 May – Echo and Bounce
Mulga Bore Hard Rock – Friday 29 May – Vent Space, South Brisbane
Artificial (Live) – Saturday 30 May – Quivr
Sparks (USA) – Saturday 30 May – Glasshouse Theatre, QPAC
Matt Berninger (The National) (USA) – Sunday 31 May – The Princess Theatre
Cate Le Bon w Hana Stretton (WLS) – Tuesday 2 June – The Princess Theatre
Alison Wonderland – Thursday 4 June – The Tivoli
Wednesday (USA) – Thursday 4 June – The Princess Theatre
Sorry (GBR) – Friday 5 June – St. Andrew’s Church Hall, South Brisbane
Centrefold ft. C.Frim, Damleeeela, nikitasilly and more – Saturday 6 June – Quivr
Kae Tempest (GBR) – Sunday 7 June – The Princess Theatre
Saint Levant (PSE) – Monday 8 June – The Princess Theatre
The Black Angels (USA) – Tuesday 7 June – The Princess Theatre
Nowhere Fast Photo Exhibition – 9-22 June – Woolloongabba Art Gallery
ACD’s Assembly Vol. 2 – Friday 12 June – The Princess Theatre
Clara La San (GBR) – Saturday 13 June – The Princess Theatre
Rum Jungle – Friday 19 June – The Princess Theatre
Against The Grain Festival ft. Stereolab, RBCF, Hatchie and more – Saturday 20th June – The Princess Theatre / Clarence Corner Precinct
South System Vol. 2 ft. RONA. – Saturday 27 June – Fish Lane Arts Precinct
Shady Nasty – Friday 3 June – The Tivoli (Intimate Mode)
Ben Kweller (USA) – Wednesday 8 June – The Princess Theatre
Hiatus Kaiyote – Friday 10 July – The Tivoli
Deafheaven (USA) w Nothing (USA) & Spy – Sunday 12 July – The Princess Theatre
Kiosk Films: Crusin’ For A Brusin’ – Tuesday 14 June – The Princess Theatre
VOiiiD Collective and Bcharre بشرّي: SKIN – Thursday/Friday 16-17 June – The Princess Theatre
Peach PRC – Thursday 16 June – Secret Venue TBA
Skin on Skin – Friday 17 June – Secret Venue TBA
Full Flower Moon Band – Saturday 18 July – The Tivoli
Silversun Pickups (USA) – Friday 24 July – The Tivoli
Blak Day Out ft. Beddy Rays, Jem Casser-Daley + more Friday 24 July – The Princess Theatre
Eddy Current Suppression Ring w Speeding Vehicle and Scraps – Saturday 25 July – The Princess Theatre

TICKETS AND KEY DATES
Pre-sale Thursday 26 March 2026, 7:00am AEST
General on-sale Friday 27 March 2026, 8:00am AEST
Venues The Tivoli, The Princess Theatre, QPAC Glasshouse Theatre, South Bank Rainforest Green, Fish Lane, Old Regent Cinema, Clarence Corner block party, Quivr, Echo and Bounce, Museum of Brisbane and more.

OPEN SEASON
Rise and shine – it’s Open Season.
Winter 2026, Brisbane/Magandjin
openseason.live

March 24, 2026 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic News

WILL SPARKS ANNOUNCES ‘CLASSICS: WHERE IT ALL STARTED’ TOUR ALONGSIDE NEW SINGLE TEARDROP

by the partae March 24, 2026
written by the partae

Celebrating 15 years of sound, legacy and the tracks that defined a movement, Australian dance music heavyweight Will Sparks has announced his CLASSICS: Where It All Started tour, with exclusive headline shows locked in for Selina’s Coogee Bay (Sydney) on May 30 and The Timber Yard (Melbourne) on June 12. The tour announce comes paired with the release of his new single Teardrop (out today), continuing his hot run of rapidly released new tunes across 2026.

An artist presale will begin at 9:00am AEDT on Tuesday 24 March, and tickets will go on sale to the general public on Wednesday 25 March at 9:00am AEDT, register for presale from www.teamwrktouring.com/tours/will-sparks-classics.

