Photography: Charlyn Cameron
Your new single, Something In The Winter, explores your journey following an ADHD diagnosis. Can you share what inspired you to write this song and how the experience shaped your approach to music?
Since I was young, my family, who are also really creative, have always encouraged my older sister and me to thrive in creative self-expression. I grew up learning many instruments across different styles (trumpet, piano, guitar, and voice). I gravitated towards jazz and rock and started learning more about what my voice could do as an instrument.
I would dance with my sister nearly every day of the week—ballet, tap, and jazz—and that was my norm. Music quickly became my outlet for everything, especially emotions. How often I use that outlet depends on how I’m feeling. Singing is my biggest escape, and with that comes writing. It feels normal and natural to me—when I sing, I embody every note and word. The ability to create melodies and lyrics is incredibly special.
Receiving an ADHD diagnosis at 20 was weirdly significant. I struggled with thoughts like, “How come no one told me?” or “Why did it take so long to find out?” It weighed on me a lot. I also felt embarrassed, as if it were something bad. Then I read The Year I Met My Brain by Matilda Boseley, a journalist for The Guardian who also received an adult ADHD diagnosis. Her book explained so much and helped me see the positives.
Post-diagnosis, I had to deal with those emotions, so I started writing songs, and Something In The Winter evolved quickly. It helped me express my frustrations and accept who I am, why I’ve done certain things in life, and what I can do next. The song is a reflection of my brain—why I’m so drawn to creativity and self-expression. Once I accepted that, I realized it’s a journey to learn from and grow along the way.
You’ve described the song as a reflection on feeling “too much” or “not right.” How do you hope listeners—especially those who relate to neurodivergence—connect with the track?
Before my diagnosis, I had inklings that ADHD was a possibility for me. I struggled to stay in one place, easily got distracted, and found homework impossible because there was always something more exciting to do. Making and keeping friends got harder as I got older. I often worried people found me annoying or too loud. I would give up when things got overwhelming and changed jobs frequently because the excitement wore off.
My imagination has always run wild, creating dreams and finding ways to chase them. Over time, I’ve come to accept that how I feel is completely okay—I’m not alone.
When I started making music, I wanted to create a space of support through my songs. My music shares stories of self-worth, strength, and mental health. I want my listeners, neurodivergent or not, to feel supported, comfortable, and understood. My songs allow me to grow personally, clear my mind, and release emotions meaningfully. I care about authenticity in my career and hope to connect and inspire through my art.
Your previous release, Firework Night, tackled your struggles with Endometriosis. How do these deeply personal themes influence your songwriting, and do you find it therapeutic to express them through music?
I depend on music as an outlet. When life hands me things bigger than myself, I need somewhere to put those emotions—so they turn into songs. A lot of my past music has explored sadder, deeper themes because I was using those songs to process sadness.
Life is unpredictable. I’ve always been a happy, healthy kid, and I got to travel a lot growing up. But finding out new things—especially about my health—has been overwhelming. These experiences remind me that I’m alive. People change, mindsets change, and health changes. I’ve gotten better at accepting things as they are and learning from them, though I don’t have it all figured out yet—I’m only 21.
I remind myself that there’s plenty of time ahead to figure things out. I’m grateful for my self-awareness and the amazing people around me—friends, a partner, mentors, and my family. Those relationships are deep and special to me. It’s important to talk, share, cry, laugh, and make mistakes in life.
As an independent artist, you’ve also taken on the role of self-producer. How has that journey been for you, and what challenges or breakthroughs did you experience while creating Something In The Winter?
Women in production are the coolest thing. I’ve always had a deep understanding of what goes into making a song—the moving parts, melodies, effects, and groove. I played in a lot of ensembles growing up, which taught me how to listen to different instruments and understand my role within them.
I became really drawn to production in high school. I bought Logic Pro and started figuring it out. In 2022, I studied Sound Production at The Grove Studios, which helped me grow and gain my first two production credits. I worked on Write A Song Sounds Shit by Turpentine Babychino, which was played on Triple J and MTV, and Clouds by TYRANTS. I also co-produced my debut EP, The Lonely Man (2023).
Production is still a male-dominated field, but I’ve been lucky to work with incredible producers who support my artistry. Something In The Winter was recorded at Hazy Cosmic Jive Studios in Newcastle with producer Gareth Hudson. It was a lot of fun, and I had my bandmates Eli Love (drums) and Brandon Yarnold (bass) involved.
You’ve mentioned that the past two years have been transformative for you. How has your personal growth influenced your sound and approach to artistry?
Music has always been my emotional outlet. The past two years brought a lot of big changes, and I’ve spent time processing them. I’ve grown a lot as a person and an artist, learning to let go of things and people that no longer serve me—while also making mistakes along the way.
Recently, I’ve been inspired by artists like Middle Kids, Gang Of Youths, Sam Fender, and Maggie Rogers. I’ve been pushing myself to create without pressure or judgment, which has led to some exciting new songs that truly resonate with me.
Folk Rock often thrives on storytelling and raw emotion. How do you balance vulnerability with crafting a song that resonates musically and emotionally with your audience?
I love storytelling and see it as one of my strengths as a writer. If I’m honest and authentic with myself, vulnerability follows naturally. There are always people who think and feel the way I do, so someone will relate to my music.
