the partae

Photo by: Vinca Petersen

Singer songwriter Matt Maltese today releases his sixth studio album Hers via The Orchard. Hers arrives as Maltese’s most insular and intimate project to date, and his first fully self-produced effort since his second album Krystal.

Maltese has long drawn from the tried and tested artistic wellspring of romance and heartbreak, but the songs that make up Hers find him reflecting upon a serious long-term relationship and the more grown-up complexities of love through the rearview, with the quiet artfulness for which he has become so beloved. Hers exists in a twilight world, pairing heartfelt songwriting and dry witticism with the gentle quiver of strings, a flourish of woodwind or the sound of a creaking old piano.

“I’ve written a lot of music that comes from a place of infatuation, but this record was written on reflection of a much longer-term love. The complications and wonderful roads that that goes through and the more informed heartaches that come out of it. I got to really reflect and slave over it… It’s a bit like having a year to write a really important email,” he says. 

“I’m British enough to feel a slight shame of writing so many love songs in the past,” he adds. “Maybe the more interesting thing on paper would have been to go to the other side of the world and write a concept album about prehistoric creatures or something, but at the end of the day, we’re all human, and love and people are things we’re all continually affected by. It’s my job as a songwriter to excavate the things in my life, and that’s what I was going through.”  MATT MALTESE

LISTEN TO HERS 

Today he also highlights the record’s latest single ‘Happy Birthday’, a mediation on all the feelings that can be held in such a simple exchange between two people. Maltese explains: “I grew up when writing ‘happy birthday’ 108 times a year peoples Facebook pages without any punctuation was socially acceptable behaviour, and I’ve always thought how interesting it is looking back.. such a plain message but always so much unsaid between senders and recipients in those two words. The socially conventional shell for a million other feelings. And I think in break ups, the ‘happy birthday’ text is the last thing to go. Sometimes it goes on years longer than anything else, and that’s fascinating, I think. Reflecting on this, it started to really interest me to get that into a song. A light title, but all the anguish underneath the surface. Maybe someday, people all over the world will joyfully chant ‘I’d break my legs in half..’ when the cake comes out. Or not.”

LISTEN TO ‘HAPPY BIRTHDAY’

This week Matt embarks on a tour of intimate record store in-store shows in support of Hers, with events taking place in London, Liverpool, Nottingham, Oxford and Brighton over the coming week. Later this year Maltese embarks on his Tour For You My Whole Life run, playing the biggest venues of his career across North America, UK and Europe from September through to December. The 46-date tour commences in Nashville, stopping by major venues including Los Angeles’ Greek Theatre and London’s Roundhouse, before concluding his European run in Barcelona in mid-December. Full list of dates below, tickets are on sale now and available via matt-maltese.com.

HERS TRACKLIST

Arthouse Cinema 

Buses Replace Trains

Happy Birthday 

Anytime, Anyplace, Anyhow 

Always Some MF 

Cure For Emptiness 

Holiday From Yourself 

Pined For You My Whole Life 

Eternal Darkness Of The Spotless Mind 

Tangled 

Everybody’s Just As Crazy As Me 

Having first established himself as a songwriter with a knack for dry one-liners and a keen eye for self-deprecation, Maltese released debut album Bad Contestant back in 2018. The three albums that followed over the next five years cemented his position as one of the UK’s finest young songwriters. Critics were unanimous; Matt Maltese’s piano harmonies, playful approach and quintessentially British wit saw ‘the mundane transformed into fantasy’.  

Since the release of 2023’s Driving Just To Drive, Maltese has been busy in multiple behind the scenes roles, lending his songwriting abilities to a number of fellow artists, and establishing indie label Last Recordings On Earth. Taking a slightly different approach to his own craft, last year saw Matt share covers album Songs That Aren’t Mine, a collection of some of his favourite songs, recorded at home with guest features by friends including Dora Jar and Liana Flores. Elsewhere, he made his theatre songwriting debut, composing all original music and lyrics for The Royal Shakespeare Company’s winter production of Twelfth Night, described by The Observer as “inspired… perfectly balances Shakespeare’s dramatic polarities”.  

