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‘Let’s Go Out’ feels like a celebration of friendship and shared experiences — what inspired you to capture those late-night moments and turn them into a track?
A lot of song writing is written about romantic love, but one of the biggest and most treasured loves in our lives is the love that we give and receive through friendship. When we are on a night out with our friends, we are so aware that we are living our ‘golden days’ and we wanted to preserve that feeling into a song.
The song features actual snippets of your friends’ voices from nights out — how did you collect those, and what do they add to the story of the song?
You can hear the voices of our friends chatting throughout the track from a drunken conversation over an indian kebab. Moments like these are so candid and often not the objective of the night out, but end up being the most special. We documented these small moments on our phones and wove them through the production, creating a very personal touch to ‘Lets go out’.
Across Best Of A Thing, there’s a strong theme of community and connection. Was that something you planned from the start, or did it emerge naturally as you were writing?
The themes of community and connection was not something we had planned going into this body of work but it was something that came naturally as we feel that community is at the center of everything we do as artists. We are very passionate about the local music scene and the people that surround us so I think these themes will run through all of our work to some extent.
With Hit the Town you touched on the struggles facing Australia’s live music scene. How important is it for you to use your platform to spotlight those wider issues?
In our personal lives, we are always discussing the local music scene here in Australia and it felt very natural to put some of those thoughts into a song. It felt very cathartic to express ourselves through a more punk style track and I don’t think it will be the last time we explore wider issues through our music as we feel strongly about using our platform to open important conversations.
You’ve built something special with Club Miramar over the last three years. How has curating your own live series shaped the band’s identity and connection with the Sydney scene?
Club Miramar is one of our proudest achievements as a band. It has deepened our passion for the Sydney music scene and connected us with so many amazing artists. Uplifting other artists around us gives so much purpose and joy to our journey and we are so excited to continue building our electronic music community.
Earlier this year you supported Groove Armada at the Royal Botanic Gardens — what was that experience like, and did it change the way you see yourselves as a live act?
Supporting Groove Armada was an absolute dream come true. Having the opportunity to play on such a big stage, gave us so much confidence in what we are doing and showed us what we are capable of. When you are always hustling to reach for the next thing, you often forget to look back and see how far you have come as artists, but standing on that stage, alongside Groove Armada, was an incredible moment of reflection for us on all the hard work we have put in over the past few years.
The three of you grew up in regional towns before finding your place in Sydney’s music community. How has that journey influenced the way you approach both your music and your friendships?
Moving from our small towns to Sydney means we all know what it’s like to be in a new city where you don’t know anyone and to have to build your network from scratch. In this transition, we have been lucky enough to have formed such special relationships including within the music scene and we know to not take it for granted. This experience has definitely played a role in how much we value community and will continue to inform how we move through the world as artists and individuals.
With four singles and now this EP under your belt in 2025, where do you see Miramar heading next — are you already thinking about an album, or is the focus on building out the live side even more?
Miramar is gearing up for summer! We have so many exciting, dancey tracks that we are working on and can’t wait to put into the world to soundtrack these upcoming sunny months! We are also working on some more collaborative works and will be exploring some new sounds in the process.
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Some records feel like they’re built for rooms; Guitarworks II feels built for ruins. John Beckmann, working under his Mortal Prophets banner, has carved sixteen pieces of music that sound less like compositions and more like transmissions from forgotten places. Named after pre-Columbian sites — Chaco Canyon, Cahokia Mounds, Serpent Mound — these tracks arrive weathered, worn down, half buried, yet glowing with strange life.
Beckmann is a composer and visual artist by background, and that dual sensibility runs through the music. The Mortal Prophets is not about virtuosity or about the “guitar album” in the classic rock sense; it’s about concept, texture, and the way sound can occupy space like light or architecture. Each track feels like an installation piece, a room you step into and inhabit for a few minutes before moving to the next.
The guitar is the only real instrument here, but it never behaves conventionally. Beckmann routes it through vintage amps and analog effects, embracing hiss, drift, and imperfection. The result is a sonic palette that constantly shifts shape: bells in “Chaco Canyon,” a chiming folk motif stretched and warped in “Cahokia Mounds,” underground rumble in “Bighorn Medicine Wheel,” and throat-song drones in “Wupatki.” “Hopewell Culture” threads bright guitar lines into an interlocking lattice that recalls the looping experiments of Fripp and Eno — but with a rougher, hand-played edge that resists digital neatness.
The record’s sequencing is deliberate. Luminous pieces like “Mesa Verde,” with its Byrds-like shimmer and faint organ chords, give way to darker passages — the cavernous growl of “Chimney Rock,” the de-tuned unease of “Hovenweep.” Just as the listener acclimates to the meditative drift, Beckmann snaps the spell: “Angel Mounds” closes the album with a sudden bluesy eruption, slide guitars colliding with Beefheart-like abrasiveness, even horns pushing through the haze. It’s not just unexpected; it reframes the entire journey, reminding us that ritual can be joyous, chaotic, and earthy as well as spiritual.
What elevates Guitarworks II beyond mere “ambient guitar” is its refusal to settle into wallpaper. Plenty of albums in this space drift politely in the background, but Beckmann doesn’t allow that luxury. His pieces feel deliberate, ceremonial. Each is a small act of conjuring, a ritual that pulls history, myth, and memory into the present. The imperfections — the hiss of the amp, the occasional digital pop, the unsteady layering — don’t detract but rather enhance the effect, like cracks in an ancient artifact that make it feel real.
There’s also a conceptual weight at play. By naming each track after archaeological sites, Beckmann forces us to listen not just to sound, but to history. These are places that carry stories of lost civilizations, vanished cultures, and sacred geometry. The music doesn’t attempt to reconstruct them, but to evoke their aura — the silence that hangs in the air, the sense of time stretching backward and forward at once. Listening becomes an act of travel, not just through sound but through the echoes of human memory.