It’s important to enjoy the music you create. I love both the creative process and the feeling of seeing a finished song. Once a song is released, it no longer belongs just to me—it belongs to the audience. Everyone listens differently and connects with music in their own way.
Some people say I sound more country than folk, while others say I sound more pop than rock. I don’t want to fit into a box—I just create because I love it. It’s a release for me, and the bonus is that I get to share it with others. Looking back at old releases is like reading my old diary. When I’m creating, I don’t think about what people will “think” because, at first, the music is for me.
Newcastle has a strong and growing music scene. How has being based there influenced your career and creative process?
There are so many amazing artists in Newcastle, all with strong sounds and identities. Some of my favorites are Amy Vee, Mark Wells, Georgie Winchester, Angela Rose, St Lennan, and Chai Chester. I feel honored to walk the same streets as them and create in the same space.
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What’s next for you following the release of Something In The Winter? Are there any upcoming projects, performances, or collaborations fans should look forward to?
There’s always something happening behind the scenes! I have a few shows coming up, and I’m currently in the early stages of writing and recording my next project. I can’t give too much away just yet, but I’m really excited about where my sound is heading. Fans can definitely expect more music in the near future.
What message do you hope listeners take away from Something In The Winter and your music as a whole?
I hope listeners feel understood and less alone. Everyone experiences moments of self-doubt and feeling “too much” or “not enough.” But those feelings don’t define who we are. It’s okay to be different, to process emotions in unique ways, and to embrace your quirks. Music has helped me make sense of myself, and I hope my songs can do the same for others.
Where can fans connect with you and stay updated on your latest releases?
You can find me on Instagram, TikTok, and Facebook (@yourartistname). My music is available on all streaming platforms, including Spotify, Apple Music, and YouTube. I love hearing from listeners, so feel free to reach out and say hi!
Words and Photography: Louie Mosscrop
The night had finally arrived – Falling In Reverse’s Popular MonsTOUR in Melbourne. With a sold-out show at Rod Laver Arena, right in the middle of the F1 weekend and competing with a multitude of other artists performing across the city, selling out an arena was no small feat. It was a true testament to the dedication of Melbourne’s music fans.
Upon arrival, the lines surrounding Rod Laver Arena were unlike anything I had witnessed in a long time. There was no option for a fashionably late entrance if you wanted to get through the doors in time to catch the unique musical stylings and high-energy live performance of Hollywood Undead.
Hollywood Undead kicked off the night with their signature blend of hip-hop and rock, immediately energizing the crowd and setting the tone for the evening. Their stage presence added a theatrical element, making their performance as visually captivating as it was sonically dynamic. Their setlist, packed with fan favorites, showcased their ability to merge party anthems with heavier rock elements—a perfect way to start the show.
This was my second time seeing them live outside of a festival setting, my first being at The Rosemount Hotel in Perth around 2013 (if I remember correctly). The transition from an intimate venue to the grand Rod Laver stage was a significant leap, and they made sure to use every inch to their advantage. Their setlist featured hits from across their discography, including California Dreaming, Comin’ In Hot, Hollywood Forever, Bullet, and Undead. Whether it was your first time seeing them or you were a long-time fan, their performance was the perfect way to kickstart the night.
Next up, Black Veil Brides transformed the arena into a gothic spectacle, complete with dramatic lighting and their signature dark aesthetic. Andy Biersack’s commanding vocals, combined with the band’s intricate musicianship, demonstrated both technical skill and artistic vision. His ability to seamlessly switch between clean vocals and powerful screams is a testament to his two decades of experience on stage.
With their last visit to Melbourne being in 2020, it was clear fans had been eagerly awaiting their return. In the general admission section, nearly everyone was dancing or singing along to fan-favorite tracks. Their setlist spanned from their latest release Bleeders to older classics like Devil, Knives and Pens, Perfect Weapon, and In The End, to name a few. The band’s stage presence, combined with an impressive light show, provided not just a treat for the ears but a visual spectacle as well.
As the support acts wrapped up and anticipation for the headliner reached its peak, I want to take a moment to acknowledge the often-overlooked touring crews, venue staff, and behind-the-scenes teams. Seeing the seamless stage transformation between Black Veil Brides and Falling In Reverse, the well-managed GA sections, and the overall smooth execution of the night was a testament to the dedication and hard work of those in the live music and entertainment industries.
Then, it was time for Falling In Reverse. With their popularity only growing year after year—and Ronnie Radke ensuring everyone knows it—they were always going to deliver a visually intense performance.
As Highway to Hell played through the speakers, the lights dimmed, and the band made their way to the stage, led by Ronnie walking through the underground halls of Rod Laver Arena, playing up to the camera and exciting the crowd before finally emerging.
Known for their elaborate productions, Falling In Reverse incorporated striking visuals, pyrotechnics, and dynamic lighting to enhance Ronnie’s commanding performance. Their video clips played in sync with the music on the screens behind them, adding another layer to the experience and creating a multi-sensory spectacle that heightened the emotional impact of each song.
Ronnie wasted no time engaging with the audience, pacing across the front of the stage while pyrotechnics exploded not just behind the band, but in front, between, and even above them—yes, if you looked up, flames were shooting from the roof.