Marking a defining moment in his career, the Classics tour is a one-night-only tribute to the records that built Sparks’ unmistakable sound and global reputation. Spanning music from across his entire career, the shows will dive deep into his catalogue, bringing early releases and fan-favourite cuts back to life on stage.  

“This tour represents over 15 years of dedication and effort,” says Sparks. “It’s about highlighting the music that often gets overlooked. Even though some of it will be older catalogue, it’s actually the foundation of the sound people know me for today.”

In a first for the artist, these performances will be entirely dedicated to his classic records. “This is my first-ever tour dedicated exclusively to classics, offering a completely unique sonic experience,” he explains. “Many of these tracks have never been included in my sets before.”

Fans can expect a high-energy, nostalgia-driven journey through Sparks’ evolution, from his early days producing in his Melbourne bedroom to becoming one of Australia’s influential electronic exports.

“I’m thrilled to deliver a set that evokes nostalgic memories for my longtime fans while giving newer fans a glimpse into where it all began for me, which was starting in my bedroom in Melbourne and here I am still pursuing my passion all these years later.”

Looking ahead, 2026 is shaping up to be one of Sparks’ biggest years yet. Alongside an influx of new releases, a collaboration with Melbourne mainstays Orkestrated, international touring across major markets, and a return to Tomorrowland in Belgium, Sparks is only just getting started.

For more information and ticket updates, visit www.teamwrktouring.com/

Stream: Teardrop

 

CLASSICS: WHERE IT ALL STARTED TOUR DATES

SAT 30 MAY | SELINA’S, COOGEE BAY HOTEL, NSW
FRI 12 JUNE | THE TIMBER YARD, MELB 

WEBSITE FACEBOOK INSTAGRAM   SPOTIFY

March 24, 2026 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic News

Linkin Park Deliver an Emotional and Electric Night Two in Sydney

by the partae March 18, 2026
written by the partae

Linkin Park returned to Sydney’s Qudos Bank Arena for night two of their From Zero World Tour, delivering a show that blended nostalgia, humour and sheer intensity across a sprawling multi-act set. 

The show opened with the atmospheric Inception Intro A, layered with vocals from “Castle of Glass”, before the band launched straight into “Somewhere I Belong”. A short scratched intro led the crowd into “Lying From You”, which has been appearing as a rotating track on the tour but made a second consecutive appearance in Sydney. 

Early in the set the band also played “Over Each Other”, marking its first appearance in Act One on the tour. 

The opening run continued with “New Divide”, introduced with the familiar Moscow intro, before the band shifted into the thunderous “The Emptiness Machine”. 

Before the song, Mike Shinoda paused to take in the crowd. 

“You guys doing good? Thank you for being here for night two. And also thank you guys for the new record From Zero, especially when this song came out.” 

The crowd responded with one of the loudest cheers of the night. 

The second act began with another cinematic transition, once again featuring vocals from “Castle of Glass”, before the band launched into a shortened version of “The Catalyst”. 

The energy quickly ramped up. During the intro to “Burn It Down”, Shinoda shouted to the crowd, “Alright you guys, it’s dancing time!” 

By the time the band reached “Up From The Bottom”, the arena was already fully engaged. Shinoda complimented the crowd’s vocals, telling them, “Sydney you guys have some beautiful voices,” prompting Emily Armstrong to laugh and respond, “You guys are fucking loud, it’s awesome.” 

Shinoda then introduced a brief Fort Minor throwback with a shortened performance of “Where’d You Go”. He asked the crowd how many had seen Linkin Park before and how many were first-timers, before adding that the show seemed to have “mostly newcomers”. 

“Do we have any Fort Minor fans? This one’s for you.”

The emotional run continued with “Waiting for the End”, featuring an extended synth intro, followed by “From the Inside”, which has now appeared three shows in a row on the tour. 

The intensity rose again with “Two Faced”. Before the track, Shinoda jokingly warned the crowd about the mosh pit. 

“Be careful not to fuck up any women in the pit on this one, gentlemen.” 

One of the most memorable sections of the night came shortly afterwards. 

During Shinoda’s solo medley, which blended “When They Come For Me” and “Remember the Name”, he referenced a tweet from a fan who had joked that he always rapped the same verse during this part of the show. Shinoda responded by dramatically switching things up, weaving together verses and choruses from several tracks including “Step Up”, “It’s Goin’ Down”, “Lift Off”, “Until It Breaks” and “When They Come For Me”. 

