Anomie feels like a line in the sand. Did you know you were making a “chapter opener” while you were writing it, or did that realisation only come later?
When I was writing these songs, I was really in the thick of it – the loneliness, the existential angst, the fear. But recording the songs came so much later, so I’ve really been able to look back on it all as a specific time in my life, to reflect more objectively, and to more neatly package it up for presentation. The 12 songs on Anomie are all from my twenties, and reflect how I was feeling then. Not that everything has changed necessarily – I don’t think I’ll ever be free of existential anxiety. But one can hope!
Dropping a triple A-side straight out of the gate is confident. Was that decision about showing range, or about setting the emotional tone early?
A three-song release is unconventional, but felt right for me. It was definitely about showing range. While ‘Woo Me’ is the lead track, it’s very big, bright and shiny, which is not necessarily the tone of the whole album. I wanted to back it up with some more mellow, intimate tracks. That way there’s something for everyone. It’s nice to not have all the pressure on one song too. I’m not sure any one song on the album represents the project as a whole!
‘Woo Me’ has that bright, almost glossy optimism to it. When you wrote it, were you actually feeling that confidence — or reaching for it?
Woo Me is a very old song. I think when I wrote it, in my early twenties, I was genuinely a lot more bright, confident and optimistic as a person. I have since been a bit humbled – and slightly traumatised – by the world. Not necessarily in a bad way, it’s good to be aware. But you’ll see that as the album progresses I go into some much darker and more existential places. I do come out the other side though. I want it to be hope, not self pity, that’s left lingering in the listener’s ear.
You sing about wanting someone to put in effort and “show me something better than the city lights.” What does effort look like to you now? Has that definition changed as you’ve grown?
I still think it’s important to have standards and to not settle just because you’re lonely. But it’s also important to be realistic. We’re all humans at the end of the day. Crushingly imperfect. I’m lucky to now have a caring partner who makes me feel adored. But I think it’s good to aim for peace in a relationship, not necessarily heady sparks. And it shouldn’t all be about finding a partner. Your friends are often the ones who’ll be able to show you things better than the city lights.
There’s a sense in the song of being done with half-hearted love. Was there a moment where you genuinely thought, “I’d rather be single than settle”?
I think we all get that feeling. And then we forget, when in the grips of loneliness. And then we remember again. But it’s true. Don’t settle. Hold out for someone great. Who makes you feel calm. In the meantime, at the very least, you can use your big feelings for making great – and terrible – art.
Working with Benjamin Stewart, did he pull anything out of you that surprised you? Maybe a take or lyric you weren’t sure about at first?
Ben taught me so much, and took each and every song to a new level. He made sure we got what we wanted, rather than giving up when it was hard. He’s an incredibly hard worker. There were many times when he pushed me to try something new, like attempting ad libs or adding harmonies, and the final result was much better for it.
The three tracks each live in slightly different sonic spaces — from lo-fi intimacy to bigger emotional swells. Did you overthink that balance, or did it all come together pretty naturally in the studio?
My aim for most of the album was “pathos pop”, which means having a poignant quality that evokes sadness. But Ben, the genius behind Slowly Slowly, is amazing at making arrangements big and powerful. So some of the songs take it up a notch. For some, I wanted a specific feel. For example from the start, I wanted A Song About Root Vegetables to have a crackly lo-fi bedroom recording style vibe – because it’s a really vulnerable song. I’m just so grateful to Ben for helping bring these songs to life in the way I wanted.
‘A Song About Root Vegetables’ is such a left-field title. Where does that playful, almost absurd edge sit alongside the more existential parts of Anomie?
It’s a melancholic album, but there’s a lot of humour to it too. I navigate life with a lot of absurdity and playfulness – you have to right? Humour is a much more productive alternative to despair. So it makes sense that that’s come out in the songs.
Adelaide has really backed you over the years. When you step onto bigger stages or release something nationally, do you still feel that hometown energy with you?