Late 2024 also saw Maltese embark on a headline tour of Asia, Australia and New Zealand, following live runs through the US, Europe and the UK, including his biggest show to date at the Wiltern, Los Angeles, and a sold-out show at London’s Brixton Electric. His global appeal as an artist is undeniable, with sold-out shows from Sydney to Sao Paolo, and Jakarta to Tokyo to his name.  

MATT MALTESE 2025 TOUR DATES

16 September – Marathon Music Works, Nashville

17 September – Tabernacle, Atlanta

19 September – Underground, Charlotte

20 September – Lincoln Theatre, Raleigh

20 September – The Fillmore Silver Spring, Washington

23 September – Roxian Theatre, Pittsburgh

25 September – HISTORY, Toronto

26 September – Beanfield Theatre, Montreal

28 September – Citizens House Of Blues, Boston

30 September – Toad’s Place, New Haven

2 October – The Fillmore, Philadelphia

4 October – Paramount, Brooklyn

6 October – Newport Music Hall, Columbus

7 October – Bogart’s, Cincinnati

9 October – Deluxe at Old National Centre, Indianapolis

10 October – The Fillmore, Detroit

11 October – Riviera Theatre, Chicago

13 October – The Fillmore, Minneapolis

25 October – Summit, Denver

16 October – The Depot, Salt Lake City

18 October – Vogue Theatre, Vancouver

19 October – Moore Theatre, Seattle

21 October – Fox Theatre, Oakland

23 October – House Of Blues, San Diego

24 October – The Greek Theatre, Los Angeles

26 October – The Van Buren, Phoenix

29 October – House Of Blues, Dallas

30 October – Stubbs Waller Creek Amphitheatre, Austin

1 November – House Of Blues, Houston

2 November – House Of Blues, New Orleans

4 November – The Ritz Ybor, Tampa

20 November – Project House, Leeds

21 November – O2 Institute, Birmingham

22 November – O2 Academy, Bristol

24 November – The National Stadium, Dublin

26 November – SWG3, Glasgow

27 November – O2 Ritz Manchester

28 November – Roundhouse, London

1 December – La Cigale, Paris

3 December – Ancienne Belgique, Brussels

4 December – Tivoli Vrendenburg, Utrecht

6 December – Kantine, Cologne

7 December – Metropol, Berlin

9 December – WUK, Vienna

11 December – Legend Club, Milan

13 December – Razzmatazz 2, Barcelona

PRAISE

“An undeniably safe pair of hands… even the most quotidian of details becomes filmic. ‘Hers’ is testament to how much Matt has grown since his 2018 debut” 

DIY MAGAZINE

“New album ‘Hers’ could be a defining statement… a beautiful glimpse of his creative essence.”

CLASH

Hers is out Now

Matt Maltese: Website | Instagram | TikTok | X | Facebook | Spotify | Apple Music 

Photography: Hieu Nguyen – Words: Ken Magno

My first memory of Montell Fish was the same way I discover most artists that have become quite constant staples in my recent most-played lists. A chance encounter with a song that comes on in my recommended tracks, just to scroll back through hours of music and find that one specific song that stuck in my head. The song of question? “Fall in Love with You.” A song with a simple yet powerful message that seemed to strike a chord during the late hours of the night. That song would go on to become a mainstay in my daily rotation, during late night dnm’s over the phone, long drives up and down the highway and during any time my friends and I would go band for band in what our ultimate ‘yearning’ track is.

Jump forward a couple years, on a cold and windy night in May, and Montell Fish was set to play the final few of his internationally sold out “the Dream Deer Tour”, following the release of his 2024 album “Charlotte”. Driving into the venue, the sun was setting over an overcast Sydney as the dimly lit lights of the Enmore Theatre battled with the violent blues and greys of the sunset; a night that matched the energy of the enigmatic singer perfectly. Setting the scene for Fish was DJ / producer Exxy, a young up and coming artist who set a scene of intimacy rather than the usual upbeats of most opening acts at shows. His set complimented Fish’s music perfectly, a feeling of ambience in his sound that most would recognise as the feeling of listening in on the party music playing through the walls of the bathroom you’ve found yourself in – a melancholic feeling of euphoria as you sit back and rethink the decisions that led you to the moment you’ve found yourself in.