After the medley finished, the band paused to celebrate Joe Hahn’s birthday. 

Whitney Houston’s “I Will Always Love You” began playing over Wudo. . Hahn lip synced along while the rest of the band stood on stage playfully lip syncing the song and performing exaggerated dramatic gestures, sending the arena into laughter. The moment escalated when Hahn tossed his birthday cake into the very eager crowd before the band launched back into the music with a ferocious performance of “One Step Closer”. 

“Lost” began stripped back before building into the full band arrangement, followed by the long-awaited return of “Leave Out All the Rest”, which had not appeared in the set since São Paulo in 2024. 

“What I’ve Done” continued the nostalgic tone before the band debuted an extended synth intro for “Overflow”, with Shinoda briefly playing the melody from “Pushing Me Away”. 

Before “Numb”, Shinoda revived the tour’s “Control Colin” game. Emily selected a fan from the crowd who chose option two, which triggered a surprising disco-style version of the song. 

In a rare move, Shinoda introduced it by saying simply, “This song is called Numb.” 

The track transformed into a full disco jam, complete with extended grooves and playful vocals. The jam eventually transitioned into a crowd-wide singalong of Tears for Fears’ “Everybody Wants to Rule the World”. As the arena sang, Armstrong smiled and shouted, “I love you!” 

For the encore, an Australian flag was placed on Shinoda’s keyboard, marking the first time a fan flag has appeared on stage during the From Zero tour. 

Armstrong reappeared wearing oversized novelty glasses and spraying silly string during the intro to “Papercut”, adding another playful moment to the night.

“Heavy Is the Crown”, which had been absent from recent shows due to Armstrong’s illness earlier in the tour, returned to the setlist. During the second half of the song Armstrong climbed onto the crowd, standing above the audience as they held her up. 

Before the final song, Shinoda addressed the arena. 

“Ladies and gentlemen, you’ve been fucking amazing tonight. We can’t wait to come back.” 

He then led the audience in an “Aussie Aussie Aussie, Oy Oy Oy” chant before launching into “Bleed It Out”. 

The closing track featured an extended bridge where Shinoda rapped the first verse of “A Place for My Head”. The band stretched the song into a massive finale before finally leaving the stage. 

By the end of the night, the arena had witnessed a show that was chaotic, emotional and celebratory all at once. 

For Sydney, it was not just a concert. 

It was a reminder of why Linkin Park remain one of the most powerful live bands of their generation.

Photography: Josh Ma

March 18, 2026 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic News

Riley Green – Hordern Pavilion- 16 March 2026

by the partae March 18, 2026
written by the partae

Photography: Jake Harm Nam

March 18, 2026 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic News

Peach PRC At Hordern Pavilion – 15 March 2026

by the partae March 16, 2026
written by the partae

Photography: Jake Harm Nam

INSTAGRAM

March 16, 2026 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic News

A Perfect Circle Return to Australia in 2026 With Special Guest Puscifer

by the partae March 16, 2026
written by the partae

It’s been a long time between visits, but A Perfect Circle are finally returning to Australia.

More than a decade after their last run of shows here, the influential alternative rock outfit led by Billy Howerdel and Maynard James Keenan will head back down under this December for a string of headline performances across the country. For fans who have been waiting patiently since the band’s previous Australian tour in 2013, the announcement feels like a rare and welcome moment.

Since forming in the late 1990s, A Perfect Circle have carved out a distinct place in modern rock. Their music has always lived somewhere between heaviness and atmosphere — blending the brooding intensity of alternative metal with sweeping melodies and cinematic production. Albums like Mer de Noms and Thirteenth Step helped define the band’s early identity, while later releases expanded their sonic palette even further.

Across their catalogue, the band have never been afraid to explore darker emotional territory, pairing introspective lyrics with dramatic instrumentation that feels equally suited to intimate venues and massive arenas.

This time around, the tour will carry an added layer of intrigue with Puscifer joining the run as special guests. The project, also fronted by Keenan, brings a more experimental and theatrical edge to the lineup — making the tour something of a rare crossover between two very different sides of his musical world.

