WE CAME AS ROMANS
SUPPORTED BY SPECIAL GUESTS CASKETS (UK)
+ HEADWRECK | FEBRUARY 2026
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The Australian Open and Untitled Group have officially unveiled the biggest artist lineup for the highly anticipated return of AO LIVE.
As the only music series held at a Grand Slam, AO LIVE will expand to five massive nights this year, bringing an electrifying blend of sport and music to Melbourne Park with two additional evenings of music. 2026 promises an unforgettable experience, headlined by some of the biggest globally renowned artists ever to hit the AO LIVE stage at John Cain Arena, including The Kid LAROI, Peggy Gou, Spacey Jane, The Veronicas, and Sofi Tukker with more exciting artists to be announced.
Back for a fourth year, Untitled Group, Australia’s largest independent music and events promoter, once again curates the AO LIVE experience. Untitled Group is known for producing some of the country’s most beloved festivals, including Beyond The Valley, Wildlands, and Pitch Music & Arts, Untitled Group once again brings its signature style and energy to the heart of Melbourne Park.
Kicking off the Australian Open 2026’s huge AO LIVE lineup on Wednesday, 28 January, chart-topping artist The Kid LAROI will take to the stage for an unforgettable night of raw emotion and exciting music. With his unique blend of hip-hop, melodic rap, and pop, LAROI has quickly become one of the most influential young voices in modern music. Known for his breakout hits like “Go!” (featuring Juice WRLD) and “Without You” the Australian artist is ready to bring his high-energy performance to Melbourne Park, for a night not to be missed.
Joining AO LIVE’s lineup on Thursday, 29 January is Fremantle WA indie rock band Spacey Jane. Their breakout hit Booster Seat won ARIA Song of the Year and reached #2 in triple j’s Hottest 100, while their 2022 follow-up album Here Comes Everybody debuted at No.1 on the ARIA Charts. With three acclaimed albums under their belt, and a reputation for electric live shows, Spacey Jane is set to deliver a performance fans won’t want to miss.
The Veronicas and Sofi Tukker will enthral AO LIVE crowds on Friday, 30 January.
Get ready for a huge set from the iconic pop-rock duo The Veronicas, who’ve dominated charts since their debut. With a career spanning over two decades, Lisa and Jessica Origliasso have delivered platinum-selling albums and global hits like Untouched and 4ever. Following the release of their sixth studio album Gothic Summer, The Veronicas continue to evolve while staying true to their rebellious spirit. Most recently, Untouched landed at number three as the duo made their debut on triple j’s Hottest 100 of Australian Songs.
Sofi Tukker is a Grammy-nominated electronic music powerhouse. With hits like Drinkee, Best Friend, and Purple Hat, Sophie Hawley-Weld and Tucker Halpern blend Portuguese vocals, pulsating beats, and influences from West African drumming, tropical house, and electro-funk. Since their breakout hit Drinkee in 2015, they’ve become festival favorites with their high-energy live shows that effortlessly cross genres and continents.
Concluding an incredible five nights of entertainment, Peggy Gou will take to the stage on Sunday, 1 February. A global dance music icon, Peggy Gou is known for her infectious blend of house and techno. With hits like Gou Talk, It Makes You Forget (Itgehane), and Starry Night, she has captured audiences worldwide. Her single, (It Goes Like) Nanana, has topped charts internationally, and she continues to define the future of electronic music with her bold vision and unstoppable energy.
Wednesday 28 January 2026 – 5-9 pm AEDT
The Kid LAROI
+ Special guests
Thursday 29 January 2026 – 5-9 pm AEDT
Spacey Jane
+ Special guests
Friday 30 January 2026 -5-9 pm AEDT
The Veronicas + Sofi Tukker
+ Special guests
Saturday 31 January 2026 – 2-7 pm AEDT
To Be Announced
AO Women’s Final – 7.30pm
Sunday 1 February 2026 – 2-7 pm AEDT
Peggy Gou
+ Special guests
AO Men’s Final – 7.30pm
AO LIVE will feature music and entertainment across the precinct in 2026, including laidback acoustic acts in Garden Square and some of Melbourne’s most in-demand DJs on Grand Slam Oval each day.
Every AO LIVE ticket unlocks more than just epic music, it’s your all-access pass to the unforgettable atmosphere of the Australian Open 2026. Along with world-class live performances, fans can experience the thrill of Grand Slam tennis, indulge in top-tier food and drinks, and soak up the electric summer vibe that makes the AO one of the most iconic sporting events in the world.
Tickets start from just $99, delivering unbeatable value for a full day and night of world-class entertainment. Tickets for AO LIVE go on sale on Tuesday, 7 October. Visit Ticketmaster to be the first to access tickets and exclusive updates.