That duality — the past bleeding into the future — is the thread running through Guitarworks II. At moments it feels like an artifact unearthed from centuries ago; at others, it could be a broadcast from some future civilization remembering us. It is, in the truest sense, timeless.
Beckmann could easily have taken the safer path: refine a single texture, repeat it across albums, become another ambient specialist with a signature sound. Instead, he treats the guitar as an open-ended tool for exploration, reinventing what it can be from track to track. Guitarworks II is the sound of that curiosity, that restless imagination.
It’s not always easy listening, nor should it be. The record demands solitude, twilight, and good headphones. It’s music to inhabit, not consume; music that lingers like a half-remembered dream. And like the ruins that inspired it, it leaves you wondering who walked here before, and who might return again.
Guitarworks II isn’t just another ambient release. It’s a meditation on time itself, and Beckmann proves himself an artist willing to ask questions most musicians never even think to raise.
Photography: Zane Taprell
Gearing up for its highly anticipated second edition, Beatport Presents International Music Summit (IMS) Dubai, officially announces its first round of speakers, topics, and evening event partners. |
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| Hosted by IMS co-founder and legendary BBC Radio 1 Broadcaster Pete Tong alongside Saudi-born and UK-based DJ, producer, and presenter Nooriyah, Beatport Presents IMS Dubai today announces its first speakers and keynote participants. Global superstar HUGEL joins the summit as a keynote speaker, alongside Lebanese-British techno sensation Nicole Moudaber, Bedouin made up of Jordanian Tamer Malki and Egyptian-American Rami Abousab, Egypt’s beloved house maestro Misty, Lebanese heavyweight Rolbac, ADDMIND’S managing partner Elie Saba, The Beatport Group’s CCO Sofia Ilyas, Meta’s Strategic Partner Manager Samer Jamal, and Factory People’s co-founder and resident DJ Jade. The summit will also host the MENA premiere of the new film from legendary Northern Irish duo Bicep, TAKKUK. | ||||
| Pete Tong says – “The launch of Beatport Presents IMS Dubai last year showed just how much energy, creativity and ambition exists in our community in the SWANA region. Electronic music here is on an exciting upward trajectory, creatively, culturally, and as an evolving market with exciting opportunities for growth and collaboration. I’m thrilled to return and co-host alongside Nooriyah. Beatport Presents IMS Dubai provides the perfect backdrop to bring our values to life while showcasing and celebrating the amazing music and talent emerging from the region.” | ||||
| Summit Content & Key Themes | ||||
| IMS Dubai’s second edition will tackle the most pressing issues shaping the global and regional industry. From a market focus on Lebanon, AI in music production, diaspora identity, grassroots investment, homegrown festivals, and the ‘habibification’ of house music to the intersection of music and fashion, the summit promises bold conversations and forward-thinking insight. It will also mark the launch of the MENA Women in Music mentorship scheme powered by Little Pink Book, a platform that spotlights female talent & women in music through events, panels, and showcases. | ||||
| The ‘Finance & Technology’ Room 2, will spotlight conversations at the cutting edge of tech, web3, gaming, investment and finance, with a dedicated section on production presented by Beatport Connect. Speakers for this room will be announced soon. | ||||
| Additionally, a networking floor will feature live DJs throughout both days, hosted by Mixmag UAE and Kiss FM. | ||||
| Nooriyah says – “I’m so excited to be joining Beatport Presents IMS Dubai as co-host this year alongside Pete Tong. The SWANA region is one of the most inspiring places in electronic music right now, full of creativity and growth. This summit provides a platform to celebrate incredible artists, amplify the voices of the region, and create meaningful connections that will help shape the future of our culture across SWANA and beyond.” | ||||
| As day turns to night, delegates will experience Dubai’s nightlife across the city. Highlights include Beatport Live at Monkey Bar on 13th November and partner events at Ushuaïa Dubai Harbour Experience, Surf Club, Be Beach, Reunion, and Helipad from Wednesday 12th – Sunday 16th November, cementing IMS Dubai as a true citywide takeover. | ||||
| With early bird tickets sold out and last year’s summit a complete sell-out, demand for this year is higher than ever. Discounted badges are also available for full-time students, under-27s, and persons of determination. | ||||
| Expect additional speaker, topic, and evening programming announcements in the coming weeks. For full details around this year’s event, visit the official website of the summit. | ||||
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| Badges are available on the official IMS Dubai website | ||||
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| First Speakers (from A-Z) | ||||
| Ahmed El Ganzoury – CEO & Founder, GNK Group | Ahmed Hameed – Co-Founder, Soundscapes/Noctuary | Amira Guetif – Project Manager, Sole DXB | Ayman Hariri – Co-Founder & CEO – VERO | Baloo – Creative Director, MDLBEAST | Cynthia Nasr; Co-Founder, Minab Studios | Dimitri Khater – Founder, Hide Doha | Emile Hokayem – Founder, Aegis Festival | Elie Saba – Managing Partner, ADDMIND Hospitality | Fady Nageed – Content Director, Dazed MENA | Farsa – Artist | James Khoury – Managing Director, Hot Axis | Jade – Founder & Resident DJ, Factory People | Keena – Artist | Lara Kays – Senior Event & Project Manager, Freelance | Mai El Mokadem – Writer & Journalist, Freelance | Mayssa Karaa – Artistic Director, Berklee Abu Dhabi | Megatronic – Artist | Moody Jones – General Manager, DIRTYBIRD & EMPIRE Dance | Nada Al Elhabi – General Manager, MDLBEAST Foundation | Onur Ates – Managing Director, Mixmag MENA & Groove Atelier | Pierre Carnet – Managing Director, MASSIVEMUSIC MENA Roberta Hickey – Director of MENA, The Beatport Group | Samer Jamal – Strategic Partner Manager, Meta | Sofia Ilyas – CCO, The Beatport Group | Suhel Nafar – Head of WANA, EMPIRE | Timmy Mowafi – Co-Founder & Managing Partner, SceneNoise/MO4 Network | Wassim Bou Malham – Founder, Factory People | Yara Temsah – Head of Production, Hot Axis |
Today, Tame Impala (Kevin Parker) has announced his fifth full-length album, Deadbeat. The record will arrive October 17th via Columbia Records. On it, Parker sculpts a collection of wickedly potent club-psych explorations as a vehicle for some of his most direct, brain-wormy songwriting to date.