For longtime followers, that pairing alone is reason enough to pay attention.

Live, A Perfect Circle have always had a reputation for creating something more immersive than a typical rock show. Their performances often lean into mood and atmosphere, with lighting, visuals and sound design all working together to create a sense of scale that mirrors the band’s music.

When they arrive this December, Australian audiences will get the chance to hear songs that have quietly become modern alternative classics — from the haunting strings of “3 Libras” to the explosive intensity of “Judith” and the slow-burn tension of “The Outsider.”

The Australian leg of the tour will include four major shows before the band heads across the Tasman.

December 4 — Adelaide, The Drive
December 6 — Melbourne, Rod Laver Arena
December 8 — Brisbane, Riverstage
December 11 — Sydney, TikTok Entertainment Centre

After years of side projects, studio work and long gaps between tours, A Perfect Circle’s return feels less like a routine tour announcement and more like the re-emergence of one of alternative rock’s most compelling live bands.

For those who have followed them since the early 2000s — or anyone discovering the band for the first time — December can’t come soon enough.

TICKETS

March 16, 2026 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic News

ICONIC MELBOURNE DJ MARK PELLEGRINI – CELEBRATES 40 YEARS BEHIND THE DECKS

by the partae March 16, 2026
written by the partae
Melbourne-born DJ and event producer Mark Pellegrini has spent four decades shaping the city’s music scene, uniting dancefloors, and celebrating community through sound.
On May 30, ‘Decades of Dance’ presents a one-night-only milestone event honouring Mark’s 40 years behind the decks, alongside special guests at the iconic Trak Lounge Bar in Toorak.
Mark’s story began long before the DJ booth, in Abruzzo, Italy, where his family’s journey was defined by courage, sacrifice, and resilience. Migrating to Australia in the early 1950s, his grandfather and father built a life grounded in hard work and family values. Growing up in Melbourne, Mark inherited a rich Italian cultural heritage — music, food, and traditions that would form the backbone of his life and career.
In 1986, as a teenager, Mark discovered his calling: DJing. He began with a small suitcase-style turntable and a cassette deck, experimenting with vinyl, mixing tracks, and manually adjusting tempos to master his craft before playing at house parties and local clubs across Melbourne’s northern suburbs.
Over the decades, Mark has performed at some of Melbourne’s most iconic venues including: Heat, Alumbra, Royal Melbourne Hotel, Trak, Cadillac Bar, Silvers, Raquet club, Dome, Chevron, Salt, Platform One and many of Melbourne’s biggest events & festivals.
Mark has also entertained his loyal fans across the airwaves via his successful ‘Rocksteady Radio Show’ on long-running Dance station KISS FM Melbourne.  He has hosted over 455 shows, including the underground house show ‘Rocksteady Revolution.’
Mark has maintained a strong connection to Melbourne’s Italian community, performing on the main stage at the ‘Melbourne Italian Festa’ for over ten years and at numerous cultural celebrations, uniting music, heritage, and generations of Italo-Australians.
“My music is my gift,” Mark reflects. “It’s a way to connect people, move emotions, and create moments that live beyond the dance floor. I honestly can’t believe it’s been four decades of music, memories and dance floors. From underage parties in the early days to packed clubs, festivals and unforgettable nights across Melbourne and beyond… music has been my life’s work. On Saturday 30th May 2026 at Trak in Toorak, I’m celebrating 40 years behind the decks, and I would love for you to be a part of it. I’ll be joined by some absolute legends who have shared this journey with me over the years and together we’re going to take you through the decades that shaped us all. Disco. 80s. 90s. 00s. House anthems. A few surprises along the way. I hope you can join me and the crew to celebrate what will be a truly special milestone.” Mark Pellegrini
Mark Pellegrini – 40 Years Behind the Decks  
A celebration of Mark’s passion for music and a promise of creating new memories and unforgettable experiences.
 
