This Is Lorelei has released ‘The Kid With The Crown’, the final single from the forthcoming album The Singer in My Band, which is due for release on September 11 via Matador Records and Remote Control Records.
The single is accompanied by an official video directed by Spencer Kelly. The video follows a group of children as they support a demolition derby racer known as The Kid With The Crown.
Nate Amos, the musician behind This Is Lorelei, describes the track as the opposite of the previously released ‘Oh No Now My’. Speaking about the song, Amos said it “was plucked and preserved at an early age” and that the album “needed an untied shoelace”.
‘The Kid With The Crown’ is the ninth track on The Singer in My Band, an 11-song album. The track runs for 4 minutes and 14 seconds.
The album was written while Amos was touring in support of releases from both This Is Lorelei and Water From Your Eyes. Amos describes it as his first true “road record”, explaining that ideas developed while travelling without access to instruments.
According to the release, the album’s songs feature characters including Billy, Joey, Genevieve, Sarah and Buddy, with stories set against American scenes and landmarks. Amos describes the material as “little works of fiction with elements of truth to them”.
The Singer in My Band is the first This Is Lorelei album for Matador Records. Amos engineered, produced and performed the majority of the album, with contributions from his father Bob Amos on banjo, as well as vocals from his sister Sarah Amos and partner Al Nardo.
The album follows 2024’s Box for Buddy, Box for Star, which the label describes as Amos’ first intentionally written full-length solo album. That record later received a deluxe edition featuring covers and collaborations including MJ Lenderman, Hayley Williams, Jeff Tweedy and Cameron Winter.
The Singer in My Band will be released on September 11, with ‘The Kid With The Crown’ available now.
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FATBOY SLIM
IS HEADING BACK TO AUSTRALIA IN MARCH 2027
AND HE’S MIXING UP THE VENUES
FREMANTLE | SYDNEY | BRISBANE | MELBOURNE
Register for pre-sale Monday 14 September, 9am Local Time
General Tickets on sale Tuesday 15 September, 9am Local Time
It’s Fatboy Slim as fans have rarely seen him: smaller venues but the same huge energy and unmistakable mix of breakbeats, funk and cheeky chaos that’s soundtracked countless clubs, beaches, festivals – and the occasional igloo and fish n chip shop – for over three decades.
Get in early, these venues have huge vibes but limited capacity!
FATBOY SLIM
AUSTRALIA – MARCH 2027
Wed 3 March– Esplanade Park – Fremantle WA
Fri 5 March – Carriageworks – Sydney NSW
Sat 6 March – Carriageworks – Sydney NSW
Sun 7 March – Carriageworks – Sydney NSW
Wed 10 March – On The Banks – Brisbane QLD
Fri 12 March – The Underpass – Melbourne VIC
Sat 13 March – The Underpass – Melbourne VIC
TICKETS
Register for pre-sale Monday 14 September, 9am Local Time
General Tickets on sale Tuesday 15 September, 9am Local Time
TSIM CONFIRM THEIR ‘NO MISTAKES TOUR’ WILL CONSIST OF TWO VERY DIFFERENT SHOWS — WHICH TSIM YOU’LL GET IS ANYONE’S GUESS
FIRST TSIM NATIONAL TOUR IN 30 YEARS
PLUS MORE DATES ANNOUNCED
Having previously promised radically different setlists, only to attempt to backtrack by suggesting it was only the font used on the printed setlists that would be different, TSIM have finally relented and divulged more of what fans can expect.
Without revealing which show is on which date, or what the shows are, the band have begrudgingly allowed management to make known, if not in any detail, what will happen at the shows.
The No Mistakes Tour will consist of two very different shows — different songs, different costumes, totally different vibes. The band have pulled a few real gems out of the catalogue, including songs many fans won’t have heard live, with some of the songs having not been performed for 40 years.
The new tour, commencing in Hobart on October 1, will not replicate the recent Adelaide and Darwin standalone festival shows, so fans will not need to fear having giant cardboard skulls thrown out into the audience; the danger, however, of Les or Ron launching themselves into the moshpit remains.
Given a third Melbourne show has now been announced for October 10, TSIM are looking to present a third exclusive show at The Forum. As the PICA costumes recycled in Adelaide and Darwin were destroyed when band members dove into the pool halfway through the Darwin set, TSIM Management are scouting around the warehouse in an attempt to salvage costumes from another recent show.
Tickets for the ‘No Mistakes’ tour are flying out the door. Fans don’t want to dilly dally, as these will be shows to go down in history alongside the band’s Good Things, Death To Art, PICA and Sydney Opera House concerts.
TSIM deliver. Every tiem… item… time.
