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Ministry of Sound TESTAMENT returns to White Bay Power Station in Sydney in less than 2 weeks with extremely limited tickets available for our second 00s session on Sat 25th July. Book Now! |
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The 90s Session and the first 00s Session are completely SOLD OUT. This is your last chance to be part of the 2026 Testament tour. Don’t miss out! |
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00s Session 2 Date: Saturday 25th July Time: 4pm – 12pm Venue: White Bay Power Station |
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00s Session 1 Date: Saturday 24th July Time: 4pm – 12pm Venue: White Bay Power Station |
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90s Session Date: Saturday 18th July Time: 4pm – 12pm Venue: White Bay Power Station |
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BRISBANE, SYDNEY & MELBOURNE
SIGN UP FOR TICKETS & ONSALE INFORMATION HERE
Frontier Touring is thrilled to announce Benson Boone will bring his 2026 Wanted Man Tour Down Under this November, performing multiple arena dates in Brisbane, Sydney and Melbourne.
Kicking off his 35-date U.S. leg of the tour tonight in Pittsburgh, PA, the run will include multiple nights at Brooklyn’s Barclays Center and Los Angeles’ Crypto.com Arena, eventually wrapping up in Casper, WY, on September 3 before heading Down Under. Find his full routing below and more information HERE.
Aussie fans can register now for tour information for the upcoming November shows via frontiertouring.com/bensonboone.
Stay tuned for more new to come on Benson Boone!
Benson Boone Wanted Man Tour Australian Tour Dates (more info HERE)
Friday 6 November 2026 – Brisbane Entertainment Centre, Brisbane
Saturday 7 November 2026 – Brisbane Entertainment Centre, Brisbane
Sunday 8 November 2026 – Brisbane Entertainment Centre, Brisbane
Thursday 12 November 2026 – Rod Laver Arena, Melbourne
Friday 13 November 2026 – Rod Laver Arena, Melbourne
Saturday 14 November 2026 – Rod Laver Arena, Melbourne
Tuesday 17 November 2026 – Afterpay Arena, Sydney (*formerly known as Qudos Bank Arena)
Wednesday 18 November 2026 – Afterpay Arena*, Sydney
Thursday 19 November 2026 – Afterpay Arena*, Sydney
FOLLOW BENSON BOONE:
Website | Facebook | Twitter/X | Instagram | Spotify | Apple Music | YouTube | TikTok
Melbourne, we heard you ask for Charlotte de Witte to play at The Wool Store, and we simply could not resist.
One of techno’s most celebrated artists, Charlotte is a powerhouse across the globe, leaving her uncompromising sound and hypnotic stage presence etched into memories of those who witness her live.
Since announcing its 2026 return, The Wool Store has been selling out instantly. Sign up now or you’ll miss out.
Melbourne presale registration is now open.
Sydney, only a few tickets remaining – you’d want to be quick.
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Presale tickets are available to purchase from a presale link from 12:00 AEST on 7 July, 2026. Subject to further availability, the remaining ticket allocation shall be available for sale to the general public from 12:00 AEST on 8 July, 2026. |
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TOUR DATES: Friday 11 December, 2026 | The Wool Store, Melbourne Saturday 12 December, 2026 | Hordern Pavilion, Sydney |
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Six consecutive DJ Mag No.1 Techno DJ titles. Tomorrowland. Coachella. Lollapalooza. A debut album that shook the scene. Charlotte de Witte doesn’t need an introduction. Known for her uncompromising sound, hypnotic presence and relentless energy behind the decks, she’s spent a decade redefining what techno can be. This December, she brings it all to Australia for two massive headline shows that fans have been waiting a long time for.
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What began as a deeply personal diary entry has evolved into one of OH! Daisy’s most emotionally explosive songs yet. With ‘Just Say’, the Melbourne punk outfit pushes further into vulnerability, pairing raw honesty with soaring intensity. We caught up with Bambi O’Kelly, Nick Dordevic and Emma Friday to talk about the song’s origins, Australian gothic visuals, unforgettable live moments and where the band is heading next.
‘Just Say’ began as a diary style piece before evolving into an anthem for anyone who’s felt they had to beg for the bare minimum in a relationship. What was the turning point that transformed it into the song we hear today?
Bambi O’Kelly: There’s a beauty the band have always found in saying the most unhinged thoughts, knowing that someone somewhere will relate. Finding a way of relaying that feeling of craziness and isolation you feel when you’re in that kind of relationship in such a literal, upfront and unsettling way was such an exciting exploration for us. The second we realised that we had to scream that whole chorus the way it feels, with our whole chest, was the moment we knew we’d cracked it.
Bambi, you’ve said, “You shouldn’t need to beg someone for more for the rest of your life.” Was there a specific moment or experience that inspired those words, and how difficult was it to revisit those emotions while writing?
Bambi O’Kelly: I find songwriting and performing incredibly cathartic. It’s been so nice the way this song has allowed me to reflect and heal. Some songs are difficult, and I think this is one of those ones that just flowed out of me. I knew what needed to be done, and I was so glad to get it out of my system.
Your music balances vulnerability with an explosive punk energy. How do you decide when a song needs to be delicate and when it needs to lose control completely?
Nick Dordevic: A big part of approaching our chaotic and heavy energy has been trying to find the right moments to show that side of our sound, but also not relying on it to push us forward. The song really needs to call for the crash out for us to go there, because I feel like that mirrors how these feelings actually come across in our lives. It’s more honest somehow.
