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Laneway Festival has been on its annual quest to bring you the best and what’s next, and Today the Trans-Tasman festival is thrilled to finally share its 2027 lineup: a curated collision of artists at the top of their game, and new discoveries you’ll be talking about for years to come. Celebrating 22 years of Laneway Festival, this one is a classic – featuring the likes of Fontaines D.C., “The Hayley Williams Show”, Slayyyter, ADÉLA, Kim Petras, MUNA, Ninajirachi, Rico Nasty, and many more. Irish post-punk outfit Fontaines D.C. have been our favourites for a long time. Proudly backed by Laneway as a defining voice of a generation, now solidified as one of the most important rock bands on the planet, this arena-filling act returns to grace the Laneway Festival stage for the first time in four years. Fresh off a headline set at Reading and Leeds, sold-out arena tours, and an even larger run of European stadium shows on the horizon – the beloved Dublin band arrives backed by widespread global praise from critics and fans alike, including two Grammy nominations and back-to-back BRIT Awards. They will be starting their year at Laneway Festival with an extended headline set featuring brand-new tracks from Dopamine Chamber, their highly anticipated fifth studio album. We are equally thrilled to welcome “The Hayley Williams Show” to Laneway 2027 for her first Australian shows as a solo performer. A 3x GRAMMY-winning icon ranked by Billboard as one of the 50 Greatest Rock Singers of All Time, she remains a constant source of inspiration for contemporaries like Billie Eilish, Chappell Roan, and Doechii. Widely known as the powerhouse frontwoman of Paramore, she is a globally adored phenomenon celebrated for her magnetic live performances and high-profile creative side quests — collaborating with artists such as David Byrne and Turnstile, Moses Sumney, and Jack Antonoff. She arrives at Laneway with an electrifying extended headline set highlighting her acclaimed solo discography, including 4x GRAMMY-nominated album Ego Death at a Bachelorette Party. Tickets to her intimate headline shows at Sydney’s Enmore Theatre and Melbourne’s Forum Theatre sold out almost instantly, making Laneway 2027 the only chance to see “The Hayley Williams Show”. No longer an underground secret, Slayyyter returns to Australia in 2027, ready to ‘CRANK IT’. With a meteoric breakthrough trajectory comparable to Laneway alumni like Chappell Roan and Charli XCX, she joins the bill as an undeniable pop phenomenon following an internet-breaking Coachella performance and a Reading & Leeds mainstage set in front of a crowd of 80,000 people. The popstar contingent continues with Slavic singer and dancer ADÉLA, a standout musical talent fast becoming the breakout artist of the year with hits like ‘Ain’t in LA’ and ‘Nicole Kidman’ — currently claiming a #1 song in the US alongside top 10 placements across Australia and New Zealand — making her performance an essential, unmissable highlight. Plus, sleaze-pop queen Kim Petras who is fresh off releasing Detour, her best record to date; MUNA delivering their signature slice of heavenly, euphoric synth-pop; and the sharp, infectious indie-pop sounds of Rachel Chinouriri. For electronic music fans, multi-talented powerhouse Australian producer Ninajirachi marks a meteoric rise from interstitial DJ at Laneway 2025 to headliner of the Everything Ecstatic Stage in 2027, leading the charge alongside HorsegiirL, who gallops in from her Berlin barn to debut her new live show. The lineup continues with enigmatic internet rapper Rommulas, PC Music pioneer Danny L Harle, Australian-Filipino artist Daine with their maximalist experimental pop, electronic rap auteur Jane Remover, and glitchy hyper-pop artist Tiffany Day. In classic Laneway fashion, the 2027 bill delivers a multi-genre collision of alternative, hip hop, punk, and indie, including the Laneway debut of multi-genre US rapper Rico Nasty, the return of Brooklyn shoegaze heroes DIIV after over a decade, the deviant pop of Los Angeles band Automatic, New Zealand indie-rockers Balu Brigada, and indie-music newcomer Violet Grohl. Plus, an exciting contingent of up-and-coming Irish artists – Bleech 9:3, Florence Road, and Gurriers – feature alongside local acts Ecca Vandal, Public Figures, Swapmeet, and Trials. Between sets, 1TBSP and live-coding genius DJ_Dave will provide the soundtrack to an unforgettable day of live music. Laneway Festival pre-sale, presented by Afterpay, opens Wednesday 7 October and will run for 23 hours in each city or until the allocation is exhausted. Sign up to the pre-sale for exclusive access to 1st release tickets. General on sale will follow on Thursday 8 October.
PRE-SALE: Wednesday 7 October GP ON-SALE: Thursday 8 October Fans can also secure exclusive Laneway ‘27 online-only merch, including a festival lineup cap and a special, limited Laneway edition of Fontaines D.C.’s forthcoming album Dopamine Chamber. ADELAIDE & PERTH SIDESHOWS
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Australian producer ZUSO has released his latest single, ‘U R LUVD’, a reflective lo-fi track centred around uncertainty, intimacy and the reminder that you are still loved.
Written towards the end of last year, ‘U R LUVD’ explores a quieter and more introspective side of ZUSO’s production. The track was inspired by EMBRZ’s ‘Left Ya a Voicenote’, particularly the use of a voicemail sample to create an intimate and personal feeling.
ZUSO wanted to explore a similar idea in his own way, eventually finding a voicemail that matched the mood of the track while reinforcing its central message.
“U R LUVD was written towards the end of last year and is a deep, reflective lo-fi song that tries to capture feelings of uncertainty, while also serving as a reminder that no matter what’s going on in life, you are still loved.”
He explains that EMBRZ’s ‘Left Ya a Voicenote’ was where the original idea came from, with the voicemail element becoming an important part of how he approached the track.