DON’T MISS TSIM LIVE ON THEIR NATIONAL ‘NO MISTAKES TOUR’
THURSDAY OCTOBER 1 — NEW SHOW
HOBART | ODEON
WEDNESDAY OCTOBER 7
MELBOURNE | FORUM
THURSDAY OCTOBER 8 — SOLD OUT
MELBOURNE | FORUM
SATURDAY OCTOBER 10 — NEW SHOW
MELBOURNE | FORUM
FRIDAY OCTOBER 16 — NEW SHOW
ADELAIDE | HINDLEY ST MUSIC HALL
SATURDAY OCTOBER 17
BRISBANE | FORTITUDE MUSIC HALL
WEDNESDAY OCTOBER 21
CANBERRA | CANBERRA THEATRE
SATURDAY OCTOBER 24
PERTH | METRO CITY
FRIDAY OCTOBER 30
SYDNEY | ENMORE THEATRE
SATURDAY OCTOBER 31
SYDNEY | ENMORE THEATRE
FRIDAY NOVEMBER 6 — NEW SHOW
WOLLONGONG | UOW UNI BAR
TICKETS AVAILABLE AT DAVIDROYWILLIAMS.COM
For more info, head to tismworld.com
Dreamstate Australia has revealed the final lineup for its 2027 edition, completing a bill spanning trance, techno, hard techno and other harder styles of electronic music.
The festival will take place at Sydney Showground on Saturday 6 February 2027 before heading to Flemington Racecourse in Melbourne on Sunday 7 February 2027.
The final additions to the lineup are Ferry Corsten, MaRLo, Natte Visstick, Xijaro & Pitch, Nikolina, Nicolas Julian, VisionV and Alt1.
They join an already announced lineup featuring Tiësto, Reinier Zonneveld, Infected Mushroom, Billy Gillies, Dimatik, Factor B, Indira Paganotto presents Artcore, Lilly Palmer, Marie Vaunt, Onlynumbers and Prada2000, alongside BIIA and Billy.
Tiësto will appear at Dreamstate Australia performing a trance set, while the completed lineup brings together artists working across the festival’s broader trance, techno and harder electronic music programming.
Ferry Corsten joins the 2027 edition as one of the final additions. The Dutch producer and DJ has been active in electronic music for more than three decades and is known for his work across trance and related styles.
MaRLo will also join the lineup, alongside Dutch artist Natte Visstick. Xijaro & Pitch are also confirmed, with the Belgian duo set to perform what has been announced as their final Australian show.
The completed Dreamstate Australia 2027 lineup, listed alphabetically, is:
Alt1
BIIA
Billy
Billy Gillies
Dimatik
Factor B
Ferry Corsten
Indira Paganotto presents Artcore
Infected Mushroom
Lilly Palmer
Marie Vaunt
MaRLo
Natte Visstick
Nicolas Julian
Nikolina
Onlynumbers
Prada2000
Reinier Zonneveld
Tiësto — Trance Set
VisionV
Xijaro & Pitch
Dreamstate is an electronic music brand presented by Insomniac, with the Australian editions forming part of the wider Dreamstate festival series. Insomniac’s official listings include Dreamstate events in multiple international markets.
The Australian festival has previously been staged across Sydney and Melbourne. The 2026 edition featured artists including Paul van Dyk, Gareth Emery, Giuseppe Ottaviani, Bryan Kearney, Billy Gillies, Ben Nicky, Ben Hemsley, Amy Wiles, Factor B, Vini Vici, Victor Ruiz and others across its Sydney and Melbourne events.
For 2027, Sydney Showground is promoting Dreamstate as an 18+ event and confirms the use of theatrical lighting, pyrotechnics and smoke as part of the production.
Dreamstate Australia 2027
Sydney
Saturday 6 February 2027
Sydney Showground, Sydney NSW
Melbourne
Sunday 7 February 2027
Flemington Racecourse, Melbourne VIC
Tickets are currently on sale, with the event’s final lineup now confirmed.
With its 2027 lineup now complete, Dreamstate Australia is set to bring Tiësto’s trance set together with a broad selection of international artists across trance, techno and harder electronic styles for its February dates in Sydney and Melbourne.
| DREAMSTATE AUSTRALIA 2027 Tickets on sale now For more information on Dreamstate Australia, visit: |
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Welsh electronic duo Overmono have announced their return to Australia for summer 2026/27, with Tom and Ed Russell set to perform a series of festival and headline dates across the country.
The Australian run follows the release of the duo’s second album, Pure Devotion, which arrived in 2026. The album follows their 2023 debut album, Good Lies.
Overmono will first appear at Lost Paradise in Glenworth Valley, New South Wales, before heading to Beyond The Valley in Victoria and Wildlands in Brisbane and Perth. The duo have also announced headline performances in Sydney and Melbourne in January 2027.
The Sydney headline show will take place at Carriageworks on Friday 8 January 2027, as part of THE WORKS. The Melbourne performance follows on Saturday 9 January 2027 at PICA in Port Melbourne. These will be Overmono’s first Australian headline shows since their sold out 2024 Australian tour.
PRE-SALE REGISTRATION HERE
TOUR INFO HERE
The full Australian schedule is:
29 December 2026
Lost Paradise
Glenworth Valley, NSW
30 December 2026
Beyond The Valley
Barunah Plains, VIC
31 December 2026
Wildlands
Brisbane, QLD
2 January 2027
Wildlands
Perth, WA
8 January 2027
THE WORKS, Carriageworks
Sydney, NSW
9 January 2027
PICA
Port Melbourne, VIC
Overmono’s Australian dates form part of their Pure Devotion World Tour. Their official tour listings currently include international performances throughout September, October and November 2026, before the duo’s Australian dates in December and January.
Pure Devotion is released through XL Recordings. The album follows Good Lies, which established Overmono’s first full length album release on the label. Remote Control Records has also confirmed the duo’s Australian appearance at Beyond The Valley as part of their summer return.