As Montell made his highly anticipated entrance, his silhouette was only highlighted by a mix of strobe lighting and a dimly lit back curtain, adding to the mystery and complexity of his character. Flashes of lights and quick glimpses of the Pittsburgh-based singer-songwriter, the pain and anguish in his voice and words hitting at the heart as if they’re lingering memories of past mistakes that you can’t quite let go of. Montell Fish had created a haunting scene over the historic venue, something more reminiscent of a painting from the romantic period filled with emotion and longing, his words being his paintbrush that carefully curates the artwork of emotion that was on display at his show.

Songs like “Every Night” and “Same Sh*t” had lit a fire in the audience, the chorus of the Every Night feeling more like a hypnotic chant as the audience relentlessly screamed “The drugs, the sex the lights / I think I want it all, like every night” with the heavy drums and distorted guitar adding a layer of harshness that contrasts his usual soft, alternative-pop style.

Though throughout the set, Montell’s duality behind his songwriting really shone as he led the crowd through a more personal story. Taking a trip back to his early release of “Jamie”, Fish walked us through a story that may seem like another soft RNB ballad about the hopelessness of falling in love with someone just out of your reach, though actually paints a story of a man struggling with is relationship with God. Montell’s early days having freshly moved to New York as a young artist looking to find community while trying to uphold his Christian roots sparkled through a beautiful play through of his hit song “Talk2Me”, his guitar acting as an extension of his voice rather than an accompaniment.

After dancing around the keys of his piano to “What ‘s it Take to be a Star”, Montell Fish made his goodbye’s by playing his infamous ballad “Fall in Love with You.” (giving the younger me chills) before bowing out to a thunderous rendition of “Hotel” and “Bathroom” back-to-back, adding a heavily distorted guitar solo to the end of “Hotel” that seemed to transcend the space between the audience and the artist and elevate the night to a whole other level. 

Montell Fish creates music for the dreamers, for the lost, for the lovers – he creates music that is real and relatable, leaving a piece of his heart on the stage with every soul piercing note, creating a show that was nothing short of a night to remember for decades. The Dream Deer Tour ends with the final show of the international tour at the Enmore Theatre on Wednesday the 14th of March, followed by an afterparty at the Lansdowne Hotel in Sydney hosted by Montell Fish’s alter ego DJ Gummy Bear.

Unveiling a new rock n roll number, The Grogans are releasing ‘Social Cue’, the latest single from their forthcoming LP Stagger, out Friday 23 May. Capturing their live energy that their fans love best, the single is joined by a live video recorded at Sing Sing Studios, Melbourne. After returning from a 16-date US headline tour, the trio are making a quick stopover in WA for shows in Margaret River and Esperance as they gear up to release their fifth and favourite album later this month and a return to the US this June.

Out Thursday 8 May, ‘Social Cue’ is packed with heavy guitars and drums, reminiscent of an early Grogans sound that fans first fell in love with. The track embodies the story of feeling disrespected and all the frustration that comes with it. “Dig in and turn it up to eleven” – The Grogans.

PLAY/LISTEN

Exploring another side of The Grogans’ music, Stagger is a patchwork of different sounds and sonic inspirations that all come together in the one album, “it came from this idea that it was a jagged and stylistically different album track to track“, explain The Grogans. Capturing the magnetic energy of their live shows, the album also touches on themes of mental health, taking care of yourself and your loved ones, the occasional love song, and more. As the catchy chorus first single and album opener ‘Oh Boy’ leads into sonic powerhouse of a tune ‘Come Up (Goes Down)’, ‘In My Heart’ slows it down to a new easy listening direction, followed by ‘Have a Little Dream’ – as dreamy as the title suggests – and the big open echoed instrumentation of ‘Once In A While’. Adding new textural effects in ‘Roll Back’ and last single ‘Roundabout’, ‘Happier Man’ dips into a heavier psych realm with a reminder that “striving to be a better and happier person should be a goal for everyone.” ‘Worry About Everything’ is an upbeat tune sure to have you worrying about nothing, and feel good album closer ‘All My Days’ ends on a more serious note that outlines the beauty and the beast of live music and the personal struggles that come with the lifestyle and touring.