The album is deeply inspired by bush doof culture and the Western Australia rave scene, recasting Tame Impala as a kind of future primitive rave act in the process. Yesterday, Parker dropped the single “Loser” along with a music video directed by Kristofski and starring Joe Keery. WATCH HERE. Deadbeat is available for pre-order now HERE. Fans can purchase two web-store exclusive vinyl color-variants available HERE.
Conceived in various locations over the last few years, Deadbeat was largely galvanised between Parker’s hometown of Fremantle and his studio, Wave House in Injidup, Western Australia in the first half of 2025. Deadbeat sounds like the work of an artist with a leveled-up mastery, crafted with a newfound embrace of spontaneity for the renowned perfectionist. How that manifests is a distinct minimalism and crunch, with timbres and textures that add an ineffably new dimension to the sound, as well as a richer, more playful vocal range than ever.
Lyrically, Deadbeat has Parker channelling an endless bummer, a self-deprecating f***-up stuck in a negative feedback loop when he should have long had his shit together. After going macro on The Slow Rush’s (2020) examination of time, Deadbeat focuses on the nuanced minutiae of the emotional quotidian. Dosed in tandem with the music’s euphoric and body-moving urges, Deadbeat pitches raving as self-enquiry, self-medication in lieu of self-care and the kick-on as domestic bliss. Reality can wait another day (or two).
“Loser,” and the album announcement, follow the release of “End of Summer,” a sprawling 7-minute epic, setting the tone for this new dawn of Tame Impala. The track harkens back to the acid house summer of ’89, to free parties of the mid-90s, to bush doofs in outback paddocks – to an imagined history, transmuted into something simultaneously present and eternal, still unmistakably Tame Impala. The track arrived with a short-form visual narrative directed by multi-disciplinary artist Julian Klincewicz. Watch HERE
Kevin Parker has emerged as one of the most influential voices of the last decade. A singular artist renowned for carving out a distinct sound all of his own, Parker crafts transcendent genre-bending sonic landscapes, playing every instrument and acting as writer, producer, mixer and engineer on his projects. He has been nominated for four GRAMMY awards with one win for his collaboration with Justice on 2024’s “Neverender.” In Australia, he’s racked up an impressive 13 ARIA Awards and 27 Nominations. He’s won the BRIT Award for Best International Band and scored nominations for two Billboard Music Awards and an American Music Award. Tame Impala has had numerous US Alternative Radio Top 10 songs including two #1’s for “Lost In Yesterday” and “Is It True.” Tame Impala’s “The Less I Know The Better” is part of the Billionaires Club with over 2 billion streams and the project has racked up numerous gold and platinum certifications globally.
Beloved Adelaide rapper, singer, and songwriter Allday has returned with his new single underneath, a slinky, layered cut that continues the rollout of his highly anticipated next album. Known for blending moody hip hop with sharp wit and raw honesty, Allday delivers once again with a track that showcases his evolution as a charismatic storyteller and creator.
“underneath is the next in the Allday album roll out. a bit slinky and with trademark intricate bars and multi layered meanings.”
Musically, underneath leans into Allday’s talent for balancing atmosphere with detail. Built on a sultry, low-lit beat, the track threads slick wordplay through shifting textures, creating a song that is equal parts hypnotic and introspective. It’s a confident reminder of the depth in Allday’s catalogue and the unique space he continues to carve within modern hip hop.
This new single follows a wave of momentum across 2024 and 2025 that has reaffirmed Allday’s place at the forefront of Australian music. With over 340 million global streams, seven Gold and two Platinum ARIA accreditations, and 500,000 Shazams, Allday has consistently proven his reach and staying power. His previous singles have been widely supported, with Peroxide earning spins across triple j, SYN, Inner FM and 5 Triple Z, while also landing playlist covers and placements on Spotify’s sadboi hours, New Music Friday AU & NZ, and editorial backing from Apple Music and Tidal. The follow-up, falling under, premiered on triple j, was added to multiple global playlists across Spotify, Apple Music, and Amazon, and drew praise from outlets including Music Feeds, Aus Music Scene, and Yahoo!.
Beyond the studio, Allday has released three Top 10 charting albums, played sold out national and international tours across the US and UK, and performed at some of the country’s most iconic festivals including Splendour in the Grass, Beyond The Valley, Groovin’ The Moo, and Spilt Milk. His live presence remains undeniable, with rapidly sold-out concert hall tours across Australia and a headline national run in September 2024 further cementing his reputation. Along the way, he has collaborated with household names like Troye Sivan, Sofi Tukker, Mallrat, and Amy Shark, while drawing accolades from global tastemakers such as Sway, Complex, NME, Clash, Rolling Stone, Line of Best Fit, and Pigeons & Planes.
With underneath, Allday steps further into his most refined creative era yet, a chapter marked by clarity, momentum, and an ever-deepening connection with fans at home and abroad.
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Clear As Mud Pt. 1 feels like a really personal and transformative project — what was the headspace you were in while writing these songs?
It has felt like that for sure. These songs initially came from a place of picking myself back up and when it came down to it, it was up to me to make what I want to happen, happen. The headspace I was in started as coming out of the pandemic with no team and a lot of uncertainty about the industry and was about not giving up. It felt like I could either throw in the towel or take stock of where I’ve come from, what I’ve done and have the chance to really do it how I want to. Experience in the music industry has helped me know what I want to do and what I don’t align with. I started out on my own with gaul and belief, things got weird, burnt out and clouded but now I have the chance to take my power back. It was a kind of nothing to lose moment and songs just started coming out. Then writing songs on top of the songs I already had with Alex Burnett, was when the real empowerment started to come out, really embracing myself and coming back to my most unapologetic self but with even more reason to be other than just being young and naive.
