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In blending solo piano with orchestral strings, how did you approach balancing intimacy with cinematic expansiveness? Was there a guiding philosophy behind the arrangements?
Having released over 70 albums and earned numerous accolades, what feels different or significant about Untethered Heart? Does it reflect a turning point in how you view your music or your role as an artist?
Your body of work spans film scores, Broadway productions, and global performances. How do these diverse experiences influence the way you compose for solo piano? Do elements from those worlds ever surface unexpectedly in your creative process?
I don’t separate out my work in different genres. It all comes from the same source. And yes, sometimes my work sounds like it could be in a film or on broadway or a yoga studio or Breathwork class. But that’s just me being present in the moment. My creative process if mostly intuitive.
The phrase “untethered heart” suggests both vulnerability and strength. How do you personally navigate that space in your life, and how is it reflected musically throughout the album?
As someone recognized for both musical excellence and humanitarian efforts, do you feel a responsibility to infuse your work with a deeper purpose or message? If so, how does that manifest in this release?
That’s quite a compliment, thank you. I care deeply about whatever I do or undertake and I put 100% of myself into it. And I naturally care about the Earth and all life and am grateful for this life and want to nurture its well-being. That’s the only “responsibility” that I feel. To give whatever I’m involved with my best care and effort.
With so much rapid consumption in the digital age, what role do you believe slow, intentional music like yours plays in people’s emotional or spiritual well-being today?
Announce headline show in anticipation of sophomore EP
I Once Loved You, Summer out August 7
Photo Credit: Jono Allison
Saint Victoire have today released their striking and long-awaited live favourite ‘The Mill’, the fourth single lifted from their sophomore EP I Once Loved You, Summer out August 7. Stream HERE and pre-save the EP HERE. Hailing from the outer suburbs of Melbourne, the alt-folk-rock powerhouse will celebrate ‘The Mill’s release, as well as their forthcoming EP, with a headline show at Sooki Lounge in Belgrave this Saturday 19th July.
A song that frontwoman Heidi Waddell says came to her in an almost lucid dream, ‘The Mill’ is a stirring commentary on the societal pressures to constantly produce and perform.
“Writing ‘The Mill’ was actually quite a bizarre experience,” Heidi reflects. “I was having a dream that I was performing the song to a big room of people, and somewhere in the dream, I realised I was dreaming. I woke myself up and quickly wrote down everything I could remember. The way I’ve interpreted the song—because it doesn’t even feel like I really wrote it, more like it was given to me to sing—I think I must have been processing my exhaustion in my sleep, and my frustrations about this system I feel caught up in that sends me a bit crazy. So I guess it just came out to this dream audience.
“I feel the weight of the expectations we put on ourselves to constantly produce, to try and fit into a mould that society deems ‘acceptable’—and even then, we’re told our best effort isn’t enough, as if what we do is where our value lies. This song is about acknowledging all of that and saying, ‘I won’t take it all on me. Don’t take it all on you.’ Just don’t give those ideas power anymore.”
Saint Victoire have released three tracks ahead of their upcoming self-produced EP, including ‘How It All Came Down’, ‘You’re Gonna Get There’, and ‘You All The Time’. Brought to life by elements of alt-country, soft rock, and folk fused with Heidi’s poignant lyricism, the record is primed to take listeners on a heart-on-sleeve – and at times, heartbreaking – journey, with a soft but undeniably powerful landing.
While writing the EP, Heidi noticed a recurring summer motif throughout the songs, however, instead of evoking the usual bright, carefree feelings often associated with the season, she remarks: “it felt like a season that had let me down.”
“Summer is meant to be the time we make our happiest memories, so when things were falling apart, I realised I was holding a lot of sadness and frustration toward it. ‘The Mill’ is one of the more upbeat, universal ideas on the EP, and while it doesn’t directly mention summer, it still carries that same feeling of frustration and the longing for change. It speaks to the exhaustion everyone was feeling during that time—and maybe still is.”
A strong sense of community is at the heart of Saint Victoire, and as such, Heidi says the upcoming record is dedicated to her friends who have stayed the course throughout challenging times. “We’ve walked through all these hard things together, and they honestly feel like family. At some point, I realised I needed to stop writing just from my own perspective and start telling the shared stories—songs that hold our experiences, not just mine.”
New listeners and longtime fans alike can experience this at Saint Victoire’s upcoming launch show in anticipation of I Once Loved You, Summer. Tickets are on sale now and available HERE.
Saint Victoire
The Mill + I Once Loved You, Summer EP Launch
Saturday 19th July – Sooki Lounge – Belgrave, VIC
For tickets and more information click HERE.
