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Apollonia, Bedouin, Bonobo (DJ set), DJ Tennis, Folamour, Moblack, Nitefreak, Patrick Mason, Praslea, Saoirse and more all play.
MOGA Festival returns to its Moroccan roots with a sixth edition in Essaouira promising five days of tasteful music, culture and community connection. The 2025 edition will be held from October 1 to 5, with the first two days dedicated to the OFF program in Essaouira’s historic centre, followed by three days of IN programming at the Hôtel le Golf d’Essaouira & Spa.
The first wave of names for this edition makes for a tasteful blend of house, techno and minimal and everything in between from the likes of Apollonia, Arapu, Bonobo (DJ Set), Bedouin, DJ Tennis, Folamour, Janeret, Patrick Mason, Saoirse, and more.
MOGA is a boutique festival born in 2016 in Essaouira and celebrated for its breezy Atlantic vibes and tasteful electronic music. Attends are treated to rich local culture and cuisines as well as dancing under a baking sun or starry night sky with plenty of discoveries to be made in the heart of the wind city. The music is always a thoughtful blend of international and local sounds that also promotes the beautiful destination and the Souiri lifestyle through multiple events.
All this goes down at the Hôtel le Golf d’Essaouira & Spa, from 2:00 PM until 3:00 AM across four diverse stages – Main, Garden, Wild, and Terrace, with a diverse program featuring over 70 artists from around the world. Between sets, they can cool off in two refreshing swimming pools or wander through a beautiful palm grove.
Like its sister edition in Caparica, Portugal, MOGA Essaouira will feature a rich program of wellness sessions, workshops, art installations, panels and local culinary experiences that are all designed to deepen the connection between music, culture and people.
MOGA will welcome 16,000 attendees, including a strong international presence that reinforces its role as an unmissable destination festival that brings like-minded people together. As ever, MOGA is more than a festival, it’s a lifestyle, a tribe, and a celebration of cultural fusion.
Lineup [A-Z]
ADASSIYA (live) – ANZAR – APOLLONIA – ARAPU – ARYMÉ – AVÖ – BEDOUIN – BONOBO (DJ SET) – CABANNE – CHOUJAA – DANIEL BELL – DEATRA – DJ TENNIS – FOLAMOUR – GARRETT DAVID – HOLLY MOLLY – JANERET – JAWORA – JNJS – KOSH (LIVE) – LIVER J – MANUEL COTTA – MASSALA – MIISHU – MIROLOJA – MOBLACK – NATHABES – NEYL & NADRUMS (live) – NITEFREAK – NOMADS – PATRICK MASON – PRASLEA – PRIKU – SAOIRSE – STEVE O’SULLIVAN (live) – THOMAS MELCHIOR – TOMAS STATION – ZEINA – ZULU NAWFEL – YAYA (MA) & MORE TBC
Release Date: August 22, 2025
Two-time Grammy® Award-winning and multi-platinum-selling pianist and composer Peter Kater is set to unveil his latest studio album, Untethered Heart, on August 22, 2025. A deeply cinematic and emotionally resonant journey, the album pairs Kater’s signature solo piano with lush orchestral arrangements — inviting listeners into a soundscape of release, transformation, and renewal.
Renowned for his pioneering role in contemporary instrumental and New Age music, Kater’s influence spans more than four decades. With 14 Grammy nominations (and two wins) to his name, he has released over 70 critically acclaimed albums, scored more than 100 film and television projects, and composed for 11 On- and Off-Broadway productions. From Carnegie Hall to the Olympic Games, his music has transcended borders — reaching hearts around the world.
A Journey Toward Liberation
Described by Kater as both a “culmination and a threshold,” Untethered Heart is a meditation on the power of letting go and stepping into the unknown. With every note, the album expresses the emotional strength that can be found in surrender — and the freedom of unbinding oneself from past limitations.
“With every note, it reflects the liberation found in letting go and the strength discovered in surrender… to an Untethered Heart.” — Peter Kater
Whether you’re seeking stillness, introspection, or simply a moment of sonic beauty, this album offers an immersive listening experience for longtime fans and newcomers alike.
Tracklist
Free – 3:48
Flight (Extended) – 5:47
Spellbound – 3:24
Spirit (Extended) – 4:51
Hinterlight – 2:14
Untethered Heart – 5:08
Boundless – 4:14
More Than Music
Beyond his musical achievements, Peter Kater is also celebrated for his humanitarian and environmental efforts. He is the recipient of the United Nations Environment Leadership Award, recognizing his ongoing work to raise awareness and support global causes through music and advocacy.