Event Details:
Saturday 30th May 2026
Doors Open 8PM – Late
Trak Lounge Bar – 445 Toorak Rd, Toorak, Melbourne
Joining Mark Pellegrini on the night:
DJ Michael T
DJ Andreas
Percussionist Jason Heerah
Vocalist Joy Soul
Live sax by Jarrad Lees
Plus, a very special guest to be announced
Tickets available here

For more information, go to:
Instagram
Facebook
Mixcloud
March 16, 2026 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: LAMOUR on KARMA, Crooner Energy and Life After Touring with Peter Doherty

by the partae March 16, 2026
written by the partae

Opening for Peter Doherty for two years must have been a formative experience. What did that period on the road teach you about performing and shaping your own identity as an artist?

It was an incredible experience to have the opportunity to follow Peter Doherty on three different tours. When I was a teenager, with The Libertines and Babyshambles, he was one of the artists who made me want to make music. So it was something quite crazy and emotional.

As a musician, it was a chance to play venues on a scale I’d never experienced before, to discover cities and life on a tour bus. It’s also a baptism of fire — seeing whether you’re capable of rising to the level of those kinds of shows. It’s not always a gentle exercise either, because people aren’t there for you. But since the ’70s, when Iggy Pop used to say he had to dodge glasses being thrown at his face, audiences might be a bit kinder.

It’s also the chance to actually be listened to and to meet an audience through something much more authentic than an Instagram reel. You don’t forget a concert.

Your sound sits in an interesting space where sharp guitars, pop instincts and electronic textures all meet. How did that blend evolve when you were writing the KARMA EP?

My first sensitivity, my first real encounter with music, was British and American rock from the 2000s — what people called the “rock revival.” But at some point I started working on my own after my teenage bands split up.

Through making music on a computer and becoming a sort of bedroom producer, I inevitably moved into electronic music, through bridges like LCD Soundsystem, the music of Manchester (Factory Records and all that), and probably also a very French heritage from the French Touch — a certain sense of melody.

So when we recorded Karma, it all happened quite naturally. It had already started with my first EP. With Thomas Sega, who I’ve worked with forever, it all came together very organically.

There’s a sense of attitude and humour running through the lyrics, with sarcasm and surreal touches popping up in unexpected places. Where do those lyrical ideas tend to come from when you’re writing?

I don’t really know where it comes from, or even exactly what I’m talking about. And that’s what I like about music and poetry — that everyone can interpret it and be moved by it in their own way.

Still, I tend to aim for very simple and sincere writing, but that’s actually the hardest thing to do. Maybe the sarcasm is there to balance it out. It could apply to the name LAMOUR itself — it’s so cliché and sincere that it could be taken as a joke, but it’s actually completely straightforward.

The project carries a crooner-like vocal presence but with a kind of restless punk energy underneath. Was that contrast something you were consciously leaning into, or did it happen naturally while recording?

I smoke a lot of cigarettes — they say that’s the secret of crooners. The punk energy is always there. The studio sometimes makes it fade a little, but live it often comes back full force. People are often surprised at gigs when it suddenly reappears at full speed.

Factory Records and Rough Trade-era sounds are often referenced in conversations around your music. What is it about that era that continues to inspire the way you approach songwriting today?

Yes, it’s a scene I listened to a lot when I started LAMOUR — the Madchester music, CBGB punk and Detroit house, a kind of slightly absurd meeting of genres. But for me, Manchester is really the birthplace of that strange encounter.

There’s also a connection with Brussels, the city where I live now, with its 303 days of rain a year — a kind of twin feeling of idleness and melancholy.

With KARMA being your second EP, did the creative process feel different this time around compared to your earlier material?

Yes. With Thomas Sega, my longtime studio partner, we recorded at Principauté Records in Paris and we left much more space for improvisation, for surprise, for mistakes and for working together. I allowed more room for things to happen rather than controlling everything.

There’s a strong sense of atmosphere across the project. When you’re building a song, do you start with the sonic mood first, or does everything grow out of a lyrical idea?

It really depends — there’s no rule. Sometimes the sound comes first and we’ll put down a kind of improvised “gibberish” vocal over it and maybe even keep it that way, and the meaning will come later. Other times it starts from a text with a guitar.

But more and more I try to start from an emotion, and then place it inside an atmosphere — a kind of musical landscape you can dive into.

The character of LAMOUR feels quite cinematic — almost like a persona stepping into the spotlight. How much of that is a deliberate artistic character versus simply an extension of yourself?