The EP dives into themes of identity, queerness, and rural womanhood — were there particular moments or experiences that shaped those stories?
There are three main things I think that shaped this; coming to terms with being queer and actually allowing myself to experience that, working through emotions of leaving it until I was nearly 30 to address that in myself, what that means as a girl who grew up in a rural area and alongside all of that, navigating self esteem, neurodivergence and how denying myself a part of my identity was a big thing that was holding me back in really accepting myself fully and therefore being able to express that. I think there is a strength in being a woman from a rural area and a determination to make something more for yourself. But that has also meant a realisation that I didn’t allow myself to fully be and needed experiences like I’ve had living in a city where queerness is celebrated and nurtured more than where I’m from.
You’ve said playing live is where it all makes sense — what do you want audiences to feel when they hear these songs in an intimate venue?
It’s where it connects, straight from me to people who care about these songs. It shows me right in my face that this doesn’t have much to do with me and the songs belong to the people who have connected their own feelings and related their own lives to them. It means the world to see first hand that these songs give back and mean something to someone else! That’s what I get out of it. But I want them to feel better about something that was bringing them down, lifted up, or feel like I encapsulated their hurt, feel understood, relate, feel like they can take on the world and stand up for what they believe in. Feel alive.
The record was produced with Alex Burnett and Oli Horton — how did that collaboration influence the sound and direction of the EP?
The production style of both of these great humans comes with a whole lot of passion and attention to detail. Working with them has made for really thought out production where everything has a reason and a purpose whilst not being over done or over complicated. There is a simplicity to the production of this EP because of that. The Bruny Island Tasmanian roots became a big part of the story and the sound too, an example of that being like a backing vocal that sounds like howling wind or an edgy guitar part that makes you feel like you’re bracing for the cold. It was also all about the feeling and bringing the main goal back to how it makes you feel.
Tasmania clearly grounds a lot of your artistry. How does being from Lutruwita/Tasmania shape the way you tell your stories?
It will forever be ingrained in me being from the island off the island off the island and through a slow journey I’ve really come back to being passionate about telling that part of the story through the music again. In a really honest way, Lutruwita and being from there comes with a lot of contrast. I think the contradictions are a part of being Tasmanian. It’s beautiful but isolated, feeling like I belong but the land does not belong to us, a sense of light with a dark past and heavy energy that is always there, connection and longing for understanding, quiet, leaving you with only your thoughts whilst being raw and unforgiving, forcing you to face it. These are all themes of these songs. It’s the honest, winter, cold, windy version of Lunawanna alonna, that no matter how harsh she is, is still full of beauty. In a raw, unapologetic way.
This is the first of a two-part project — how does Pt 1 set the stage for what’s to come in Pt 2?
Putting Pt 1 out first has allowed this project to lay the foundation of all these themes. I love how the songs we ended up putting on Pt 1 all have a moment and are all kind of different from each other but together form the journey of those themes, this is the start and first part of going through hurt, embracing the mud, pulling yourself out of the mud and accepting yourself whilst accepting you’ll never have it all worked out. Pt 2 will expand on these themes with even more self assurance and awareness and really kind of lean in to addressing hurt and embracing the lesson because I no longer fear it. If Pt 1 was the foundation, Pt 2 is where it all really makes sense, without having all the answers. So you can just let go and laugh at life in the end. Because THAT is clear as mud!
You’ve built a reputation for grit and honesty in your songwriting. Do you ever feel pressure to hold back, or is rawness something you fully lean into?
I normally don’t have trouble being honest. I’ve always been an open book. Sometimes that has gotten me in weird situations being so open in my personal life, so it has probably made me think about it. But when it comes to songs, I’ve found the more honest the better. I’ve always gotten something out of feeling like the person that will say the thing you’re thinking but won’t say or don’t know how to put it into words.
Each of the venues on this run — The Tote, Altar, Waywards — has its own kind of cult status. Was it important to you to choose those kinds of intimate, character-filled rooms?
For sure. I wanted it to be intimate but feel like a great venue that you want to be in so we can do a proper sweaty show full of vibes whilst still feeling intimate and special.
You’ve spoken about reclaiming identity and place in this chapter — does it feel like a new beginning for you as an artist?
It definitely does. It was important to not just keep doing the same thing over and over but grow and learn. It’s also just true to where I’m at and what has happened since I started out. This is a new kind of direction but at the same time it’s more driven, focused and more true to me than ever.
When people walk out of these shows, what’s the one thing you hope they carry with them from the experience?
As corny as it is, hope. Hope that can help them take on the world, feel understood, heard and powerful. And if they carry merch out that would be great too. Haha!
Friday 31 October – Max Watts, Melbourne
Saturday 8 November – Mary’s Underground, Sydney
After commanding stages across the globe, Australian dance music heavyweights Torren Foot & Airwolf Paradise announce their debut headline shows, set for Friday 31 October in Melbourne and Saturday 8 November in Sydney, presented by Untitled Group.
Riding the wave of success from the release of their first original single together, ‘Everybody’ the duo now step into the spotlight for their first ever headline shows this October/November. Fresh off being announced on the line up for the sold-out 10th edition of Beyond The Valley, Torren Foot and Airwolf Paradise continue to cement their place as two of Australia’s most in-demand electronic artists.
The Torren Foot X Airwolf Paradise back-to-back has become a standout collaboration globally, igniting dance floors everywhere from festival mainstages and afterparties to their infamous sold-out, 8-hour marathons at Revolver Upstairs.
Between the two, Torren Foot & Airwolf Paradise have lit up the world’s most iconic stages, from Coachella, Lollapalooza Chicago and Tomorrowland Belgium to EDC Las Vegas, CRSSD San Diego and Australia’s own Beyond The Valley. Their catalogue collectively has amassed over 100 million streams, with industry support spanning Charli XCX, Boys Noize, Calvin Harris, Solomun and many more. Having toured alongside artists such as Dom Dolla, John Summit and MK, the duo now arrive with shows that will further cement their reputation.