‘The Mill’
out now
About Saint Victoire
Saint Victoire is Melbourne’s rising alt-folk-rock powerhouse act, blending the warmth of country, the storytelling depth of folk, and the anthemic energy of War on Drugs-esque rock. Fronted by Heidi Waddell (formerly of Cordial Factory), the band has built a reputation for raw, soul-stirring performances—big on energy, emotion, and the kind of cathartic singalongs that stick with you long after the show.
With a lineup featuring Timothy Wolf (electric guitar, vocals), Zac Saber (multi-instrumentalist), Graham King (drums), Jono Allison (keys), and Sam Tinsley (bass), Saint Victoire brings together familiar faces from Melbourne’s thriving music scene. The group share a love of high-energy, heartfelt music that translates effortlessly from studio to stage.
Following the success of their emotionally-charged debut EP A Thing I’d Hate to Change, the ’70s-rock-inspired single Foreigner, and the live recording of The Mill from their headline show at Gasometer Hotel, Saint Victoire is ready for its defining moment. Their upcoming EP, I Once Loved You, Summer—tracked at Sunderland Studio on Phillip Island and mixed by Ethan Reginato at Forbes St Studio, Sydney—finally captures the full scope of their sound.
With three tracks already released (You All The Time, You’re Gonna Get There, and How It All Came Down), Saint Victoire’s crowd favourite, the studio version of The Mill, lands on 16th July. The band is building toward the full release with a hometown headline show at Sooki Lounge on 19th July.
For fans of Fleetwood Mac, Maggie Rogers, and Angie McMahon, this is folk-rock with fire in its veins.
CONNECT WITH SAINT VICTOIRE
+ joined at all shows by special guests The Beaches (CA) + Ayesha Madon (AU) | Tickets on sale Monday!
From breakout artist to global sensation, multi-talented drummer, singer, songwriter and producer G Flip is a force like no other. Frontier Touring is thrilled to announce that G Flip will return to Australia with the Dream Ride Tour this February and March, bringing their explosive live show to fans in Brisbane, Sydney, Melbourne, Adelaide and Perth.
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The ARIA Award-winner artist is set to deliver their most evolved and personal work yet in upcoming third studio album Dream Ride, released globally on Friday 5 September 2025 via AWAL Recordings (pre-order here). Promising big pop hooks and even bigger feels, the record leans deep into neon-lit ‘80s textures while staying rooted in G Flip’s raw, confessional songwriting. Featuring previously released singles ‘Disco Cowgirl’ and ‘Big Ol’ Hammer’, plus the just released ‘In Another Life’, Dream Ride is a bold evolution of G Flip’s sound.
Watch: G Flip – Big Ol’ Hammer
The Dream Ride Tour will kick off in Brisbane at Riverstage on Friday 27 February, before rolling through Sydney’s iconic Hordern Pavilion on Tuesday 3 March, Margaret Court Arena in Melbourne on Saturday 7 March, Adelaide Entertainment Centre Theatre on Thursday 12 March, and wrapping up at Fremantle Arts Centre in Perth on Saturday 14 March.
Tickets go on sale Monday 21 July (1pm local time) via www.frontiertouring.com/gflip. Sign up for early access to the Frontier Presale, which starts Thursday 17 July (12pm local time).
Joining G Flip on the road are two very special guests who fans won’t want to miss…
Making their highly anticipated return to AU after selling out major venues worldwide is Canada four-piece The Beaches! The Toronto outfit broke the internet in 2023 with their global single ‘Blame Brett’, which quickly becoming a runaway smash, clocking over 115+ million streams, 20 million views, and 15 weeks at #1 on Alt Radio at home, not to mention earning the band fans such as Mark Hoppus, Demi Lovato, and Nelly Furtado. Now, The Beaches have a new album titled No Hard Feelings set for release in August – and they’ve just released a new single, ‘Touch Myself’. More than just a band, The Beaches are a movement: loud, fearless, and completely in their own lane.
Watch: The Beach – Touch Myself
Opening proceedings each night is multi-disciplinary creative Ayesha Madon. Ayesha is everywhere right now: from radio airwaves and streaming – listen to latest single, ‘Jenga’ – as well as magazine covers and Logie nominations. Music and songwriting remain at the forefront of her creative output, tracks earning praise from the likes of Rolling Stone, Clash Music, NME and more, all while captivating fans across the globe. Recently seen on stage at Sydney’s VIVID Festival, Ayesha’s authentic storytelling marks a star on the rise.
Don’t miss the Dream Ride Tour this February and March – a homecoming run from G Flip, one of Australia’s most compelling and boundary-pushing artists.