Included in Rolling Stone’s Future of Music 2025 and described by triple j as ‘one of the most consistently hardworking live acts in the country’, The Grogans commitment to making incredibly varied, distinct music, sharing good experiences at their live show and genuine elation on playing together is clear to see and explains why they are one of Australia’s brightest bands. In recent years, they have delighted their international fans with a headline 2024 tour across Europe, Ireland, and the UK, a stop at the Netherlands’ Misty Fields Festival, joining Ocean Alley on their US Summer Tour, and more. Never ones for slowing down, 2024 was filled with local shows, sharing the stage with Teen Jesus and The Jean Teasers for their ‘Fix It With Salt’ tour, and a 5th anniversary tour of their LP ‘Just What You Want. ’

Filled with catchy chorus’ for fans to sing along to, get ready for the new 11 track LP from The Grogans.

‘Social Cue’ is out via CW Records

Stagger out Friday 23 May CW Records

Photography: Josh Ma

Words: Ken Magno

There’s something different about dance concerts. Most bands and artists I’ve seen live recently, it’s a race to the front of the barricade to try gain the attention of whoever has the stage, though there’s something magic about the hypnotic trance of an electronic gig. The pounding bass echoing through the venue, the syncopation of frat flicks and red bull vodka induced “Woo’s” of eager many eager fans, there’s no better way to battle the oncoming cold weather than by burning up on the dance floor.

Enter Chris Lake; British electronic DJ and producer phenomenon who first took the world by storm back in 2006, turning the Hordern into a dance party not even some of the Sydney city’s most well-known dance clubs could compete with on a chilly Saturday night. His signature tech house sound accompanied by simple visuals (an LED screen hooked up to a livestream of the DJ alongside a light show that perfectly elevated the atmosphere) had the audience moving in a way that looked the Hordern had its own living heartbeat. 

Having just come off a fresh back-to-back set with Australia’s very own techno powerhouse FISHER, many eager eyes scouted around the room to see if the Under Construction (the moniker that the duo of Chris Lake and FISHER perform under) marathon continued – a speculation that would pay off as the night went on. Playing through some of his more popular tracks, including recent hits such as ‘Summertime Blues’, ‘In the Yuma’ and chart topper ‘Beggin’ as well as his 2024 remix of Gotye’s hit single ‘Somebody That I Used to Know’ simply titled ‘Somebody’, the party raged on with FISHER acting as a hype man throughout the remainder of their time on stage (while also playing some FISHER classics in true b2b style. 

Chris Lake’s Disclosure collab ‘In2Minds’ signified the final moments of the night, closing out an insane season of shows and festivals for the dance mastermind. The show never ended even after the sound was cut off, with Lake taking to the stage once more to give the crowd one more chant, showing his love and appreciation for the people of Sydney one more time and bowing out to a thunderous applause of Sydney’s ever growing EDM community.

Photography & Words: Darren Chan

Melbourne got to experience two of rock’s most iconic artists at Margaret Court Arena. The autumn chill has kicked into Melbourne, but George Thorogood heated up the atmosphere with his long-time band, The Destroyers, consisting of drummer Jeff Simon, Bill Blough on bass, Jim Suhler on guitar, and Buddy Leach on saxophone.

From the get-go, it was rock ’n’ roll boogie with the opener “Rock Party.” Aussie blues-rock artist Hamish Anderson joined the band on percussion for Bo Diddley’s “Who Do You Love,” as George jokingly put it, “to be the lady magnet.”

Buddy added to the performance with some tasty saxophone licks and solos, intertwined with George’s percussive guitar rhythm playing. George had his moments to shine with an intense slide solo in “Gear Jammer.” Jim seamlessly carried both rhythm and lead guitar duties. They effortlessly ripped through crowd favourites including “One Bourbon, One Scotch, One Beer,” “Gloria,” and “Get a Haircut” with sass and attitude.

The slide intro of “Bad to the Bone” had the crowd up and cheering, finishing with the classic “Born to Be Bad.” With George and The Destroyers, what you see is what you get—raw, in-your-face, blues-infused rock ’n’ roll boogie.

ZZ Top have been around for 51 years, and the show was an opportunity to experience the legends that have shaped rock and blues for decades. They strutted onstage to enthusiastic applause, kicking off with “Got Me Under Pressure” from the Eliminator album. The setlist spanned their entire career, seamlessly blending the past and present, including their hits “Sharp Dressed Man,” “Gimme All Your Lovin’,” “Legs,” and deeper cuts like “Brown Sugar” from their debut album, the riff-laden “Just Got Paid,” and “Tube Snake Boogie.” They even threw in covers of Sam & Dave’s “I Thank You” and Merle Travis’ “Sixteen Tons,” previously performed with the late Jeff Beck, but done in their signature gritty Texas blues sound.