I love the Adelaide music community. The only reason I make music is because my friends here have been aggressively supportive over the years, pushing me onto stages and making me put myself out there – even when I didn’t know what I was doing. It’s a big part of why we started Girls Rock! Adelaide, a music mentorship program for girls, trans and nonbinary young folk. I just wanted everyone to feel as accepted and encouraged as I did as a young person.
When someone presses play on Anomie for the first time, what’s the feeling you hope lingers after it ends? Not the review-ready answer – the honest one.
Music is a place where I can open up free of judgement and reflect. In sharing my songs, I give others permission to do the same. I hope that it can help listeners feel less alone: that it helps them recognise and accept their loneliness, and reassure them that their griefs and disappointments are not so strange or shameful. I hope it’s cathartic. And that it encourages listeners to consider, however tentatively, that things might just be alright.
The Jungle Giants are back!
The energetic 4 piece return to stages down under with with their 5th studio album, ‘Experiencing Feelings of Joy’. Supported by up and comers The Tullamarines and Tear Drive (AU only) these shows are for tastemakers and dancefloor demons alike.
With close to half a billion streams under their belt and a reputation for lighting up festival stages this tour unveils a bold new evolution of The Jungle Giants’ signature sound.
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SHOW DATES Fri 5 June 2026 — Theatre Royal — Castlemaine, VIC Sat 6 June 2026 — Forum — Melbourne, VIC Fri 12 June 2026 — Enmore Theatre — Sydney, NSW Sat 13 June 2026 — Fortitude Music Hall — Brisbane, QLD Fri 19 June 2026 — UC Refectory — Canberra, ACT Sat 20 June 2026 — Hindley Street Music Hall — Adelaide, SA Fri 3 July 2026 — Forth Pub — Forth, TAS Sat 4 July 2026 — Odeon Theatre — Hobart, TAS Fri 10 July 2026 — Meow Nui — Wellington Sat 11 July 2026 — Powerstation — Auckland Sun 12 July 2026 — James Hay Theatre — Christchurch Sat 18 July 2026 — Astor Theatre — Perth PRESALE Thu 5 Mar – 10:00am local time Presale tickets are available to purchase from a presale link from 10:00am local time on Thu 5 Mar. Subject to further availability, the remaining ticket allocation shall be available for sale to the general public from 10:00am local time on Tue 10 Mar. ON SALE Tue 10 Mar – 10:00am local time.
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Australian producer/dj Arky Waters returns this week with ‘OMG’, a song born from a flash of inspiration and the next preview of his forthcoming album.
Built around a striking vocal sample that instantly caught his ear, ‘OMG’ captures one of those rare, fast-moving studio moments where everything clicks.
“I was in the studio with a friend, and he showed me this ‘omg’ sample that I completely fell in love with. I went home and the song came together rather quickly, one of those bursts of inspiration moments. After that I spent a lot of time detailing the bass on this track, carving out all the different layers. I wanted it to feel really immersive and textural.” says Arky Waters.
That attention to detail shines through in the finished track, with ‘OMG’ balancing immediacy and depth, punchy, playful and club-ready, while layered with rich low-end and finely sculpted production. It’s a confident showcase of Arky Waters’ evolving sound, rooted in groove and driven by texture.
Following a run of releases that have steadily built anticipation for his upcoming album, ‘OMG’ signals an artist in full creative flow, refining his sonic identity while leaning into instinct and momentum.
‘OMG” is out now via
Mammal Sounds Records:
https://bfan.link/arkywaters-omg
Socials:
Credits:
Written & Produced by Arky Waters
Mixed by Doug Wright
Mastered by Suture Mastering
Artwork & Photos by Arky Waters
Visuals by Version Khan
Photo by Pat O’Hara
Kicking off their Australian regional tour just last week, today The Rions announce the deluxe edition of their debut album Everything Every Single Day out May 8 with new single ‘Idol’. LISTEN HERE + PRE-SAVE THE DELUXE HERE
Driven by a catchy guitar riff, ‘Idol’ carries a sense of nostalgia for the band, who recall repeatedly playing its opening riff at soundcheck simply because they loved it so much. While the initial outlines first came to life years ago, it wasn’t until recently that the song’s deeper narrative revealed itself. The Rions share, “Idol explores how truly powerful love is, even if it’s just for a fleeting moment.” This theme of love and self-discovery that permeates throughout their debut album continues to evolve with ‘Idol’, cementing it as a defining feature in their narrative.