Untitled Group, Australia’s largest independent music promoter, is celebrating 10 years of redefining the live music scene with flagship events including Beyond The Valley, Pitch Music & Arts, Wildlands and Ability Fest.
The pair will begin at Melbourne’s Max Watts on Friday 31 October, before heading to Sydney’s Mary’s Underground on Saturday 8 November.
Tickets HERE
An exciting new chapter for beloved indie alternative act Boy & Bear unfurls, with the group powerfully returning armed with a double A-side single and videos, Where Does Life Begin and Vertigo. Launching an ambitious new era via this new material, Boy & Bear balance optimism with introspection, with lead single Where Does Life Begin embracing a yearning for the freedom of youth. And bolstering the Boy & Bear magic today, this double A-side release comes accompanied by the announcement of the band’s biggest headline show to date, set to take the iconic Sydney Opera House Forecourt by storm this December, joined by special guests Hollow Coves and Darcie Haven.
Tickets for Boy & Bear’s Sydney Opera House Forecourt show are on sale now from https://www.sydneyoperahouse.com/on-the-steps/boy-and-bear
Balancing dreamy indie pop hues on Where Does Life Begin with more upbeat and hopeful vibes via Vertigo, Boy & Bear’s trademark nostalgic, vintage pop sound vividly transforms on their new double A-side, with inspiration for both tracks also steeped in reflection in their own unique respective ways, and anchored in real-life experiences, as vocalist and guitarist Dave Hosking elaborates, “The inspiration for Where Does Life Begin came from my own personal experiences. The song is about yearning for the freedom of youth. Sometimes the passing of time changes us in a way where we can feel like we’ve lost a part of ourselves. I think on some level I miss the naivety I once had about the world. In our 20’s we seem less inhibited and more confident about what’s in front of us, but the realities of life can eventually start to catch up with us. I liked the simplicity of the idea of watching people dancing from afar and feeling like maybe I no longer belonged there”.
“I’m interested in painting a mood with lyrics and melody,” Hosking continues, “not being too specific or literal but leaving room for interpretation, and I feel that Vertigo is a good example of this. That said, Vertigo explores the awkwardness of life and time and change. We grow up, but on some level we can still feel like children – we really don’t know anything at all – but maybe that’s also okay? I really wanted to explore this concept in a light-hearted way. On some level it’s also about embracing these moments in our lives with a sense of humour and openness.”
Starting the journey towards their new material at the tail end of their North American tour late last year, Boy & Bear stayed on for a week in Los Angeles post-tour, collaborating with musician and producer Justin Stanley (Prince, Eric Clapton, Paul McCartney, Beck) at Stella Sound Studios. “We really hit it off with Justin and the new album was born,” says bassist Dave Symes. “Justin then came to Australia in February, and we made the album all together in our newly built studio in Marrickville, Sydney’s Inner West”.
And introducing the first peek into the upcoming new Boy & Bear era today via Where Does Life Begin and Vertigo, the band also worked to conjure equally evocative accompanying official videos for each the tracks, as explained by their creative director Jeremy Koren (Grey Ghost / Ghostie Studios), “”In a sea of inauthenticity we wanted to slap the face of the viewer with nostalgia via a montage of images on images using a variety of 80 – 90’s broadcast cameras and 8mm film and Hi-8. Countryside, eating sandwiches by rivers, playing guitar in a phone booth, dancing on your own with headphones on, stunning surrounds but the grey suits offsets and ground the video. We aim to not be too literal with this one, but give the sense that the group of suited men are on a journey, constantly moving through this endless maze.”
Expertly versed in balancing personal experiences with universal themes, alongside their own trademark blend of vintage pop, alternative elements and folk edges, Boy & Bear channel nostalgia into charming and captivating sonic journeys. Already in command of a staggering level of staying power most artists could only dream of, Boy & Bear took the world by storm via their 2011 debut album Moonfire, snagging five ARIA award wins, including Best Group and Album of the Year, and reaching double-Platinum status. From there, 2013’s Harlequin Dream and 2015’s Limit of Love further stamped Boy & Bear’s stalwart presence on a global scale, with both albums charting at #1, and Harlequin Dream also marking the band’s second studio album to be certified Platinum. Between 2019’s Suck on Light through to their most recent full-length release, 2023’s self-titled, both records reached top 10 in the charts, and Boy & Bear have continued to cultivate a legion of fans across the globe, with over half a billion streams, five consecutive top 10 albums and a horde of unforgettable live performances in their wake.
Renowned for their uniquely compelling live shows, and fresh off the back of selling the most headline tickets of their career globally, Boy & Bear are now set to cement their powerful return in 2025 in a live setting alongside their new material, with their biggest headline show to date set to take place on December 14, performing on the steps at the iconic Sydney Opera House Forecourt with special guests Hollow Coves and Darcie Haven.
“It’s very exciting for us!” enthuses Dave Symes. “It will be a special moment to release the new album at this show, and get to play some of the singles from us… We always like to play songs from all of our albums and make a nice journey for our audiences so there will be a good mix of old and new, and hopefully some special guests.”
In the meantime, the ambitious new chapter for Boy & Bear officially launches into the world today, encompassing triumph, movement and optimism along with haunting-yet-cathartic melancholy and introspection via their double A-side, Where Does Life Begin and Vertigo. And, as the band concludes, these new tracks are the beginning of something truly special as the group turn their gaze to a brand new album ahead.
“It feels very exciting. I never get tired of releasing new songs into the wilderness. Of course, there are a few nerves but generally speaking it’s nice to have a new chapter of music out there.”
“In regards to the double A-side, we decided to do it because it allowed us to show some different aspects of the record straight off the bat. We wanted people to get a sense that this record is multilayered and hopefully get excited by that.”