“I loved the way he used a voicemail sample to create such an intimate and personal feeling, and I wanted to explore something similar in my own way. I ended up finding a voicemail that matched the mood of the song perfectly, while also conveying the positive message I wanted the track to leave with people.”
At its core, ‘U R LUVD’ carries a simple message: “whatever you might be going through, U R LUVD.”
The track features lo-fi textures, understated production and a personal vocal sample, creating a restrained and intimate atmosphere around its central message of reassurance.
‘U R LUVD’ was written and produced by Gabriel Cuenca, aka ZUSO. Nicholas Di Lorenzo handled the mixing and mastering, while Eclipse Visuals created the artwork and visuals. Photography is credited to Karlo Apostol.
‘U R LUVD’ is Out Now
Credits:
Written & Produced by Gabriel Cuenca (aka ZUSO)
Mixed by Nicholas Di Lorenzo
Mastered by Nicholas Di Lorenzo
Artwork by Eclipse Visuals
Visuals by Eclipse Visuals
Photos by Karlo Apostol
‘Miracle’ feels deeply personal while still having a sense of lightness to it. What was the moment that sparked the song, and did you know straight away that you had something special?
I was in the studio with Tij who co-wrote, produced, mixed and mastered the song and I remember he sang the first line and I was like yep I love that. That’s when the idea was born, and we finished the song that day. We both loved the song from the get go, so it was super fun and exciting turning it into what it is now.
There’s a beautiful contrast between vulnerability and hope in ‘Miracle’. What were you trying to capture emotionally when you were writing it?
We really wanted to paint the picture of when you meet someone and the sparks are flying. We wanted to capture all the thoughts and feelings that exist within that experience. All the hope, the excitement, the youthfulness and the unknowns of it all.
When you look back at the person you were when you wrote ‘Miracle’, what do you think the song reveals about that period of your life?
I think the song reflects my inner dreamer. I am one to daydream and romanticise life and the people in it, and this song is a great depiction of that. I was kind of living vicariously through the song as we wrote it and was loving living in that world.
‘Miracle’ is also the title of your upcoming third EP. Did the title come first, or did the collection of songs naturally lead you towards calling the EP ‘Miracle’?
We had written the whole thing and I was pondering on the title for a little while and I landed on Miracle. It felt like a super special title for the EP because at the time I was really playing with the idea that miracles are everywhere and all it takes is being open to receiving them to experience them. I feel like the whole EP speaks to the journey of getting to that point. There’s yearning, there’s longing, there’s play, there’s romanticism, and of course there are miracles!
Across your previous releases and this new EP, how do you feel your approach to songwriting has changed? Are you writing about different things now, or seeing familiar experiences differently?
I think my approach to songwriting through my more recent releases has been a little more intentional but I’ve always liked to give myself space to experiment with sounds and be true to what I’m feeling at the time. I think now more than ever, though I like to write quite introspectively, I’ve allowed myself to tap into my inner child and have a little more fun with it. I write what feels relevant for me, there were some overlapping themes, and there were also many new experiences and understandings of life to draw from.
Your music has a strong storytelling quality. When you’re writing, how much of the story is drawn directly from your own life, and how much comes from observation, imagination or moments you’ve picked up along the way?
A lot of it is usually drawn from my own life but on this EP I really opened up to exploring stories of mine and Tij’s imagination and observation, treating it more like a stream of consciousness. I find it super interesting to see once the song is written, how my subconscious was speaking through the storytelling.
Was there a song on the EP that challenged you more than the others to write or record? What made it difficult?
Turning on the dial was probably the most challenging to record. The writing came quite easily but there was some trial and error figuring out the sound for it because it felt a little separate from the rest of the songs, but I really wanted it on there because of it’s storyline and how relevant the song felt for me at the time. After some chopping and changing we landed on what we have now and I’m super glad it’s on there.
What did you discover about yourself as an artist while making this EP that you didn’t expect to?
There were points throughout making the EP where I doubted my abilities as a writer, but I really worked through that and came back to the reason I love it so much, which is because it feels like a release of some sort when I write, and it creates a space for me to express how I feel. I learnt that for me it’s more about feeling into it, rather than being super logical and technical with everything.
You’ll soon be taking ‘Miracle’ and the new songs into a run of live shows. Do your songs change for you once you start performing them in front of people?
I think with some of the songs you can feel the audience really connecting with them and those always make the songs feel a little more special to me. It is so touching to see how people connect with the music.
After three EPs, what still excites you about making music, and what would you love to explore next that you haven’t had the chance to yet?
I find it super fun diving into new ways of expressing the goings on in my mind and in my life. Listening to other music honestly makes me excited, because I hear things I love and I feel so inspired. I love working with people, especially Tij and leaning in all sorts of directions creatively with him. I think next up I’d like to explore some of the music of my heritage and culture, and weave that in.
Connect with Kook Joey
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Lonely Kids Club began in 2011 because Warwick Levy loved graphic tees and wanted to make his own. Fifteen years later, the independent label is still run from a small studio in Artarmon, Sydney, where the team designs, prints, packs and ships every order.
The range is wonderfully specific. There are magpies, cockatoos and bin chickens, alongside internet jokes, custom pet portraits and artwork from independent artists. Some designs are silly. Some have something more serious to say. Quite a few manage both.
Australian birds have become a big part of the label, with illustrations by artists including Bridget Farmer sitting alongside designs that treat the local wildlife with a bit less reverence.
Every garment is printed after it is ordered, using ethically sourced blanks and water based inks. It is how the label has worked since the beginning, and it means the team does not have to produce piles of finished tees and hope somebody buys them.
The independence matters beyond the printing process. Lonely Kids Club pays the artists it collaborates with, keeps production in its own hands and has raised more than $30,000 for charities and community causes along the way.