Photo Credit: Ross Halfin
Legendary metal outfit MEGADETH have unveiled ‘Tipping Point’ as the first single and video from their forthcoming self-titled final album due out in 2026 via DAVE MUSTAINE’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label. The sonically explosive and lyrically unflinching song kicks off with a thunderous guitar solo before DAVE’s iconic voice hauntingly kicks in. In the desolate but hopeful accompanying video, directed by Leonardo Liberti, DAVE is locked up in a prison being tortured in extreme fashion, while the band performs in the same lock-up. In the end DAVE perseveres evil and walks away into a new day. Watch the video HERE and listen to the song HERE.
“We all have different ‘tipping points’ and they may vary from day to day,” says MUSTAINE. “I think we’re all being pushed to the edge right now, and it’s easy to lean into that feeling. But it’s important not to let things get you down.”
MEGADETH—Mustaine, Teemu Mäntysaari (Lead, Rhythm, and Acoustic Guitars), James LoMenzo (Bass Guitar) and Dirk Verbeuren (Drums)—will release their forthcoming self-titled album in 2026. Pre-order the album HERE and stay tuned for more news about the album in the coming weeks.
Earlier this year, MUSTAINE revealed in a social post directly shared with his worldwide fanbase and Cyber Army that the forthcoming album will mark the final studio album from MEGADETH, who’ve sold over 50 million records worldwide and received a GRAMMY® Award (with 12 additional nominations).
He shared the announcement of the album and tour via his alter ego Vic Rattlehead. Also set for next year is a new memoir from MUSTAINE, details of which will be revealed in the coming months.
Fans can click HERE to register for early access to exclusive information and offers surrounding the album and all MEGADETH news. In addition, look for the initial run of farewell tour dates to be announced later this year.
‘Tipping Point’ is out now
Megadeath: Official Website | Facebook | Instagram | Tik Tok | YouTube
Tickets: [LINK]
Website: http://djawards.com
Date: Thursday 9th October
Venue: ROTO Club, Ibiza Town
The DJ Awards will return to Ibiza on Thursday 9th October for a truly independent celebration of electronic music culture
The influential DJ Awards is back for the 24th edition with another iconic, and more importantly independent and authentic, celebration of electronic music culture at the end of a superb summer season. On Thursday 9th October 2025, the spotlight returns to the White Isle for a night of deserved recognition and unforgettable music and dining at ROTO Club in Ibiza Town, a cool, urban hotspot with stunning views of the sea and Dalt Vila. Ahead of the ceremony, the Industry Awards Winners, as voted for by a Grand Jury, are now revealed.
Now in its second consecutive year since relaunching, the DJ Awards continues to loudly and proudly champion integrity and independence. The Industry Awards spotlight behind-the-scenes excellence, visionary leadership and the vital elements that power the dance music ecosystem. It has a global outlook and celebrates both red-hot new musical trends, enduring scene legends and more.
Due to recent and unfortunate developments regarding the devastating floods in Ibiza, the DJ Awards will be donating funds from the ceremony towards the Spanish Red Cross (Creu Rojo) to assist those affected by the flash floods.
Unlike commercial awards and pay-to-play platforms, the refined DJ Awards ceremony, in partnership with YouTube, Suntory and Skiddle this year, stands apart by celebrating talent on merit alone. New for this year, every nominee is selected by a fully independent Grand Jury made up of respected insiders, creatives, industry and market leaders and experts from over 50 leading music brands and institutions worldwide. This unique move guarantees a diverse, authentic, and genre-spanning representation of today’s dynamic DJ culture that also connects back to the integral and honest roots of the DJ Awards. It’s real recognition for top level talent, innovation and excellence by those with huge experience and who are perfectly placed to judge.
The ceremony itself will see nominees and music professionals gather, spanning across a wide-ranging selection of categories, genres, geographies and industry influence, awaiting the reveal of DJ Awards winners. This year’s categories include the newly launched Balearic and Hard Dance/Bounce categories, plus returning favourites Afro, Breakthrough, Drum & Bass, Garage/Bassline, Hard Techno, House, International DJ, Latin/Reggaeton, Live Act, Newcomer, Prog/Melodic, Tech House, Techno and Trance.
The DJ Awards yet again promises to be one of the standout nights of the Ibiza season, on October 9th a celebration of music industry excellence will commence in a venue at the heart of Ibiza’s underground scene.
Grand Jury Industry Awards Winners
Industry Executive of the Year:
Yann Pissenem
DJ Livestream of the Year:
Yousuke Yukimatsu – Boiler Room
Global Festival Award:
UNUM Festival, Albania
Eye On: [Region] — 2025 Spotlight: MENA:
Soundstorm Festival
Lifetime Achievement Award:
Simon Dunmore
Play It Back – Social Impact Award:
Ibiza Preservation Fund
What’s Hot Global:
[UNVRS]
Ibiza Icon:
Alfredo (Posthumously awarded)
Ibiza Party of the Summer:
Solid Grooves
Ibiza Track of the Summer:
Toman – Verano En NY
About the DJ Awards
Website | Youtube | Images (
Stream / Buy HERE
Redspencer have revealed their anticipated third record Primal Urges today – a charming and enduring listen that balances both wit and warmth across its ten thoughtfully crafted dream-pop tracks. Purchase the vinyl HERE and stream Primal Urges on Spotify, Apple Music, YouTube Music, and Amazon Music.