Never one to shy away from controversy, Ronnie introduced the infamous “Asshole Cam,” openly embracing the label and humorously extending it to the crowd. In true Radke fashion, he abruptly left the stage, declaring, “Let’s go to F1,” implying that, as fellow “assholes,” we would follow suit.
The band returned after a backstage skit featuring Steve Irwin, though Ronnie remained offstage for a while. This seemed to be an intentional move, allowing their live video feed to add another dynamic element to the performance—possibly also giving him a moment to cool down.
Despite his self-proclaimed “asshole” persona, Ronnie appeared genuinely appreciative and in awe of the massive turnout Melbourne had given him.
The setlist was stacked, featuring Zombified, I’m Not A Vampire, The Drug In Me Is You, All My Life, Popular Monster, and their collaborations with Tech N9NE and Alex Terrible of Slaughter To Prevail—Ronald and Watch The World Burn. No one in attendance could have left disappointed.
Beyond the technical aspects, the emotional connection between the bands and the audience was electric. The crowd—a diverse mix of ages and backgrounds—shared a collective passion for the music. The energy remained high throughout the night, with fans singing every word, raising their fists in unison, and moving as one across the arena floor, thanks to Ronnie’s direction.
The sheer diversity of the lineup—from the rap-rock fusion of Hollywood Undead to the theatrical metal of Black Veil Brides and the genre-bending style of Falling In Reverse—made for an unforgettable night that catered to a broad spectrum of Melbourne’s music lovers.
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Sydney – 11am (AEDT), Wednesday 12 March 2025. An unmissable line-up of more than 50 cutting-edge and legendary international and Australian artists has been announced for Vivid LIVE at Sydney Opera House, part of the Vivid Music program of Vivid Sydney. Australia’s biggest festival of light will fuse art, innovation and technology in collaboration with some of the most boundary-pushing artists, musicians, thinkers and culinary experts of our time from Friday 23 May to Saturday 14 June. Transforming the World Heritage-listed building with live contemporary music and art, Vivid LIVE at Sydney Opera House 2025 as part of Vivid Sydney will feature international cult favourites, local trailblazers and influential culture-shapers in Australian exclusives, premieres, an epic orchestral collaboration, one-off projects, anniversaries, Studio Parties and the captivating Lighting of the Sails. Vivid LIVE at Sydney Opera House is curated for the tenth time by Sydney Opera House’s Head of Contemporary Music, Ben Marshall, who says: “There’s nothing quite like Vivid LIVE at Sydney Opera House. As well as gathering many of the world’s greatest musical talents here, we’re welcoming the vibrant communities that infuse our music scene with the sounds of Sydney itself. This is what makes Vivid LIVE stand apart – experiencing this great range of incredible international and local artists inside a living work of art. “From the dazzling display of David McDiarmid’s work on the sails to the subterranean thrum of the Studio Parties by local collectives like dstreet and Mad Racket, from our city’s future music exploding in the Utzon Room with artists like Western Sydney’s SAHXL and neo-soul singer Yasmina Sadiki to the intake of breath before the first notes pierce the air inside the Concert Hall when titans like ANOHNI, Portishead’s Beth Gibbons and Sigur Rós take to the stage – it’s the combination of these magnetic moments that make Vivid LIVE such an unforgettable, singular experience as part of Vivid Sydney.” Vivid Sydney Festival Director, Gill Minervini, said: “Dream is the theme for Vivid Sydney 2025 and we’re encouraging everyone to dream big. Our ongoing partnership with Sydney Opera House further reflects that theme with a stellar lineup of world-class artists, Australian exclusives and, of course, a showstopping projection for Lighting of the Sails featuring David McDiarmid’s bold and unapologetic vision. Having worked with David and been a witness to his incredible artistry firsthand, this year’s Lighting of the Sails is extra special. We can’t wait to showcase his beautiful work to the millions set to visit Vivid Sydney this winter.” The Vivid LIVE at Sydney Opera House line-up includes: LIGHTING OF THE SAILS LIGHTING OF THE SAILS: KISS OF LIGHT BY DAVID MCDIARMID – A celebration of visionary Australian artist and activist David McDiarmid will illuminate the sails during Vivid Sydney. Marking the 30th anniversary of McDiarmid’s death, Kiss of Light showcases his kaleidoscopic queer aesthetic — technicolour markings, swirling hand-painted fabric and prismatic mylar forms — broadcasting an enduring, rallying cry for equality, joy and freedom. Pulsing with the energy and spirit of the counterculture, the seven-minute projection animated by creative technologists VANDAL will honour McDiarmid’s fearless use of colour, humour and fierce intimacy to celebrate diverse identities and creative rebellion. CONCERT HALL ANOHNI AND THE JOHNSONS: Mourning the Great Barrier Reef (Aus excl) – After nearly a decade away, the interdisciplinary artist ANOHNI returns for two exclusive nights as part of her world tour. ANOHNI culminates a month of field research and filming with a program of her currently touring music from My Back Was A Bridge For You To Cross (2023) and other classic work from her impressive recorded oeuvre accompanied by the Johnsons, set to cinematic portraits of the Great Barrier Reef today and Australian scientists who have studied and witnessed the reef across decades. My Back Was A Bridge For You To Cross was named Album of the