Emma, you directed the ‘Just Say’ video yourself. What inspired the Australian gothic aesthetic, and were there any films, photographers or artists that influenced the visual direction?
Emma Friday: Bambi and I got together to brainstorm, and ultimately decided to use a setting that would allow us to explore a visual style that sits outside our genre. A punk band from the city, basically playing these Australian gothic characters intermittently. We used those personas to tell a story, as if the rest of the band were these ghostly spirits, frantically and expressively moving around Bambi, who feels they are pent up with feelings they cannot express.
Personally, my biggest references for the visuals were Picnic at Hanging Rock, Days of Heaven by Terence Malick, the visual universe of Nick Cave, as well as the Australian outback in general. Growing up I spent a lot of time in the Victorian countryside, soaking in both the landscapes and the melancholic, gothic paintings I saw in art galleries.
OH! Daisy has been building a reputation for unforgettable live shows. What’s the wildest or most memorable moment you’ve experienced on stage so far?
Bambi O’Kelly: Recently we did a secret show for our friends and family at The Evelyn Hotel in Fitzroy. It was an opportunity for us to trial our new set in a space that felt safe, and we also used it to showcase and celebrate all of the physical media artists that are a part of our family. It ended up being a huge celebration of everything we have achieved so far, with over 100 people turning up on a secret Tuesday night. I truly believe it was one of the best sets we’ve ever played. It felt crazy to pull that off.
Sappy answer aside, there have also been times where Izzy has played her guitar on the ceiling above the stage and broken her fingers. She’s the real trooper who gives our live shows that rock and roll spirit.
You’ve shared stages with artists like Keli Holiday, DZ Deathrays, Sly Withers, Origami Angel and Cry Club. Which support slot taught you the most about being a band, and why?
Bambi O’Kelly: Earlier in the year we got to jump on a small run of the Playlunch regional shows around Victoria. They have such an electric audience and energy as a band. More than anything, those shows inspired us to leave it all out on stage every set.
As a support band it’s easy to forget that you’re warming up the crowd, and that means you’ve got to sell it. Those crowds were packed into small rooms that felt like arenas, and we wanted to give them a show to match that energy no matter how long we’d driven to get there.
Your debut EP, It’s Okay I’m Ugly Too, tackled themes of insecurity, identity and emotional chaos. How has your songwriting evolved since that release, and what does ‘Just Say’ reveal about where OH! Daisy is heading next?
Bambi O’Kelly: I think if the EP was us baring our skin, Just Say is us showing our guts and bones. It is something even more unhinged and more raw that we’ve been working towards for a long time, and we’re still excitedly exploring that direction in what comes next. It set a new gold standard for us.
There’s a theatrical quality to everything OH! Daisy creates, from the music to the visuals and live performances. How important is storytelling to the band’s identity, and what do you want audiences to feel when they leave one of your shows?
Nick Dordevic: Storytelling is super important to us, but at the same time it can easily overpower a track if you let it. We’ve been focusing on conveying the feelings we want through our music while making sure subtlety remains a priority.
While we don’t shy away from darker and heavier themes, we always want to tell those stories in a relatable and realistic way. We might feel sad, angry and erratic, but that’s just one piece of a fuller picture. Being ourselves on stage and off helps with this, because coming across as the real people we are makes our music feel more genuine.
The chemistry within the band comes across as incredibly natural. Emma has described it as a “quasi psychic connection.” How does that creative relationship work in practice when you’re writing songs or developing concepts together?
Emma Friday: The first thing I noticed about being in this band is that we would often show up dressed in seamlessly complementary outfits without any planning. I laughed it off at first, but after a while the synchronicity of our live playing had me convinced some sort of cosmic fate was at play. It genuinely feels like this is the band I’m meant to be in.
If someone had never heard OH! Daisy before and ‘Just Say’ was the first song they played, what do you hope they would understand about the band by the time the final chorus fades out?
OH! Daisy: We aren’t afraid to show that we care a lot and that this means everything to us.
Follow OH! Daisy
Tiktok: @ohdaisymusic
Instagram: @ohdaisymusic
Facebook: ohdaisymusic
Spotify
Apple Music
What does the title Golden Death represent to each of you, and has its meaning changed since you first began writing the EP?
ANDY: The original meaning came from some pretty nerdy circumstances, stemming from movies and video games; But as we were writing more introspective songs that had broader themes, we felt the original core identity wasn’t as prevalent. Miraculously, it so happened to fit even better with the songs in the EP as they stand now. … and so to me, it’s a representation of change through the most difficult experiences.
LUKE: As I have only recently joined the band, the meaning that Golden Death holds for me would be quite different from the rest of the members. To me, Golden death signifies the rediscovery of my passion for playing and creating music with my friends.
KIERAN: Originally, Golden Death came from an abstract, spiritual idea inspired more by video games and fantasy literature. Over time, it evolved into something much more personal. It represents the idea of a perfect ending, a final defining moment. As I’ve gotten older, I’ve realised things in life rarely end that way. More often, things simply fade, change, or grow with a gentle detachment over time, and that’s okay. To me it’s really more about accepting that it’s less about big dramatic moments and that the consistent smaller things can be just as if not more impactful.
LACHLAN: The Golden Death concept was really Andy’s thing but I think it speaks to something deeply familiar to most people – growth through profound change. A lot of people I know, myself included, have had a life altering set of events that have forced them to strip things back to basics and take in a new perspective to continue existing happily.