Their first album in three years, Primal Urges pairs clever observations on life, death, and love with jangly rhythms, compelling lyrics, and melodies that are as comforting as they are memorable, resulting in a record that is both lighthearted and sincere. Songwriter and drummer David McMillan describes the band’s new album as “the most natural music we’ve made to date. The songs I wrote are much more outward focused, less subtle, and reflective of the stage of life we’re in. We’re not spring chickens anymore!”
In July, Redspencer returned with the hazy lo-fi gem ‘This is the Day’, which proved to be an immediate hit with community radio, receiving airplay across 2SER, PBS, Triple R, SYN, 4ZZZ, Edge Radio and many more. ‘Blue Horizon’ followed in August, a love song delving into an imagined conversation between Australia’s most wanted criminal bushranger Frank Gardiner, and his lover Kitty Brown, in the lead up to the Eugowra Gold Escort Robbery. Leaning into Redspencer’s own blend of mellow guitar pop, the two singles set the tone for what follows on Primal Urges, from the misty album opener ‘Dream Of Aphis Creek’ to the retro-filtered final track ‘Something Is Out There’. Their most self-assured body of work yet, Primal Urges was recorded with acclaimed writer, producer, and musician Alex Markwell (The Delta Riggs, Teen Jesus & The Jean Teasers, Kita Alexander).
Redspencer made their return to the headline stage last month with an intimate ‘Blue Horizon’ release show at Fitzroy Pinnacle, packing out the room in the wake of their well-received sunset appearance at Wonder Mountain Festival. The band are set to launch Primal Urges on the live stage later this year, with more details to come.
Citing the jangle of The Clientele, the lo-fi grit of Small World Experience, the slacker-dance of Dean Blunt, the dreaminess of Jessica Pratt, and the pop sensibility of early 2000s Madonna as influences, Redspencer’s knack for bringing some of the best parts of the past forward has seen them clock over 2million streams across their releases. In 2016, their debut album Perks garnered praise across the globe, with catchy lead single ‘Ride It Out’ earning comparisons to Mac DeMarco, The War On Drugs, and Real Estate. The band’s 2021 follow up Dreamworld showcased a more polished – yet still just as thoughtful – sound for Redspencer, hailed by Beat Magazine as “sensational” and launched to a full capacity Brunswick Ballroom in early 2022.
Primal Urges is out now, with vinyl available for pre-order HERE
Listen on:
Connect with Redspencer
APPLY HERE
Photo Credit: Alice Naish
Yamaha Music Australia is proud to announce the Main Stage Grant. A brand new initiative, the Main Stage Grant is designed to provide real support to the next generation of Australian musicians by giving them the tools they need to create, record and perform. The grant is open to artists across three categories: bands, singer-songwriters, and music producers, with one artist from each category set to receive $5,000 cash, plus $5,000 worth of Yamaha instruments.
Applications are open now and will close on Saturday 15th November at 10am AEDT. In collaboration with Yamaha Music Australia, a panel of industry experts and tastemakers will review each application to determine the three recipients, set to be announced in early December. For more information on eligibility and how to apply, head to Yamaha Music Australia’s website.
“Main Stage is about giving the next generation of Australian musicians the platform and support they deserve. Whether you’re a band, a songwriter, or a producer, we want to help you take that next big step with real backing. We believe Australia makes the best music, and we want to continue to support you.”
– Mitch Kelly, Yamaha Music Australia
The Main Stage Grant joins Yamaha Music Australia’s existing initiatives as they continue their mission to empower artists across all stages of their music journey to “Make Waves”. From their current Share Your Moment competition encouraging artists to share the stories that have shaped their music journey, to their Great Start Grant offering schools the opportunity to create a vibrant culture of music education, Yamaha Music Australia has a strong track record of supporting Australian musicians.
Spanning first instruments to global stages, Yamaha’s 130-year legacy of innovation at the intersection of music and technology has established the brand as a cornerstone of music production, education, and performance worldwide. Find out more at www.au.yamaha.com.
CONNECT WITH YAMAHA AUSTRALIA
Renowned for his dark and atmospheric soundscapes that make way for enthralling rap performances, Canadian songwriter and producer NIGHT LOVELL is finally bringing his 8 LEGS UNDER tour through to Australia and New Zealand this November, with very special guest HAARPER.