Year by The New Yorker. BETH GIBBONS – The searing, haunting voice of Portishead, Beth Gibbons presents the Australian premiere of her solo work, performing tracks from her critically acclaimed and most personal album to date, Lives Outgrown (2024), alongside career classics. The legendary British singer’s post-modern sound blends folk, modern classical and jazz textures with her elegant yet gritty, swooping vocals, with highlights including the best-selling recording of Górecki’s canonical Symphony of Sorrowful Songs (2014). SIGUR RÓS with the SYDNEY SYMPHONY ORCHESTRA – Icelandic trio Sigur Rós, known for their pioneering post-rock sound, join forces with the might of the Sydney Symphony Orchestra and UK conductor Robert Ames over three nights, performing epic tracks from their latest album ÁTTA alongside beloved favourites drawn from their extensive back catalogue. JAPANESE BREAKFAST – After an eight-year wait, the Grammy-nominated indie-pop group return for their biggest Sydney show yet, celebrating their highly anticipated, poetic and moody new album, For Melancholy Brunettes (& Sad Women). Fronted by Michelle Zauner, a singer, songwriter, guitarist and bestselling author, Japanese Breakfast continue to captivate fans and critics alike with their singular dreamy rock sound. MARLON WILLIAMS – Aotearoa’s soulful indie-folk crooner presents his groundbreaking fourth solo album, Te Whare Tīwekaweka, recorded entirely in the Māori language. Joined by a local Kapa Haka group for its national premiere, the five-time Aotearoa Music Award winner delivers heart-stopping vocals and an effortless blend of country, bluegrass, folk and synth-pop. PAT METHENY – The 20-time Grammy Award-winning iconic jazz guitarist and composer returns to the Concert Hall for the first time in more than a decade. Playing more than a dozen guitars, Metheny offers songs from his illustrious 50-year career and recent albums, MoonDial (2024) and Dream Box (2023), alongside his rare storytelling. EZRA COLLECTIVE – The BRIT Award and Mercury Prize-winning jazz outfit is celebrated as one of the UK’s most exhilarating live acts, with their effervescent, eclectic sound blending Afro-Cuban rhythms with grime, reggae, Latin, hip-hop and soul. After a sell-out world tour and a 5-star set at Royal Albert Hall, the five-piece return to Australia with their joyous new album Dance, No One’s Watching (2024). JOAN SUTHERLAND THEATRE THE SABRES OF PARADISE (Aus excl) – After a 30-year hiatus, seminal British electronic group The Sabres of Paradise reunite for the first time in their Australian debut. Fusing iconic classics and hidden gems, the Australian exclusive show will channel the energy of their legendary Sabresonic warehouse raves and honour the groundbreaking legacy of co-founder and DJ, the late Andrew Weatherall, all accompanied by a spectacular visual display. WAVYLAND 7TH ANNIVERSARY feat. BKTHERULA, Thaiboy Digital, Babyxsosa + more (Aus excl) – Trailblazers of Australia’s underground scene, WavyLand present two explosive nights of genre-defying soundscapes, left-field beats, cutting-edge audio visuals and electronica. Featuring transcendent Thai-Swedish rap force Thaiboy Digital, boundary-pushing American hip-hop innovators BKTHERULA and Babyxsosa, Brooklyn multihyphenate producer Slauson Malone 1, Stockholm sonic mastermind Oli XL, NYC’s ever-evolving icon Wiki, and groundbreaking Melbourne collective Posseshot. PALE JAY – Mysterious soul singer, jazz pianist and producer Pale Jay, who has kept his identity hidden behind a mask since his 2021 debut EP, comes to Australia for his global live debut and delivers a one-of-a-kind show orchestrated exclusively for Vivid LIVE featuring a string quartet. The craftsman of soul-infused heartbreak will showcase his signature sound on Bewilderment (2023), a seductive blend of slow disco, lovelorn soul and Afrobeats. RAVYN LENAE – Redefining the sound of R&B, critically acclaimed neo-soul artist Ravyn Lenae returns to Australia with her honey-sweet vocals and synth-funk. The Chicago-native boasts collaborations with Childish Gambino and Doechii, and her genre-defying sophomore record Birds Eye (2024) was named by SZA as one her favourite albums of the year. MOUNT KIMBIE – Early stars of London’s electronic scene, Mount Kimbie, have evolved from a hot young club duo into a four-piece indie-rock group, exploring avant-garde post-rock, shoegaze and electronica on their latest album, The Sunset Violent (2024). Known for their post-punk rhythms, the forward-thinking alt-rockers bring their expansive new sound to the Joan Sutherland Theatre. JESSICA PRATT – With her bewitching voice and acoustic guitar, Los Angeles-based singer-songwriter Jessica Pratt returns to Australia for the first time in 10 years. The revered folk-pop star’s latest record, Here In the Pitch — which dominated 2024’s year-end lists — blends her signature mellow folk with mystical percussion and chamber pop, evoking the shadows and sunshine of the Californian dream. DRAMA THEATRE ICHIKO AOBA – With just her voice and nylon-strong guitar, Japanese folk singer-songwriter Ichiko Aoba has attracted a global cult following with her enchanting mix of cinematic dream pop and meditative, atmospheric folk. Enamoured by the music of Disney and Studio Ghibli films, Aoba has collaborated with the likes of Ryuichi Sakamoto and just released her ninth studio album, Luminescent Creatures (2025). MISS KANINNA – A fearless storyteller, gifted vocalist and explosive live performer, ARIA-nominated rapper/singer Miss Kaninna has taken the Australian music scene by storm with her arresting mix of hip-hop, neo-soul and R&B. The proud Yorta Yorta, Dja Dja Wurrung, Kalkadoon and Yirendali woman first made waves in 2023, speaking truth to