Also out today is the official music video for ‘Idol‘, directed by Vanilla Tupu. “My parents have been together 40 years, and being able to immortalize their love in this music video is one of the true honours of my life,” Tupu shares. “The emotion, joy, love and heartbreak you see on screen is completely real, and I’m so grateful to The Rions for entrusting me to bring this little story to life, for one of the most beautiful tracks I’ve heard in the Aussie music industry for a long time.”
Recorded across a year with ARIA Award-winning producer Chris Collins (Ruby Fields, Pacific Avenue, Matt Corby), their first full-length project delivered a thoughtful, introspective, and emotionally charged collection of polished pop-rock. Charting at #1 on the ARIA Australia Album Chart, #2 on the Vinyl Chart, and #5 overall, the album was the triple j Feature Album upon release with two singles cracking the 2025 Hottest 100 countdown, and saw wider support across Rolling Stone AU, 10 Magazine, ELLE Australia, Frankie Magazine, The Music, fbi.radio and more. Inspired by artists such as Sam Fender, The Japanese House, and the ever-influential Beatles, the album represents a significant evolution in The Rions’ sound, while preserving the sincerity and warmth that have defined them from the start.
The deluxe version of Everything Every Single Day builds upon their breakthrough debut with the addition of 6 new songs and a piano rendition of a fan favourites. Speaking on the deluxe project, Harley Wilson reveals, “A lot has happened since we finished writing our debut album “Everything Every Single Day”. Relationships that inspired songs that made it onto that album naturally evolved, more songs were written, and eventually we had more to say. The deluxe is a continuation of some of those songs, the second part of the narrative, which as a band, is important to us to tell. We wanted to write about the experience of finally letting love in, and how it feels to shed the fear of loss. We wanted to write about the evolution of overcoming loss, and the unique feelings of each stage, eventually becoming part of something bigger than yourself. I think ultimately, Everything Every Single Day (The Deluxe Edition) is about the perseverance of love.”
Having played their first show of their Australian regional run close to home at The Mona, The Rions are officially back on the road, bringing their memorable live show to every corner of the country with support from Chloe Parché, Hey So Hungry, Gordon’s Grandson and Bella Amor. In May, The Rions will be heading to New Zealand for three just-announced headline shows in Wellington, Christchurch and Auckland, before making their return to the UK and Europe for a 6 show tour across Rotterdam, Hamburg, Cologne, London, then Bristol and Nottingham for Dot To Dot Festival. For all dates and details, see BELOW.
‘Idol‘ is out now, buy/stream it here.
THE RIONS – EVERYTHING EVERY SINGLE DAY TOUR DATES
AUS REGIONAL
presented by triple j
Sat 28 Feb – The Mona – Mona Vale * [SOLD OUT]
Thu 5 Mar – Dunsborough Tavern – Dunsborough ^
Fri 6 Mar – Froth Craft Bunbrewery – Bunbury ^ [SOLD OUT]
Sat 7 Mar – Astor Theatre – Perth ^
Thu 12 Mar – Barwon Heads Hotel – Barwon Heads #
Fri 13 Mar – The Pier – Frankston #
Sat 14 Mar – Bass In The Domain – Hobart
Thu 19 Mar – King Street Bandroom – Newcastle *
Fri 20 Mar – UOW Main Hall – Wollongong * [VENUE UPGRADE]
Sat 21 Mar – UC Refectory – Canberra *
Fri 27 Mar – Hoey Moey – Coffs Harbour *
Sat 28 Mar – Finnians Tavern – Port Macquarie *
Thu 9 Apr – Brothers – Cairns >
Fri 10 Apr – JCU Uni Bar – Townsville >
Sat 11 Apr – Mcguires Hotel – Mackay >
Sun 12 Apr – Leichhardt Hotel – Rockhampton >
Thu 16 Apr – Hotel Brunswick – Brunswick Heads >
Fri 17 Apr – Miami Marketta [Laneway] – Gold Coast >
Sat 18 Apr – Blackflag Brewing – Coolum >
* w/ Chloe Parché
^ w/ Hey So Hungry
# w/ Gordon’s Grandson
> w/ bella amor
NEW ZEALAND
Thu 7 May – San Fran – Wellington
Fri 8 May – Loons – Christchurch
Sat 9 May – Double Whammy – Auckland
EUROPE + UK
Sun 17 May – Rotown – Rotterdam (TIX)
Tue 19 May – Molotow TopTen Bar – Hamburg (TIX)
Wed 20 May – Garagen – Cologne (TIX)
Fri 22 May – Islington Assembly Hall – London (TIX)
Sat 23 May – Dot To Dot Festival – Bristol
Sun 24 May – Dot To Dot Festival – Nottingham
For all ticketing information, visit HERE.