For Night Lovell, his trajectory towards global fame has been a rapid one since his first taste of viral success in 2014, with the release of his track ‘Dark Light’. Since then, the 27 year old from Ontario has evolved into an artist whose intricacies have been fascinating waves of hip hop fans and producers worldwide. The Canadian artist has also recently announced that he will be joining $UICIDEBOY$ on tour this August and September for their GREY DAY North American Tour!
With four albums to his name including latest release, 2023’s I Hope You’re Happy, Night Lovell has become a charged up force within this modern musical space – his music has been streamed over 1.1 billion times on Spotify alone.
Joining him on this tour will be Los Angeles’ HAARPER – a star of the underground who has been generating waves of his own in the mainstream, thanks to an infectious sonic style – for his debut Australian & New Zealand visit. HAARPER’s catalogue has accrued over 500 million streams, with a three album-strong body of work demonstrating a varied set of influences that span hip hop, garage and punk music. Latest track ‘Born From The Dirt’ is a prime example of HAARPER’s expansive sonic view; translated live, this stands to be a fitting addition to an already insane performance reputation.
The 8 Legs Under Tour’s Destroy All Lines pre-sale will go live on Wednesday May 21st @ 5 PM AEST. To follow, the tour’s general on-sale will be available from Friday May 23rd @ 11AM Local Time.
NIGHT LOVELL and HAARPER AUSTRALIAN/NZ TOUR DATES
General on-sale tickets available from Friday May 23rd @ 11AM Local Time
Tuesday 11 November Magnet House PERTH 18+ TICKETS
Thursday 13 November Northcote Theatre MELBOURNE 18+ TICKETS
Saturday 15 November The Tivoli BRISBANE 18+ TICKETS
Sunday 16 November Liberty Hall SYDNEY Lic AAA TICKETS
Wednesday 19 November Powerstation AUCKLAND 18+ TICKETS
NIGHT LOVELL: Official Website | Facebook | Instagram | YouTube | TikTok
HAARPER: Facebook | Instagram | YouTube | TikTok
Oliver James Brooks is back with a striking new single, “Lines On My Eyes”—a track that captures the raw, unfiltered honesty he’s become known for. Written in the aftermath of seismic shifts in his personal life, the song feels both intimate and universal, pairing his folk-rooted storytelling with a textured sound that leans into new synth explorations. Where many songs dwell on relationships with others, “Lines On My Eyes” dives into Brooks’ own reckoning with grief, self-reflection, and the difficult work of rebuilding when the ground beneath you gives way. It’s haunting, cathartic, and achingly human—proof of an artist unafraid to bare his soul.
The single arrives as part of his upcoming album, Between Me & Me, a collection that charts the emotional terrain of loss and resilience. Brooks’ ability to weave vulnerability into melody has earned him comparisons to Neil Young, Kurt Vile, and Gordon Lightfoot, while outlets like Indie88, Americana UK, and Exclaim! have praised his past work as hypnotic, boundary-pushing, and deeply affecting. With “Lines On My Eyes,” he continues to expand his sonic palette while staying true to the organic spirit that has defined his music from the start—cementing his place as one of Canada’s most compelling alt-folk voices.
Tickets are on sale at 9am, Thursday 9 October 2025 at Mega Tix
Sign up for early access HERE
The globally acclaimed water-soaked phenomenon S2O Songkran Music Festival—renowned for mixing EDM, explosive visuals, and massive splash-movements—is coming to Australia for the very first time. Hosted by established promoters TANG Events and Collective Minds, the festival has confirmed it will land in Brisbane on Saturday 28 February 2026, bringing its signature blend of music, water, pyrotechnics and immersive production to the riverside festival site, The Royal Queensland Golf Club just outside of Fortitude Valley.
S2O Australia will debut with an electrifying lineup headlined by UK house sensation James Hype, the UK DJ/producer behind the global smash Ferrari, brings his high-octane, mash-up driven sets that have lit up clubs and festivals worldwide. Alongside him, Alok, ranked among the world’s top DJs, brings his signature Brazilian bass and crossover anthems like Hear Me Now, ensuring a heavyweight showcase of global dance music.
Adding even more fire to the line-up, Becky Hill will bring her powerhouse vocals and pop-electronic anthems to S2O Australia 2026. With chart-topping hits and a reputation as one of the UK’s most dynamic live performers, Hill is set to deliver a high-energy set built for the main stage. Her signature blend of soaring pop hooks and festival-ready dance beats makes her the perfect addition to the line-up.
Representing Australia with his trademark Melbourne Bounce chaos is Will Sparks. Sparks doesn’t just play festivals — he detonates them, his return on home turf guarantees S2O won’t just be wet, it’ll be wild.
Backing them up is a stacked roster of heavy-hitters: Marie Vaunt, the dark techno queen behind the “Shadow Sorceress” sound; Lance Savali, the New Zealand DJ known for tearing up global stages with beats built for movement; and Tita Lau, the UK powerhouse serving up driving, bass-led house that’s been storming charts and clubs alike. Together, they deliver every corner of dance music under one drenched, explosive banner.