In the visual universe we developed with Jeff Essoki, who directed the Karma video, and Gabriel Odolczyk, the photographer who shot the cover and the images for the EP, we wanted to highlight themes of wandering, misfortune and a kind of search for oneself.

That’s why there’s this character in an oversized working-man suit suddenly standing in the middle of the sea in the Karma video, or dancing in fields. What is he doing there?

There’s a sense of escape — he doesn’t belong in this corporate world that doesn’t suit him. Karma brought him there, in the middle of nowhere, in the vastness of the water, which is also a place of dreams, of before birth.

For some people it might look like bad karma, but it can also be seen as liberation. It’s still better than being stuck in a fucking open space.

When listeners press play on KARMA, what kind of emotional journey do you hope they move through across the EP?

A kind of wandering, a daydream. Sometimes a bit melancholic but also sunny. I hope it inspires people.

Looking forward, do you see LAMOUR continuing to explore this blend of pop, rock and electronic influences, or are there new directions already starting to pull you somewhere unexpected?

Yes, I think that’s the core matrix of the project. But the next record will be the debut album and I’d like to make a rock album — well, the way a French person would make a rock album.

And often when I start moving in a certain direction, by the time I arrive somewhere it’s actually very far from what I originally announced.

INSTAGRAM

 

March 16, 2026 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: Julia Sound Explores Emotion, Politics and Hope on New Album midlife

by the partae March 16, 2026
written by the partae

How did the idea behind midlife first begin to take shape, and at what point did you realise it was becoming the centre of a full album rather than just another collection of songs?

I’d released an album of instrumentals in 2024 and wanted to follow up with another album featuring vocal collaborations, so I knew right away this was going to be a full album. I just didn’t know how many songs it would include or who I’d end up collaborating with.

You wear many hats as a composer, producer, mixer and sound designer. When you start building a Julia Sound track, which part of that creative identity usually leads the process?

At the start of the process, it’s the composer and writer hat that takes the lead — exploring sounds and ideas and being relaxed about the outcome. I try to enjoy the process and see where it leads.

The record moves between mellow synth textures and moments of sharper energy. How did you approach balancing those atmospheric elements with the more urgent tones across the album?

Pretty much everything on the three previous albums has been chill, mellow and mid-tempo. But after playing a few live shows and seeing how audiences reacted to the music — and how they started moving and dancing on some mid-tempo tracks — it made me want to gently ramp up some of that energy. That was particularly to build momentum for future live shows.

I think I struck a good balance. It’s all different variations on a theme of electronic music, which I’ve always loved. The end-of-the-night hands-in-the-air dance floor moment and the 4am ambient chill vibe are all part of the same thing in my mind.

Several collaborators appear on midlife, including Dolly De Guerre, Yo Megasonic, Keely Halward and Kinnie Starr. What made each of them the right voice for those particular tracks?

These are all trusted collaborators I’ve worked with before, and I know each of them has unique talents, voices and perspectives. As I’m building each track, I tend to let the music inform me about who might best match the mood I’m creating. Every time, what each of these vocalists brings fits seamlessly.

Songs like “One Love” and “Shelter” carry a nostalgic warmth, while others feel more confrontational. Did that contrast develop intentionally, or did it emerge naturally as the songs evolved?

We’re living in very strange times, so I think it emerged naturally, likely influenced by the daily twists and turns we’re all experiencing. We’re watching the AI broligarchy and some absolutely insane narcissistic, nihilistic administrations in the US, Russia and Israel wreak havoc on the world. So a bit of edge and confrontation is bubbling within everyone, and it’s not surprising that this is coming through in people’s art.

But I always carry a thread of hope as well. I strongly believe that good humans outweigh the bad ones, even if the bad ones are controlling the narrative right now. I want to highlight themes of peace, calm, comfort and hope. It’s important that we don’t lose hope.

You’ve spent years working across film, television and video games as well. Do those worlds influence the way you shape music, almost like building a soundtrack for a scene or story?

I don’t think so, at least not consciously. When I look at my work in game audio in particular, there are layers and layers of complexity involved in creating those experiences, which I love — collaboration between artists, programmers, designers and writers all working together to build immersive worlds and fun player experiences.

Composing music for interactive systems requires additional skills and approaches. Creating four-minute songs is almost an easy antithesis to balance the complexity of interactive audio.