Fans of meditative piano, heartfelt instrumental compositions, and genre-defying brilliance will find Untethered Heart to be one of Kater’s most powerful and poignant releases to date.
“Ay Nako!” — every Filipino kid knows that phrase. It loosely means “Oh my gosh!” but really, it’s so much more. It’s your auntie’s exasperated sigh when you mess up (again), your mom’s groan when love gets complicated. In Mikey Jose’s hands, it transforms into a bold, bilingual R&B/Pop anthem about diving headfirst into a love you probably shouldn’t be chasing—and dealing with the emotional fallout after.
Mikey Jose lives at the crossroads of R&B, Gospel, and Pop, blending genres as fluidly as he navigates identities. A Filipino-Canadian independent artist and PhD neuroscience candidate, he bridges the worlds of intellect and instinct, science and soul. His music is more than sound—it’s intention, healing, and heart. With a vocal style shaped by greats like Stevie Wonder, Allen Stone, Jazmine Sullivan, and Lucky Daye, Mikey crafts melodies that hit hard and lyrics that speak to the realities of now. His songs have already racked up 8+ million streams—proof that people are listening, and feeling, deeply.
On “AY NAKO!” he fuses Western grooves with Filipino soul, capturing the messy highs and lows of impulsive love. Sung mostly in English but threaded with Tagalog—the first time he’s incorporated his heritage language—the song resonates especially with bilingual listeners and children of immigrants who know the weight of those “untranslatable” words. As the lead single from his upcoming debut album CHASING / STILL, “AY NAKO!” sets the tone for a record that’s all about the tension between wanting more and learning to be still.
Spacey Jane’s stardom is hardly a mystery, fluttering on Hordern Pavillion’s stage with tenacity. The enigmatic 4-piece band is made up of lead vocalist Caleb Harper, lead guitarist Ashton Hardman-Le Cornu, bassist Peppa Lane and drummer Kieran Lama. Hailing from Fremantle, Spacey Jane performed with a playful boldness, selling out all 3 nights in the Hordern Pavillion.
Coming hot off their third studio album release, If That Makes Sense, a sun-kissed record cataloguing the band’s fascination with the gritty elements of garage rock and indie. Spacey Jane’s sound mixes various elements, varying from 2000s indie rock powerhouses The Strokes, The Pixies and Arctic Monkeys, to Dreampop and Shoegaze. However, elements of However, their earlier catalogue plays with elements of psychedelic rock such as Santana and Funkadelic as the guitar inputs are distorted beyond recognition. In live performances, lead guitarist Ashton uses inversion chords, its distortion and gritty sounds straight out of Mk. Gee’s record Two Star and The Dream Police.
I had heard of Spacey Jane from their debut EP No Way to Treat an Animal, an authentic retrospect of upbringing set under a rebellious, grungy sound. I paid closer attention to Spacey Jane with the release of their debut album Sunlight, a delicate mix of 2000’s alternative rock and hazy guitar riffs. It became clear why this release had been received with lauded praise, a reflective journey of self-discovery born out of the COVID-19 pandemic. Booster Seat, Spacey Jane’s infamous song that had a chokehold on Triple J and every bar in Byron.
After the release of their sophomore album, Here Comes Everybody, my growing expectation for their records dropped as Spacey’s ostentatious sound was watered down compared to Sunlight. Taking a break from touring in 2024, their third album release and subsequent tour selling out Hordern over multiple days did not surprise me. Leading up to the gig, chatter filled the air as hordes of young Australians poured in` the venue. Many were starry-eyed teenagers enjoying their first gig and the older crowd that have seen in all. Hordern’s floor was so full you could barely muster a wiggle through the crowds. As the lights dimmed, screams filled the room as glimmering lights were strobing across the stage, we stood in anticipation to witness the beating heart of Australia’s rock scene. Shouts of wonder beamed as lead vocalist Caleb’s voice echoed in the venue and their energy magnetic. The light show was simply a spectacle, technicoloured and representative of the band’s high energy during the night.