The album was created by brothers Tom and Ed Russell, who have been making music together as Overmono since 2015. Before Overmono, both brothers released music under their own names, with Tom Russell known as Truss and Ed Russell as Tessela.
Overmono’s Australian return will give audiences the opportunity to hear material from Pure Devotion alongside music from across their catalogue, with the duo appearing across festival stages and their own headline shows.
Tickets for the newly announced headline dates are being released in September, with the Melbourne show at PICA scheduled for Saturday 9 January 2027.
For Overmono, the Australian dates add another chapter to the Pure Devotion campaign, bringing the duo’s current live show to audiences across Sydney and Melbourne as well as major summer festivals around the country.
For more info on Overmono, visit:
INSTAGRAM | FACEBOOK | TIKTOK | YOUTUBE
For more information on Untitled Group, visit:
INSTAGRAM | FACEBOOK | WEBSITE | TIKTOK
Sydney duo Party Dozen have announced their fifth album, 21 Bum Salute, due for release on 6 November 2026 via GRUPO / Remote Control Records.
Alongside the album announcement, the duo have released new single ‘Euro Stomper’, accompanied by an official music video directed by Tanya Babić and Jason Sukadana of VERSUS.
Party Dozen, comprising saxophonist Kirsty Tickle and percussionist Jonathan Boulet, have built their sound around an improvisatory approach, combining saxophone, drums, loops and effects. The duo formed in Sydney in 2017 and have released four albums prior to 21 Bum Salute.
According to the album announcement, 21 Bum Salute was written, recorded, performed, mixed and mastered by Party Dozen themselves. The record follows their 2024 album Crime In Australia and includes previously released singles ‘Mad Rooter’ and ‘Special Unit’.
‘Euro Stomper’ marks the latest preview from the album. The accompanying video presents Party Dozen as chaotic charlatans in what the announcement describes as a comical critique of demagogues and grifters who build influence by manufacturing belief. It is the third video created for Party Dozen by VERSUS, following the clip for ‘Coup De Gronk’, which won Best Video at SXSW Sydney in 2025.
Party Dozen describe ‘Euro Stomper’ as an extended jam that developed into what they call a “glorious stomping anthem”, reflecting the duo’s preference for pushing their improvisational performances into unpredictable territory.
The new album also marks Party Dozen’s first collaboration with Remote Control Records in Australia and City Slang internationally. City Slang’s roster includes artists such as Caribou and Lambrini Girls.
21 Bum Salute will feature 10 tracks:
Special Unit
Euro Stomper
Mad Rooter
Toss My Coin
21 Bum Salute
PMFD
Full Powers
Captain Honk
The Stinking Rose
Age Of Fools
The album announcement comes with a run of Australian shows, marking Party Dozen’s first Australian tour since returning from supporting Amyl & The Sniffers in the United States. The dates include appearances at Heritage Hotel Bulli, Chopped Festival in Carisbrook, Adelaide’s Ed Castle, Brisbane’s Brightside, Crowbar Sydney, The Bridge in Castlemaine, Nightcat in Melbourne and the Whalers Hotel in Warrnambool.
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Party Dozen’s Australian tour dates are:
21 Bum Salute AU Tour
On sale now via www.partydozen.com
Sunday 13th September – Heritage Hotel Bulli, Bulli NSW
Saturday 19th September – Chopped Festival, Carisbook
Thursday 5th November – Ed Castle, Adelaide
Friday 6th November – Brightside, Brisbane
Saturday 7th November – Crowbar, Sydney
Wednesday 11th November – The Bridge, Castlemaine
Friday 13th November – Nightcat, Melbourne
Saturday 14th November – Whalers Hotel, Warrnambool
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FINELY TUNED ANNOUNCE RETURN OF MULTI-DAY WAREHOUSE SERIES
THE WORKS
(A-Z)
ARMAND VAN HELDEN,
DEAN TURLEY b2b JAMBACK, EWAN MCVICAR b2b SALUTE, JAYDA G, KI/KI, OVERMONO,
PEGASSI (ALL NIGHT LONG), ROSSI.,
SAM ALFRED b2b JOB JOBSE (OPEN TO CLOSE).
STACIE FIELDS
CARRIAGEWORKS, GADIGAL LAND/SYDNEY NSW
DECEMBER 2026 – JANUARY 2027
MORE INFO HERE
Finely Tuned has announced the return of THE WORKS, its multi day warehouse event series taking over Carriageworks on Gadigal Land in Sydney across December 2026 and January 2027.
The summer series will bring together international and Australian names from across house, techno, UK garage, trance and contemporary club music, with Armand Van Helden, Ewan McVicar, salute, Jayda G, Rossi., Sam Alfred, Job Jobse, Overmono, KI/KI, Pegassi and more confirmed for the program.
The series opens on 5 December with Pegassi, the creative alias of Belgian producer Sam Huybrecht, performing an all night set. The event has already sold out.
New Year’s Eve will see house and dance music veteran Armand Van Helden headline the 31 December event. He will be joined by Scottish artist Ewan McVicar b2b UK based Austrian artist salute, alongside Grammy nominated producer Jayda G.