After 15 years, Lonely Kids Club is still making the sort of shirts Warwick wanted to wear in the first place. There are just a lot more birds now.
www.lonelykidsclub.com
How did ‘Badina’ first come together, and what was the starting point for the track?
The starting point for the track was really the vocal sample. We hadn’t made beats together in a while, and I was going through a new sample pack that had a lot of Shatta-inspired sounds. I started chopping up one of the vocal samples and combining it with a Dembow rhythm, and the first thing that came to mind was the hook for “Badina.”
From there, I just freestyled the verse, then Pinky freestyled his verse. That’s kind of become part of our style when we work together we’ll freestyle and get the ideas and melodies out first, then go back and add the actual words and shape everything around it. It keeps the process really natural and spontaneous.
‘Badina’ brings together Dembow, Caribbean and Latin urban influences with Shatta inspired rhythms. What drew you to these sounds for this track?
I’ve always been drawn to music that makes you want to move, and Dembow is a huge part of that for me. I wanted to bring in some of those Caribbean and Latin urban influences but also experiment with the bounce and rhythm you hear in Shatta. It felt like a good way to create something that still sounds like me while bringing in influences from different parts of the world.
The title ‘Badina’ is a playful twist on “bad Latina”. Where did the idea for the title come from?
The title came from playing around with the phrase “bad Latina” and turning it into something that felt more unique and playful. “Badina” just had a good ring to it. But with that being said it also can just be baddieI don’t want to concentrate on one type of female
You describe ‘Badina’ as a track about energy, movement and having a good time. What were you trying to capture when making it?
I wanted to capture that feeling when you’re out with your friends, the music is playing and everyone turning up. There’s no overthinking it, it’s about movement, confidence and having a good time. I wanted “Badina” to feel like a track you can put on and immediately change the energy in the room.
Jalmar and Pinky Promise come from different Australian, Chilean and Venezuelan backgrounds. How do those different influences come through in the music you make together?
I think you can hear those different influences naturally in the music. We both have different cultural backgrounds and different things that we grew up listening to, so when we come together, those influences just come out without us really forcing it. There’s the Latin side, the Dembow influence, Caribbean sounds and also the Australian side of how we’ve grown up making and experiencing music. I think that mix is what helps give our music its own identity.
This is part of your ongoing collaboration and the development of a shared Latin urban sound. How has your creative relationship evolved through working together?
I think we’ve become a lot more comfortable with each other creatively. When we first started working together, there was probably more of a process of figuring out what worked, but now we can pretty much jump into a session and start creating without overthinking it. We understand each other’s ideas a lot more, and there’s a trust there where we can freestyle, experiment and throw ideas around without worrying if something is perfect straight away.
What does the writing and production process usually look like when you work together?
A lot of it starts with the beat or just finding something that gives us a feeling straight away. From there, we usually freestyle a lot. That’s become a big part of how we work together. We’ll freestyle melodies, hooks and verses and just see what sticks. Once we have those ideas, we go back and start putting the actual words together and refining everything. I think that keeps the music feeling natural rather than trying to force a song from the beginning.
What was the most challenging part of bringing ‘Badina’ together from the initial idea through to the finished track?
I think the biggest challenge was actually knowing when to stop changing things. Because the song came together quite naturally through freestyling, there were a lot of ideas that we could have kept adding or changing. At some point you have to step back and realise that the original energy is what made the song work in the first place. So it was more about keeping that energy while making sure everything sounded finished and polished.
Jalmar created the artwork while Jonathan handled the mixing and mastering. How did you approach the visual and production sides of the release?
For the visuals, I worked with a new director, TMWR Media, because I wanted to try a different approach. I felt like I’d done a lot of dancing and had a pretty established style when it came to directing my own visuals, so I wanted to take myself out of that position for a bit and let someone else take the wheel and see what they came up with.
It ended up creating a more elegant type of energy, which I really enjoyed. It was nice to step back creatively and see the song through someone else’s perspective.
On the production side, Jonathan handled the mixing and mastering, which helped bring the track together and keep the original energy of the song while giving it that finished, polished sound.
Now that ‘Badina’ is out, what would you like people to discover about your music and the sound you’re building together?
I’d like people to discover that we’re not trying to stay in one box. We’re taking influences from Dembow, Latin urban, Caribbean music and other sounds we’re interested in and just seeing where we can take them. “Badina” is a good example of that because it has that Dembow foundation but there are other influences happening within it too.
More than anything, I want people to have fun with the music. Hopefully they hear “Badina”, feel the energy and then want to go back and discover more of what we’ve been creating together.
Rising country-folk star Max McNown releases his third studio album, Leave On A Light, on Fugitive Recordings ahead of his Australian headline tour in February 2027. The deeply personal record channels the whirlwind of the singer-songwriter’s breakout success and pays homage to his wife, family, and the values that anchor him. Also out today is the performance video for the cinematic focus track “Slow Down, Slow Down”.
Amid an explosive ascent that solidified McNown’s status as one of his generation’s most compelling singer-songwriters, the 25-year-old Oregonian came to a deeper conviction in music’s power to honor what – and who – matters most. Meditating on the extraordinary momentum, McNown recently appeared on ABC News Live to discuss the new album and reflect on recent milestones, including collaborating with global DJ Kygo on the summer smash “Take Me Back,”making his Stagecoach debut, sell-out shows, plus performing alongside major artists like Noah Kahan and Parker McCollum.
Leave On A Light ultimately finds McNown more grounded than ever in his artistic vision, arriving as the fullest expression yet of his singular songwriting voice. Centered on his exquisitely detailed form of indie folk and country soul, the 17-track LP both broadens his sound and further reinforces his lyric-first ethos. In bringing Leave On A Light to life, McNown worked closely with longtime collaborator and producer Jamie Kenney at the famed Blackbird Studio in Nashville, and widened his creative circle to include co-writers like Julian Bunetta (Gracie Abrams, Kelsea Ballerini) and A-list musicians like guitarist Charlie Worsham (Luke Combs, Lainey Wilson).