Stay connected with The Rions:
23 Profile | Website | Instagram | Facebook | X | Unearthed | YouTube
Monsieur Mellow, the new solo project of Australian songwriter/producer Callum MacDonald, returns with a new single ‘Slow Down’, enlisting Sydney artist Taj Ralph for a collaboration that leans into feel, flow and restraint.
Following the release of debut track ‘Paris Strut’, ‘Slow Down’ continues to shape the sonic world of Monsieur Mellow into a space that Callum has been building quietly alongside his work as a core member of R&B/soul project daste. With the band currently developing new material for a 2026 release, the solo project has become an outlet for ideas that feel instinctive, groove-led and refreshingly unforced.
Built around warm rhythms and subtle swing, ‘Slow Down’ finds its stride through Taj Ralph’s smooth vocal delivery and relaxed cadence, bringing an added sense of personality and ease to the track. The collaboration came together organically, driven by mutual creative trust and a shared sense of atmosphere rather than over-planning.
Reflecting on the track, Monsieur Mellow explains: “After I locked in the sound of the project with Paris Strut, everything just started flowing. I went on a bit of a run, making track after track that all lived in the same world and felt completely natural to me. It’s hard to pin down exactly what that sound is, but Slow Down came together only a few days after that first track. I took a similar approach, experimenting with a handful of sampled vocals that all sounded great, but something was missing and I felt it was still lacking in originality. Around that time, I’d been listening to Taj a lot after my bandmate Tyler Harden put me onto his music. One morning, while making coffee and listening to Taj’s track Lay Lo, I realised he’d be the perfect voice for this song. I sent him the instrumental that day, and not long after he got back to me saying he was down to try something. I gave him total freedom creatively, with the only suggestion being that a triplet-style rap moment could feel really vibey. He sent his ideas back pretty quickly, and from there everything fell into place. He absolutely finessed the energy of the track, and I knew straight away we had something special.”
Taj Ralph adds; “When Callum reached out to me with the beat I was living in London, writing and immersing myself deeply in such a vibrant music scene. Callum’s funk gave me the perfect excuse to bring that energy out and into the track. I wrote about love and good times with new people.”
‘Slow Down’ reinforces Monsieur Mellow as a project rooted in momentum and intuition, where tracks are shaped by mood, movement and collaboration, rather than strict rules or expectations.