LUCAS: For me, past all its initial influences is definitely a cathartic body of work from coming together and releasing a set of songs that we can consider staples of collective influences and to always look back fondly on. Its meaning in a conceptual to live piece had changed over the course of starting and finishing it into something I feel had some of my most passionate writing and contributions put forward and validated.
There is a strong sense of transformation running through these songs. Was there a particular experience that inspired that theme, or did it develop naturally during the writing process?
ANDY: Definitely was inspired by real, in-life experiences. A lot of writing came from things that I was dealing with and ruminating on. So it was great to put pen to paper and map out those feelings of frustration of things that “weren’t going away” at the time. Thankfully, it’s been so long since we started writing it, that I feel I’ve gone through that “transformation” in part, myself.
KIERAN: It developed naturally because the EP was written over such a long period. Andreas and I started writing together in 2019, and both the band and our personal lives changed dramatically during that time. The music evolved from indie and punk influences into something much heavier as we embraced music that we genuinely connected with. At the same time, we’ve both experienced major life milestones, so the EP is literally a reflection of years of personal and creative growth rather than a snapshot of one moment.
Being based in Darwin, do you feel your surroundings have shaped KOH’s sound or perspective in ways that might be different from bands in larger Australian cities?
ANDY: I think it differs a lot. We have a much smaller community of heavy music in Darwin, so it almost makes the connection to that community a lot stronger. I can say that we have been very privileged to have the amount of support in our home town, and I think it’s fueled us to keep going and push harder to make KOH something bigger.
KIERAN: Being in Darwin means you have to work harder to find similarly minded people, music and build opportunities. Especially in heavier genres the scene is small but tight knit and incredibly supportive. There isn’t much rivalry because everyone wants each other to succeed. Being geographically isolated also means touring is much more difficult and expensive than it is for southern bands, but it’s simply another challenge we will have to learn to overcome.
Your music balances crushing intensity with emotional depth. How do you know when a song needs relentless energy and when it needs room to breathe?
ANDY: To me, writing to themes or prompts is important, and usually that will dictate when a song needs a breakdown here or a softer section there. I also try to write riffs and sections with a 60–70% intensity, so when a chorus comes along, or it’s near the end of the song, we can crank it 100% so it hits even harder; writing with dynamics in mind is key, in my opinion.
KIERAN: There’s no formula—it comes down to instinct and collaboration. We learned that songs become stronger when everyone contributes ideas rather than laying responsibility upon one person. We trust the collective judgment of the band. Usually, the best ideas naturally stand out, and the dynamics evolve from asking, “What does this song need next?” rather than following a rulebook.
LUCAS: When I put the production hat on for writing I try to look objectively from the outside to hold space for what the song already has going for it besides ‘riffs’, to then use that outsider freedom to put my own emotions and storytelling with the interpretation of the song, be it vinyl warped synth to encapsulate that feeling of longing in a chorus (e.g. ‘River Mirror’), which I like to think landed just about every time with everyone else.
When you listen back to your earliest material, what stands out as the biggest way KOH has grown both musically and personally?
ANDY: The earliest demos that have never seen the light of day are very fun to listen to, but lack a lot of the intent and songwriting that KOH tries to have in the songs we hear on ‘Golden Death’. I think as a collective, we make smarter choices on what parts go where, and how the main riff or identity of a song sits amongst the rest of the composition.
KIERAN: The biggest lesson was learning to simplify. Early on, we tried to fit too many ideas into every song because we wanted to showcase our range as musicians. Over time, we realised great songs are built on strong foundations, memorable rhythms and melodies, not complexity for its own sake. We stopped trying to be technical and overthink everything and started focusing on writing music that just feels impactful and heartfelt.
LACHLAN: I’ve become a huge fan of the blast beats on the second ‘Blasphemous’ chorus. This was initially a live accident but it ended up making it onto the record despite some back and forth in our group chat. I think it really adds a sense of desperation and tension to the track.
Every member brings different influences into the band. Were there any unexpected ideas that almost did not make the EP but ended up becoming some of its strongest moments?
ANDY: I’ll use ‘Lightless’ as an example, as that’s been around in the “writing room” for a long time. We felt it was a bit bland in its original state and I wasn’t sure if it was strong enough of a song to hang with the rest of them. But thankfully, Lucas, one of our guitarists and production guy, added so much life into it that stood as really strong by the end result. All the small things and ear candy you can hear are because of Lucas. That being said, he did a lot with all of the songs – but I think that ‘Lightless’ had the greatest improvement among the rest.
KIERAN: Absolutely. One of my favourite moments on the EP came from our bassist and vocalist, Lachy, who picked up a guitar during a writing session and introduced a riff that completely transformed a section of ‘Immolate’. We developed it together, and it ended up becoming one of the highlights of the EP. It’s a great example of how collaboration makes our music stronger.
LUCAS: Being able to come in for the production role and adding all the ‘sparkles’ gave freedom to not have ideas that wouldn’t make it, but instead let the members try something new or look at the song in a lens they may not have ever considered. With the title track ‘Golden Death’ I felt it would be strong in the final chorus to have some singing alongside the harsh vocals, so I tracked some synth MIDI notes and sent it to Andy who came back with something that while slightly different, blew us away and is something we now cannot imagine the song without. This backs onto the idea of how collaboration and really spearheading some ideas initially contained to one mind communicated to the rest really made this EP what it is.
What was the biggest challenge you faced while creating Golden Death, and when did you realise the record had become something you were truly proud of?