The first thing I noticed was Caleb’s exceptional range throughout the performance. Although I did not doubt his vocals were rich, his vocal range from airy falsettos to deep bellowing was something to behold. However, Hordern’s sound design is left to be
desired as the acoustics could not capture all the nuanced vocal delivery. Ashton and Peppa contrasted Caleb’s vocals with groovy bass riffs and raw chord progressions, all with a driving beat by Kieran maintaining the crowd’s tempo as the night continued. The 19-song track list blended their new release with classics from prior works, melding into a single sound as each song transitioned seamlessly.
Skin’s leading guitar riffs caused a frenzy as the audience began chanting the lyrics. The song has a notable place on my heart as the album was constantly on rotation as my friends. Growing up with my mates, exploring countless waterholes and beaches across Northern NSW. In some sense, we were finding ourselves across the unique part of the world we called home. It was all underpinned with this song and a flood of nostalgia washed over me as I remember watching sundown on the headland. Another track off their debut album, Head Cold took me back into memories of unrequited love. The dizzying guitar melody riding along a syncopated drumbeat was beautiful to see live and reminded me of the soft murmur of the Wilson River during springtime.
The new tracks off the album play with their sound by adding synth leads, mixing influences of indie rock and synthpop. Whateverrr begins with sweet guitar leads onto airy vocals, which contrasts with Dep Leppard like guitar leads and Caleb’s almost strained pleas for unreciprocated love. Through My Teeth plays with shoegaze sounds with washed out guitar chords, complementing Caleb’s soft and melancholic tone throughout the album. It was during this song a young girl began asking me a question, which I couldn’t hear initially. She comes up to me asking to go on my shoulders, which I hesitantly agree to, not wanting to drop the poor girl. Once she got up, we were dancing together, and the gig began to feel livelier for me. It’s these strange but beautiful moments between strangers, all from different backgrounds coming together for good music.
As the night began to end, Booster Seat’s soft pads began ringing out of Hordern as drilling strumming sets the song’s cadence. Caleb’s wiry vocals move the crowd as lyrics speak on reminiscing on love long gone, an anthem for Australia’s youth for the past few years. Peppa’s airy harmonisation with blares of dreamy guitar riffs was surreal to see live. Although the song had been overplayed to death on radio stations, you cannot help but appreciate the band’s commitment to alternative sounds to contrast its melancholic lyricism. Spacey Jane is a dynamic band conscience of its place in Australia’s rock scene, highlighting the brash and bold sounds underpinning your 20s in the sunburnt country.
A powerful birthday gift for the cult festival’s 30th anniversary
In 2025, NATURE ONE celebrates its 30th anniversary – three decades of electrifying nights, legendary sets, and unforgettable festival moments. An occasion that calls for a truly special musical statement. None other than Paul van Dyk, one of the most influential artists in the electronic music scene and a NATURE ONE artist from the very beginning, delivers the official anniversary anthem with his new single “Power.”
Since the early days at the Pydna missile base in Kastellaun, Paul van Dyk has been closely connected with NATURE ONE. He has been there from the start – as a pioneer, headliner, and fan favorite. Over the years, the festival has grown into an international flagship of the electronic music scene – with a production and line-up that are second to none worldwide.
With “Power,” Paul has created a high-energy techno statement that captures the essence of NATURE ONE: strength, joy, energy, and diversity. The track is a driving, straight-forward high-energy techno piece with a hypnotic bass, catchy vocals, and guaranteed goosebumps – made for the big moments in front of the main stages and the emotional dawn hours.
Paul van Dyk on 30 years of NATURE ONE:
“NATURE ONE is more than just a festival to me – it’s a piece of home, a place full of memories, friendships, and fantastic nights. I’ve witnessed the growth of this event over three decades, and it fills me with pride to be part of this journey. ‘Power’ is my musical thank-you to the people who made NATURE ONE what it is today – a symbol of the power of electronic music and the energy of its community.”
“Power” is more than just a track – it’s a musical birthday gift and a love letter to one of Europe’s most significant festivals.
Experience “Power” live – at the NATURE ONE 2025 anniversary. CELEBRATING 30 YEARS.
“The Mill” is such a powerful track—what was the moment that inspired it, and did it really come to you in a dream?
Yeah, I often have very vivid dreams. I was dreaming that I was performing a song at a show and at some point the dream became lucid because I was able to wake myself up from it and I quickly wrote it all down. It was one of those feelings like ‘I know this song is supposed to exist’ and the strangest part was literally only a month or so later we were performing the exact song from my dream at our show at the Gaso. It was a surreal feeling, like the whole thing was pulled out of my head and brought life.