Praise
“Yes, yes and YES. Vibes are unreal and I never want this to end” ~ Claire Mooney (Triple J)
“This just might be my favourite discovery of the week. Head over heels for Monsieur Mellow” ~ Anika Luna (Triple J)
“This track just took me to a happier place” ~ Andy Gav (Triple J)
“I’m digging this record, thanks for sharing! Thinking of spinning it on my radio show this Thursday night” ~ Tyler Bourdreaux (KCRW)
Stream/Watch:
Credits:
Co-Written by Callum MacDonald & Taj Ralph
Produced by Callum MacDonald
Mixed by Callum MacDonald
Mastered by Paul Blakey
Artwork by Callum MacDonald
Visuals by Callum MacDonald
Photos by Photos by Lauren Whitehill
Monsieur Mellow:
https://linktr.ee/monsieurmellow
Taj Ralph:
BECK ANNOUNCES FIRST EVER AUSTRALIAN ORCHESTRAL SHOWSTICKETS ON SALE THURS 5 MARCHHaving dazzled crowds at landmark venues from London’s Royal Albert Hall to New York’s Carnegie Hall to the Hollywood Bowl, Beck has confirmed that Australian audiences will soon have their first chance to experience the magic of his live orchestral performances. This May, Beck will be accompanied by native orchestras for a very special limited run of five shows – three at the Sydney Opera House and two at the Palais Theatre in Melbourne – reimagining a body of work including hits and deep cuts from classic Beck works including the multi-platinum Odelay, world-tripping Mutations, somber and reflective Sea Change, and GRAMMY Album of the Year winner Morning Phase, plus a share of surprises.
Praise for Beck’s previous orchestral dates has been uniformly effusive, including:
Melbourne: Performing with Beck at the Palais Theatre will be Philharmonia Australia (Orchestra Director Leah Zweck), with Orchestra Supervisor Chong Lim AM. Philharmonia Australia is one of the country’s leading session orchestras and has been the orchestra of choice for numerous national tours with Josh Groban, John Farnham & Olivia Newton-John, Hans Zimmer, Michael Bolton, Harry Connick Jnr and Ministry Of Sound. Frontier Members can get early access to tickets for the iconic Palais Theatre performances via the Members Presale, which starts today at 11am (AEDT). Tickets will then go sale Thursday 5 March (11am AEDT) – head to frontiertouring.com/beck for all full tour information. BECK FRONTIER MEMBERS PRE-SALE GENERAL PUBLIC ON SALE Thursday 12 May Wednesday 13 May Also playing Sydney Opera House, May 7-9 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 BECK: Website | Facebook | Instagram | X | YouTube | Spotify | Apple Music
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“Pushing Punishment” feels like a turning point. When you say this is you “becoming you,” what does that actually look like day-to-day?
I think it’s about rebuilding myself over the past two or three years and rediscovering the parts of me that maybe got lost along the way. Music has always been how I process everything — whether that’s writing or just listening — but writing “Pushing Punishment” felt different. It felt like a release. Like I was reconnecting with something essential in myself.
For most of the past two years, this album has shaped my day-to-day life. The songs have been my soundtrack while I’ve been navigating change — learning to accept what I can control and what I can’t. I’ve tried to embrace growth instead of resisting it.
In many ways, I’ve always wanted to create a song like “Pushing Punishment” — in its sound, its energy, its intensity. It feels like a version of me I’ve been working toward for a long time. And I’m just really proud and happy about what it became.
There’s a real tension-and-release dynamic in the track. Did that come from the production first, or was it already sitting in the way you were feeling at the time?
What you hear is pretty much how it was written. The tension and release were already there — it all came together really quickly, in about a day. I wrote and self-produced a demo before taking it into the studio with Gareth Hudson, and when he heard it, he loved it straight away. From there, we just built on what was already there.
We rerecorded certain parts and really elevated the structure with some solid instrumentation. My favourite elements are probably the live strings and the acoustic drums — they add so much depth and movement to the track.
I’m super proud of the arrangement and the musicianship on this one. In a lot of ways, I felt more like a composer than just a songwriter, which was really exciting for me. And I feel incredibly lucky to have so many amazing musicians playing on this track and across the album — it sounds the way it does because of them.
You talk about learning to fill your own cup first. Was that a hard lesson for you, or something that came after hitting a wall?
It’s definitely been a mix of experiences and just learning to trust the process of life. I’ve hit burnout before. I’ve had setbacks with both my mental and physical health, and I’ve had to navigate two pretty debilitating diseases — Endometriosis and an autoimmune disease. Those experiences alone teach you very quickly that you only have so much capacity. I’ve explored these experiences through previous releases like my single ‘Firework Night’.