On 6 January, Rossi. will take over Carriageworks, joined by Melbourne artist Dean Turley b2b Amsterdam selector Jamback and Stacie Fields. The following night, Australian DJ and producer Sam Alfred will go back to back with Amsterdam’s Job Jobse in an open to close set.
Welsh brothers Tom and Ed Russell, better known as Overmono, will perform on 8 January. The duo have built their sound around rave influences, chopped vocals and bass heavy production, with releases including “stayinit”, “Good Lies” and “So U Kno”. Their most recent album, Pure Devotion, features eleven tracks produced using tape, damaged speakers and reamped drums, according to the announcement.
The series will close on 9 January with Amsterdam based producer and DJ KI/KI, whose sets and productions draw heavily on acid, hard trance and fast paced club music.
THE WORKS was established in 2025 and previously presented six events featuring artists including Underworld, Ben Böhmer, Chris Stussy, CamelPhat, I Hate Models, Michael Bibi and Pretty Girl. Finely Tuned says the series was created to bring large scale warehouse production together with artists from different corners of contemporary dance music.
Presale tickets for the newly announced events begin at 10am AEST on Tuesday 15 September, with general sale commencing at 10am AEST on Wednesday 16 September.
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BPI (British Recorded Music Industry) Ltd is bringing a delegation of British music businesses to BIGSOUND this year. What made 2026 the right time to strengthen the connection between the UK and Australia?
The UK and Australia share deep cultural roots, and we are always looking to strengthen this valued connection. Music exports are hugely important to the UK as the world’s second largest music exporter after the U.S., and Australia has always been a commercially and culturally importantly market for us.
Australia in the UK’s 4th biggest market for recorded music exports so it’s significant for our BPI label members. The BPI had been present at other Australian events previously, but we thought it really was time to add to this presence by exploring what BigSound had to offer the UK delegation, as we’d heard great things.
How has your experience at BIGSOUND been so far, and what has stood out to you?
All of the BPI’s UK delegates were impressed with the sheer variety of both music and B2B opportunities available to them at BigSound. Our Breakfast with the Brits event was a real hit, a standout moment where we had a packed room of people networking and making instant connections right at the start of the event.
Having spent time meeting Australian artists and music businesses, what has impressed you most about the Australian music industry?
I think Brits and Aussies have the same can-do attitude along with a similar work ethic and sense of humour. It’s been great connecting and reconnecting with lots of different parts of the business in a really laid back, informal, fun atmosphere.
Queensland has an extraordinary music community. What opportunities do you see for Queensland artists and music businesses looking towards the UK?
The UK has a really strong connection to Australia and London has a huge community of Australians and of course all across the UK Aussies are liked. A great Australian artists have been coming to the UK for years to perform so there’s a great track record for new talent to follow.
What do British artists and music businesses sometimes misunderstand about trying to break into the Australian market?
The first thing is just how big Australia is! Roughly half the population of the UK but with 31 times the space! So touring artists especially find the sheer distance between some cities unfathomable!
Have you discovered any Australian artists at BIGSOUND 2026 that you think international audiences should be paying attention to?
There were quite a few. Catpiss, Sweatbaby, and Tusekah were all really interesting and I think have great potential although all the Brits I was with have about another 20–30 acts they were all pretty excited about.
The UK is one of Australia’s most important international music connections. What do you think makes the relationship between the two music industries so strong?
I think it’s the shared work ethic and sense of humour, but obviously our roots go deep and there are shared values and a common language.
BIGSOUND is built around creating connections that continue beyond the festival. What kinds of relationships are you hoping the UK delegation can build while you are here?
Personally for the BPI we are looking at potentially bringing over some UK artists in 2027 and it would be remiss of me not to mention that we are planning a multi year strategy in the lead up to the Olympics.
With streaming, AI and changing patterns of music discovery reshaping the industry, what do you think will have the biggest impact on independent artists over the next few years?
Change, however challenging, also creates opportunity, not least in a global digital industry that now makes it really exciting and possible for an artist from one part of the world looking to connect with other territories and build a global fanbase through their music. We have all read a lot about AI and the risks it represents, but it also offers a lot of potential benefits for industry growth if an effective licensed market can be developed.
If you met an Australian artist at BIGSOUND who genuinely wanted to build a career in the UK, what would you tell them to do first?
I would say research like crazy before you head over to the UK. For a small set of nations we have massively varied music scenes, often set in particular geographic areas, so make sure you know where you are likely to find your scene.
Psycho feels like one of your most vulnerable releases yet. What made you want to confront these parts of yourself through music?
I wrote Psycho in a deep spot of reflection, trying to find the root cause of why I sometimes I would speak to my people the way I would. Turns out your mind and body holds onto past trauma and life moments, and sometimes it comes out ways we not proud of.
The song explores how pain, anger, fear and insecurity can affect the people around us. Was there a particular moment or realisation that sparked the writing of Psycho?
Overtime it was a consistent theme of me not being told what I needed to change… and finally taking responsibility to change it.
There’s a strong contrast between the silky R&B production and the heavier subject matter. How did you approach creating that balance sonically?
I love it when you get a production and arrangement that is so good, it forces you dig deep into your toolkit and put everything into a song. This was one of those moments.
You worked with Melbourne producer R.F.P on Psycho. What did he bring to the track that helped shape it into the final version?