power with her debut single and anti-establishment anthem, Blak Britney. SURPRISE CHEF – Renowned for their slinky soul and groove-infused jazz mastery, Melbourne quintet Surprise Chef will celebrate the release of their hotly awaited new album Superb. With a cult-like following and praise from the likes of Questlove and Jurassic 5’s DJ Nu-Mark, the band continues to make waves internationally. PHOEBE GO – Previously fronting much-loved acts Snakadaktal and Two People, Phoebe Go is the solo project of Australian alt-pop artist Phoebe Lou. Full of hope and lyrically heavy at its crux, Go’s critically acclaimed debut solo album Marmalade (2024) catapulted her to new sonic heights through its introspective exploration of growing up, staying young, losing your feet and finding them again. UTZON ROOM SAHXL – Homegrown vocal prince SAHXL blends R&B and Trapsoul with honest storytelling and powerful melodies. The 21-year-old became the first local artist to sign directly with legendary US label Def Jam, releasing two breakthrough EPs and earning praise from American tastemaker Ebro Darden. 3% – ARIA award-winning First Nations hip-hop collective 3% bring their uncompromising sonic power to deliver a showcase of Blak excellence. Exploding onto the scene with their scorching 2023 anthem OUR PEOPLE, the supergroup comprises Yuin and Thungutti rapper Nooky, Noongar rapper/songwriter and actor Dallas Woods, and soulful Gumbaynggirr singer Angus Field. G2G – Commanders of Sydney’s DIY punk scene, G2g fuse post-punk riffage with playful vocals. Unleashing pep-charged tunes on their long-awaited debut album The Gherkin (2024), the punk rockers’ live shows are known for their infectiously ragged, fun-filled fury. VELVET TRIP – A kaleidoscopic fusion of psych-pop and rock, Velvet Trip will celebrate the release of their forthcoming EP, Glimmers. Fresh from captivating audiences while supporting Djo and performing at Australia’s most renowned festivals, the Gadigal outfit delivers a euphoric performance that pulses with colour, movement and boundless energy. EMILY WURRAMARA – ARIA award-winning artist and Warnindhilyagwa woman, Emily Wurramara returns with her soul-stirring voice and captivating blend of folk, country, blues and R&B. Building on the success of her latest album NARA, Emily continues to explore themes of self-acceptance, connection to country and ancestral storytelling in her music. STATION MODEL VIOLENCE – Sydney post-punk outfit Station Model Violence is the new project formed by DX, best known for Total Control, and Buz from RMFC with members of cult Sydney band Den. After only a handful of live shows and a single demo, the psychedelic rockers have already generated buzz in the lead-up to recording their debut LP this year. YASMINA SADIKI – A seasoned veteran of Sydney’s live music scene, rising neo-soul extraordinaire Yasmina Sadiki brings her shimmering vocals and seductive melodies to the Utzon Room. With cinematic grooves and a love for vocal improvisation, the young singer-songwriter has become one of the city’s most in-demand musicians. STUDIO TRACKWORK 5TH BIRTHDAY feat. Brodinski, Vv Pete & Utility – Sydney label Trackwork will celebrate their fifth birthday with the explosive French producer Brodinksi, the SZA-co-signed Sydney-based rap trailblazer Vv Pete and Trackwork fearless founder and scene-smashing producer Utility. Studio Party by BARNEY KATO feat. Sex Tags – DJ Fett Burger and DJ Sotofett – Beloved anti-hero, Sydney party raconteur and self-proclaimed music snob Barney Kato returns with two of his all-time favourite DJs, Norway’s legendary Sex Tags crew – Fett Burger and Sotofett – known for their unpredictable, mind-blowing long-form psychedelic forays into jungle, techno, dub, disco, house, punk, ambient, breakbeat and outer limits. Studio Party by DSTREET feat. DJ MARIA., Sunju Hargun & Tangela – Back after their wildly popular 2024 Vivid LIVE set, Sydney’s hottest covert party collective dstreet returns to the Studio for a night of deep, psychedelic and immersive sounds featuring Japan’s techno “trance but not trance” queen DJ MARIA., Thailand-based underground tastemaker Sunju Hargun and dstreet founder and homegrown talent Tangela. Studio Party by HOUSE OF MINCE feat. Boris & The Mince Angels – Sydney’s beloved queer dance collective returns for one of Vivid LIVE’s most euphoric offerings with The Mince Angels and legendary Berghain resident Boris, one of the most dedicated protagonists of Berlin’s vibrant queer electronic scene. Studio Party by DUNJ feat. Shackelton, Azu Tiwaline & DUNJ Crew – Known for their bass-heavy and storied DIY parties held around the harbour, the collective of DJs and producers will be joined by world-renowned underground artists, English maestro of psychedelic trance Shackelton and acclaimed Tunisian producer Azu Tiwaline, along with their original DUNJ Crew for a hypnotic, percussive night. Studio Party by MAD RACKET feat. Red Rack’em, Cousin (live) with Mad Racket DJs – The inner west’s longest-running dance party institution, Mad Racket return with its core crew – Sydney DJs Ken Cloud, Simon Caldwell, Zootie and Jimmi James – this time joined by Bristol-based underground mainstay Red Rack’em and Sydney’s Cousin, whose deep and understated, yet powerful take on house, dub and techno continues to soar. KEY INFORMATION WHAT: Vivid LIVE at Sydney Opera House WHERE: Sydney Opera House, various venues What’s On pre-sale: Thursday 13 March, 10am AEDT Vivid Sydney is owned, managed and produced by Destination NSW. |
WA rock’n’roll saviours The Southern River Band have released their towering new single and rally cry, “F**k You, Pay Me”, out now via Civilians. The band will take the single out on a headline tour around the country in May.