There’s a strong emotional undercurrent in your music—how do you channel such raw feeling while still delivering big, anthemic sounds?
Ooh, I guess for me they go hand in hand. I think a song can get massive and anthemic sometimes to emphasise something in a way that hopefully does justice to the strength of the feeling. The Mill carries a lot of real frustration but I didn’t want it to feel like despair because it doesn’t have to end there. I felt like it needed to sound reflective of the current mood of our society, like yes, life is tough, but people are also resilient and hopeful, and I love how we can carry optimism, hope and frustration all at once. And the grind isn’t easy, the more you grind and the more pressure builds up, it feels natural to me that there has to be a release, and in this case, builds to a big, raw anthemic moment.
You’ve mentioned feeling let down by summer—can you unpack that theme in the EP title I Once Loved You, Summer?
The title ‘I once loved you, Summer‘ is actually a line from one of the tracks on the EP called ‘Summer Chapter’. That song in particular, I wrote with a lot of intention. I realised that I had written a collection of songs over a small period of time that all had a recurring theme surrounding summer, and so many really tragic things had happened to me and a lot of my loved ones all at once last year. I felt like I really wasn’t managing anything very well at that time, and I saw that I could tie all of these different experiences together in Summer Chapter to try my best to explain what was going on, and maybe why I suddenly stopped being the person people knew me as up until then. I felt like I fell out of love with summer. I took that, and wrote some stuff that I had to get out, and I had the idea of personifying summer so I could acknowledge some of those expectations and disappointments I had.
This new body of work feels like a collective reflection—how have your friendships and community shaped the EP?
If I could sum it all up best, I have to say the EP is written like many conversations with my friends and people in my world. It’s all confession, declaration, checking in, trying my best to encourage and give hope. That’s really just how things are with my community. I love everyone so much and I just felt so hard for this EP that I can’t wait around for it to be ‘too late’ and in retrospect wish that I had had the chance to tell someone what I needed to tell them. That already happened last summer and I learnt the hard way, people need to know they are loved and valued. So I feel like people do that for me and I want to do that for them too. This EP is absolutely collaborative in that way and very shaped by my relationships.
You’re celebrating the new single and EP with a hometown headline at Sooki Lounge—what can fans expect from the live show?
We are! I think people can be excited to see our supports, Yours, Georgina and Sean Hutton, I know I am! As for what they can expect from us, I’m stoked that we’re finally sharing all the songs from the EP live. We’ll be playing Summer Chapter for the very first time, no one has heard it yet, so it will be a sneak peek at the final song on the EP that will be released a few weeks after on 7th August. We also have a couple of other new songs we’ll be road testing and of course some old favourites. We’ll be playing with our full band. It’s big and it’s so much fun.
You’ve been building toward this EP with releases like “You All The Time” and “How It All Came Down”—how do you feel they connect with “The Mill”?
I think sonically, those three songs in particular are our more anthemic tracks on the EP. They all end a lot bigger than they begin, in my head they’re a lot like snowball songs, like pushing a little thought from the top of the mountain and they just pick up size and pace and they go until they’re big and heavy at the end. Hopefully they all hit like an avalanche!
Saint Victoire blends elements of folk, alt-rock, and even alt-country—how did that fusion come about, and how do you keep it cohesive?
Keeping it cohesive is a bit tricky, but I think having solid references helps. When I take the songs to the band to add in their instrumentation, there seems to be a few consistent artist references we fish out of the pool. There’s a bit of deliberation around ‘does this sound like it needs banjo or mandolin?’ and sometimes I’ve initially thought a song might be more folky and we end up feeling like we want to make really loud noise instead. We all love so many different genres of music, and I love to give each song what I think it needs, rather than thinking ‘this song has to sound like this because this is what people think we do’. There is a limit to that though for sure, I’m not exactly sure where the boundary is, but there have been occasions where the guys are just like ‘what, this is so far from our sound,’ I think I’ve ditched a few songs because they don’t get what I’m doing and I realise I don’t either!
Do you write most of your lyrics from personal experience, or do you find yourself stepping into different stories and voices?
Ooh, so far I think it’s all pretty personal. I’m sure I exaggerate and inflate ideas sometimes to add to the imagery, but at their core I reckon they’re mostly things I’ve experienced or derived from things that I think about. I’m a huge dreamer and daydreamer, so sometimes I’m not entirely sure if something actually happened or not. I also love philosophy so I think that informs a lot of the writing too.