He’s a legend, working out of Naarm, Melbourne and I’ve been working with Rory for a couple of years. His production forced me dive deeper, and match his sonics and arrangement with truthful, honest storytelling.
You also co-produced and co-directed the music video with Richie Coburn. How did the visual concept develop alongside the song?
Richie Coburn has been a huge asset to have alongside me bringing my ideas to life. Working previously on ‘Blood in the Water’ and The Gift with Hilltop Hoods, we wanted to create a new age visualizer that accompanied the track nicely, I think we achieved that.
Psycho follows your debut single Blood in the Water. What did making that first release teach you that you carried into this new chapter?
Continue to be authentic and honest in your story telling. Theres so such growth to be had when I am authentically me, and stay aligned to my truth and values. Psycho is a representation of me staying to my commitment to honesty.
You’ve worked across hip hop, R&B and soul, while also collaborating with artists including Urthboy, A.B. Original, Birdz and Frank Leone. How have those experiences influenced the artist you’re becoming in your own right?
They’ve all shown me how to stay true to self and speak about what matters in the right way.
You came from a professional AFL background before moving further into music and creative work. What did your time in football teach you that you now carry into your creative life?
It taught me how to apply myself and prepare really well, and stay prepared. Alot of times as an independent artist, you never when your next opportunity is, so you need stay prepared, and that’s what I try to do each day. Work on my craft and stay ready.
Your music often connects personal experiences with culture, identity and socially conscious storytelling. How important is it for you to keep those elements present as your sound develops?
I feel as a First nations artist, we tend to feel like we’ve inherited a responsibility to truth telling through our art. That will always remain, and as my sound evolves, and gets to a place where it can live forever through the audience, the one thing that will remain is my authenticity and truth.
You’re working towards your debut album. What can you tell us about where Psycho fits into the bigger picture, and what you’re building towards with the album?
Psycho is integral part of the process towards a larger body of work. As i mentioned previously, it is most honest, reflective and piece off work, and since psycho was born, everything that has come after has elevated and pushed me to match that honesty, with no regard for self presevation. Resulting my growth as a writer, and artist.
What was going on creatively or personally when TRANCE first began taking shape, and what did you want the album to become?
When TRANCE first started taking shape, I was at a point where I wanted to make something that felt bigger and more complete than anything I had done before. I had a lot of different thoughts and emotions going on, and music was where I could put all of that. I did not want it to feel like just a collection of songs. I wanted it to feel like its own world that you could enter and stay in from beginning to end.
Much of the album was recorded inside your Tesla late at night. What was it about being in that space, alone and away from a traditional studio, that suited the music you were making?
There was something about being alone in the car late at night that made everything feel more focused. It was quiet, private, and I did not really have anything distracting me. I could just sit there with the music and let ideas come naturally. It also fit the feeling of TRANCE because a lot of the album is about being inside your own head and getting lost in a certain mood. Recording that way made the songs feel more personal.
With 20 tracks intended to feel like one continuous journey, how did you decide what belonged on the album and how each track should lead into the next?
A lot of it came down to whether a song felt like it belonged in the same world. Even if two tracks sounded different, they still needed to carry the same atmosphere or emotion. I paid a lot of attention to sequencing too. I wanted the energy to rise and fall naturally instead of feeling like twenty random songs placed next to each other. Sometimes the ending of one track would help me decide what needed to come immediately after it.
You handled the writing, production, arrangement and creative direction yourself. Was that complete creative control liberating, challenging, or a bit of both?
Definitely both. It was liberating because I could follow every idea exactly where I wanted it to go without having to compromise the vision. At the same time, it meant every decision came back to me. There was nobody else to blame if something was not working. It could get overwhelming, but I think that also made the finished album feel much more personal because almost every part of it came directly from my own decisions.
You’ve said you often started with a mood or feeling before building the vocals and production around it. How do you know when that initial feeling has become a finished song?
Usually I know when I can listen back and the song gives me the same feeling that made me start it in the first place. I do not really think of a song as finished because every technical detail is perfect. It is more about whether the emotion is there. Once adding more starts feeling like it would take away from the mood instead of making it stronger, that is usually when I know I should leave it alone.
The action figure in the visual identity represents the polished, artificial version of yourself presented to the outside world. How much of that idea reflects the person behind the music?
A lot of it does. Everybody has a version of themselves that people see from the outside, especially now with social media and how much of your life can become an image. The action figure represents that version of me that looks put together and controlled, while the actual music shows a lot more of what is happening underneath that. I liked the contrast because TRANCE is very internal, while the figure is almost like this manufactured exterior.
You’ve described your own artistic growth as the biggest influence on TRANCE rather than a particular artist or sound. What changed most in the way you approach making music?
I became more confident in trusting my own instincts. Earlier on, I think I was more focused on whether something sounded correct or whether it fit into a certain type of music. With TRANCE, I cared more about whether it felt right to me. I also started thinking about the full project instead of only individual songs. Production, sequencing, artwork, atmosphere, vocals, all of it became part of the same idea.
Across 20 tracks, was there a moment during the process where you surprised yourself with where the album was heading?
Yeah, especially when I started listening to multiple finished tracks back to back. At first I was making songs and following whatever ideas I had, but eventually I realized there was a much clearer world forming between them than I originally planned. That was probably when TRANCE stopped feeling like a group of songs I was working on and started feeling like an actual album.