I’ve had to learn how to be resourceful for myself in difficult moments — to pause, to practise mindfulness, diaphragmatic breathing, and nervous system regulation. To actually stop and reframe with what I do have, instead of pushing through.
I’ve always believed in timing. I really do think everything happens for a reason, and that there’s something to learn from every experience — whether you see it in the moment or only in hindsight. I’ve tried to really own the changes that have come my way, and to recognise that the people who come into your life are often there to teach you something about yourself.
But I also know I don’t get very far when I give my power away or focus on other people more than I focus on myself. That’s when I end up exhausted, emotional, and stressed — and that’s just not a sustainable way to be. Filling my own cup first wasn’t a single lesson; it was something I had to learn the hard way, over time, but I am proud to have learnt so much about my life at 22, with so much more to learn.
The song sounds big — almost anthemic — but it’s rooted in something very internal. How do you balance that scale when you’re writing?
When I’m writing, I’m not really thinking about the final outcome or the expectation of how it should sound. I don’t go in with expectations about what it’s “supposed” to be. I just trust the process of entering ‘flow state’ and following whatever feels honest in the moment.
Creativity is so special to me — I genuinely love it. Writing is one of the few times I completely lose track of everything else. I am just planting this garden of flowers and vines of songs, with every word of every song being part of who I am. Each song carries pieces of who I am, whether they’re loud and expansive or quiet and internal.
The scale kind of takes care of itself. If the emotion feels big, the song grows big. If it feels intimate, it stays close. I don’t force that balance — I just let the feeling lead. And then suddenly… poof. There’s a finished song. It still feels like magic to me.
You’ve mentioned accepting your neurodivergence and personality more fully. Did that acceptance change the way you approach songwriting or performance?
Not really — I’m just me. If anything, it’s just made me prouder to be who I am. I feel really lucky that I get to share that with people, and that it resonates and lands how I hope it lands. What you see is what you get, on stage and off. I have never felt like I have had to mask or ‘perform’ a certain version of myself.
In terms of songwriting, it’s probably made me more honest. Accepting my neurodivergence has helped me understand how my mind works and how I process emotions. I think I’m better at articulating what I’m actually feeling now, instead of filtering it, being confused by it, or second-guessing it.
So the core of how I write hasn’t changed — but my relationship with myself has. And that’s made everything around my artistry feel way clearer and more grounded.
Working with Gareth Hudson, was there a moment in the studio where you felt the track really clicked into place?
He’s marvellous, so incredibly talented — we’ve worked together on so many amazing projects over the years. When I brought him the demo, I also came in with this long, excitement-filled list of goals for what the song could become. He just got it straight away.
We really do share a wavelength when it comes to communication. Sometimes it’s barely even verbal — it’s just a look or a noise made, a melody hummed, a rush to an instrument, or a small comment and we both know where it needs to go next. That’s such a special thing in a studio environment.
I think the moment it really clicked was when we started layering in the live elements — especially the drums, vocals and strings. Then everything began to breathe. You could feel the energy shift from a “great demo” to something alive. From that point on, it felt like we were just bringing the vision into focus rather than searching for it.
You reference Go Farther In Lightness and that sweeping, emotional build. Were you chasing that same kind of lift in the final chorus?
Dave’s work is unmatched. Gang of Youths — David Le’aupepe — create music that feels architectural. There’s such endurance in it. He writes with this sweeping emotional scale, exploring the human condition, faith, inner battles, mental health, love and loss, and that latent strength we all carry. It’s like a roaring call to action wrapped in vulnerability, and I am so inspired by it. Hearing their music is peak enjoyment for me.
I definitely draw inspiration from their sound and writing style. They’ve carved out something that feels like its own genre, and that’s so inspiring to me — the idea that you can build a world sonically and emotionally and fully inhabit it. So yes, I think there’s always a part of me that’s chasing that kind of lift — that feeling where the final chorus doesn’t just arrive, it erupts.