Since its inaugural debut in Bangkok in 2015, S2O has become a global phenomenon, celebrating the Thai tradition of Songkran by mixing water-splashing with music and performance. It has expanded Asia, North America, and around the world with sold-out shows.
S2O Australia will feature explosive water-cannon moments, splash zones, and a wet-and-wild party atmosphere along with world-class production & visuals: From pyrotechnics to state-of-the-art stage design, expect immersive, festival-scale production paired with the natural backdrop of a riverside, open-air setting.
There will be on-site change room facilities, along with designated wet and dry zones to cater for those who want to dive into the action or stay comfortably dry. Festivalgoers can also relax in a dedicated chill-out zone, complete with vibrant market stalls, diverse food vendors, and an array of bar options.
“Australia has been waiting for something bold, fresh, and truly world-class. With S2O, we’re not just staging a festival — we’re setting a new benchmark for live experiences in this country,” said Kenneth Ngov – Partner – S20 Australia
“We wanted to bring to Australia something that’s more than just another festival—it’s an experience. It’s water, music, community, energy and production all wrapped into one,” Added Simon Coyle, partner of S2O Australia. “Brisbane is the perfect backdrop for what we have in store—expect the wettest, wildest party you’ve seen.”
S2O arriving on Australian shores is more than just a new festival date—it’s a symbol of how experiential, immersive EDM festivals are evolving. Water as performance, combined with high-production audio-visual elements, elevates the live music experience.
Tickets are on sale at 9am, Thursday 9 October 2025 at Mega Tix
S2O Brisbane
Royal Queensland Golf Club
431 Curtin Ave W, Eagle Farm QLD 4009
Sat 28 February 2026
2-10PM
Strictly 18+
With the Swan River as its backdrop and the skyline in view, the one-day festival unites the most cutting-edge names in drum & bass, UK rap, and underground club culture.
The line-up spans global heavyweights and rising stars including Aitch, K Motionz, Kanine, Emily Makis, Mozey, Simula & Kings of the Rollers delivering a snapshot of the sounds shaping dancefloors worldwide.
For the very first time, the Palm Gardens Stage will host a strictly B2B arena, featuring Kings of the Rollers + Inja, Amplify b2b Disrupta b2b Turno, Crossy b2b Gray and an exclusive ÆON:MODE b2b special guest still to be announced.
Boasting huge production and a city-front location, NO ONE BUT US brings together a community of artists and fans to mark the first day of 2026 in pure celebration.
This New Years Day it’s NO ONE BUT US!
NO ONE BUT US – NYD ‘26
THURSDAY 1ST JANUARY / NYD 2026
LANGLEY PARK, PERTH
TIERED A-Z
AITCH
K MOTIONZ
KANINE
KINGS OF THE ROLLERS + INJA
MOZEY
ÆON:MODE B2B ########
AMPLIFY B2B DISRUPTA B2B TURNO
CATCHING CAIRO
CHARLIE TEE
CROSSY B2B GRAY
EMILY MAKIS
GENTLEMENS CLUB
KILLOWEN
SICARIA
SIMULA
SKEPSIS
ZERO
+ More to be announced
TICKET INFORMATION
GENERAL ON-SALE: THURS 9TH OCTOBER – 9:00 AM AWST
Register now → www.no-one-but-us.com.au
For presale access sign up now via www.no-one-but-us.com.au
Kingdom of Birds (KOB) is a Toronto-based grunge-punk trio with roots that stretch back to high school hallways. The band first came together when Asa Berezny was the new kid in town, Beatrice Richard carried the air of a teenage hoodlum, and Annabel Barbon-McGuire lived up to her reputation as queer royalty. What began as a messy, joyful experiment quickly turned into a proper band—and now, five years later, KOB is still powered by the same friendship at its core. Over the years, the band has played more than 100 shows and earned their place on stages alongside Deerhoof, Cumgirl8, and Partner. Their sound is urgent, unpolished, and alive—grunge-punk that thrives on the tension between noisy catharsis and sharp, lived-in storytelling.
Their upcoming album, Vermin (due out February 2026), is their boldest statement yet. One of its defining tracks was born during Asa’s time living in Montreal, after leaving Toronto and dropping out of jazz school. Isolated in the dead of winter, unemployed and heartbroken, Asa spent days writing alone while a strange figure became part of her routine: a naked neighbor he nicknamed Kenny, an older man who spent his days in bed watching porn. “Kenny was this odd, daily presence in my life,” Asa recalls. “I was alone, and so was he. He was strange and sad, and writing about him felt like a way of processing that isolation.”