There’s a thread of social awareness running through the album. Were there particular moments or experiences that pushed those themes to the surface while writing?

I’m a bit obsessed with the news, which is probably not the healthiest habit. But very few people create in a vacuum. Using music to express my dismay about the state of the world — or to express values like peace and hope — is a way I process the messy experience of being human in the 21st century.

In an industry that increasingly prioritises constant output and online presence, how do you protect the space needed to actually create meaningful work?

I’m lucky. I’ve been working in music and audio for three decades and have achieved a lot in that time, including the realisation that views, followers and those kinds of metrics are ultimately meaningless. Because of that, it’s quite easy for me to shut out the noise and the nonsense.

The process of creating is the most important thing for me. Of course I still put some effort into making sure someone hears the work, but there’s a certain liberation in not really caring about numbers, likes or views. I do feel a bit sorry for younger generations who have only known this strange, fake “content creator” driven version of the music industry. I can confidently say that music appreciation — and the industry itself — felt healthier through the 80s and 90s.

Looking back at your earlier releases, what do you feel has changed most about your approach to songwriting and production over time?

I don’t think anything has radically changed. Different plugins and synths can help carve out a particular sonic identity for each release. That said, I’m definitely considering the next Julia Sound release being 100 percent faster-tempo, EDM-inspired house music, which would mark quite a shift.

When someone listens to midlife from start to finish, what do you hope they take away from the experience once the final track fades out?

Overall I think the album has a balanced emotional arc. It opens and closes with a sense of calm and peace, encouraging the listener not to lose hope and reminding them that empathy still matters. The middle of the album ramps up, leaning into personal angst on “Finally I’m Free” and political frustration on “Fk Leaders Who Don’t Lead,” before settling back down again.

Humans are complex emotional beings, and a healthy dose of anger at the world is sometimes necessary — perhaps more now than at any other time I’ve lived through. But we also need to stay focused on the positive aspects of our species. That’s why the album closes with the song “Make Empathy Great Again.” “MEGA” is far better than that other acronym I won’t even name. In the end, love is still the answer.

boomsmackrecords.bandcamp.com
https://www.facebook.com/JuliaSoundMusic
https://www.instagram.com/juliasoundmusic/

March 16, 2026 0 comments
0 FacebookTwitterPinterestEmail
Music News

The Lemon Twigs (USA) announce new album Look For Your Mind! out May 8 via Captured Tracks / Civilians

by the partae March 16, 2026
written by the partae

The Lemon Twigs announce their new album, Look For Your Mind!, with a video for its lead single ‘I Just Can’t Get Over Losing You’. Underneath its poppy exterior, Look For Your Mind!, due May 8th on Captured Tracks / Civilians, contains an undercurrent of paranoia and suspicion. “I do think that now is a time of insanity,” admits Brian after pausing for thought. “You really have to hold onto your own mind if you don’t wanna lose it.”

New to this album is the inclusion of the live members Reza Matin (drums) and Danny Ayala (bass), as well as Eva Chambers of Tchotchke. With the D’Addario brothers, Brian and Michael, previously having handled everything in the studio themselves, this shows a newfound sense of freedom.

The ringing guitars of ‘I Just Can’t Over Losing You’ may create a familiarly pleasing mood, but when the bridge comes in at an unexpected time, the chorus is cut in half, and Brian and Eva’s harmonies build to its euphoric climax, the conventions for a pop song such as this are broken. The manner in which The Lemon Twigs surprise is a constant and testament to their vision and abilities. “Every time we try to write something that’s completely straightforward, we can’t help adding an element which comes out of left field. We always want to write a song we’ve never heard before,” chuckles Brian.

 

In 2023, The Lemon Twigs made their return to Australia for the first time in six years, including an appearance at Harvest Rock festival and a run of headline shows in Melbourne, Sydney, and Brisbane. While no new Australian shows have been announced at this stage, the band have just announced an extensive 2026 tour including the US, Canada, UK and Ireland. For full details and dates visit  www.thelemontwigs.com.