With the drums and strings toward the end, that cyclical feeling was intentional. I was also inspired by Bon Iver and the way Justin’s instrumentation moves. I wanted it to feel almost relentless — like running in circles inside your own mind — before that sense of breaking through. The arrangement tells the story just as much as the lyrics do. It’s tension, momentum, and release. The song is big, but the core of it is personal.
And with my debut album, I Have A Habit of Dreaming, just around the corner… it feels like both exposure and empowerment. There’s vulnerability in letting people hear the full body of work — these songs have been my world for the past two years. But there’s also so much pride in it. This album shaped my days, carried me through change, and helped me understand myself better.
Releasing it feels like saying, “This is me.” And that’s terrifying — but it’s also incredibly freeing, and I am excited to open doors with my music.
CHLOE GILL AUSTRALIAN TOUR DATES
Friday 17 April Stag & Hunter MAYFIELD NSW
Thursday 21 May The Wesley Anne MELBOURNE VIC
Friday 22 May The Taproom CASTLEMAINE VIC
Saturday 23 May Peninsula Hot Springs MORNINGTON PENINSULA VIC
Sunday 24 May Shiraz Republic CORNELLA VIC
Saturday 30 May Knappstein CLARE VALLEY SA
Sunday 31 May The Wheatsheaf Hotel ADELAIDE SA
Saturday 27 June Fusebox MARRICKVILLE NSW
CHLOE GILL: Official Website | Instagram | Facebook | YouTube | Triple J Unearthed | TikTok
Photography: Jake Harm Nam
Photography: Jake Harm Nam
The Southern Hemisphere’s largest music showcase, BIGSOUND is celebrating 25 years this September and as always, the team are looking for the next BIG thing.
With some of Australia’s most coveted showcase spots, BIGSOUND is the place to be. Applications are open now. The team encourages artists to apply now for their chance to be included on our stacked line up. Applications close Wednesday, 1 April 2026 – there will be NO EXTENSIONS.
Otherwise known as Music Industry Christmas, BIGSOUND brings Australian and New Zealand artists together with the big wigs of the global music industry. From labels, promoters and managers to media, festival bookers and venues – the who’s who of Music descend on Brisbane’s Fortitude Valley for what is the biggest week in Australian music annually.
BIGSOUND has a strong track record of platforming artists who go on to achieve significant national and international success, with alumni including Flume, Confidence Man, Rufus du Sol, G Flip, Gang of Youths, Thelma Plum, and Lime Cordiale.
The nitty gritty – BIGSOUND is all about BIG impact
Programmers are seeking export market-ready acts regardless of their career stage (be it unsigned, emerging or established legend) – who can capitalise on momentum and will benefit from the opportunities provided at BIGSOUND.
If selected, you will be playing front of a curated audience of domestic and international industry guests, including A&R representatives, bookers, and delegates from global export events such as The Great Escape and Reeperbahn Festival.
Preparing your applicants in integral – you will need to submit band member details, social media profiles, notable career achievements, streaming and ticketing stats, a short biography, two representative tracks, a high-quality artist image, and a video. Plus you’ll need to talk about what you’re seeking to get out of BIGSOUND, who your dream team would be and what you’re looking to achieve as an act in the future.
Applications close Wednesday 1 April 2026 at 11:59PM, with no extensions. Artists are encouraged to apply early, as programmers assess applications on a rolling basis.
But what’s in it for me?
There is a reason why we call our past showcase artist alumni – BIGSOUND isn’t just a festival, it’s an industry showcase and a global marketplace for Australian talent.
If selected, by night you’ll play in multiple venues across Fortitude Valley in front of tastemakers, trendsetters and industry decision makers; by day, you’ll meet one-on-one with curated industry guests and delegates who we think can help you take the next step in your music career.
You’ll also have access to the full BIGSOUND festival including after parties and the Artist Hub which features artist-focused professional development and networking opportunities across three days of the festival. Your team will receive ONE delegate pass granting access to the full BIGSOUND Program and Delegate Portal (valued at $899), as well as a discounted price to purchase other delegate passes should you wish.