“In a way, most of the songs on this album are love songs,” says McNown. “They’re a tribute to my wife and my family, the people who care about who I am outside of music and give me a place of peace and unconditional love to come home to.”
Matching its emotional breadth with an equally expansive sound, the soul-stirring album often unfolds in unpredictable textures and moods.
Speaking on the opening track “Slow Down, Slow Down,” McNown says, “In this business, life has felt fast-paced, rarely ever providing a chance to slow down, stop, and smell the roses I’m walking past. I tried to draw from the overwhelming burnout I was feeling, and my desperate desire to spend time in restfulness with those I love most. I know I’m not alone in the stressful cycle that often develops within most professions; At the end of the day, I hope this song serves as a mirror for those who hear it, sparking internal reflection and most importantly, a greater appreciation for the smaller blessings in life.”
A gloriously defiant reframing of success and ambition, “Famous To You” takes on an anthemic intensity as McNown states his greatest aspiration in its hard-driving chorus (“Someday I wanna be a household name / As long as it’s the one you take”). And on “Selah’s Song,” he offers up an adoring serenade to his little sister, threading his lyrics with wistful reminiscence and poetic self-reflection. “For most of my life, I didn’t feel like I was an older brother my sister could look up to,” he shares. “It wasn’t until my wedding day that I realized how much I’d grown, and how I’d finally become that person for Selah.”
Seamlessly blending iconic ‘80s pop elements with folk-inspired production, “Comets” is a lively, feel-good tune for cruising with the windows down, whereas the heavy-hearted yet triumphant “Something To Someone,” gives voice to one of the most universal themes: the longing to be fully seen and loved.
Reaffirming the depth and character of McNown’s songwriting, Leave On A Light forgoes surface-level sentiment for a far more nuanced inquiry into the human heart. On “First Born Daughter,” he shares a sweet and breezy but soulful celebration of his wife’s strength and indomitable spirit.
Another standout track is “Make My Peace,” which inhabits a skybound and sprawling urgency as McNown conjures an ultra-vivid fantasy of escaping the noise of modern life.
Also featuring “Done For,” an earlier release that has garnered over 36M streams on Spotify alone, Leave On A Lighthas already added to a fast-growing list of accomplishments. Recently named Apple Music’s Country Riser of the Month and a Spotify 2026 Artist To Watch, McNown is quick to identify one of the most meaningful outcomes of his rapid rise: the chance to create songs that help listeners see their own lives with more clarity.
“One of my favorite songwriters, Mags Duval, once told me that songs aren’t meant to tell people how they should feel—they’re meant to serve as mirrors,” McNown shared with Billboard Country. “More than anything, I hope this album encourages people to look inward and brings them toward a greater appreciation for what they have right now. Life is so fragile—even waking up isn’t guaranteed—and I hope I can help people to feel a deeper gratitude for even the smallest things in their lives.”
Ultimately, the forthcoming album, Leave On A Light, reveals a rare artist whose breakout success has brought him even closer to his truest instincts.
Presented by Live Nation, Max McNown will return to Australia & New Zealand in 2027 and will make stops at Adelaide’s Hindley Street Music Hall on Thursday 4 February, followed by Brisbane’s Fortitude Music Hall on Saturday 6 February, and Sydney’s Hordern Pavilion on Wednesday 10 February.
The tour then continues to Melbourne’s Festival Hall on Thursday 18 February before crossing to New Zealand for shows at Auckland’s The Civic on Monday 22 February, and Christchurch Town Hall on Wednesday 24 February. For all tour details please head to https://www.maxmcnown.com/tour.
Listen to Leave On A Light HERE
FOLLOW MAX McNOWN
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You started out surfing and travelling around the world, including competing on the world qualifying tour. When did you first realise that painting could become more than something you did alongside surfing?
When I seen the film Basquiat in NYC I didn’t know you could paint so freely which inspired me, in so many ways, I used photography poetry digital and painting together on canvas.
I was doing a local project painting the plant pots in Lennox head and was approached by Australian artist and documentary filmmaker Angus McDonald and was his assistant in his studio and also in London. This gave me the confidence and a better understanding of what was involved with working towards being a painter.
You began painting your fellow surfers’ boards while travelling on the surf tour, which eventually led to collaborations with brands. How important was that period to the artist you became?
I’m not sure how important it was, but I know I have always been pretty obsessive with things I’m passionate about. Neurodivergent fixation is real, so to paint boards was a way of life and the surf culture. I loved drawing on everyone’s boards as there was always lots of down time, and growing up in my father’s sign writing shed it’s always been apart of my up bringing music and drawing.
Your work is incredibly colourful and often surreal, with animals, characters and cosmic imagery appearing throughout it. Where do those characters and symbols come from when you’re creating?
My dad was very into fantasy, the night before I was born mum and dad went to watch the dark crystal at the movies. My dad always drew funny cartoons and Viking characters. His favourite and most influential was and still is his left hand waves, large mushrooms and a funny goblin surf dude and a snail with a pipe. He also wrote poetry with these scenes. Dad’s work is colourful also.
When you start a new piece, how much do you have planned before you pick up the brush, and how much happens instinctively as the painting develops?
when I was younger I would never have much of a planned idea and just drew, it would mainly be waves or weird characters also, but for my work now days it’s mainly 80% commissions and co created with the clients. So it’s done digitally to save time with this process.
My favourite is to start without using much idea of what will happen.