The Lemon Twigs’ two previous Captured Tracks albums, A Dream Is All We Know (2024) and Everything Harmony (2023), certainly indicated something of a ground zero in their then five album career. “It was the beginning of making records that we would listen to ourselves,” says Michael D’Addario, the younger Twig brother, now aged 26. By the time of A Dream Is All We Know and the future Michael classic ‘My Golden Years’, The Lemon Twigs’ new era had truly begun.

The Lemon Twigs sixth studio album is the logical next step, but it’s also much more. With the skills they’ve acquired over the last two records, their many outside productions, and time on the road, they’ve imparted a vital but disciplined spirit. At the LP’s core, as always with the Lemon Twigs, is great songwriting.

Look For Your Mind!

out May 8 via Captured Tracks / Civilians

Website | Bandcamp | Spotify | Apple Music | Youtube | Instagram | Tiktok | Facebook

 

March 16, 2026 0 comments
0 FacebookTwitterPinterestEmail
Newer Posts
Older Posts

Recent Posts

  • Power duo DJ Sammy x Chris Diver ignite festival season with “Don’t Follow Me (Be My Lover)
  • Interview: Bud Rokesky on Dusk — Fear, Grief and the Power of Letting Go (Touring Australia This May)
  • Interview: Figurehead talk new single “Heart Like A Sunset”
  • FESTIVAL OF THE STONE 2026 LINEUP ANNOUNCEMENT Saturday 20 June, Byron Bay – Music | Community | Tradition
  • MATT CORBY ANNOUNCES THE TRAGIC MAGIC TOUR – ADELAIDE, PERTH, MELBOURNE, NEWCASTLE, BRISBANE – JUNE 2026 + SPECIAL GUEST GRETTA RAY | TICKETS ON SALE MONDAY

Recent Comments

  • Shannon Austbo on RUNYAMOUTH hits the scene with explosive debut single HEAD ON A STICK
  • Anna on Interview: LUX – ‘Mirage’ A Dreamy Exploration of Love’s Illusions and Realities
  • Claire P on Interview: LUX – ‘Mirage’ A Dreamy Exploration of Love’s Illusions and Realities
  • Joe Travers on Trevor Kidd Teams Up with INXS and The Tea Party Legends for Explosive New Track “Sunshine”
  • Will s on Exploring Ego: Inside Pallas Haze’s Groovy Musical Odyssey Interview

Archives

  • April 2026
  • March 2026
  • February 2026
  • January 2026
  • December 2025
  • November 2025
  • October 2025
  • September 2025
  • August 2025
  • July 2025
  • June 2025
  • May 2025
  • April 2025
  • March 2025
  • February 2025
  • January 2025
  • December 2024
  • November 2024
  • October 2024
  • September 2024
  • August 2024
  • July 2024
  • June 2024
  • May 2024
  • April 2024
  • March 2024
  • February 2024
  • January 2024
  • December 2023
  • November 2023
  • October 2023
  • September 2023
  • August 2023
  • July 2023
  • June 2023
  • May 2023
  • December 2022
  • November 2022
  • October 2022
  • September 2022
  • August 2022
  • July 2022
  • June 2022
  • May 2022
  • April 2022
  • March 2022
  • February 2022
  • January 2022
  • September 2021
  • August 2021
  • July 2021
  • June 2021
  • May 2021
  • April 2021
  • March 2021
  • February 2021
  • January 2021
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • March 2020
  • February 2020
  • January 2020
  • December 2018
  • April 2018
  • February 2018

Categories

  • Eats & Drinks
  • Fashion & Culture
  • Festival News
  • Music Interviews
  • Music News
  • Others

Meta

  • Log in
  • Entries feed
  • Comments feed
  • WordPress.org

MyListing is the most advanced directory theme made for WordPress. MyListing 2.0 improves and refines all aspects of the theme

 

  • Upload Event
  • Upload Listing
  • More Pages
  • [27-icon icon=”icon-box-2″] More
  • Categories
  • More Categories
  • More Categories #2
  • Locations
  • More Locations
  • Place
  • Event
  • Jobs
  • Real Estate
  • Cars
  • Create your own!
  • More demos
  • Facebook
  • Instagram

The Partae © 2025


Back To Top
  • Music
    • News
    • Interviews
    • Festivals & Events
  • Fashion / Culture
  • Stay & Play
  • About Us
  • Contact Us / Advertise
  • Submit Event