There are limited paid performance spots at BIGSOUND presented as part of our partner event series. We’ll put you forward for these opportunities but there are no promises.
These performance spots are programmed in conjunction with our partners with a focus on aligning to their commercial outcomes.
Photo Credit: PISCO SOUR performs at BIGSOUND 2025 (Darcy Goss)
The Temper Trap return today with new single ‘Into The Wild’, the latest in a run of new music that has firmly re-established the band as one of Australia’s most enduring and globally recognised acts: euphoric anthem ‘Giving Up Air’ and its remix from iconic DJ/producer Solomun, bold indie-rock track ‘Lucky Dimes’, and a fresh take on ‘Sweet Disposition’ from German dance powerhouse BUNT..
‘Into The Wild’ encapsulates the duality of body and mind, and the existential yearning to transcend physical limits. Produced by Styalz Fuego (Troye Sivan, Charli XCX, Khalid) with Catherine Marks (Wolf Alice, boygenius, Manchester Orchestra) on mixing, it’s freeing, pulsing, soaring – Dougy’s hypnotic falsetto floating over the top of undulating drums that draw the listener in and never let go.
Alongside the release is a surreal music video directed by emerging Melbourne creatives Joey Clough and Edvard Hakansson. A dreamlike car ride on wide open roads, cut with chaos and strangeness; the mind proves wilder and more uncontrollable than the world outside.
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When the first violin line cuts through the low-end, it doesn’t reference the past — it confronts it.
Los Angeles-based producer and electric violinist Lila Kova opens a new chapter with Vivaldi, the debut release on her newly launched imprint Symphotek Records. Inspired by the Third Movement (Presto) of Summer from Antonio Vivaldi’s Four Seasons, the track draws from one of classical music’s most volatile moments — a depiction of a violent summer thunderstorm charged with urgency and dramatic momentum.
Rather than sampling the Baroque master as ornamentation, Kova reconstructs the piece from its emotional core. The violin carries the central melodic theme throughout the track, functioning as the narrative engine rather than a decorative layer. Every violin passage was performed and recorded by Kova herself, preserving the intensity of the original motif while translating it into a peak-time techno structure designed for high-energy dance floors and festival systems.
There’s something deliberate about the way the composition unfolds. The low-end pressure builds methodically. Percussion tightens. Then the violin enters — sharp, insistent, almost cinematic in its sweep. It doesn’t feel nostalgic; it feels immediate. The storm Vivaldi once painted with strings now surges through sub frequencies and industrial kicks.
What elevates Vivaldi beyond novelty is its intent. Kova’s aim isn’t to modernise classical music for trend value, but to create a cultural bridge. By retaining the emotional architecture of the original composition and reshaping its rhythmic language, she invites a new generation of listeners into a centuries-old narrative. The result speaks equally to those immersed in warehouse techno and those who understand the dramatic tension embedded in orchestral writing.
The release also establishes the artistic direction of Symphotek Records. Conceived as a platform for cinematic, narrative-driven techno, the label is built around long-form concepts that draw from orchestral structure and thematic storytelling while remaining firmly rooted in club functionality. In a landscape often dominated by fleeting singles, the imprint signals a commitment to projects with continuity and emotional weight.
Kova’s classical training is not an aesthetic accessory — it shapes her entire production philosophy. As a classically trained violinist based in Los Angeles, she approaches techno with an understanding of movement, crescendo and dynamic restraint. Her hybrid DJ and live performances place the electric violin at the centre of the sonic framework rather than treating it as a visual embellishment. Previous releases on IAMT, Reload and Modular States laid the groundwork, but Vivaldi feels like a defining statement.
It’s the sound of orchestral thinking colliding with modern peak-time energy. A thunderstorm written in the 18th century now rebuilt for the 21st-century dance floor.
As the first release on Symphotek Records, Vivaldi sets a clear trajectory. Further projects are planned throughout 2026, continuing the exploration of cinematic structure within contemporary techno. If this opening statement is any indication, the storm has only just begun.