That mix of honesty, grit, and wry observation has become central to KOB’s music. On Vermin, Asa’s guitar and vocals are backed by Annabel’s bass and harmonies and Bea’s relentless drumming, the three building songs that feel at once raw and communal. Recorded at Albany in Toronto with Elliott Gallagher-Doucette and mastered by Kristian Montano, the album carries both the bite of punk and the intimacy of confessional songwriting. Kingdom of Birds has grown up, but they’ve never lost the restless spark that first brought them together. With Vermin, they’re turning strange stories, personal upheaval, and the messiness of early adulthood into songs that demand to be heard.
The Wanderer arts program has become a defining feature of the festival. What was your vision when curating this year’s program, and how does it build on past editions?
We really go out of our way to create a unique experience at the festival. The arts is not an “add-on” or a side dish. This year there is a concentration on physical performance and LOTS of interaction and participation. So we have Circus Trick Tease coming, who were such a crowd favourite in the first iteration, doing a brand new show. But each of the members of that troupe are also incredible solo performers in their own rights, so we’ll see them doing “street” style shows in the Lost area. Lost is where to go to get your surprises! The hobby horse gymkhana, lots of dancing, tug of war, plus our various workshop things including the I Wear Wanderer fashion experience. Legendary local venue Sam’s Caravan is there too. Oh and FLING doing flashmobs. It’s going to be great at Lost.
This year’s lineup features everything from circus to physical theatre and interactive installations. How do you strike the balance between spectacle and intimacy in the program?
The way we do it is pretty simple. We put together a weekend that WE would like to go to! Big things, smaller things, things to do, things to see. Things that you know about, and things you’ve never dreamed of. Plus a bunch of things that we don’t tell anyone about, that just unfold.
Wanderer is known for being as much about community and connection as it is about entertainment. How does the arts program foster that sense of shared experience?
The Big Lost Band I think really exemplifies how we celebrate community and connection. 140 community musicians meet on the four Sundays before the event and rehearse four bangers. The gig (on Sunday at 2.30 at Sam’s Caravan) will be really something. Maximum rock and roll. But simply working with that group of people has been bliss in itself, show or no show. I’m also really thrilled that we have the exceptional local choir Riverbend singing three songs with Missy Higgins. Good on Missy for saying yes to that! That’s going to be pretty special. Both these projects are incredible acts of creativity, but are also good community process . It helps that the community here on the coast is so strong and creative and up for making things happen.
The inclusion of acts like Circus Trick Tease, Hannah Cryle’s Giant Wheel, and Josh Phillips’ Giant Ladder suggests a strong focus on physical performance. What excites you about showcasing these kinds of works?
Physical magnificence, great wit, cheekiness, gobsmaking ability. These folks are the best in the country. It’s a privilege to present them.
Interactive pieces such as Wheel of Fortune Karaoke and Hair by Mouse blur the line between performer and audience. How important is interactivity to the Wanderer experience?
I am a huge believer in breaking those two categories down. I like to say that some folks will leave the festival saying that their favourite part was something they did themselves. It may have been line dancing with May, walking the catwalk in the fashion show, coming third in an event at the Hobby Horse Gymkhana or, indeed, singing with the live band at Wheel Of Fortune Karaoke.
The festival is held on the Sapphire Coast, a region known for its natural beauty. How does the setting influence the arts programming you design?
Well we can’t compete with that beauty. But we DO love the work of our amazing decor team, who seek inspiration in the colours and shapes of the beach. What we can showcase, of course, are the wondrous locals artists and volunteers. They really make a difference to the vibe. If you come along you’ll feel it. I promise!
Wanderer celebrates both established artists and emerging talent. What opportunities does the festival provide for up-and-coming performers to showcase their work?
We have local physical youth theatre FLING back with us, at Sam’s Caravan we are featuring multiple youth bands and musicians (watch out for the pretty fabulous Banana Sliders – average age 8!), The Big Lost Band has a strong though representation. We’re always looking out for the up and comers.
The arts program also includes cultural experiences such as the Welcome to Country and Smoking Ceremony with the Duurunu Miru Dancers. How do you ensure the festival respectfully integrates First Nations voices and traditions?
We have spent a lot of time listening and talking with the local mob. We take our lead from them. Especially in regard to ceremony and protocol. We’re very lucky to be able to create this festival on this beautiful Country – Yuin Country. Also over the course of the festival we have featured lots of local indigenous voices. Also this year, for the first time, we have a group of indigenous young people being mentored by our mainstage production crew.
What’s one moment, performance, or surprise in this year’s arts program that you personally can’t wait for audiences to experience?
One??! I’m going to say The Big Lost Band’s version of Creep. But honourable mention to the moment when the local choir sings “Everyone’s Waiting” with Missy. And the second runner up in the Hobby Horse Finals receiving their ribbon. Not a dry eye!
Tickets are selling fast, get yours now from www.wanderer.com.au
Wanderer is biennial so it would just be too long of a wait until the next one in 2027 if you miss out!