The recording process took you from Phillip Island to Sydney—how did that environment influence the sound or mood of the EP?
When we recorded at the island, we had two days to work with to track the main body of the EP which is five songs. We decided to track everything live and overdub whatever we needed to in post. I personally love tracking like this because the energy just feels very different. It’s not like sitting there playing along to a guide by yourself. We play it like we’re performing, which does mean that there’s a lot more room for error and imperfections. I know that can grate on people, but it’s kind of my style. I’m not mad about a few little imperfections, I love live music more than anything, and what I love is that it isn’t perfect, it’s really raw and human and that’s something that tracking live in the studio allowed us to capture. Ethan mixed everything up in Sydney so we were on a few calls back and forth, but honestly he is amazing. He absolutely understood the vision so quickly. I think I just said I like it sounding full and big and he absolutely delivered on that!
With the EP dropping August 7, what’s next for Saint Victoire after the Sooki Lounge launch—more shows, videos, or surprises in the works?
We’re working on a music video for the Mill at the moment which will hopefully drop around then, which I’m very excited for. We haven’t made a cinematic style video before so we are very keen to see the finished product! We’re working on some potential shows for later in the year, and I’m always writing, so who knows, we could drop more music before the end of the year too.
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Kicking off at Spark Arena in Auckland on February 11, 2026, the tour rolls through Christchurch, then crosses the Tasman Sea for Australian cities: Brisbane (16 Feb), Sydney (18 Feb), Melbourne (21 Feb), and culminating in Perth (25 Feb)
Tickets go on sale to cardholders and fan club members in mid-July, with American Express holders getting first dibs from 1 pm local time on July 15, Frontier Touring members next on July 17, and general public sales opening on July 18 at 2 pm
Lorde 2026 New Zealand & Australia Tour
Presented by Frontier Touring
All shows are licensed all ages
Pre-Sale and General Ticket Info
American Express Pre-sale: Tuesday, July 15th, 1pm local time
Frontier Member Pre-sale: Thursday, July 17th, 2pm local time
General Public On Sale: Friday, July 18th, 2pm local time
Wednesday, February 11th
Spark Arena, Auckland, NZ – ticketmaster.co.nz
Friday, February 13th
Wolfbrook Arena, Christchurch, NZ – ticketmaster.co.nz
Monday, February 16th
Brisbane Entertainment Centre, QLD – ticketek.com.au
Wednesday, February 18th
Qudos Bank Arena, Sydney, NSW – ticketek.com.au
Saturday, February 21st
Rod Laver Arena, Melbourne, VIC – ticketek.com.au
Wednesday, February 25th
RAC Arena, Perth, WA – ticketek.com.au
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Data evento 活動日期: 18-21 September
Luogo 地點: Tempio del Futuro Perduto, Via Luigi Nono 7, Milano|
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Aura Club Sydney: Friday, 27th June, 2025
Photo credit:
- Sydney: https://www.instagram.com/yogilan
- Melbourne: https://www.instagram.com/debbieyphotography
Lunation Festival, Melbourne: Saturday, 28th June, 2025
CURATED SERIES OF EMPOWERED EVENTS CELEBRATING FIRST NATIONS VOICES ANNOUNCED FOR 1-5 SEPTEMBER
TICKETS ON-SALE NOW
TICKETS
Already set to be a bustling hub of activity and creative inspiration this September, BIGSOUND proudly announces its celebration of Indigenous voices today, with the reveal of the 2025 Goolwal Goolwal Program.
Translated from the traditional Yuggera language, “Goolwal Goolwal” means “Big Sound” – as such, this deadly program of events and cultural experiences has become an integral part of BIGSOUND’s programming in recent years. Nestled within the busy district of Fortitude Valley, Magandjin (Brisbane), Goolwal Goolwal invites all attendees to immerse themselves in this dynamic series of panels, performances, workshops and more; discovering the wealth of talent thriving within First Nations communities nationwide. With a program boasting free events to attend within the dedicated Goolwal Garden, as well as a slew of free performances on the Brunswick Street Mall Stage, Goolwal Goolwal is a key calendar component of BIGSOUND 2025.
Curated and led by a team of First Nations industry professionals and artists, the Goolwal Goolwal program represents leaders and the next wave of industry gamechangers; all the while platforming and supporting First Nations artists and creative practitioners at BIGSOUND throughout the entirety of the event this 2-5 September.