You’ve worked across painting, poetry, surfboards, fashion and brand collaborations. Does moving between different creative mediums change the way you approach your work?
most of my work is inspired by music or words.
So the approach has always been heavily influenced by music, be it to get to the zone out space and work intuitively or for inspiration,
Sounds a bit woo woo crazy but my grandmother was very psychic and we would always converse about nature, and ways of listening and living. So I find music on shuffle kind of speaks to me, and helps me channel into the projects or whatever.
Clairaudience.
I’ve experienced my life with it communicating to me in so many ways, be it true real or imagined – it’s like a stream of information which is my approach to my work.
You’ve collaborated with brands including ALÉMAIS, with your artwork being translated into fashion. What is it like seeing something that began as a painting take on a completely different life through clothing?
The Alemais collab blew my mind, it’s been the most beautiful creation. The girls are so talented and creative. I had no expectations and it was such a pinch me moment, I was very grateful.
Your work often incorporates symbolism and personal ideas. Do you ever look back at a finished piece and discover a meaning that you weren’t consciously aware of when you started it?
All the time, I have had people ask why I paint things, as they hadn’t told me about them and somehow they just end up on the artwork.
Like last minute manic changes to The original design. One example
Ex pro surfer Kate Skarratts painting had a few fun unconscious additions, her son Ash Wilcombes nick name is Moo and for some reason I changed his suit from blue to a cow pattern, and I threw a snail in it as the last thing I did to it. Kate called me and asked why I did those changes, as she had just done a parasite cleanse to a specific one that comes from snail poo and shared Ash’s nickname.
Looking at your work, which often incorporates symbolism and personal ideas, do you ever look back at a finished piece and discover a meaning that you weren’t consciously aware of when you started it?
All the time, I have had people ask why I paint things, as they hadn’t told me about them and somehow they just end up on the artwork.
Like last minute manic changes to The original design. One example
Ex pro surfer Kate Skarratts painting had a few fun unconscious additions, her son Ash Wilcombes nick name is Moo and for some reason I changed his suit from blue to a cow pattern, and I threw a snail in it as the last thing I did to it. Kate called me and asked why I did those changes, as she had just done a parasite cleanse to a specific one that comes from snail poo and shared Ash’s nickname.
The 2025 solo exhibition Psychic Cowgirl Cat explored a surreal world of cosmic cowgirls, masked tigers and mystical figures, with themes including fate and freedom. What was happening creatively for you when that body of work began to take shape?
That show was a fun playful tongue in cheek show as regards to the name, I was asked to do the first show at this place called We Sell Prints, amazing print house. It almost got taken out by this cyclone, but the show went on.
The tiger is symbolic of my nan, as she was born year of the tiger in Chinese astrology. I’m always painting about freedom.
Surfing has been such an important part of your life and creative journey. Do you think the ocean and your experiences travelling through surf culture still influence the way you make art today?
You’ve already taken your work in so many different directions. What’s something you’ve never done creatively that you’d really like to try?
Absolutely it has, influenced my art, and then I feel I resisted anything surf related, but it’s swinging back round, and I’m fully embracing it. I’ve a lot to be thankful for with experiencing my surf chapter in life.
I’d love to cross over into bronze sculptures
And statues.
Also make crazy curated colourful creative gardens with fun statues and those English hedges shaped into words etc.
Photography: Mlak, Portia Sarris , Shannon Mackie and Danielle Rech Art Brewer, Swilly for the surf shot
Kat Krush is an independent British streetwear label built around what it describes as Quiet Confidence. Based in the United Kingdom, the brand takes a restrained approach to contemporary streetwear, working with heavyweight garments, oversized silhouettes and minimal graphic treatments, with an emphasis on quality, structure and longevity in design.
Rather than relying on visual noise or rapidly changing trends, Kat Krush explores how simple garments and considered details can create their own identity. Architecture and place are central to that approach, with British cities represented through materials, atmosphere, light and geographic coordinates rather than conventional landmarks or city imagery.
The idea behind Kat Krush came from founder Peter, who had previously built and sold a consumer-facing business before moving into other ventures. Over time, he found he missed the challenge of developing something from the ground up and, particularly, the direct connection that comes from creating a product people genuinely respond to.
Clothing and design became his next challenge. Peter felt there was room for a more minimalist approach, centred on good quality clothing with designs that have longevity rather than being driven by short term trends. That thinking became the starting point for Kat Krush.
That philosophy comes through in Coordinates, a collection exploring the relationship between architecture, identity, clothing and place. It focuses on London, Manchester, Birmingham, Bristol, Liverpool and Leeds, with each city represented through its geographic coordinates and its own architectural and environmental identity.
The collection deliberately avoids treating the cities as tourist destinations. Instead of famous landmarks or souvenir style graphics, Kat Krush uses contemporary architecture, materials, light, atmosphere and movement. The brand describes the concept as “Not a souvenir of the city. An expression of belonging to it.”
Signature takes the same idea in a quieter direction. While Coordinates uses a larger rear city treatment, Signature reduces the identity to a subtle city name and coordinates positioned on the left chest. The collection includes heavyweight oversized T-shirts and hoodies, retaining the structured silhouettes and understated branding found across the label.
Architecture also features heavily in Kat Krush’s visual language, with concrete, brick, steel, glass, structural shadows and natural light providing the environment for the clothing. The brand draws colour from building materials, changing light, reflections, water and the surrounding city, while keeping the garments deliberately restrained.
Across the collections, the philosophy remains consistent: fewer elements, considered carefully, with an emphasis on longevity rather than constant reinvention.
Quiet Confidence. Less Noise. More Intent.
Australian songwriter Julia Jacklin has released her new studio album The Gem, out now via 4AD / Remote Control Records.
