Interview: Eliza Hull ‘Ones To Watch’ – On Curating the Future of Australian Music

When you started curating this lineup, what first connected you to Mathilde Anne, R.EM.EDY and Cooper Smith? What did you see in each of them that made you feel, yes, these are the voices we need in the room?

They are all incredible artists, I love their music. Mathilde Anne has this ethereal, intimate way of writing that feels like she’s letting you into her internal world, my favourite song of hers is ‘Haunt You When I’m gone’- it’s rare to find an artist who can make vulnerability feel powerful. R.EM.EDY is a force; she shapeshifts through genres with such confidence, and she uses her music to speak boldly about identity and disability. I first saw her perform at BIGSOUND and she was incredible! Cooper Smith brings an electricity and joy that’s completely infectious – he refuses to fit into anyone’s expectation of what a DJ “should” be, and it’s been incredible to see him write original music. I first saw him perform at ABILITY Fest.

Putting this event together must have involved a lot of instinct as well as intention. What were the qualities or stories you were determined to spotlight within the disabled artist community?

I wanted voices that were unapologetically themselves. Artists who are pushing against the grain musically, but who are also shifting the culture about what it means to be a disabled musician. They’re all incredibly talented, hardworking musicians. I also wanted to make sure I showed a cross section of styles and different disabilities.

Your own experiences as an artist with disability are woven into everything you do. How did that perspective influence the way you approached shaping this night?

My lived experience was at the heart of every decision. I know what it feels like to be the only disabled person at a gig, or to arrive at a venue and realise it hasn’t been considered whether you can access the stage. I didn’t want any artist on this lineup to feel that way. So, I curated the night with the same care I wish I had been given earlier in my career – making sure the environment is safe, the team is supportive, and the artists feel uplifted rather than tokenised. It’s about building the kind of industry I want the next generation to inherit.

ONES TO WATCH has a reputation for picking the artists who will shape the next wave. What did you want this particular edition to say about where the industry is heading – or where it needs to go?

I wanted this edition to say, loudly, that disabled artists are not a footnote in Australian music – we’re part of the future. It’s incredibly exciting that Live Nation have decided to take this step and champion this night, I think it’s exciting and a sign of the times. The industry is realising that inclusivity isn’t an add-on; it’s essential if we want a scene that reflects the real world. The next wave of music in Australia isn’t defined by one sound – it’s defined by perspective, authenticity and diversity of thought. These artists represent exactly that.

You’ve been vocal about the barriers that still exist in this space. From your point of view, what changes feel genuinely urgent if disabled artists are going to be supported properly in this country?

Accessibility is still the biggest barrier – physical spaces, schedules, expectations, and the assumptions people make before we even start performing. We need venues, festivals and studios designed with disabled people in mind, not retrofitted as a last minute thought. And we need meaningful representation: disabled artists on festival line ups, on radio, in writer’s rooms, at award nights. It’s also crucial that funding and professional development opportunities account for the realities of disability.

The three artists on this bill all occupy completely different sonic worlds. How deliberate was it to bring that range of genres and identities together on one stage?

Very deliberate. I wanted to show that disabled artists are not one genre, one narrative, or one aesthetic. We are as varied and expansive as any other group of artists. By bringing together pop, R&B, soul, electronic and indie energy on one stage, I’m hoping audiences feel that. It’s important to challenge the narrow ideas people often have about disability – including how our music “should” sound. There’s no singular disabled artist experience, and this lineup makes that undeniable.

When you look back on the curation process, was there a moment that made you stop and think, this is exactly why this event needs to exist?

I think just seeing how excited the artists are, that Live Nation have thought about including them in a line up like this! Hearing this from the artists reminded me that visibility can be transformative when it’s done right. That was the moment I thought: this is why we’re doing this – so disabled artists can feel celebrated and amplified, not sidelined.

You’re hosting the night and closing it with your own performance. What does sharing the stage with these artists mean to you right now, both personally and creatively?

I feel like I’m standing alongside artists who truly get what it means to navigate this industry differently, but who also refuse to let that limit their artistic ambition. Personally, it feels like being part of a community I’ve always wished existed when I was starting out. Sharing the stage with them feels like a full-circle moment.

You worked closely with Live Nation to bring this together. How did that partnership help you realise what you wanted this event to stand for?

Live Nation genuinely listened. They didn’t just want to put on a show; they wanted to build something meaningful with me. They trusted my vision and let me lead with my lived experience, and they backed that up with real support – from resourcing to accessibility considerations. That kind of collaboration allowed the event to become what it needed to be: not a token moment, but a night that creates actual pathways for disabled artists.

Because the event aligns with the International Day of People with Disabilities, it carries a weight beyond a normal showcase. What conversations do you hope this night sparks – not just in the room, but across the industry in the months ahead?

I hope it sparks conversations about what genuine inclusion looks like – not the glossy version, but the real, everyday work of uplifting disabled artists. I want people to think about who’s missing from their lineups, their writer’s rooms, their playlists and why. And I hope this night inspires more events, partnerships and opportunities that centre disabled artists. If the ripple effect is that more disabled musicians feel seen and supported, then we’ve done something meaningful.

HOSTED BY ELIZA HULL
FEATURING MATHILDE ANNE, R.EM.EDY AND COOPER SMITH

Continuing to redefine their status as one of the premier live music discovery platforms in the country, Live Nation’s ONES TO WATCH series today announces their final edition for 2025:

an event held in Melbourne on Wednesday 26 November, to coincide with

International Day of People with Disabilities (IDPWD) – observed on Wednesday 3 December.