ANDY: One of the biggest challenges we dealt with was our original drummer, Nikos, moving back home to Greece. He was there from the start and had a hand in most of, if not, all of the writing. While we wish him well, it’s been great to have Luke in the fold on the back-end to support and help continue the journey; and I’ll say has been doing Nikos’ grooves a mighty justice – they are not easy hahaha. I think taking a step back and finally listening to our EP on a streaming service has put a lot of the experiences we had as a collective in perspective. It meant so much to realise that this is finally an entity that can be shared with anyone, and it’s made me really proud of everyone involved.
KIERAN: The hardest part wasn’t writing the songs, everyone in the band works super well together for songwriting. It was the production and mixing process that was the biggest hurdle. Early on, poor communication brought the process to a grinding halt because everyone had different ideas but no effective way to work through them. After the first few singles we developed a much healthier collaborative process that enables everyone to contribute constructively. When the first mixes came back under that new workflow, there was none of that frustration and emotional weight attached to it. I could just listen to the music and be proud of what we had created.
Your songs explore themes of struggle, growth and self reflection. Have any fan reactions or personal stories changed the way you see your own music?
ANDY: We have had a lot of support from the people that enjoy our music and come to our shows. To me, the small gestures matter a lot – and I found it was so cool to see the people that have supported us the whole way come to our shows and sing the songs, and mosh like crazy. Things like that really made me believe we had something cool going on.
KIERAN: Not really. I love hearing how other people interpret our songs because everyone connects with music differently. And while other people will interpret things their way, the meaning behind each song remains deeply personal to me and I don’t think anyone could change that. Every member has their own relationship with the music, and I think that’s one of the beautiful things about music, there doesn’t have to be one correct interpretation.
If someone was hearing KOH for the very first time, which track from Golden Death would you play them first, and what makes it the perfect introduction?
ANDY: Without a shadow of a doubt, the title track ‘Golden Death’ is the song that, in my opinion, encapsulates everything that KOH is. It has absolutely everything you could want in a KOH tune; it has the riffs, the huge heavy section, the big chorus, and absolute groove across the whole song. A personal favourite for sure.
LUKE: I would recommend ‘River Mirror’. This was my first proper introduction to KOH before I joined and I think it reflects the overall sound for KOH and ‘Golden Death’ (EP) at this point in time.
KIERAN: I’d choose ‘Blasphemous’. It was the first song where we felt we’d truly discovered the band’s identity, and it’s the only song that survived from our earliest demos. To me, it captures everything the band is about, it has dynamics, atmosphere, memorable melodies, huge riffs, and one of the heaviest moments on the record. It feels like the most complete representation of who we are.
LUCAS: Tough one, being cheeky but I’d pick one of two options in either ‘Blasphemous’ going into ‘River Mirror’ or ‘Follow Your Ghost’ going into ‘Golden Death’. I really enjoy where we ended up in having those songs transition back to back to one another, it just builds upon this whole ride we wanted to create and is something I always look to be impressed by in songwriting both thematically and sonically.
Now that your debut EP is out in the world, what is the next chapter for KOH, and where do you see the band heading from here?
ANDY: We want to break down the sound we have even more. I’d like to see us write more so with the live aspect in mind – and just keep getting heavier and groovier (hopefully).
KIERAN: The main goal is to keep moving forward. Golden Death took a long time to make, and we don’t want that gap between releases again. We’re already writing new music and will be getting back into the studio, playing more shows, and continuing to build on what we’ve started.
There is something refreshing about an artist who is willing to tell the truth. No filters. No masks. No pretending. On her self titled debut EP, Melbourne based singer songwriter Harlow Reign delivers exactly that, opening the door to a world shaped by heartbreak, resilience, self discovery and hope.
Released through Hitmint Music, Harlow Reign is an emotionally rich collection of five songs that blends dark pop with alternative rock, creating a sound that is both cinematic and deeply personal. Rather than relying on polished perfection, Harlow embraces authenticity, allowing every lyric and melody to reflect real experiences that have shaped both the artist and the person behind the music.
From the opening moments of Wasted Time, listeners are immersed in an honest exploration of love, loss and the emotional weight that comes with growing through difficult moments. The reflective One More Night and heartfelt All You Need continue that journey before Take Me Away offers a glimpse of hope, leading into the powerful closing track Save Me Now. Together, the songs form a cohesive narrative of healing and resilience that feels relatable without ever losing its individuality.
“This EP represents who I am as an artist right now,” Harlow says. “These songs come from real experiences, real emotions, and moments that shaped me. I wanted to create something honest that people could connect with and hopefully find pieces of their own story within.”
That honesty is what makes Harlow Reign such a compelling introduction. Every track carries emotional weight, yet the production remains expansive and dynamic, balancing powerful rock influences with contemporary pop melodies. The result is a sound that feels both intimate and radio ready, giving Harlow a distinctive voice in Australia’s growing alternative music scene.
Fans of Evanescence, Paramore and Killing Heidi will immediately recognise the emotional intensity woven throughout the EP, but Harlow Reign is far from following in anyone else’s footsteps. She is carving out her own identity through fearless songwriting and an unmistakable willingness to be vulnerable.
Since emerging as an independent artist, Harlow has continued to build momentum with music that speaks directly to listeners navigating their own personal struggles. Every release has showcased her evolution as both a songwriter and performer, and this debut EP feels like the natural arrival of an artist who knows exactly who she is and what she wants to say.
Written, composed and produced by Harlow Reign alongside Sam Panetta, the EP showcases a creative partnership built on emotion, honesty and craftsmanship. Each song contributes to a body of work that feels complete from beginning to end, inviting listeners to experience every high and low without compromise.