A song of the people from the band who has your back, the single is a middle finger to all the dirtbags who refuse to cough up what’s owed. It’s a tale as old as capitalism – living week to week, watching your hard earned cash flow up into the ivory tower when the rent is due and the bills need to be paid. With its charged-up riff and galvanizing chorus, when the debt starts piling up chuck on the song and shout it with your whole chest.
“This song is for everyone who has ever been stiffed, ripped off, bullshitted or flat out not received what they were promised. To the guilty parties (see; thief) – F**k You, Pay Me.” – Cal Kramer (vocals)
Exploding into the spotlight at the end of 2023 after being featured on every music lover’s favourite YouTube series, Justin Hawkins Rides Again, the rest of the world is starting to see what Australia has known for quite some time – The Southern River Band are the real deal.
Hailing from Thornlie in Western Australia (Where? Exactly), SRB has spent a decade putting in the hard yards and earning their reputation the old-fashioned way: by taking their full-throttle live show anywhere with a stage and a bar. One of those ‘you-just-have-to-see-them-
In 2024, SRB kicked it up a gear with the release of their high-octane fourth record, D.I.Y, that not only landed at #6 on the Aus ARIA Chart, but the vinyl needed to be repressed before it was even released. The record’s breakout six-minute epic “Stan Qualen” thrust the band on the global stage, charting in 23 countries and taking them on their first international tour. The demand for SRB was so insatiable their first UK show sold out in just four days, leading to a venue upgrade more than double the size which, you guessed it, sold out – as did most of the tour. The band has also found a home on the European festival stages, leaving thousands gobsmacked at The Great Escape, Vestrock, Sweden Rock Festival, Rock Wrechter and Down The Rabbit Hole, and they will return in 2025 to dominate Download, Hellfest and Resurrection festivals.
Before the band duck off back to Europe, they’ll take their new single out for a spin on an Australian headline tour – hitting capital cities in May. Tickets on sale March 13 via thesouthernriverband.com.
As Justin Hawkins of The Darkness said, “Now this is a proper f***ing rock band”. But hey, don’t take our word for it, find out for yourself.
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How did the collaboration between you two come about? Was this something you had discussed before, or did the opportunity arise organically?
Lin Gardiner – Julia Sound (JS): This was definitely an organic collaboration. Kinnie and I have worked together a bunch over the last few years, mainly on her solo music, but she also featured on a track from my 2023 album. When I was putting this track together, Kinnie’s was the only voice I could hear on it, so I was thrilled when I asked if she’d be up for another feature, she said yes!
“Cars Crush” blends Julia Sound’s mellow electronica with Kinnie Starr’s chill rap and ethereal vocals. Can you describe your creative process for this track and how you melded your distinct styles together?
JS: Our collaboration is always really easy, which I love. I sent the track to Kinnie asking if she’d be interested in contributing a kind of chill stoner rap, and she responded with what you hear.. I loved it right away! Kinnie is a producer as well as a writer and performer, so she recorded the vocals in her studio, including adding a lot of the effects you hear in the track. It’s so seamless when we collaborate, we’re on the same page creatively which is really cool.
KS: Lin and I have been collaborating for years. We share similar work ethics and enjoy the art of communicating, which makes work easy. I think people rush too much with communication, and when we do that too much, the relationship and work suffers. When Lin and I collaborate, we offer each other time, but also we know that follow up is important. So our work flow is very successful.
Julia, your background spans across video games, TV, and film—how did those experiences influence the production and feel of “Cars Crush”?
JS: I would say they don’t influence this track at all. When creating music for visual media, you are informed by the characters, the story, the setting.. When creating a music track isolated from any other form of media, the canvas is completely blank and I just follow ideas in my mind’s eye, rather than my actual eyes 🙂
Kinnie, you’ve been a major figure in the Canadian indie hip-hop scene for decades. How does collaborating on a project like this challenge or excite you compared to your solo work?
KS:Collaboration makes songs easier. I do most of my production (beats and bass lines and keys and structure) alone, which can get boring. I really prefer throwing it back and forth and Lin is great at that.
The single is described as a taste of Julia Sound’s upcoming album. Can you give us a hint of the direction the full album will take, especially in terms of sound and themes?
JS: The album has a few tracks with this mellower trip hop vibe, but there are also a couple of tracks where I up the tempo quite a bit (by Julia Sound standards anyway!). The opener is going to lean into a bit of a nostalgic 90’s club vibe, and another track has a more edgy, slightly indie style.. Both of those songs also have some exciting featured vocalists. Stay tuned!