October 4th-5th Wanderer Festival Pambula Beach, NSW
3rd-5th Oct Onsite Campground
Subscribe to www.wanderer.com.au and follow us on socials to stay up to date.
Wanderer Festival is supported proudly by the NSW Government through its tourism and major events agency, Destination NSW
Reconnect. Explore. Discover. Be a Wanderer.
Wanderer: Official Website | Facebook | Instagram
Sweat It Out are gearing up to pioneer the first of its kind, Amsterdam Writing Camp. Taking place from October 20th to the 22nd 2025 and curated by KLP (Kristy Lee Peters), head of Publishing/A&R at Sweat It Out; the camp will spotlight Australian talent on the international stage, fostering worldwide creative exchange.
Over 47+ artists will be collaborating over eight studios at one of the world’s leading electronic music conferences. Australian producers Crooked Colours, Juno Mamba, Soul Wun, ASTA and Sippy will be joining forces with international writers Chaney, Deeper Purpose, TCTS, Stevie Appleton, VNSSA, Quarterhead plus many more.
“We’re creating a space that connects Australian creators with the global music community in a meaningful, high-level way,” says director, KLP. “It’s more than a writing camp, it’s a platform for future-shaping collaborations and real industry access.”
Joining the initiative will be Sweat It Out competition winner, Airwolf Paradise. The prolific producer has released on global labels, Higher Ground, Trick, Diynamic and Three Six Zero Recordings; alongside remixes for heavyweights, Calvin Harris and Dom Dolla. Performances at festivals Lollapalooza (Chicago) and Elements (Pennsylvania) plus Hi Ibiza and London’s Drumsheds, of note.
Partners for the Amsterdam Writing Camp include independent music publishers Kobalt Music Group, Payday and Gallery Recordings. Plus Telepathic Instruments, the brand founded by Tame Impala’s Kevin Parker focusing on an innovative chord-generating synthesizer. As well as software company and leading distributor, Plugin Boutique, the go-to destination music producers.
As part of a collaboration with Telepathic Instruments, artists will also have access to Orchid over the three day writing camp. Known internally as an ideas-machine and selling out in minutes internationally in its first two drops, Orchid is designed to help songwriters, producers and artists find what’s on their mind. With its intuitive chord-generating interface, three-synth-engines and a wide array of patterns, patches and FX; Orchid takes care of complex chord maths so artists can feel out a song, and wherever it may take them.
Leading Australian independent dance label Sweat It Out have launched the careers of artists including RÜFÜS DU SOL, Dom Dolla, What So Not and Purple Disco Machine. They recently partnered up with Spotify to launch the EQUAL Writing Camp aimed at platforming under-represented voices in the music industry. The first of its kind in the Australian dance space, bringing together 20+ female and gender expansive talent. Previously two more writing camps under the Sweat It Out banner took place featuring Ninajirachi, Big Wett, Thandi Phoenix and PARIS.
Owner and CEO of Sweat It Out Jamie Raeburn adds, “Very excited to host our first Amsterdam songwriters camp. Bringing so many talented Australian writers to work with some of our favourite international artists has been long on the to-do list. Our ADE parties have hosted some of the biggest names in the dance scene in their early stages; hopefully we replicate that in the studio.”
To wrap the first official Amsterdam Writing Camp – an industry mixer bringing together all those who took part, encompassing the ethos and drive that is Sweat It Out. To showcase, celebrate and platform the artists involved.
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Ten years ago, beehive launched as a new avenue for musicians to engage with the Australian music media landscape in a meaningful way – a boutique music publicity agency that had a heartfelt love for the craft at the centre of every project and campaign.
Starting with just one person – Sammie Walsh nee Anschau – at the helm, beehive quickly grew in its early years to include offices in Melbourne and Sydney, fleshing the team out to accommodate a growing roster of talent from across different genres, events and eventually, the worlds of sport and comedy alongside music.
Navigating a full decade has meant so much to us – the beehive team – as we have all been able to see how the creative industry continues to change over time. We’ve grown so much over the years; the vision of what this publicity company could be has never changed, yet the achievements and projects we’ve been able to be a part of have exceeded our wildest expectations. The publicity space we entered in 2015 is one that is vastly different to the one we now operate in 2025 – we’re always changing, learning and evolving to be able to best amplify each project we are part of.
In the last decade, we have been able to harness our collective experiences within the industry into a group approach to music publicity, music marketing, radio plugging and DSP strategy that is equal parts adaptable and unique to each client. The ability to be nimble enough to ensure we are using the best strategies to drive an artist forward in their journey is one that we are incredibly proud of.
It has been a dream to work with artists at all points of their journey. For some, this has meant from the ground up; working with artists including Psychedelic Porn Crumpets, South Summit, The VANNS, Dulcie, Eliza & The Delusionals, Yawdoesitall, Late 90s, Puree, The Tullarmarines, Greta Stanley and Evie Irie in experiencing their formative steps, right through into their breakthrough moments that have yielded national and international success. Representing established artists including Ziggy Alberts, Hollow Coves, JET, Kisschasy, The Amity Affliction, Sam Fischer and more as they have taken massive strides in their career has been an absolute joy.