Billy Gibbons is a guitarist and music icon. Tonight, he cemented his status as the Texas blues statesman. His guitar playing was in the pocket and full of attitude, complementing his growly, gritty blues vocal. He seamlessly shifted from his instantly recognisable and iconic riffs in “Gimme All Your Lovin’” to bluesy licks and solos. There were plenty of moments to showcase his guitar chops—improvising before launching into “Head in Mississippi,” a solo in “Sixteen Tons,” swampy slide licks in “Just Got Paid,” and a one-handed solo in “Sharp Dressed Man.”

A former guitar tech for the late bassist Dusty Hill, Elwood Francis did an exemplary job as the bassist, keeping the spirit of ZZ Top alive on stage, performing the characteristic sways and moves with Billy. He held down the rhythmic backbone with drummer John Douglas, also a tech with the band, filling in for Frank Beard who could not perform on this tour.

Their stage presence is always larger-than-life, with Billy occasionally engaging directly with fans. The stage was stripped back but with a bit of glitz—Billy and Elwood wearing glittering jackets and pants, a gold tiki-adorned drum kit, and a wall of multicoloured Magnatone amps. Their regular guitar changes added a novelty factor, with Elwood starting the night with a monstrous 17-string bass, plush-covered guitars in “Legs,” and guitars with screen visuals in the encore.

As the band started riffing into the finale “La Grange,” the crowd were on their feet dancing. ZZ Top delivered a high-energy show of Texan blues and nostalgia. They are a testament to an enduring blues-rock legacy, and everyone was there to enjoy being part of their journey.

BEONIX, Cyprus’s premier electronic music festival, will take place on the sun-soaked shores of Limassol from September 19 to 21, 2025, bringing together a genre-spanning lineup of legendary names and rising talents. Held once again at the ETKO venue, the three-day celebration promises an unforgettable sonic journey across four immersive stages: Main Stage, Hangar Stage, Organic Stage, and Garden Stage.

Headlining the 2025 edition are some of the most influential names in the global electronic scene, including Adriatique, Armin van Buuren, Boris Brejcha, Dubfire, Len Faki, Maceo Plex, and Roger Sanchez. From progressive and melodic techno to house, trance, and live electronica, BEONIX curates a multifaceted musical experience for both dedicated ravers and curious newcomers.

The full lineup for BEONIX 2025 features over 50 international and regional artists:

Adriatique, Anfisa Letyago, Armin van Buuren, Boris Brejcha, Dubfire, Kevin Saunderson, Len Faki, Maceo Plex, Roger Sanchez, Shimza, ANII b2b Olympe, AS IDE, AVALAN ROCKSTON, AVANT b2b Solique, Avision, Axel Haube b2b Ross Quinn, BADBOX, Carlo Lio, Casey Spillman b2b Seb Zito, David Moreno, Deepesh Sharma b2b Romeo Ji, Henri Bergmann b2b Kadosh, Highjacks, Human Rias, James Zabiela, Jordan Masters b2b Smythy, Julian Prince b2b Kosta Kritikos, Juliet Fox, Just Jam b2b Wodda, Kole Audro, Lehar, LNTX, Markus Klee, Marlie, Octave One (live), Saraga, Spartaque, Tania Vulcano, The Advocate, The Element, Wax Material, Xavi Emparan, Yulia Niko, Zakes Bantwini.

Each of BEONIX’s four stages will offer its own soundscape and atmosphere, carefully curated to blend cutting-edge music with immersive art and lighting design. Every year, BEONIX invests heavily in the production of the Main Stage, ensuring audiences enjoy world-class sound quality and breathtaking visual experiences.

The festival takes place at ETKO, a historic former winery in Cyprus that has been carefully restored. The venue is home to art installations and murals created by talented artists, highlighting that BEONIX is not only about music, but also about celebrating art in all its forms.

Since its debut, BEONIX has established itself not just as a festival, but as a cultural movement celebrating creativity, diversity, and high-end production values in Cyprus. With its 2025 edition, BEONIX continues to push boundaries, turning the island into a global hub for electronic music enthusiasts.