TRANCE is centred around getting lost in thoughts, emotions and surroundings. What do you personally find yourself getting lost in most when you listen back to the album now?
Probably the memories connected to each song. I can remember where I was mentally when I made certain tracks, what I was thinking about, and even little moments surrounding the recording process. Listening now is almost like going back into that period of my life. Sometimes I am listening to the production, but other times one sound or lyric will immediately remind me of exactly where my head was when I made it.
You’ve said TRANCE represents how far you’ve come, but also how much further you want to go. What’s the next thing you want to challenge yourself to create?
I want to keep building projects that feel like complete worlds, but push the ideas even further. I do not want to make TRANCE again with a different title. I want the next project to have its own identity and make me approach writing, production, and visuals in ways I have not already done. The biggest challenge for me now is figuring out how to keep evolving without losing what makes the music feel like me.
Australian singer songwriter and The Voice Australia 2022 winner Lachie Gill is entering a deeply personal new chapter with his latest single, ‘Are You Okay?’, a song written in tribute to his best friend Justin, known as “Juzzy”, who died by suicide 11 years ago when Gill was 15.
The single explores grief, mental health, loss and the process of finding a way forward through sharing personal experiences. For Gill, writing about Juzzy became part of his own journey through grief.
“Grief is a challenging thing to navigate, but writing about him and my experience helped me get through it,” Gill says. “‘Are You Okay?’ isn’t just for Juzzy, it’s for anyone experiencing mental health struggles or anyone who has lost someone close to suicide.”
‘Are You Okay?’ arrives ahead of Gill’s sophomore EP, We Never Said Our Goodbyes, which is scheduled for release on Friday 2 October. The six track release features ‘Give Me A Little’, ‘Last Drive’, ‘Sweet Something’, ‘Are You Okay’, ‘Your Side’ and ‘Again & Again’.
Gill first came to national attention after winning The Voice Australia in 2022, where he connected with audiences through his vocals, performances and songwriting.
His experiences following the show also became part of the story behind his new music. Gill has spoken about facing online bullying and imposter syndrome, as well as unhealthy coping mechanisms that contributed to anxiety and panic attacks. After taking time away to reconnect with himself and his purpose, he has returned with a renewed focus on vulnerability, connection and honest storytelling.
That focus extends beyond Gill’s music. He works closely with Speak & Share, an Australian charity focused on reducing the stigma around mental health and creating environments where people can have meaningful conversations.
Through his work with Speak & Share, Gill speaks at schools, sporting clubs and workplaces, with a particular focus on supporting men and young people and encouraging more open conversations about mental health.
Gill will also perform at Chatswood StreetFair on Saturday 5 September, where he is scheduled to headline the Multicultural Stage at The Concourse from 5pm to 6pm.
He will then return to Melbourne for the We Never Said Our Goodbyes EP launch at Railway Hotel in Fitzroy North on Friday 2 October. Doors open at 7pm, with tickets available through Oztix.
The Melbourne headline show will give Gill the opportunity to bring the new EP into an intimate live setting, with the music reflecting the personal experiences and conversations at its centre.
For Gill, We Never Said Our Goodbyes marks a significant new chapter, transforming experiences of grief and personal struggle into songs centred on connection, reflection and hope.
Upcoming Show
Friday 2 October
We Never Said Our Goodbyes EP Launch
Railway Hotel
Fitzroy North, VIC
Doors 7pm
Tickets via Oztix
We Never Said Our Goodbyes – Tracklist
Give Me A Little
Last Drive
Sweet Something
Are You Okay
Your Side
Again & Again
‘Are You Okay?’ is out now on Island Records Australia
For a band, rehearsal is where everything starts to come together.
Songs get pulled apart and rebuilt, new ideas take shape and the moments that eventually end up on stage often begin in a room with a few amplifiers turned up and everyone trying to hear each other.
For thousands of Melbourne musicians, that room has been Hydra Rehearsal Studios.
Based at 18 Duffy Street in Burwood, Hydra has been part of Melbourne’s music community since 2006. What began with five rehearsal rooms has grown into a ten room facility designed around giving bands and musicians somewhere practical, properly equipped and affordable to work on their music.
The current facility opened in 2008 and each of its ten rooms measures 30 square metres. The rooms are acoustically engineered, soundproofed, air conditioned and ventilated, with each one fitted with a 2400 watt PA system, HK Audio speakers, a Mackie or Yamaha mixing desk, Yamaha foldback, three Sennheiser microphones and microphone stands.
Drum kits, guitar amps, bass amps and other backline equipment are also available for hire, while the studio provides parking and easy load in for bands bringing their own gear.
Then there is the pricing.
Hydra currently offers solo weekday daytime sessions from $20 for one hour, with drum kit hire available for $30. Other weekday daytime bookings are $40.
Evening and weekend rates vary according to the number of people and the session time. Monday and Tuesday night sessions start at $54 for a solo musician or duo, while bands of four or more are $96. Wednesday and Thursday night sessions are $78 for solo, duo or trio bookings and $96 for bands of four or more.
Friday night and Saturday and Sunday daytime sessions start at $36 for a solo musician, while Saturday and Sunday night bookings are a flat $60 for all booking types.