About G Flip
Acclaimed singer, songwriter, producer, and multi-instrumentalist G Flip is stepping into a new character they have coined as Butch Springsteen while revving the engine on a thrilling new album era, an ‘80s-inspired blast where no drumbeat is too big and neon signs flash and glow over a raucous Sunset Boulevard. Get in the car, we’re going on a Dream Ride. Following the massive success of their sophomore effort, 2023’s DRUMMER, which debuted at No. 1 on the ARIA Charts and was named best album of the year by triple j, Dream Ride finds the Melbourne-born, LA-based musical polymath playing nearly every instrument and teaming back up with co-writer/producer Aidan Hogg to create an album both unpacks their experience as a queer, non-binary artist and is unabashedly inspired by Bruce Springsteen, late-night drives around Los Angeles, ‘80s reverb, and maximalist drums. Introducing this new era is the exuberant “Disco Cowgirl”, which rumbles in with the sound of a car engine and captures the ache of fleeting love and its emotional aftermath. Already a force of personality and multi-faceted artistry, G Flip is putting rubber to the road on Dream Ride, which burns so hot it’ll leave a trail of flames in the rearview.
G FLIP – DREAM RIDE TOUR
+ special guests The Beaches and Ayesha Madon (all shows)
AUSTRALIA
FEBRUARY & MARCH 2025
Presented by Frontier Touring, Chugg Entertainment & triple j
FRONTIER MEMBER PRESALE
via www.frontiertouring.com/gflip
Runs 24 hours from: Thursday 17 July (12pm local time)
or until presale allocation exhausted
TICKETS ON SALE
Begins: Monday 21 July (1pm local time)
Friday 27 February
Riverstage | Brisbane, QLD
Lic. All Ages
ticketmaster.com.au
Tuesday 3 March
Hordern Pavilion | Sydney, NSW
Lic. All Ages
ticketek.com.au
Saturday 7 March
Margaret Court Arena | Melbourne, VIC
Lic. All Ages
ticketek.com.au
Thursday 12 March
Adelaide Entertainment Centre Theatre | Adelaide, SA
Lic. All Ages
ticketek.com.au
Saturday 14 March
Fremantle Arts Centre, Perth, WA
18+**
oztix.com.au
** minors are permitted to attend if accompanied by a parent or legal guardian, aged 25+ – check Frontier tour page for further information
Patrons are advised to purchase tickets only through authorised ticket sellers.
We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website.
The Man. The Myth. The Music.
Celebrating Lou Reed, The Velvet Underground & Nico!
An evening honouring a true Rock’n’roll Original with a setlist that explores his ground-breaking years with the Velvets into his idiosyncratic Solo career
“To me, Lou stood out. The real deal! Something important to American music and to ALL MUSIC! (Keith Richards)
This stellar evening pays homage to one of rock’s most important singer/songwriters enduring influence—as well as the timeless, enduring appeal of his songs. Performances by –
Robert Forster (The Go-Betweens)
Mick Harvey (The Bad Seeds, The Birthday Party)
Dave Graney (Dave Graney and the Coral Snakes)
Rob Snarski (The Blackeyed Susans, The Triffids)
Stefanie Duzel
The Band is – Robbie Warren (Died Pretty), Barton Price (Models, The Winged Heels), Roger Mason (Models), Paul McDonald (Glide, the Gin Palace, Steve Kilbey) and Mark Tobin (Caligula, the Gin Palace, Steve Kilbey)
“My God is rock’n’roll” (Lou Reed)
Watch Lou Reed ‘Walk On The Wild Side’: https://youtu.be/S05JrOJ1_ik?si=pxDcOEQkqw5Xx5_z
All eras of Lou Reed will be celebrated including everything from I’m Waiting For The Man to Perfect Day, from Venus In Furs to Satellite of Love, from Sweet Jane to Vicious, from Pale Blue Eyes to Walk On The Wild Side, from Femme Fatale to Coney Island Baby and so much more!
“Lou was the Charles Bukowski of rock singers” (Americana Highways)
This event is a unique opportunity to immerse yourself in the Mystery & Majesty of Lou Reed – the Visionary, the Cult Artist, the Raw Storyteller
“Sound is more than just noise. Ordered sound is music. My life is music” (Lou Reed)
Celebrating Lou Reed, The Velvet Underground & Nico! January 2026 Australian Tour Dates
Saturday 24th January SYDNEY, The Metro
Sunday 25th January BRISBANE, The Triffid
Friday 30th January MELBOURNE, 170 Russell
Saturday 31st January ADELAIDE, The Gov
Tickets:
Pre-sale: Thursday 17th July 10:00am local
General Public On Sale: Monday 20th July 10:00am local
From: https://metropolistouring.com/celebrating-lou-reed-2026/
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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.
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.
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.
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.
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.
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?
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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