The 10 track album was produced by Jacklin and Robert Muinos and recorded entirely in Melbourne at Rat Shack between December 2024 and December 2025. Muinos engineered and mixed the record, with Jordan Power handling mastering and Anne Taegert completing the vinyl mastering.
The album takes its name from The Gem, a bar in Collingwood that Jacklin discovered after moving from Sydney to Melbourne in 2017. The venue became closely connected to the making of the record, with Rat Shack located in converted hotel room accommodation above the pub.
Jacklin recorded the album with Jacob Diamond on guitar, Mimi Gilbert on bass and Jess Elwood on drums. The sessions took place in close quarters, with the residential setting placing limitations on when they could record. The band also played two unannounced shows at The Gem to try out the songs before recording them.
What was initially expected to take two weeks instead developed into nearly a year of recording and tinkering. Jacklin describes The Gem as a metaphor for the process, saying she felt she was working “almost in the dark” and trusting she would find something.
At the centre of the album is the tension Jacklin describes between wanting to love and be loved while also wanting to be free. The record includes ‘If I Had The Hand Of God’, written about a surreal trip to Nashville and reflecting on the life of a touring musician and the importance, or unimportance, of legacy.
The Gem follows Jacklin’s previous albums Don’t Let The Kids Win, released in 2016, Crushing, released in 2019, and PRE PLEASURE, released in 2022.
The album features 10 tracks: ‘Brand New’, ‘God Sometimes’, ‘If I Had The Hand Of God’, ‘The Hardest Thing’, ‘Angel Vision’, ‘Real Life’, ‘Get Away From Me (I Think I’ll Love You Soon)’, ‘You Turned On The Tap’, ‘Walk On Me’ and ‘I Wish’ featuring The Maes.
To celebrate the release, Jacklin returns to The Gem for three sold out intimate shows this weekend, joined by Jacob Diamond, Jennifer Aslett, Jess Ellwood and Rob Muinos. Each show will feature two sets, beginning with covers before a set of original songs.
The Gem is available digitally, on CD, cassette and vinyl, including exclusive colour editions in Turquoise, Green Opal, Ruby and Rose Quartz.
The Gem is out now via 4AD / Remote Control Records.
Purchase / Stream The Gem: https://juliajacklin.ffm.to/thegem
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Five days. One island. An extraordinary dancefloor. SXM Festival reveals the first wave of artists for its 10th edition, taking place 17–21 March 2027 on the Caribbean island of St. Martin, with Bob Sinclar, MEDUZA, Sasha, Claptone, Dombresky (Disco Dom), Franky Rizardo and Brunello leading the Phase One lineup, joined by Guy Gerber, Patrick Topping, Dennis Cruz, Chelina Manuhutu, Deer Jade, Matt Sassari, Max Styler and more.
Since its first edition in 2016, SXM has built a reputation around something difficult to recreate anywhere else: an entire island becoming part of the festival. There is no single festival site. Over five days, guests move between beaches, villas, clubs, hilltops and unexpected locations across both the French and Dutch sides of St. Martin – the island isn’t simply where the festival takes place, it’s part of the experience.
For its 10th edition, SXM returns to the idea that started it all: exceptional music, extraordinary places and enough freedom for the unexpected to happen.
Music has always come first at SXM. Rather than building the biggest lineup possible, the festival has developed its identity through a carefully curated mix of established artists, respected selectors and emerging talent, and the 2027 lineup continues that approach.
French house icon Bob Sinclar joins global electronic trio MEDUZA and progressive house pioneer Sasha, alongside Claptone, Guy Gerber, Dombresky (Disco Dom) and a new generation of artists shaping the international electronic music scene. Across previous editions, SXM has welcomed artists including Carl Cox, Jamie Jones, BLOND:ISH, Bonobo and Richie Hawtin, while introducing its audience to emerging names at pivotal moments in their careers. Every artist has to make sense for the island, the location and the moment.
SXM is as much about St. Martin as it is about the lineup. The island’s French and Dutch sides each have their own culture, atmosphere and rhythm, and during SXM, guests experience both, moving between venues and discovering the island along the way.
A day might begin on a beach, continue over lunch in a small village, move to a sunset party and end somewhere completely different from where anyone expected. You run into people you met the night before. Someone tells you about another party. A quick stop turns into three hours, and the same faces start appearing at restaurants, on boats, on beaches and eventually back on the dancefloor.
With guests travelling from more than 58 countries in recent editions, SXM creates an international community that feels surprisingly familiar by the end of the week. And at a time when almost everything is planned, posted and documented as it happens, SXM still leaves room to disappear for a while. Some of the best moments aren’t on the schedule.
SXM Festival Founder Julian Prince says “From the beginning, I never wanted SXM to be the biggest festival. I wanted people to go home with stories they would still be telling years later. You come for the music, but then the island takes over. You discover places you didn’t know existed, meet people you never expected to meet, and suddenly you’re watching the sun come up with friends you made two days ago. Ten editions later, that feeling is still there. Protecting it is what matters most to me.”
Ten editions don’t happen without an island that believes in you. When Hurricane Irma devastated St. Martin in 2017, the SXM community rallied around the island and supported its recovery. The pandemic brought another interruption, but the relationship between the festival and St. Martin endured through it all, SXM kept coming back.
Today, local crews, suppliers, venues, restaurants, hotels, drivers and businesses across both sides of St. Martin remain integral to the festival. Its impact extends beyond the dancefloor: international guests stay in local hotels and villas, eat in restaurants, rent cars and boats, and discover the island throughout their stay. For SXM, sustainability is not only environmental — it’s about building an event that maintains a positive, lasting relationship with the place that hosts it.
The 10th edition celebrates the artists, island partners, team members and international community that have shaped SXM since its beginning. Ten editions later, St. Martin isn’t simply the backdrop to SXM it’s the reason SXM feels like SXM.