“[The] Goolwal Goolwal program feels like family. Elders, youth and everyone in between connecting at BIGSOUND. The program gives us more visibility in the national and international music industries. Goolwal Goolwal team invests our time to share the combined knowledge of industry elders and hear the voice of the next generation. We prioritise space for multi-generational events, music and conversations, which encourages a more natural way to connect.” Deline Briscoe, First Nations Advisory Group & Programming Advisory Group
The Goolwal Goolwal program commences at the top of BIGSOUND week – Monday 1 September – with an official BIGSOUND Eve Welcome Event, a perfect opportunity for delegates and special guests to gather and begin building connections before the rush of both the BIGSOUND conference and music showcase festival sets in. Hosted at the Goolwal Garden, the official and dedicated First Nations space at Fortitude Valley’s Sound Garden, this event invites attendees to meet and ease into the week together.
“Each year BIGSOUND makes a significant contribution to the state’s live music industry, strengthening the state’s vibrant music scene. As a key part of the BIGSOUND program, Goolwal Goolwal amplifies the stories, voices and sounds of Aboriginal and Torres Strait Islander artists and creatives.
“The Crisafulli Government’s investment in QMusic and its presentation of Goolwal Goolwal provides an important platform for Indigenous artists, musicians and communities as we prepare for Queensland to take centre stage as host of the Brisbane 2032 Olympic and Paralympic Games.” The Hon John-Paul Langbroek, Minister for Education and the Arts.
Honouring the Traditional Owners of the land and waters on which BIGSOUND is held, renowned community and industry leader, Sandra King (O.A.M) will deliver a Welcome To Country on Tuesday 2 September as part of BIGSOUND’s Opening Ceremony for 2025. As part of this important event, a traditional Smoking Ceremony will also take place, an ancient custom that not only cleanses, but wards off bad spirits and welcomes people in positive energy.
“We are honoured to be producing the 2025 Goolwal Goolwal program and to witness the continued evolution and amplification of First Nations voices within our industry. We are incredibly proud to support the strength, resilience and extraordinary talent of First Nations artists in music.
The Goolwal Goolwal Program continues to provide an empowering platform for both established and emerging First Nations artists. This year’s program will be a vibrant celebration of identity, culture, creativity and community; highlighting the importance of First Nations-led spaces in the music industry.” Kearna Sweeney & Bianca Kemister, Goolwal Goolwal Producer and Assistant Producer.
Throughout this year’s Goolwal Goolwal program, a number of highlight events are set to take place. Bad Apples Music, celebrating ten years of nurturing and supporting First Nations talent, bring their anniversary celebrations to Goolwal Goolwal for Now And Forever: BIGSOUND Edition, on Tuesday 2 September with a deadly lineup of artists set to perform. Having played a hand in changing the landscape for First Nations artists to be recognised and succeed in Australia across the last decade, Bad Apples Music is already looking ahead to its next decade of excellence – a hint of which will be on show for this special celebration.
Trailblazing artist BARKAA brings a wealth of knowledge and experience to Goolwal Goolwal, appearing on two special panel discussions in collaboration with Support Act across Tuesday 2 September and Wednesday 3 September. Having navigated a prolific rise herself in recent years, the Malyangapa, Barkindji superstar will be sharing her observations and tips for the Yarning Strong panel, “Pass The Mic, Not The Trauma: Navigating Parenthood in the Industry” – a session dedicated to exploring how to balance social and mental wellbeing with the artistic craft. BARKAA will also appear on the panel “Leave Britney Alone: Navigating Notoriety”, a session created to provide insights on the pressures artists face to speak out on pressing issues, and the impact on vocalising opinions in the public realm.
On Wednesday 3 September, Bad Apples founder and all-round Yorta Yorta multi-talent BRIGGS will appear in an unmissable keynote conversation with acclaimed Gomeroi rapper and master storyteller, Kobie Dee. Taking place at the Fortitude Music Hall, this keynote is set to be an illuminating conversation traversing not only two distinguished careers in Australian music, but also insights into the growth and evolution of First Nations excellence in this country.