How does “Cars Crush” reflect both of your personal journeys as artists, and how do you see it fitting into your broader musical narratives?
JS: I think I have a 90’s trip hop influence at my core (among other genres & time periods), and this track is one of the most reflective of that trip hop vibe. I love rap and hip hop too, and have so much respect for Kinnie’s work, and see this track as showcasing some of the many strings on her bow, from cool chill rap to beautiful melodic phrases.
KS: Oh I don’t know the answer to this one! But I really like this track. It feels like the west coast – blurry.
Kinnie, your versatility in switching from rap to ethereal background vocals is striking on this track. What inspired you to experiment with those different vocal styles on “Cars Crush”?
KS: That’s just how I work. I’m not trained in music so I’m very exploratory. I am always learning. I like breaking my voice up.
Julia, as someone who works across multiple mediums, how do you approach songwriting and production differently when creating music for an album versus for TV or video games?
JS: As mentioned above, writing straight up music tracks is quite free-ing, as I’m not bound by any other influences such as a story or setting for a film or game.
You both have had long careers in the music industry—what do you think makes “Cars Crush” stand out in today’s musical landscape, and what are you hoping listeners will take away from it?
JS: The whole Julia Sound project is 100% female (and non binary) created, which I think gives it a unique story. In terms of the track standing out, how does anyone stand out these days with 1 million uploads per day? All I can hope for is that some people dig it and add it to their playlists (which appears to be happening so that’s cool!). I just love creating music, and collaborating with amazing artists, so for me it’s all about enjoying the process of creating, and then putting it out in the world for people to enjoy, rather than having any grandiose goals or expectations.
KS: Honestly I’m not sure how music reaches people or IF it reaches people. The amount of new songs that are released on Spotify alone daily is staggering. I think it’s important to make the work for the work, not for expansion or for any goal other than to do it well. I have a very small following on Spotify and don’t really have a competitive spirit so it’s been hard for me to understand how to embody that “get it” mentality we are supposed to have in music. I am just grateful to be working.
Finally, with “Cars Crush” as a preview, what can fans expect next from Julia Sound and Kinnie Starr? Are there any exciting plans for live shows or future collaborations on the horizon?
JS: From me, there’s the new Julia Sound album due late Spring, an EP from my electro-punk trio Bae Baracus, as well as some live shows in the summer in BC. Also, I’ll be finishing up co-producing and mixing some tracks for a fantastic new Kinnie Starr release slated for release soon(ish!).
KS: Yes!! We are always working together and actually Lin worked with me on my whole new album, DESTROYER. I think we are in it for the long haul. It’s very important to develop deep working relationships and in particular to hire women and Indigenous people as much as possible to keep populating the industry.
Words: Charlotte Najjar – Photography: Ian Laidlaw
Despite the blistering heat of the first day, Sunday’s run of the Yours & Owls festival (or “Gong Christmas”) brought howling winds and dropped temperatures to the stunning beach side venue. Yet patrons refused to let the sudden change spoil the day. Afterall, it only takes jumping in the pit to get warmed up.
San Cisco was the first stop of the day, their defining indie sound able to be heard from the gates, so of course, I made a beeline for the Harbour stage. Fan favourites like “About You” and “Too Much Time Together” had the crowds up and about throughout the entirety of their very windy 40 minute set.
Then it was time to head off to catch MAY-A’s anticipated return to the stage, which left even those who didn’t know her music rocking out by the time she played her final song of the afternoon. Also debuting a new unreleased track, her catchy tune had all of the crowd chanting lyrics previously unknown to them. With no release date revealed, this will be one to look out for when it drops.
Of course The Veronicas were not to be missed, their set bringing forth a mixed crowd all united by what could be described as the sound of the 2010s. Their newer songs were not to be discounted, “Detox” and “Here to Dance” from their 2024 album “Gothic Summer” cemented themselves as certified dance hits. Much to the screaming fans delight, they wrapped up with everyone’s favourites “4ever” and “Untouched”, leaving the crowd exhausted and out of breath from such an energetic performance by the iconic Aussie sisters.
After some refuelling thanks to the many wonderful food truck options on sight, it was a non-negotiable to catch some of CYRIL’s DJ set. Crowds were thrilled by his well known mix of “Stumblin’ In”, and were absolutely blown away by the mashup of two classic rock songs, “Thunderstruck” and “Black Betty”. With incredible mixes blaring out to the dancing audience, it was almost impossible to drag yourself away, but alas The Kooks are too much of a household name to miss.
Of course, there was nothing more iconic than seeing the English band perform their song “Seaside” on the breathtaking seaside festival site of Flagstaff Hill. It would seem I was not the only one who was enamoured by the views and accompanying soundtrack, multiple crowd members commenting on the perfect choice of song to watch the sun begin to set to. Before I knew it, it was suddenly time to dash across the grounds to catch Slowly Slowly’s performance, but that wasn’t before leaving with a new favourite Kooks song. “Bad Habit” had everyone jumping around to the catchy tune, and it’s safe to say it has found a comfortable place in my daily song rotation.
Never one to miss the chance to mosh, Slowly Slowly’s turn on the Mountain stage was exactly where I needed to be. The Melbourne band brought even more energy than usual, the centre of the crowd not staying still for a single minute, taking every chance to collide into each other. After everyone got in the day’s cardio dancing along to multiple hits from the bands newest album “Forgiving Spree”, we all made a run for the Harbour stage, determined to not miss our favourite Irish band taking the stage.