With Harlow Reign, one of Melbourne’s most promising emerging artists delivers a debut that is both fearless and memorable. It is a release that reminds us music is at its most powerful when it comes from a place of truth. If this EP is any indication of what lies ahead, Harlow Reign is only just getting started.
Darwin metalcore groovers KOH have today unveiled their debut EP, Golden Death, available everywhere now. Accompanying the release is the sunkissed new video for the title track, which received its first play on triple j CORE last night.
KOH’s new EP, Golden Death, explores the idea of stripping yourself back and rebuilding into something new, representing growth upwards despite hardship and the discomfort that comes with change. “The term Golden Death, to me, means a different type of ‘end’,” says vocalist Andy Kala. “One that is more sacred and not as grounded in the physical end of something living and breathing. It is change, one so painful and great, ‘…It feels like needles deep in (my) skin…'”.
“Whether it’s from a past of trauma and heartbreak, or a toxic pattern inhibiting your way of living; Golden Death is the painful transformation into something greater.”
Forming on the backstreets of suburban Darwin, KOH are a modern metal outfit drawing influence from metalcore, groove metal and djent. Emerging in 2024, the band quickly gained momentum with early releases “Follow Your Ghost” – winner of the Northern Territory Music Award for Metal/Hardcore song of 2025 – and “Immolate“ pulling in thousands of streams. “River Mirror“ followed shortly after and scored national airplay across triple j and Double J and is now a finalist in the Northern Territory Music Awards for Metal/Hardcore song of 2026.
KOH dive into the centre of themes of growth, loss and the human condition, delivered through groove-driven guitar riffs, ripping vocals, scintillating electronics and furious songwriting. Since forming as a bedroom project in 2021, the Darwin five-piece have evolved into a tightly collaborative unit, sharing stages with Justice For The Damned, Diamond Construct, Reliqa, Kin, Zuko, Body Prison and Broken Earth, and making their festival debuts at both Blacken Open Air 2025 and most recently TerrorLoud 2026.
KOH is Andy Kala (lead vocals), Kieran Pearce (guitar/backing vocals), Lucas Sharp (guitar/programming), Lachlan Linkson (bass/backing vocals) and Luke Kohler (drums/percussion).
Australian artist and producer JVLY continues to expand the world of his acclaimed SUNDER project this week, with the release of new single ‘END OF THE SKY’, the final preview of his forthcoming SUNDERLUXE EP.
SUNDERLUXE serves as the definitive deluxe edition of 2025’s SUNDER EP, reimagining the project through a carefully curated collection of remixes, alternate versions, and one previously unheard track. That track is ‘END OF THE SKY’ – a song that has quietly existed alongside the SUNDER sessions until now.
Blending JVLY’s signature warmth, introspection and atmospheric production, ‘END OF THE SKY’ arrives as a fitting final chapter to the story that began with SUNDER. While the original EP explored cycles of uncertainty, reflection and personal growth, this new offering feels like a moment of resolution.
“I started writing END OF THE SKY during the making of SUNDER, but I could never quite finish it or figure out where it belonged. Now I think that’s because it was never really part of the story itself. It feels more like an epilogue to it. The whole record looks at being caught in these cyclical patterns, searching for clarity, and this one feels like the peace of not needing to. It’s the closing credits to SUNDER.” ~ JVLY
The release follows a series of standout remixes that have steadily built anticipation for SUNDERLUXE, featuring contributions from an international roster of producers including Contrecoeur (France), Lemonade Baby (Brisbane), Mel Blue (Sydney), and dj poolboi (USA/UK).
With ‘END OF THE SKY’, JVLY offers listeners one final glimpse into the emotional landscape of SUNDER before drawing the curtain on the project. Equal parts reflective and cathartic, the track stands as both a farewell and a new beginning.
Credits:
Written & Produced by Kayle Butler
Mixing by Doug Wright
Mastering by Ryan Schwarbe
Stream:
https://bfan.link/end-of-the-sky
JVLY:
Rising Australian producer/DJ Arky Waters is thrilled to announce the release of his highly anticipated debut album, Holdin’ On. A masterful culmination of sonic exploration, the album serves as both a personal journal and a collective celebration of the Sydney club scene, marking Arky’s definitive venture into the world of bass music. The full-length record follows a string of widely acclaimed lead-singles that set the stage for the album’s expansive soundscape, including the title track Holdin’ On (feat. MAMI), Ay Papi, and early 2026 club favourites UGETME?, OMG, Molly, Run It Up, and Just.
Holdin’ On represents a big evolutionary leap for the artist, who traded solitary bedroom production for the chaotic, beautiful energy of the dancefloor. Rooted deeply in joy, intensity, and late-night raves, the record bridges the gap between raw emotion and intricate sound design.
“Holdin’ On is a reflection of my education in electronic music over the past couple of years. In a lot of ways, it feels like a journal entry, a snapshot of what was around me at the time. This album feels like the clearest expression of my vocabulary in electronic music so far. It’s been a beautiful way to create, all of it is rooted in joy, euphoria, and intensity. This is also my first real venture into bass music, which was what got me into electronic music in the first place. It completely changed the way I think about music technology. I’ve always approached music as something more tangible, but bass music feels different, you start shaping frequencies and soundwaves themselves. I hope people hear this album as a snapshot of my POV. Life in Sydney city through my lens.” ~ Arky Waters
Leading the charge alongside the album’s release is the focus track Take a Trip, a dynamic collaboration with seasoned club-scene newcomer LX. What started as a casual studio session quickly spun into a boundary-pushing, experimental dancefloor anthem, blending nostalgic electronic textures with forward-thinking bass arrangements.