Boy & Bear are also releasing the Double A Side on a very limited edition ‘Double A Side Flame Yellow 7″ Vinyl’ that is available through their website https://www.boyandbear.com
Where Does Life Begin and Vertigo double A-side out now
Tickets for Boy & Bear’s Sydney Opera House Forecourt show are on sale now from https://www.sydneyoperahouse.com/on-the-steps/boy-and-bear
Stream: WHERE DOES LIFE BEGIN / VERTIGO
Watch: WHERE DOES LIFE BEGIN / VERTIGO
BOY & BEAR – WHERE DOES LIFE BEGIN / VERTIGO – Official single artwork
BOY & BEAR – UPCOMING SHOWS:
SUN 14 DEC | SYDNEY OPERA HOUSE FORECOURT, SYDNEY NSW
https://www.sydneyoperahouse.com/on-the-steps/boy-and-bear
“Blossom” feels both deeply personal and sonically expansive – can you talk us through what inspired the song and how it came together?
‘Blossom’ was born out of frustration and feeling disenfranchised or disconnected with the music industry. Liam sent me a short clip of the riff at the start and I immediately felt like I was ready to write a chorus. I got him to send over everything he’d done and I looped the riff and wrote the chorus on the spot. I felt like I’d been betrayed by the industry and I’d suddenly had the rug pulled out from underneath and finally seen it for exactly what it is.
You describe “Blossom” as a reflection on creative burnout and rediscovery – what helped you push through that phase and reconnect with your passion for making music?
To be honest, the thing that helped me personally push through it was redefining my role within the band. For the last album, Marcus wrote most of the music and I’d contribute here and there with leads and basslines, but for this one, Liam wrote 90% of it and I was able to accept that my strength this time around was in my role as as lyricist and vocalist and my strength laid in writing melodies and bringing the songs to life. In short, my best friends in Liam and Marcus helped me push through the burnout with their creative desires.
How did working with Callan Orr influence the final sound of “Blossom”? What did he bring to the table as a producer?
Working with Cal is absolutely incredible and we feel like we’ve made a new best friend or an unofficial member of the band. On ‘Blossom’ in particular, we sat there for probably 2 hours, just trying to rewrite a lead guitar for the chorus because none of us were happy with the one we had. Between the four of us, we bounced back and eventually landed on one I was writing and from there, Cal shaped it into the lead you hear in the track now. Cal is also a wizard at synths and building songs out to sound as gigantic as they do!
There’s a real dance-tinged energy to “Blossom” that still sits in your darker, alt-rock world – was that a conscious direction or something that came out naturally in the studio?
Definitely conscious! Liam set out to write some faster songs for this record and I guess this is the result of trying to do that within the constraints of what your band actually sounds like. We aren’t the heaviest band in the world, but we also don’t shy away from heavy songs, so I guess this is what happens when you put all of those things together and you get a poppy, dancy, heavy track with a lot of emotion!
You’ve just wrapped up a national tour with Chasing Ghosts – what were some standout moments or cities from that run?
Brisbane! Usually Melbourne is the highlight, if not just for the delicious vegan food we get to eat on the off days, but this time Brisbane shone through all of them. Maybe it was the fact that we weren’t expecting much from a Brisbane show, or the fact that by the time we got to the end of the tour, we loved the guys in Chasing Ghosts so much and had learnt so much from them that we were just ultra confident in what we could do to put on a good show. Either way, it wrapped up the tour perfectly and it was so nice to do that in our home town.
How did it feel debuting “Down” and “Blossom” live on tour? Did any particular crowd reactions surprise you?
It’s always interesting playing unreleased songs on tour, but ‘Blossom’ was definitely a personal highlight for me. It’s such a fun song to play and it just has an energy about it that really brings something to the set. ‘Down’ was also so much fun to play and it was very rewarding to hear people singing it back in a few of the cities.
You’re set to play Converge Festival in both Melbourne and Brisbane this September – what are you most looking forward to about the festival?
Our look for Converge Festival is changing slightly. For the first time ever, I’m not going to be playing bass. I’ll just be playing the role of front man! I’m super excited and it has so many unique challenges that I’m pumped to tackle. We’ve been rehearsing this last week and there’s been a few changes to our set that I feel really are going to make a big impact live. I’m really really excited!
With over 7.3 million streams and international recognition, how has your relationship with your audience evolved over the years?
Our relationship with our audience has always been a little bit strange! In the best way possible, I should add. Over the years, we have had fans fly across different cities to see us and even from the United States. Our fans are spread out all over the world, and while that makes it hard to have a base of fans that we can play to regularly, we have many many fans that we are so lucky to call good friends now. We ourselves are quite shy and introverted people, and that often seems to draw more shy and introverted people out as our fans. I love that. I love that we are giving people like us a space to feel seen, heard and loved.
You’ve shared the stage with huge acts like Thrice, Saosin, and Circa Survive – how have those experiences shaped your own performances or ambitions?
Sharing the stage with those three bands in particular have been the highlights of being in a band for me. They’re all bands that I wouldn’t be playing music without them. Meeting Anthony Green back stage more than once and have him watch my band and bang his head along is a memory I will never forget. I’m not sure how those experiences have shaped my ambitions as such, but they’ve certainly made all of the sacrafice worth it.
“Blossom” touches on letting go of expectations and creating from a place of love – what does success look like to you now, compared to when you first started The Comfort?
Great question! Success to me is being able to do these things I love with the people that I love. I’m so privileged to be able to make music with my best friends 12 years on and still have thousands of people listen to it and care. Even though The Comfort might not be as successful as they were 8/9 years ago, the fact that we still get to do this thing and tour the country a couple of times a year is kind of mind blowing. I think when we first started The Comfort, like any young kids we were so ambitious that all of the wins got taken for granted to some extent. Over time, I think I’ve learned to stop expecting things to happen, and just to appreciate every little thing that does all the more.
TICKETS
Featuring 45 acts across three stages, this year’s festival highlights collaboration with TuneCore and The Orchard in supporting Asian indie talents
Tickets are now available via:
International: https://bit.ly/
Bali, Indonesia – AXEAN Festival 2025 has officially announced its final lineup for this year’s edition. The stage is set for the intra-regional showcase festival in Asia, as it welcomes 43 music acts across three stages at Jimbaran Hub in Bali, Indonesia, from September 13 to 14, 2025.