For others, it has meant developing album release and/or tour campaigns for international names including Duran Duran, TLC, Matt Maltese, Frank Turner, Anberlin, George Clinton, Yellowcard, Wunderhorse and more for the Australian market. This has also extended to our comedy roster, being able to execute successful campaigns for renowned and award-winning comedians including Maria Bamford, Anna Akana, Daniel Muggleton, Amy Hetherington and more.
Whether it has been landing indie bands their first plays on triple j, witnessing some of those same bands secure their first Feature Album placements and Like A Version performances, and Spotify billboards in Times Square; or being with artists for their first television appearances and commercial radio events, we have relished the opportunity to support, celebrate with them, and continue to learn along the way.
Working across editorial, streaming, radio and television has given us invaluable insights into the dynamism of the Australian media and entertainment spaces. Similarly, we have been so lucky to work across a multitude of events and tours, including nationally renowned festivals such as BIGSOUND, Howlin’ Country, A WEEKEND In The Gardens, One Of One and Wanderer Festival; as well as labels and brands including Live Nation, Concord Music Publishing, Destroy All Lines, Unified, BMG, Virgin Music, Double Drummer, Lemon Tree Music, Sony Music Australia, Universal Music Australia and more.
As we look towards the next decade in this flourishing space, the entire beehive team would like to extend our endless thanks to the artists, management teams, events and festival organisers who have trusted us with executing their publicity and digital campaigns over the years. It has been a true honour to be part of your story, and we look forward to continuing to bring your unique perspectives to more audiences!
We would love to acknowledge the tireless work and dedication of the music journalists, radio hosts and programmers, podcast teams, playlist curators, DSP platforms and content makers who care so much about championing artists and their music – we literally would not be able to do our jobs without your input and advocacy.
And finally, an extra special thanks to the hugely talented individuals who have been part of the beehive journey over the years. As publicists and digital strategists, we would not have been able to grow into our current state without the invaluable time and efforts of Adam Lindsay, Bianca Giunta, Sose Fuamoli, Daniel Seymour, Liz Browne, Caitlin Crawley, Jade Gould, Nick Mayor, Georgia Stone, Amber Gallant, Luanne Shneier, Amy Kerby and Johnny Moretti.
“What an absolute privilege to be able to wake up every day and call this work. To work with such a wonderful hive of people, both internally and those externally. So many who have become our friends and family. The Australian music industry is small but MIGHTY, filled with incredible talent both in the artists and the people behind the scenes. I’m so proud to be a part of this incredible industry and I am so ready for the next ten!” Sammie Walsh
Here’s to the next decade!
My concerts have always been filled with the music I love. I’m simply sharing on stage the music that has been close to my heart since childhood. For this album, I especially featured Noh, the traditional Japanese performing art, and connected it with the Silk Road — a place that left a deep impression on me during my travels around the world.
Interestingly, even after performing thousands of concerts worldwide, I have never felt audiences to be truly “different.” No matter the country or region, when faced with music, their reactions are the same, and the bond of the heart is universal. That’s why I have never changed the way I compose or perform depending on the location.
I spent many years studying classical music and mastering its techniques. Using those skills to embrace the diverse music I have loved since childhood brings accessibility and excitement to my concerts. When the audience discovers a joy of living through my music, that becomes my greatest joy as well.
At the Moscow Conservatory, I was able to learn techniques and forms of expression that I could not acquire at a Japanese music university. While I was there, a coup took place that marked the end of the Cold War, yet my professors continued to give lessons without showing the slightest concern. From that, I learned that dedicating one’s life to music — even at the risk of life itself — and love for music surpass everything else.
The most significant milestone is that this is the first time one of my albums has been released in the United States. Another is that the legendary Ron Carter participated in it. And perhaps most remarkable is the combination of Japan’s traditional performing arts with the highest level of jazz — something I had never attempted before.
Compared to the struggles of my past — searching for ways to live as a musician, enduring war, poverty, and raising a child alone — the new chapter would be about letting go of ideals and discovering a world filled only with love, the joy of music, and the joy of life.
Since this album is a journey along the Silk Road, I hope listeners enjoy the exotic atmosphere it brings. With Ron Carter’s jazz added, it transcends even the Silk Road, creating a space that is truly “beyond.” In the final track, I want listeners to feel so light it’s as if they are being released into the universe.
That is exactly what defines this album. It features Noh chanting — often called the world’s oldest form of opera — the pinnacle of jazz bass, the unique Mongolian khöömei throat singing (one person producing two voices simultaneously), whistling, and the Romanian pan flute. These are all extremely rare and unique, requiring special techniques that few in the world can master.