“LX and I got into the studio together a while back. He laid out these beautiful chords that were reminiscent of Deadmau5. I absolutely loved it. The bones for the song literally came together within the hour of that session. We had been listening to a lot of DNB at the time so we wanted to make something for the dancefloor, but it ended up being a bit more experimental. Since we’ve known each other for a while, I think we were comfortable to push the boundaries a bit more and see what could happen.” ~ Arky Waters
Initially approaching music through a traditional, tangible lens, Arky Waters’ recent evolution has seen him dive headfirst into the mechanics of bass music, making him one of the most exciting, forward-thinking producers to watch in the Australian electronic circuit. By shifting from solitary creation to a deeply collaborative, community-driven philosophy, this album stands as a testament to the power of Sydney’s underground nightlife.
Holdin’ On is available now on all major streaming platforms via Mammal Sounds Records.
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Album Launch Party:
July 18th – Unholy Playhouse, Sydney (tickets)
Credits:
Written & Produced by Arky Waters
Mixed by Doug Wright
Mastered by Suture Mastering
Artwork, Photos & Visuals by Arky Waters
Stream:
https://bfan.link/arky-waters-holdin-on-lp
Socials:
When you were writing Belladonna (This Is How You Die), was there a moment where you realised the song had become something much bigger or darker than you originally intended?
Yes… Initially I was a bit scared of the song. I felt like it was too big for me. It felt like we’d created this beast. I was still working myself out as an artist at the time—not that I’m not still figuring that out—but I was very new to making music and I genuinely thought, shit, this is too big. The drums kicking in with that guitar riff were terrifying! It’s not remotely subtle in the least, and that’s scary!
Low-key now, fast forward to the present day, it’s the song I absolutely can’t wait to unleash live. I love that we went there with the sound and that I did it so early on in my career as well. I feel like Lady Gaga would totally approve though, I think, and that is enough for me!
The title feels both beautiful and unsettling. What made you decide to lean into that contrast rather than play it safe?
This is something I say a lot, but honestly it’s just intuition and wherever the muse chooses to take me at the time I’m writing. I’m a vessel and whatever comes through, that’s what I do. I sometimes have an idea, or sonically something can come to mind, and I can write four other songs on top of the same production and I’ll hate all of them. Then, at the end of the day, something will come over me and it’ll all go down the way it’s meant to, and that’s what I’ll record.
With this song, it actually did occur to me that it was unsettling, and I found that exciting.
Was there a particular scene, memory, or person that stayed in your mind throughout the writing process, even if it never made it directly into the lyrics?
Oh okay, straight to the tea! I mean… yes.
This first chapter of my story as an artist really follows an old relationship. Every song, in one way or another, is about that same story. It’s a very star-crossed, huge-heartbreak, to-the-death story that I’ll probably never truly quite get over.
I think the Whiteheart line is probably a good one to point out as something specific. There’s a bar in the city that I’d always venture to with the same person. We’d start our nights there and then end up at 100 different other places. I’ve not been back there since, to be honest. I’ve been in the vicinity of it, but I’ve never gone back. Same with the other bars from that time.
Usually though, I will say that if I am dying to say something in the lyrics that is true to the story, I will move heaven and earth to get it in there. So you’ll generally know from the lyrics—I don’t shy away from it.
What part of this song do you think listeners are most likely to misunderstand on a first listen?
You know, I generally leave it up to the listener to take what they want to take from each of my songs and have it mean something to them in their own way. I try not to correct or influence them on the lyrics.
I suppose something that can be misunderstood from my personal perspective is the intention behind the lyric, “this is how you die.” I’m not, in the literal sense, saying someone is going to “die.” It is a metaphor. Death is something I talk about a lot in my songs, and sometimes it is a double entendre or a metaphor for something else.
Every release teaches an artist something. What did Belladonna (This Is How You Die) teach you about yourself as a songwriter?
To be bold, to be brave, to be myself and to speak up. Belladonna taught me I should say it with my whole chest and stand on it, consequences be damned.
I tend to internalise my emotions a lot. For someone who talks as much as I do, I don’t really get into my emotions. That’s what all my songs give me—they give me the cathartic space to be honest and the solace that comes with that.
If you could sit in a room and watch people react to one line from the song for the first time, which line would you choose and why?
Depends on the people in the room at the time…
Some people might hear the lines in the second verse about Whiteheart and think, oh, she didn’t… And that would honestly be a lot of fun for me. I’m not even going to lie.
The most memorable songs often come from taking creative risks. What was the biggest risk you took with this release?
This whole release and concept was a risk. I was very truthful and specific with the subject matter, for one.
But also, Belladonna needed to be its own thing. It’s not a conventional pop song. I lean into some pretty dark themes and dramatic imagery. My influences come from everywhere—grunge, rock, pop, film, fashion and pop culture—and Belladonna embraces all of that in one song rather than just choosing one lane.
I guess it would’ve been easier to release something “safer,” but this is who I am as an artist and I’m inviting people into my world. I didn’t dilute it to fit expectations, and I truly believe the right audience will connect with it.
How do you know when a song is emotionally honest enough to share with the world rather than just keep for yourself?
You know, that is a good question.
I always forget that I’m releasing these things into the world, so I always get this wave of anxiety before releasing, like I’m letting people into my diary or something.
But then I think, well, if I’m feeling like this, then maybe that’s something other people can see in themselves too. My experience might be personal, but the emotion is universal. I think once you have a song that can stand on its own and also invite other people into the feeling, it should be shared.