Completing the final round of performers are some of the most prominent and emerging names in the Indonesian music scene, including acclaimed singer-songwriter Alex Teh, metal/hardcore quintet AVHATH, beloved folk duo Banda Neira, rising indie act Gozal, alternative rock outfit Grizzly Cluive, genre-bending band Morbid Monke, indie rock powerhouse Sandstorm of Youth, melancholic indie group sourmilk, multi-talented musician Xandega, and a special collaboration set between Bandung-based punk rock band Dongker and acclaimed singer-songwriter Jason Ranti.
The announcement also brings an exciting mix of Asian talents, such as trailblazing Malaysian R&B artist Alextbh, Laotian musician BIGPOM, Thai indie rock act LEMONY, Thai rock band Cvptain Morgans, Japanese singer-songwriter Kiwako Ashimine, J-indie artist Mettya Bizin (めっちゃ美人), Vietnamese indie/dream pop project Milkiwav, Vietnamese indie act Nghịch, and Filipino genre-fluid band Weejah.
These artists join an already diverse roster that includes Billyrrom., Blindfold, Capt’n Trips and the Kid, Confined White, DJ Love, DOOR PLANT, Fauxe, Feel Koplo x Toxicdev!, Jangar, Johnny Mafia, Kelompok Penerbang Roket, La Cima Cartel, L’Alphalpha, Lustbass, MANJA, Ministry Of, One Click Straight, Shanghai Quitian, Shye, SIMILE LAND, S.O.L.E., Su San, Terrer, Valentina Ploy, and XANDEGA.
TuneCore’s key role in curating the final batch of lineup
This year, TuneCore played a pivotal role in shaping the final lineup, expanding its position as one of AXEAN Festival’s most important partners. Through a four-month, multi-stage submission and rigid selection process spanning five countries in Southeast Asia, TuneCore helped discover and elevate standout independent voices that have made a mark in their niche markets.
Cyrus Chen, Head of TuneCore Southeast Asia, recalls the selection process that they went through before picking the finest acts that show global potential. “It began with open biweekly submissions, attracting over 600 entries,” Cyrus explains. “Selected artists progressed to monthly live showcases at local venues, with each monthly winner advancing to country finals. Out of the 27 finalists, our local panels chose the six artists performing at AXEAN. The biggest surprise was probably the incredible depth of undiscovered talent. We found remarkable hidden gems across diverse and often genre-blending styles. What was particularly striking was how many of these artists hadn’t formally released music yet.”
When asked about the criteria in picking the artists who made it to TuneCore’s AXEAN stage, Cyrus emphasised the importance of authenticity and range, and how beyond raw talent, there’s a need to prioritise artists whose music authentically integrates local flair and cultural influences. “Showcasing a diverse spectrum of genres was also essential,” he adds.
For their part, the top global distribution and label services company, along with AXEAN Festival, promises to use their platform to foster real-world opportunities, apart from empowering artists digitally. “We actively nurture talent by providing platforms for exposure, facilitating live performance experience at scale (from local venues to major festivals), educational opportunities (workshops and masterclasses to up-skill artists), and connecting artists directly with new audiences and industry stakeholders across borders. We go beyond distribution to open doors for market access and career growth that are often out of reach for independent artists.”
The Orchard-AXEAN Festival partnership
The Orchard, a prominent music distribution company operating in over 49 cities worldwide, has expressed its support for AXEAN Festival through a strategic partnership. Both music entities share a vision of empowering artists to broaden their horizons and access new music markets beyond their turfs. Together, both AXEAN and The Orchard are keen on dismantling barriers and enabling Southeast Asian creative communities to showcase their music on a global stage.
As Prahlad Prabhas, The Orchard’s Senior Director, Southeast Asia, explains it, “This [collaboration] aligns perfectly with The Orchard’s philosophy of helping artists grow outside their home markets. We’re thrilled to be part of that journey this year by sponsoring a stage. For us, it’s more than just about the music—it’s about celebrating the creativity and energy of this region and sharing it with the world.”
About AXEAN Festival
The AXEAN Festival is a prominent Southeast Asian music export platform, combining a music conference and showcase festival. Launched in 2020 during the pandemic by music professionals across Southeast Asia, AXEAN Festival has successfully hosted both virtual (2020-2021) and in-person (2022-2024) events. Over five editions, it has featured 200 artists from 20 countries, attracted 240 delegates from 32 countries, and reached over 46,000 virtual viewers, along with close to 15,000 live attendees. With its growing international reputation, AXEAN has firmly established itself as Southeast Asia’s leading music export platform. Its first venture into a new market beyond its original home base in Singapore and Bali garnered widespread acclaim among attendees, music industry professionals, and participating artists.
Stay up to date on all the AXEAN Festival news
Dallas Rodin is an artist who thrives in contradiction—sharp yet soft, mysterious yet disarmingly real, timeless yet impossible to pin down. A songwriter by trade and a storyteller at heart, she crafts music that is as deeply personal as it is universally resonant. Trained at the American Musical and Dramatic Academy in New York City (whose alumni include Jason Derulo, Jason Mraz, and Janelle Monáe), Dallas has spent years pushing the boundaries of pop music, carving out a sound and story that are uniquely her own.
With her debut EP, Did I Make You Up Inside My Head? (out August 22), she is her most vulnerable body of work to date. “This EP is about anxiety, self-doubt vs. self-actualization, and the duality between what is real and what is a facade within our own minds,” Dallas shares. “The bulk of this project was written during one of my lowest points, when it was very difficult to believe in a light at the end of the tunnel. It’s the story between the Id vs. Ego within us all, and my personal journey to finding resiliency within the darkness.” The result is a hauntingly beautiful collection of songs where shimmering pop synths, dark chords, and pulsating 808s collide—drawing comparisons to The Weeknd and Lana Del Rey, yet still sounding unmistakably her own.