As SXM enters its second decade, the festival remains committed to the spirit that defined its beginning: bringing people together through music, discovery and the freedom to experience St. Martin in their own way. The 2027 edition will celebrate that legacy while opening a new chapter, with further artists, parties and anniversary experiences to be revealed in the coming months.
Ten editions. The island is your dancefloor. Tickets and travel information are available now at sxmfestival.com
PHASE ONE LINEUP
Bob Sinclar
Brunello
Chelina Manuhutu
Claptone
Deer Jade
Dennis Cruz
Dombresky (Disco Dom)
Elvis Guetta
Franky Rizardo
Gudfella
Guy Gerber
Hilel Lev
Indo Warehouse
Jackie Hollander
Julia Sandstorm
Linska
Malive
Matt Sassari
Max Styler
MEDUZA
Mellizos
Nico de Andrea
Patrick Topping
Pauza
Sapian
Sasha
Sistek
Tini Gessler
Tom & Collins
Tony Romera
+ More TBA
Website | Tickets | Instagram | YouTube
Japanese pop artist yama will make their Australian debut this October, with YURA and Eli Wan joining the artist for two shows in Melbourne and Sydney.
yama will perform at Northcote Theatre in Melbourne on Friday, 16 October, with Eli Wan supporting. The following night, Saturday, 17 October, yama will perform at Liberty Hall in Sydney, with YURA supporting.
The Australian shows follow yama’s work across contemporary Japanese pop and anime soundtracks, including contributions to 2.43: Seiin High School Boys Volleyball Team, Ranking of Kings, SPY×FAMILY, Mobile Suit Gundam: The Witch from Mercury and SANDA.
YURA is a Korean Australian singer songwriter whose music incorporates contemporary R&B, indie pop and lo fi. She began developing her sound at 16 through bedroom GarageBand experiments. Her track “Pearl” has surpassed two million Spotify streams. Her live credits include supporting Korean rapper Coogie in Sydney and joining Grent Perez for his 2022 Australian and New Zealand tour.
Melbourne artist and producer Eli Wan works across alt pop and glitch pop, with influences listed as Porter Robinson, Jai Paul, The Drums, Good Charlotte, Bon Iver, The Avalanches and Passion Pit. His music incorporates what the release describes as an “Internet Core” digital aesthetic.
YAMA AUSTRALIA TOUR 2026
NORTHCOTE THEATRE, MELBOURNE
FRIDAY 16 OCTOBER
SUPPORT: ELI WAN
LIBERTY HALL, SYDNEY
SATURDAY 17 OCTOBER
SUPPORT: YURA
TICKETS ON SALE NOW!
For complete tour and ticket information, visit www.livenation.com.au
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SYDNEY SUMMERTIME – THE STROKES
REALITY AWAITS AUSTRALIA 2027
With special guests
Beck
Courtney Barnett
Promiseland
Saturday 20 February 2027
Centennial Park, Sydney
Presented by Secret Sounds and Live Nation
Supported by Double J
Artist / Mastercard / Vodafone Presales: 9am AEST, Monday 28 September
Sydney Summertime / Live Nation / Secret Sounds Presales: 12pm AEST, Monday 28 September
General On Sale: 1pm AEST, Tuesday 29 September
Return public transport will be included with every Sydney Summertime event ticket, with Moshtix as the official ticketing partner. Visit transportnsw.info/events for further details.
Tickets for The Strokes: Reality Awaits at Sydney Summertime go on general sale at 1pm AEST on Tuesday, 29 September via Moshtix, with presales commencing Monday, 28 September.
Further Sydney Summertime headliners will be announced in the coming months. Sign up for presale information and news at www.sydneysummertime.com.
Sydney Summertime is presented by Black Peach and proudly supported by Destination NSW.
Melbourne-based composer and multi-instrumentalist Jack Quigley continues to peel back the layers of his borderless musical project with Andalucia. The fifth and final single ahead of his ambitious debut album, Upstream Trilogy: Volume 1 and an epitome of the project’s overarching ethos: radical collaboration, geographical fluidity, and an urgent reimagining of tomorrow through forgotten fragments of yesterday.
Conceptually, Andalucia anchors itself deeply in cultural theorist Mark Fisher’s politics of time. Fisher famously diagnosed late-capitalist consumer culture with a “slow cancellation of the future”; a cultural paralysis where society feels trapped in an endless loop of recycling retro aesthetics and familiar forms, incapable of imagining true alternatives.
Quigley’s Andalucia confronts this fatigue head-on. Rather than indulging in nostalgic escapism or aiming for a literal, historicist reconstruction of Al-Andalus, the track uses the idea of Andalucia as a psychological and sonic canvas. It takes historical and cultural shards, repurposing them to forge entirely new, pluralistic futures. It’s an exercise in what cultural geographers might call radical memory, looking backward not to stay there, but to gather building blocks for an unwritten tomorrow.
True to the staggering scale of the Upstream Trilogy, which spans 27 tracks, 55 artists, 12 studios, 4 continents, and 8 languages, Andalucia stands as a masterclass in global connectivity. Recorded across the Mediterranean at Barcelona’s Vernau Mier Studio, the track bridges continents through its diverse personnel, combining Quigley’s foundational composition and lyrics with contributions from writer Najib Sahraaoui. The resulting performance is deeply communal, brought to life by the shared talents of Carmen Lancho, Vernau Mier, Najib Sahraaoui, Marc Monka, and Quigley himself.
Behind the board, the single benefits from elite-tier craftsmanship, having been produced by Stefano Pizzolato, engineered by Vernau Mier, and given its final polish by Grammy-nominated mixing and mastering engineer Nick Herrera. This trans-local identity extends directly to the screen via an accompanying music video featuring cinematography by Hamada Essam, that captures the organic, human heartbeat of the entire project.