If someone discovers your music through Belladonna (This Is How You Die), what do you hope they understand about Sasha Summers before the song ends?
That I’m not really interested in following a formula and that my music is about creating a world, not just releasing songs.
That I am an artist who loves to embrace contrasts. Belladonna lives in this space of darkness and glamour, vulnerability and strength, and also grit and beauty.
So if someone finishes Belladonna and they want to step further into my world, then I’ve done my job.
What excites you most about where your music is heading right now that fans haven’t seen yet?
Sorry, firstly… “fans”? Me?! My 15-year-old self would sob hearing that, let me tell you.
I will say that I am very excited for fans to realise that these songs aren’t just isolated moments in time. With every release, people will begin to put together little connections between the songs, stories and themes.
Right now, they’re just getting to know me and seeing the beginning of the picture. I’m just so excited to invite them deeper into my world.
Leaving no secret untold, OH! Daisy return with their explosive new single and video, ‘Just Say’, out now!
Bursting with the band’s signature punk-infused feminine energy, Just Say is packed with sass, tension, and just the right amount of chaos. It follows a huge 2025 for OH! Daisy, which saw the release of their debut EP, It’s Okay I’m Ugly Too, featuring fan favourites Guillotine, Adrenaline, and Gasleak, while also sharing stages with Keli Holiday, Playlunch, DZ Deathrays, Sly Withers, Origami Angel, Fool Nelson, and Cry Club.
Originally written as an intimate, diary-style confession, Just Say has evolved into an anthem for anyone on the verge of a complete emotional crash-out. The track captures the unhinged, unsettling feeling of having to beg for the love, respect, and reassurance you deserve.
Co-written by vocalist Bambi O’Kelly and drummer Nick Dordevic, every piece of the song fell seamlessly into place, with production from Jonathon Tooke, mixing by Jarred Nettle, and mastering by David Walker.
“I hope for anyone who relates, that you’re not there anymore. That you’re listening to it past that feeling. If you’re there, I hope this makes you feel seen. You shouldn’t need to beg someone for more for the rest of your life.” – Bambi O’Kelly
Directed by the band’s own Emma Friday (Yelo and OH! Daisy bassist), the accompanying video walks the line between quiet restraint and emotional collapse, juxtaposing delicate, intimate moments with raw, unsettling imagery. The result is an Australian gothic-inspired visual spectacle infused with the band’s unmistakable punk attitude.
“In OH! Daisy we’ve always had a quasi-psychic connection where we see the vision of our projects very clearly, so I had a crystal-clear picture in my head of what we were making. We are so proud of it!” — Emma Friday (Yelo), OH! Daisy bassist and Director at Staircase Creative.
Fronted by the magnetic Bambi O’Kelly, OH! Daisy have built a reputation for delivering bass-heavy anthems charged with emotional extremes and cinematic flair. From heartbreak soundtracks to coming-of-age meltdowns, their music transforms life’s messiest moments into cathartic, unforgettable punk songs.
The band have shared stages with Keli Holiday, Playlunch, DZ Deathrays, Sly Withers, Origami Angel, Fool Nelson, Cry Club, Aleksiah, and Chasing Ghosts, leaving behind sweaty, smiling crowds wherever they perform. Their music has also found a home across Australian airwaves, earning support from triple j, triple j Unearthed, and community radio stations nationwide.
With smudged-eyeliner swagger, infectious hooks, and a healthy dose of beautifully controlled chaos, OH! Daisy continue carving out a theatrical lane that’s entirely their own.
Get ready to turn this one all the way up as OH! Daisy launch into their next creative chapter.
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Santan Dave has officially shut down Sydney. Bringing his highly anticipated tour in support of his third studio album, The Boy Who Played Harp, to Qudos Bank Arena, the South London rapper delivered an unforgettable night that brought a taste of the UK rap scene to Australian shores. Greeted by a thunderous reception from a sea of devoted fans, both longtime supporters and newcomers alike, Dave matched the crowd’s energy bar for bar from the moment he stepped on stage.
It had been nearly eight years since Dave last performed in Sydney, when he played the far more intimate Oxford Art Factory. The anticipation surrounding his return was immense, and he exceeded every expectation. Already regarded as one of UK rap’s defining voices, Dave proved he is far more than just an exceptional lyricist. Throughout the night, he showcased his musical versatility, seamlessly moving between instruments as he performed. One standout moment saw him deliver one of his more introspective tracks while effortlessly playing the piano, before later switching to guitar for a soaring solo that sent shivers throughout the entire arena. It was a side of Dave that many fans had never witnessed live and one that elevated the performance beyond a traditional rap concert.
The production throughout the evening was equally impressive, with clever visuals adding another layer to the experience. While his collaborators weren’t physically present, on-screen appearances from Stormzy and Central Cee made performances of “Clash” and “UK Rap”, respectively, feel even more immersive, their larger-than-life projections towering over the stage. “Location” served as another crowd favourite, accompanied by visuals of Burna Boy, whose own recent Sydney performances back in October made the moment feel especially relevant. The emotional peak of the evening, however, came during “Raindance.” Featuring striking visuals of Tems, the performance brought a sense of intimacy and emotional weight to one of the most viral tracks from recent years, creating one of the night’s most memorable moments.