Thanks to Awesome Black, Goolwal Goolwal plays host to a diverse and electric roster of First Nations artists on Tuesday 2 September – showcasing the dynamism and defining sounds of contemporary Blak music, in the heart of Fortitude Valley on the Brunswick Street Mall stage. Experience firsthand the artists who are shaping tomorrow’s sound: from hip hop to soul, indie to electronic and experimental, the Awesome Black Showcase is set to champion the next wave of First Nations storytellers, proving First Nations excellence has never been bound by genre or expectation.
The music celebration continues in the Goolwal Garden on Wednesday 3 September, with two special events: YANGADA and the Bush Day Out. YANGADA (Mutti Mutti: to speak), represents the sharing of knowledge and memory through songs and stories – think, Kutcha’s Koorioke and a campfire yarn! Presented by the Bush Music Fund, the Bush Day Out will feature a stellar lineup of talent.
On Thursday 4 September, the Brunswick Street Mall Stage plays host to The BLOCK PARTY CONNECT: FROM BOORLOO TO MEANJIN , presented by FNFOCUS & FLEWNT. Featuring a staunch line up of West Coast talent including FLEWNT, INKABEE, Downsyde, Taija, JJ Vacant and TEHIIRI + special guests, this block party brings an unforgettable series of hip hop performances as part of Goolwal Goolwal 2025.
“It has been a fantastic journey over the past years at QMusic, witnessing the increasing engagement and recognition of First Nations artists at Goolwal Goolwal, BIGSOUND and other events such as the Queensland Music Awards. First Nations artists and musicians play a vital role in the Queensland music industry. Music is a powerful tool to ensure that First Nations voices are heard loudly and proudly.
Goolwal Goolwal is a signature event that brings people and cultures together through the sharing of music and deeply personal stories that have a lasting and profound impact on everyone involved. We look forward once again to an amazing program in 2025!” – Toni Janke, Chair – First Nations Advisory Group
BIGSOUND 2025
2 – 5 September Fortitude Valley Brisbane, QLD
For more information on this year’s Goolwal Goolwal Program at BIGSOUND 2025 visit
www.bigsound.org.au/first-nations-house
Stay connected on Instagram
www.instagram.com/goolwalgoolwal
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Brisbane beloved alternative rock trio The Comfort share groovy, moody anthem, “Blossom” about creative burnout and growing through it.
“Blossom” is the captivating follow-up to last month’s “Down (How Many Times Can I Lose Everything?)” that nods to their early roots. The new song is a dynamic, dance-tinged alt-rock belter that delves deep into the journey of industry exhaustion and renewal. It reflects the stages of a musician’s life: the initial wonder as a superfan, the passionate commitment to carving your own path, and the weariness that comes from wrestling with the music industry. “It’s about rising above the noise, letting go of expectations, and choosing to create because we love it,” says the band. “It’s about building real relationships – with ourselves, with each other, and with the people who’ve stood by us. This song is a reminder that even when things feel worn out or forgotten, there’s still something beautiful waiting to grow.”
Recorded with ARIA-nominated producer and songwriter Callan Orr, “Blossom” sees The Comfort tapping back into the heavier energy that first defined their sound, while continuing to evolve the dark, melodic textures that have become their trademark. The track reintroduces the trio’s signature blend of hook-laden riffs, introspective lyricism, and harmonious vocal duality.
Launching into a big year, The Comfort hit the road last month supporting Chasing Ghosts on a national tour, launching prior single “Down” live alongside their other fan favourites. The band also just announced their place on Converge Festival, September’s new multi-city day festival celebrating the culture of alternative music. The Comfort will perform in both Melbourne and Brisbane, joining the likes of Bad/Love, Young Lions and more. Tickets on sale now.
Boasting over 7.3 million streams on Spotify, The Comfort have carved out a loyal and growing global fanbase. Their music has resonated widely, earning airplay on triple j, BBC Radio 1’s Rock Show with Daniel Carter, Kerrang! Radio, Triple M, and community stations across Australia.
Comprised of Dom Harper (vocals/bass), Liam Holmes (vocals/guitar) and Marcus Parente (guitar), The Comfort continue to evolve through each release, drawing on their decade-long journey of vulnerability, connection, and personal growth. The Comfort first turned heads with their breakout Love EP, which amassed over 5 million streams and set the stage for their debut album What It Is To Be. Their sophomore record, Experience Everything. Live And Die. released via Greyscale Records in 2022 and further cemented their sound – featuring collaborations with AJ Perdomo of The Dangerous Summer and Dylan Davidson of Deadlights.