With over 37 million streams across platforms, 2 million YouTube views, and more than 100,000 monthly listeners, Dallas has quickly proven herself as a force to be reckoned with. She has earned placements on coveted Spotify Editorial playlists like New Music Friday, Pop All Day, Fresh Finds Pop, and Pop Punk’s Not Dead, as well as recognition as a 2024 RBC x Canada’s Walk of Fame Emerging Musician Program 2nd Place winner and a Top 5 finalist in the Slaight Foundation’s It’s Your Shot program. Beyond her own artistry, she’s an accomplished songwriter with credits on tracks by Beauz, Kelland, 4Korners, and more.
On stage, Dallas has headlined iconic Toronto venues including Lee’s Palace, The Drake Underground, and The El Mocambo, and has performed at festivals like NXNE, CMW, Departure, and Aurorapalooza. She’s also brought her dynamic live show to New York City, headlining the Berlin Under A with Breaking Sound, and has shared bills with Francesco Yates, Cam Kahin, and Jade Lemac. In an industry often chasing trends, Dallas Rodin is building a legacy rooted in honesty and duality—embracing both the darkness and the light. With Did I Make You Up Inside My Head?, she steps into her most powerful chapter yet: fearless, vulnerable, and impossible to ignore.
“Daisy” dives into the chaos of a love triangle at work — how did that real-life experience inspire the storytelling behind the track?
I won’t name any names but basically I had a friend at work who had another friend and they both fancied a hot workmate. Let’s call her Daisy since her real name rhymes with Daisy, anyways Daisy basically ended up with one of them. The one that didn’t end up with Daisy was a little upset at first but later on realised that he dodged a bullet!
You’ve described the song as “Jessie’s Girl’s pop punk cousin.” What elements were essential in achieving that nostalgic-yet-modern sound?
We like to think that ‘Daisy’ is the new and improved pop punk version of ‘Jessie’s Girl’ and you can agree with us or not! I guess we just wanted to write another feel good and catchy follow up single similar to our last single ‘New Year’s Eve’ and I like to think that we’ve achieved that with ‘Daisy’. We also wanted to catch our listeners a little off guard with a reggae bridge section which worked really well with the song, I like to think anyways.
How did your band dynamics influence the songwriting and arrangement process for “Daisy”? Was it a collaborative effort or more individually driven?
I myself mostly wrote the song, it was only at the second verse where lyrically I needed help. James sings the second verse but we all contributed with writing it. Our producers Ash and Evan from the Loud Noise Estate also played a huge part in the arrangement process. They thought that the song was too long, it was originally 5 minutes long so they cut it back to 4 and a half minutes.
Melbourne’s music scene is thriving — how has relocating from Darwin shaped your identity as a band and influenced your recent work?
I guess in Darwin I used to do almost everything myself. Moving to Melbourne though, we’re still mostly independent but we’re also exposed to many other services in the music industry that we didn’t have access to back in Darwin. I don’t have to outsource everything online or do things myself anymore. I think with everything in such close proximity we can now do a lot more and better as opposed to originally being located in Darwin.
There’s a cheeky but emotionally charged energy in “Daisy.” How do you strike that balance between playful storytelling and genuine vulnerability?
We don’t overthink it too much I guess. I mean we are inspired by bands such as Blink-182 and their lightheartedness so I guess there’s that.
You’ve supported legends like Eskimo Joe and Frenzal Rhomb. What have those experiences taught you about your live sound and performance style?
Well I guess Eskimo Joe and Frenzal Rhomb are bands that don’t use any backing tracks or click tracks. Just pure live music, and that’s always what we try to achieve in our live shows.
How does “Daisy” reflect your evolution since your debut album Pull Yourself Together? What’s changed most in your creative process?
Funny you say that because I think ‘Daisy’ sounds like it came from ‘Pull Yourself Together’! What’s changed most in our creative process is now that we have band members who are a little more open minded and more collaborative when it comes to song writing. ‘Pull Yourself Together’ was all written and produced by myself. We have also started working with professional music producers and it makes a huge difference. Ash and Evan from the Loud Noise Estate produced our last single ‘New Year’s Eve’ and we loved how it sounded so we went back with them again to record a few more songs.
With clear influences from Blink-182 and All Time Low, what sets Danger Den apart in today’s pop punk landscape?
Well the short answer to that is that Danger Den is basically Blink-182 with 3 guitarists and sick guitar solos! That’s kind of an inside joke we have in the band. With Danger Den I guess you could say that we’re one of the very few pop punk bands left that still don’t use backing tracks and click tracks live! But jokes aside, I guess we’re very much classic rock inspired and just write whatever we like regardless of the genre. We don’t worry too much if it’s “pop punk” or not. If we like the song we wrote we’re gonna play the song we wrote. I guess at the end of the day we’re just 5 guys that wanna make music together.
The track is undeniably catchy — how do you approach writing hooks that resonate both lyrically and melodically?
I guess I just write everything that comes to mind really. All I remember in the song writing process is that Daisy rhymes with baby and I thought that that sounded catchy so I quickly wrote that in my notes app. And then the rest followed.
Looking ahead, can fans expect more singles in this storytelling style, or are you exploring new themes and sonic directions?
Well for our next single it’s gonna be a little faster and heavier sounding. We’ve always been very experimental given that we’ve all come from different musical backgrounds. For our next single in particular, James wrote the whole song so it’s a given that it’ll sound very different to what we’ve done previously. So stay tuned for that!
UPCOMING SHOWS
THE KITTYHAWKS 50th GIG – GET TICKETS
with special guests Sanny Veloo + Danger Den + Spill Kit –
The Leadbeater Hotel (Richmond, VIC) Friday, 12 September 2025 8:00 pm
ALLY OOP MGMT presents WHITT’S END with Danger Den and Fellview – GET TICKETS
Mr Boogie Man Bar – Abbotsford VIC, Australia