Released on Friday, September 25, Andalucia is more than just a single it is a localized act of defiance against cultural stagnation, broadcast from the lands of the Kulin Nation out to the wider world.
“Dimi el nombre della flor della revolución”
Tell me the name of the flower of the revolution.
Andalucia performed by Carmen Lancho.
Waiting For Today is described as a return to simplicity, with acoustic guitar melody and warm, unforced chords at its centre. What was happening in your life or creative process that led you back to this stripped back approach?
There is a meditation joke that goes kind of like this: You should sit in meditation for 30 minutes a day unless you’re too busy, then you should sit for an hour!
For me when life gets crazy, I balance things out by slowing things down and making things simple. This time it happened to be my music. I recently lost a duo partner, a singer that was a part of my acoustic rock band. We collaborated together for about 27 years. So, I haven’t booked any gigs, instead I re-focused my time and energy into creating pretty instrumental music. Re-creating myself without others so I can be a solid authentic musician with a solid foundation. I needed it.
You wrote much of the album while sitting with what you describe as the “challenging landscape of today”. How did that experience shape the mood, pacing and direction of the record?
Life is short. What are you waiting for? Hopefully you are waiting for today! Be here and now. So, every song is titled and sets mood, emotion, and energy for times that I felt strongly pulled me towards a clear, authentic and relaxed presence. For some reason when life feels short and fragile I tend to reminisce a bit. Most of the songs as you noticed have a component of this.
There is a strong sense of space throughout the album, particularly on tracks such as “Lingering In The Long Shadows” and “Wondering Home”. What do you want listeners to experience in those quieter moments?
That is all up to the listener. I am just creating a little breathing space, not having to rush to get somewhere else. I hope to let the music encourage your own relaxed thought space, lingering, wondering, walking, talking, waiting, thinking or just enjoying a cup of coffee.
You composed and produced all nine tracks yourself, working across acoustic guitar, electric guitar and guitar synthesizers. How did you decide which instrument or sound belonged to each composition?
Great question. I will often play the song on different guitars and with different background tapestries at home and when I go to the studio will take multiple instruments to play as I show up that day. I love some of the subtle sounds that represent more subtle emotions. All of this takes time and trial and error to hone in, yet for the most part, I find my voice in the traditional acoustic guitar with very sparse effects and generally live there. The electric and guitar synth sound usually add an extra emphasis to the emotion of the melody. Soft Furnishings is played on a baritone acoustic guitar. It gives a deeper sound that feels soft, luxurious and comforting.
Your music has a close connection with mindfulness, meditation, yoga and rehabilitative practice. How has your experience in those areas influenced the way you compose and approach the guitar?
Jon Kabat-Zinn defines mindfulness as “intentionally being present to the here and now without judgement”. Meditation is the formal practice of sitting still with this. Yoga is the practice of whole body movement with integrating breath in the same way, mindfully. Playing guitar for me is the next logical progression of my mindfulness practice. By playing for yoga and meditation classes it influences how the guitar parts move with thoughts, breath, body movements, flow, and silence or stillness. There are certain melodic phrases and tempos that work well at allowing the thoughts to settle into a type of simplicity and clarity.
You received your first guitar from your grandmother at the age of ten and later discovered players including Jeff Beck, Jimi Hendrix and Wes Montgomery. Looking back, what did those early influences teach you about what the guitar could become in your hands?
These players were all huge innovators and experimenters with the guitar and techniques. After trying to play with distortion, different finger styles, harmonics, or chord melodies just to name a few, it gave me freedom to find my own voice and techniques that have allowed me to find and feel confident and comfortable with my own style as they were with theirs. One of a kind unique and themselves.
“Waiting For Today” feels particularly interested in allowing time to pass naturally rather than forcing a traditional musical climax. What does patience mean to you as a musician and composer?
I kinda like to think of the songs indiviually and the progression of the album as away to find life in the slow lane, allowing for a space to find a balance from life in the fast lane. I think you hit the nail on the head, allowing time to pass naturally, rest, relax, be present. It is harder to be patient than it is to speed up. While composing I may meditate or sit with stillness before to clear my expectations, then while creating, allow the song to find its sweet spot to let it unfold in its own time. I find in that space, it has it has a star, power, and truth of it’s own.
Colorado Zen reached number eight on the Zone Music Reporter chart and received a New Age Music Award nomination, while The Space In Between reached number 11. How have those milestones affected the way you approach your music today?
I am energized to have such a reception and it supports me to continue to follow my hearts song in this journey. I am very happy that people are resonating with the music! Thank you listeners!
The album was engineered and mixed by Brian Hunter at The Mousetrap Recording Studio in Denver and mastered by David Glasser at Airshow Mastering in Boulder. What did you learn from the recording and production process of Waiting For Today?
The process is not about perfection it is about being present and doing the best you can. Ultimately, it is what we all do. When this happens, just enjoying the process..
Brian Hunter and I have been working together for about 25 years now, and he allows me time and space to do what I do while taking care of the recording process so that I can concentrate on my best performance. We have a great working relationship, he can anticipate my typical, and get there before I do some times, for the sound engineering pieces.
David Glasser has great ears and the coolest sounding mastering system. He has great intuition from so many years of mastering. It is a pleasure having a 2x grammy winner working on my music!
If someone puts on Waiting For Today without knowing anything about you or the album, what would you hope they take away from the 37 minutes and 50 seconds when the final track, “Soft Furnishings”, comes to an end?
I made up a meditation mantra years ago, it goes like this; a clear mind is peace, it illuminates truth, and lets love shine through! Here is to hoping that Waiting For Today provides a path for that journey, towards a relaxed attentive presence in the moment!