Despite the arena-sized production, an outstanding live band that blended gospel-inspired ambience with the raw power of rock and rap, and Dave’s commanding stage presence, it was his connection with the audience that defined the night. Every interaction felt genuine. The crowd hung on every word, and Dave returned that enthusiasm with heartfelt gratitude, making it clear he wasn’t simply performing another stop on a world tour – he genuinely wanted to give Sydney everything he had after travelling halfway across the globe.
If this performance proved anything, it’s that the eight-year wait was well worth it. Hopefully, the next one won’t take nearly as long. Judging by the reception inside Qudos Bank Arena, Sydney is more than ready to welcome Santan Dave back with open arms.
Words: Ken Magno
Sydney Photography: Yuvraj Sood
Melbourne Photo Credit: Cameron Marwick
Brisbane Photo Credit: Keely Baker
Australian-born, London-based artist The Hospital returns with his poignant new single, ‘Shampoo’, the third release from his forthcoming EP, Without You Is Hard, due for release in August 2026.
‘Shampoo’ explores a feeling many people experience but rarely put into words—the quiet realization that a relationship has already ended emotionally, long before it officially does. It’s not about one defining moment or dramatic event, but the subtle understanding that something essential has faded. You look at the person you love and somehow know that one day they’ll be with someone else. And so will you.
The song follows that emotional journey beyond the breakup, into the unexpected moments of moving on. It captures the strange familiarity of new love, when something as small and ordinary as the scent of the same shampoo suddenly transports you back to someone you thought you’d left behind.
The Hospital is more than just a musical project—it’s a creative space built around the idea of making people feel understood. A place to go when you need to feel better.
Growing up surrounded by poetry, film, photography and music, The Hospital spent his formative years between Australia, New York City and Los Angeles before eventually finding his creative home in London’s Soho. Now based in the heart of the city’s cultural district, he writes, records and edits every aspect of his music and visuals, drawing inspiration from the area’s rich artistic history and creative community.
Using Soho as both backdrop and muse, The Hospital shines a light on local artists, businesses and characters through his music videos, photography and events, creating a distinctive visual world that extends beyond the songs themselves.
‘Shampoo’ continues the momentum built by previous singles ‘Decomposing’ and ‘Remember Us In Summer’, both of which received warm critical acclaim earlier this year.
Together, the songs form part of Without You Is Hard, an EP centred on the people who shape our lives. At its core, the record reminds us that life would be unbearably difficult without the connections we make. Some people stay forever, while others are only meant for a chapter—but every one of them leaves their mark.
With a steady stream of releases planned throughout 2026, The Hospital is establishing himself as one of the most emotionally honest new voices to watch.
‘Shampoo’ is available now on all major streaming platforms
| Photo by: Molly Burmeister |
Melbourne-based artist SASHA SUMMERS announces her sophomore single Belladonna (This Is How You Die), Out Now. Dark, propulsive and visceral, the track is a collision of distorted guitars and confessional storytelling; an alt-rock battle cry for anyone who has ever felt underestimated, hollowed out by a relationship, and then found their footing again.
Co-written with Benjamin Stewart of Slowly Slowly and produced at his studio in Fitzroy, Belladonna arrived in a single 25-minute writing session in the winter of 2024. SUMMERS describes it as a song she almost felt possessed writing – a lyrical outpouring rooted in a years-long heartbreak, the grief of losing someone central to your world, and the specific restlessness of two people who could never quite stop finding each other. Bleary late nights moving through Melbourne’s dive bars, clubs and secluded alleyways underpin the song’s imagery; the feeling of being simultaneously at home with someone and slowly losing yourself to them.
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Photo Credit: Sam McGill
The Snuts today announce their fourth studio album Joy In Short Moments, out 23rd October via Happy Artist Records in partnership with Virgin Music Group. The Scottish band have also shared their new single ‘Defibrillator’, out now. Listen HERE. Pre-order and pre-save the album HERE.
‘Defibrillator’, an upbeat drum-filled future summer anthem, was inspired by the concept of a living wake – the idea of inviting your loved ones to a celebration of your life while you’re still there to be part of it. It is a song about choosing to show up for the people around you, letting go of ego, and finding joy in the collective. Produced by Cochrane and Scotty Anderson, it arrives as the lead track from an album that took two years and a great deal of real life to make.
Speaking on the new single, frontman Jack Cochrane says:
“I wanted to write a track that detailed a conscious decision to live and love more. To take life less seriously and dilute ego as often as possible. ‘Defibrillator’ is a song that celebrates the collective and trivialises the sludgy worries of being alive.”
Joy In Short Moments is the sound of a band stepping back from the noise. Where previous records were made in a state of perpetual movement, this one was written from the other side of it – after Jack Cochrane moved back home, became a father, and began asking the questions that constant touring had kept at bay. The result is The Snuts’ most grounded record, and their most direct.
Speaking on the album, Cochrane says:
“After three records of constant motion, I felt pulled back towards real life. Success, failure, parenthood and loss all found their way into these songs. Joy in Short Moments is the sound of reconnecting with what matters and learning to find meaning in the small things whilst navigating the questions; Who am I? Where should I be? Where am I going? What makes it all worthwhile?”
The Snuts have established themselves as one of the most successful breakthrough bands of recent years. Their debut album W.L. entered the UK charts at Number 1 in 2021, followed by Top 3 second album Burn The Empire in 2022. Their independently released, self-produced third record Millennials reached Number 2 on the UK Albums Chart, making them the first act since One Direction to achieve three Top 3 albums in three consecutive years. The band have also sold out headline tours across Japan, Australia, Europe and North America, and recently headlined their first Scottish arena show at Glasgow’s OVO Hydro.
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