Over the years, The Comfort have shared stages with scene heavyweights including Saosin (US), Don Broco (UK), The Red Jumpsuit Apparatus (US), Thrice (US), Say Anything (US), Circa Survive (US), Void of Vision and so many more.
At the heart of The Comfort’s identity is a simple truth: they are three people doing everything they can to grow – through pain, through doubt, through connection. Their songs explore themes of mental health, vulnerability, and the fear of letting love in, resonating with listeners who are navigating their own internal battles.
“Blossom” is out now and streaming everywhere.
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“Musica Elettronica” feels both intimate and rebellious — what moment or feeling first sparked its creation?
I remember perfectly the moment I started writing Musica Elettronica. I was playing the guitar, without a clear idea, with no intention of composing anything. Then that chord progression sparked something, and I immediately wrote the lyrics. That hadn’t happened in a long time — in recent years, I had mostly been writing on the piano or starting from sounds and synthesizers, working on the computer. Going back to the guitar was a familiar gesture that brought me back in time.
Was it a personal experience, a dream, or something more abstract that ignited the song?
It’s a track that originates from a personal story, which then expands into broader images.
You described the track as being born in a “post-industrial dream factory” — can you take us inside that space, sonically or emotionally? Is it a real place, or more of a metaphorical world where your music lives?
The sounds come from visual worlds that strike me — for example, abandoned places, old disused factories, certain cities, countryside, provincial areas. I’m drawn to places that fall outside of mass tourism and carry something unique and authentic. So yes, my music lives in real places — they might be intensified, but they often come from clear, real images.
There’s a strong visual and cinematic thread in your work. What did Berlin and Bologna in the ’80s mean to you creatively for this new chapter? Was it about aesthetics, politics, or something more atmospheric?
Bologna and Berlin are two diGerent cities, but they share some common ground. I didn’t exist in the 1980s, but back then people used to say that Bologna was like a smaller Berlin. The cultural ferment of that time, the artistic and intellectual figures of those years, have deeply fascinated me for their attitude and intentions.
How did working with Francesco Fantini influence the final shape of “Musica Elettronica”? What did he bring to the process that pushed you creatively into new territory?
The collaboration with Francesco was both important and lucky, because our visions aligned right away. He understood exactly what I wanted to convey sonically and supported it with great skill, he’s an exceptional musician. We also worked together on composing part of the track, which we revisited and shaped into its current final form.
From “Manifesti e immaginari sensibili” to “Futuro Splendido”, and now this — how would you describe the evolution of your sound and identity? Do you feel like you’re shedding skins, or adding layers?
Art must always be in motion and in transformation, you need to experiment and evolve. Right now, I feel like I’ve added more layers. I’ve written a lot over the past two years, and I did it with total freedom, doing exactly what I wanted and how I wanted. That’s what will allow me to keep experimenting with enthusiasm.
The song blends melancholy with momentum — a slow dance in an empty room, as you said. How do you channel that tension in your songwriting? Is it instinctive, or do you deliberately play with contrast and contradiction?
It’s an instinctive process. Nothing is planned or structured in advance. There’s a musical, textual, and emotional sensitivity that drives the creative process, without forcing anything.
You talk about electronic music as a space of resistance and collective expression. Do you see your music as political? If so, in what way — subtle, emotional, direct?
My music is also political, inevitably so. Politics, in its broader sense, democratic and civic, not dogmatic, ideological or partisan, is a form of expression that manifests every day. We are political through our bodies, our language, and our everyday actions. Art, therefore, can be a vehicle for messages, visions, participation, and the manifestation of anything.
What role does solitude play in your creative process, especially when crafting something so emotionally charged like this new track?
Solitude is necessary for me, at various moments, but especially when I’m writing music.
You’re currently working on your next album — can you share a glimpse into its mood or themes? Is it an extension of “Musica Elettronica”, or are you heading into even newer territory?
Musica Elettronica has a color of its own, but the album will be something else entirely. It’s going to be a dense work, both lyrically and textually, as well as sonically. Together with Francesco Fantini, who also produced the record, we did important work on the sound, shaping something that feels impactful to me. It will be a dark work, but with remarkable bursts of light. The themes will be multiple.
Finally, what’s something surprising you’ve learned about yourself through this phase of making music? Something you maybe didn’t expect before writing this track?
You end up discovering many things. Writing a track like Musica Elettronica, for example, was a discovery in itself. A while ago, I wouldn’t have thought I could write it.