Tickets are now available via the official BEONIX website: https://beonix.art/tickets

Website | Tickets | Instagram | Facebook

Photography: Abby Waisler

Words: Josh Ma

For most in the crowd at Qudos Bank Arena on Saturday night, it was a girls’ night out — clusters of best friends, mothers and daughters, and young women singing every lyric with the fervor of someone who’d been healing to these songs in their bedrooms for years. But for me as a boyfriend, we’ve only known her through the playlists of our girlfriends who has been blasting her for the last few weeks. 

And now, l get it. 

Gracie Abrams, the 24-year-old singer-songwriter hailed by some as “the next Taylor Swift,” didn’t need grand theatrics or elaborate choreography to hold the room. 

Where her father once told stories of galaxies far, far away, Gracie uses the smaller universe of heartbreak, healing, and coming-of-age to wage an emotional war — one waged with just a piano, a diary’s worth of lyrics, and the collective ache of 20,000 hearts. 

Her Sydney return was no small feat. From two show at Hordern Pavilion last year to three sold-out nights at Qudos Bank Arena, her swift ascent in Australia is a testament to the intimacy she creates in her music — and remarkably, still sustains in person, even under arena lights. 

Opening the night was LA-based artist Ashe, whose emotionally grounded set prepared the crowd with ease. Highlights included tracks from her new album Wilson — particularly Pull the Plug and Running Out of Time — and, of course, Moral of the Story, the 2019 hit that rocketed her to fame. As a fan of Ashe it was a special night watching her perform after her long break from music to focus on her mental health, we were unsure of whether she would return to perform anytime soon. Seeing her back on the stage filled me with joy and she truly shined so bright. 

Grscie Abrams took the stage with Felt Good About You, setting the tone with dreamy lighting and soft vocals that highlight the vulnerability of her lyrics. Her setlist spanned fan favourites and deeper cuts, with standout moments including Risk, Blowing Smoke , and 21, which saw fans waving for her attention. 

She greeted the crowd warmly: “Sydney, Australia — my name is Gracie Abrams and this is The Secret of Us Tour… We missed you so much. I’m so deeply obsessed with this crowd.” The sentiment felt sincere, particularly when she spoke about how much the new album meant to her and mentioned one of her best friends Audrey Hobert who helped create the album and has recently taken a step into the music industry with her upcoming song ‘Sue Me’ releasing this

May. As well as the one and only Taylor Swift, who collaborated on the project with the hit song ‘Us’ who has introduced new fans to Abram’s discography following her Era’s tour which Abram’s supported her on. 

The sea of white bows sang every word of the soft pop ballads. The thought that fans put into their outfits was unmatched with people cutting fabrics and spelling out their favourite lyrics of songs on their shirts. Of course there were many girls wearing long white skirts, a staple for pop girl concerts. 

The emotional core of the show came when she left the main stage and disappeared into the b stage — a quiet, dimly lit stage that mimicked her childhood bedroom where she started to do Zoom concerts whilst she was beginning her career. Amid these tender moments, she paused to connect directly with fans — snapping polaroids of the crowd, laughing at signs that referenced old tattoos and then accepting a fan-made scrapbook passed from the front row. She flipped through the pages with wide eyes, visibly touched by the thoughtfulness of her fans. 

Phones went up as she covered a song from her 2023 album Good Riddance: ‘This is where the drugs are for,’ her surprise song for Sydney Night 2 which is a soft ballad about getting through a breakup. Following this she sang ‘Cool’ where she introduced the song by telling fans that she wrote this song when she felt angry. Ending her time in her bedroom she sung the song ‘I Miss You, I’m Sorry’ coming full circle with her music video being filmed in her bedroom back in 2020. 

Back on the main stage, the energy gradually swelled again. The final stretch of the show felt like an emotional release — cinematic and cathartic. Gracie turned the audience into her choir for Us and Free Now, lifting the track into something sacred, before she closed and encored with That’s So True, and Close to You — a fitting end to a night that started in heartbreak and ended in something close to healing. Seeing all the fans jumping and dancing in circles on the floor was a perfect end to the night with strangers now connecting with strangers becoming friends. 

It was the true epitome of girlhood.