Hydra also currently offers a 25 percent discount for people under 25, pensioners, unemployed people and people studying music at university or TAFE, subject to the studio’s conditions.
The important thing to know is that Hydra’s listed room hire prices are flat session rates rather than hourly rates.
For drummers, the Drum Den offers solo sessions from $20 for one hour, with drum kit hire available for $30 and additional hours available for $5.
But the story behind Hydra is just as interesting as the rooms themselves.
The studio is owned by Peter, a Victorian College of the Arts music graduate whose career has taken him through performing, teaching, composing, conducting, music direction and band management.
Peter spent 14 years as an instrumental and classroom music teacher and has played in 11 bands. He was also a founding member of Martin Martini & The Bone Palace Orchestra, a group that played with artists including Paul Kelly and Tripod and featured guests including Tim Minchin, Harry Angus and Eddie Perfect.
The group received support from Triple J and performed at venues and events including the Sydney Opera House Studio, Soho Theatre in London, Adelaide Cabaret Festival, Brisbane Powerhouse and Woodford Festival.
That experience has helped shape Hydra into something more than somewhere to hire a room.
Through its Band Aid service, Hydra assists customers with finding recording studios, sound engineers, gigs, band line ups and media and advertising services.
The studio also shares current industry information and contacts with its customers and has recommended, secured and organised gigs for musicians who use the facility. Hydra has also organised, staged and sponsored its own gigs and music events.
It is a useful extension of the rehearsal room.
A band can walk through the doors needing somewhere to practise, but the people behind the business understand that rehearsal is only one part of being a working musician.
That connection between the rehearsal room and the wider music industry is particularly relevant in Melbourne, a city with a long history of producing artists and bands across almost every genre.
For musicians who have ever arrived at rehearsal and realised they forgot a cable, Hydra also keeps a supply of leads, straps, power boards and other accessories available to borrow.
There is something fitting about a rehearsal studio that has survived and evolved alongside Melbourne’s music scene for two decades.
The industry has changed. The way artists release music has changed. The way bands promote themselves has changed.
But the basic need has not.
Musicians still need somewhere to turn up, plug in, play loudly and figure things out.
For a new band preparing for its first show, an established act working towards a tour, or a solo musician looking for somewhere to develop new material, Hydra Rehearsal Studios offers a space built specifically for that purpose.
Twenty years after opening its first rooms in Burwood, Hydra continues to provide a place for Melbourne musicians to get together and make some noise.
And sometimes, that is where the next great band starts.
Hydra Rehearsal Studios
18 Duffy Street
Burwood VIC 3125
Bookings: 0417 000 397 via text
Phone: (03) 9038 8101
Email: hydrastudios@bigpond.com
Current rehearsal prices: From $20, with flat session rates varying according to session time and group size.
Radiohead will return to Australia in May and June 2027 for their first Australian shows in fifteen years, with sixteen arena performances announced across Perth, Melbourne and Sydney.
Presented by Frontier Touring and Chugg Entertainment, the Australian tour will begin at Perth’s RAC Arena on Monday 3 May, with four shows scheduled in the Western Australian capital.
The band will then travel east for six performances at Melbourne’s Rod Laver Arena before finishing the tour with six shows at Sydney’s Afterpay Arena on Tuesday 1 June.
The Australian dates are:
RAC Arena, Perth
Monday 3 May 2027
Tuesday 4 May 2027
Thursday 6 May 2027
Friday 7 May 2027
Rod Laver Arena, Melbourne
Thursday 13 May 2027
Friday 14 May 2027
Sunday 16 May 2027
Monday 17 May 2027
Wednesday 19 May 2027
Thursday 20 May 2027
Afterpay Arena, Sydney
Tuesday 25 May 2027
Wednesday 26 May 2027
Friday 28 May 2027
Saturday 29 May 2027
Monday 31 May 2027
Tuesday 1 June 2027
The shows will mark Radiohead’s first Australian performances since 2012.
The tour follows a series of residencies the band performed in European cities during November and December 2025.
Radiohead’s recorded catalogue currently spans nine studio albums, beginning with Pablo Honey in 1993 and continuing through to A Moon Shaped Pool, released in 2016. The band’s catalogue includes albums such as The Bends, OK Computer, Kid A, Amnesiac, Hail to the Thief and In Rainbows.
For the Australian shows, ticket access will be managed through a registration process covering both general and accessible tickets. The system is intended to help provide fair access and reduce automated and unauthorised ticket purchases.
Registrations open at 5pm AEST on Monday 7 September 2026 and close at 5pm AEST on Thursday 10 September 2026. According to the tour announcement, registrations completed during that window will be treated equally regardless of when they are received.
Fans can register and access information about the process through the official Australian registration site.
A $2 AUD charity donation will be included in the ticket price, with funds going to Greenpeace Australia Pacific and the Australian Marine Conservation Society. Radiohead will match the total amount with its own donation, with the announcement noting that the charity contribution may be subject to unavoidable taxes.
The Australian tour is presented by Frontier Touring and Chugg Entertainment.
Radiohead’s return will take the band through three Australian cities across a sixteen-show run, beginning in Perth on 3 May and concluding in Sydney on 1 June 2027.
Patrons are advised to purchase tickets only through authorised ticket sellers.
We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website.
FOLLOW RADIOHEAD:
Angus & Julia Stone will return to Australia in February and March 2027 to launch their latest world tour, bringing their new album Karaoke Bar to audiences across the country.
The five-time ARIA Award-winning brother-and-sister duo will play six Australian dates as part of the Karaoke Bar World Tour, presented by Frontier Touring. The tour follows the release of Karaoke Bar, their latest album, which was written and recorded across Greece, France and Australia and is out now via Virgin.
Australian audiences will be among the first to hear songs from Karaoke Bar performed live, alongside material from across Angus & Julia Stone’s catalogue.
The tour follows the international campaign surrounding the duo’s 2024 album Cape Forestier, which included a sold-out international tour with performances at London’s Royal Albert Hall, Paris’ L’Olympia and New York’s Town Hall.
Angus & Julia Stone first broke through with their 2007 album A Book Like This. Their 2010 album Down The Way went on to win ARIA Awards and included “Big Jet Plane”, which topped the triple j Hottest 100.
Their subsequent releases have included the self-titled Angus & Julia Stone in 2014, Snow in 2017 and Cape Forestier in 2024. The duo have amassed more than three billion streams and built an international audience over a career spanning nearly two decades.
Karaoke Bar is led by the single “The Cherry Farm” and reflects a period of movement and creative exploration for the duo, with its recording taking place across multiple countries.
The Australian tour begins at Adelaide Entertainment Centre Theatre on Saturday 13 February before heading to Brisbane, Melbourne, Sydney and Perth.
ANGUS & JULIA STONE
KARAOKE BAR WORLD TOUR
FEBRUARY/MARCH 2027
Presented by Frontier Touring
FRONTIER MEMBER PRESALE
via frontiertouring.com/angusandjuliastone
Runs 48 hours from: Wednesday 9 September (11am local time)
or until presale allocation exhausted
TICKETS ON SALE
Begins: Friday 11 September (12pm local time)
Saturday 13 February
Adelaide Entertainment Centre Theatre | Adelaide, SA
Lic. All Ages
ticketek.com.au
Saturday 20 February
The Fortitude Music Hall | Brisbane, QLD
Lic. All Ages
ticketmaster.com.au
Thursday 25 February
Forum Melbourne | Melbourne, VIC
18+
ticketek.com.au
Friday 26 February
Forum Melbourne | Melbourne, VIC
18+
ticketek.com.au
Sunday 28 February
Sydney Opera House Forecourt | Sydney, NSW
Lic. All Ages
sydneyoperahouse.com
Friday 5 March
Kings Park and Botanic Garden | Perth, WA
Lic. All Ages*
ticketmaster.com.au
* Under 18s must have a valid ticket and be accompanied by a parent or legal guardian.
FOLLOW ANGUS & JULIA STONE:
Website | Facebook | Instagram | X | TikTok | YouTube | Spotify | Apple Music
frontiertouring.com/angusandjuliastone
Amyl and The Sniffers have never been a band particularly interested in doing things the expected way. With Truth or Consequence (Live from El Coyote), they take their songs somewhere distinctly different, stripping back their punk and rock attack for an intimate, country-influenced live performance recorded at the iconic El Coyote Mexican Restaurant in Los Angeles.
Released in September 2026, the 14-track live album captures the Melbourne band’s one-of-a-kind performance in a setting far removed from the packed festival stages and high-energy venues they are known for. The accompanying concert film was recorded and filmed at El Coyote on April 28, 2025, with long-time collaborator John Angus Stewart behind the project.
Rather than simply documenting a standard Amyl and The Sniffers show, Truth or Consequence reimagines the band’s material through a country lens. The result gives songs from across their catalogue a looser, more stripped-back setting while retaining the personality that has defined the band from the beginning.
The release also features two previously unreleased tracks alongside a cover of Australian country classic Slim Dusty’s Lights on the Hill. The song’s inclusion makes particular sense within the project’s country setting, while also connecting the band’s contemporary punk energy with a distinctly Australian piece of songwriting history.
One of the songs receiving the El Coyote treatment is Chewing Gum, originally released on the band’s 2024 album Cartoon Darkness. A new live version accompanies Truth or Consequence, with the band also releasing an official video from the performance.
The setting is central to the character of the release. With the performance taking place in an intimate restaurant rather than a conventional concert venue, the project captures a different side of Amy Taylor, Declan Mehrtens, Gus Romer and Bryce Wilson. The band’s usual intensity is still present, but the arrangements allow the songs to breathe in a way that their full-volume live shows generally do not.
That contrast is part of what makes Truth or Consequence interesting. Amyl and The Sniffers aren’t abandoning the sound that made them one of Australia’s most recognisable punk bands; they’re showing how flexible those songs can be when the volume comes down and the surroundings change.
The project follows Cartoon Darkness, the band’s third studio album, released in October 2024. That record continued the band’s international rise, following their self-titled 2019 debut and 2021’s Comfort to Me.
Now, with Truth or Consequence, Amyl and The Sniffers have turned an intimate Los Angeles performance into something that sits somewhere between a live album, concert film and unexpected country detour.
It is still unmistakably Amyl and The Sniffers. It just sounds like they decided to kick back, change the setting and see what happened.
Truth or Consequence (Live from El Coyote) is out now
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