Fontaines D.C. have been making waves recently with the release of their album “Romance”, however I’ve been sour ever since I missed them at Laneway 2023, so this was not one I was going to miss. Sure enough, they did not disappoint. I know I myself was thrilled to hear my favourite (pun most certainly intended) song off the new album “Favourite”. However, they couldn’t have ended with a better song than “Starburster”, the whole crowd searching to get up onto the shoulders of friends in order to fully immerse themselves in the experience.
As the night came to a close, Honey Dijon and Hockey Dads were the final stop of the evening. It comes as no surprise that Dijon rocked the crowds, even people such as myself who listened from afar, enjoying the electronic hits whilst resting up for the closing act. Her high energy tracks would’ve been a great end to the day, the only thing which could’ve topped it being Hockey Dad closing up the Mountain stage right after, which lucky for all us festival goers, is exactly what happened.
The indie rock group, who funnily enough hail from just a few suburbs over from the festival site, ended the night with everyone’s favourites, “I Wanna Be Everybody”, “Homely Feeling” (a personal favourite) as well as “Join The Club” and of course “Seaweed”. A perfect song to end a perfect festival weekend along the beautiful beach front. The only regret we all have is that we’ll have to wait another year for it to come around again. 
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Vox Rea is back with a brand-new single, “Hard,” from their upcoming album, The Art Oracles Songbook—and trust us, you’ll want this one on repeat.
If the name sounds familiar, it’s because sisters Kate and Lauren Kurdyak first made waves as The Katherines with their 2017 debut, To Bring You My Heart (604 Records). That record racked up over a million Spotify streams, landed on New Music Friday and Hot Hits Canada, and even found its way into TV hits like Orphan Black and The Order. Then, after stepping away to study philosophy, they re-emerged in 2020 as Vox Rea—a name that reflects their creative reinvention and a move beyond the “girl band” label.
Their sound? Dark, cinematic, and deeply introspective. Think noir-pop laced with lush strings, hypnotic harmonies, and poetic storytelling, tackling themes of addiction, self-doubt, independence, and grief. Their self-titled album brought together an incredible lineup of collaborators, including Luca Fogale, Begonia, Joël, and producers Connor Seidel, Tim Buron, Derek Hoffman, and Joel Stouffer. Since dropping their first single, Dose Me Up, they’ve hit 700k+ Spotify streams, landed on CBC and British Columbia radio, and saw Damn (Unstuck) named one of Spotify’s Top Folk Songs of 2021.
But Vox Rea isn’t just a band—it’s a full-fledged artist collective. They direct their own videos and short films, craft a merch line in collaboration with Dutch artist Maud van Baar de Knegt, and bring their immersive artistry to major festivals across the UK, Europe, and North America—including SXSW, The Great Escape, Reeperbahn, and Treefort Music Fest. Their impact goes beyond music, earning them industry recognition with CreativeBC’s Career Development Grant, Canada Council’s Research & Creation Grant, and selection for RBCxMusic’s First Up Program. Oh, and they’ve teamed up with brands like Field House Brewing, Huha, Charlie Beads, and Lost Goodz along the way.
At its core, Vox Rea is more than just music—it’s a movement. A bold rejection of industry norms. A testament to the power of self-expression, autonomy, and art without compromise. And with The Art Oracles Songbook on the horizon, they’re just getting started.
What inspired you to create Read Between The Lines, and what does the title signify to you?
It has long been a dream of mine to put together and release a book of my art. I love the idea of a physical product that people can sit with and enjoy. Something to hold on to and maybe display on your coffee table.
The title is a playful idea around the fact that a lot of my art has lines running through it in one way or another. And I like the idea that even though there are very few words in the book, people might want to read into the meaning of the pieces.
Was there a particular moment that made you say, “It’s time to make this book happen”?
Not sure if there was one particular moment, but I have wanted to show my art in a different form to just people scrolling past it on their phones. I have been creating art for a long time now and have an extensive catalogue of work. It felt like a good time to put together a collection.
How did you approach curating 150 pages of work? Was it more about showcasing your best work, or were you looking to tell a larger story with the sequencing and selection?
It wasn’t easy and has definitely taken longer than I thought it would. The overarching theme is my digital art that has lines as part of its makeup. Outside of that, I wanted the book to have a nice flow to it. You get to see a common thread, but I’d like to think that there’s a lot of variation in how it’s presented.
Your work has a distinct aesthetic. How would you describe your editing style, and how did it evolve over time? Were there any key influences—photographers, artists, or even music or film—that shaped the way you process and present your images?
I feel like I’ve developed a strong visual language. I think if your art can be identified without someone needing to see a title or caption, you’ve hit a pretty sweet mark on establishing your own style. It is definitely something that evolved over time. When I first started working in digital art, I was very much learning from others and trying to emulate what they were doing. As I got more confident in my skills, I really wanted to experiment with what I was doing and create something that I could call my own.
Having said that, I do have some key influences in my art journey. Stanley Donwood is a major one. He creates all the art (alongside Thom Yorke) for Radiohead. Stanley is a traditional artist that works in a number of mediums like printmaking, paint and pencil. He has an aesthetic that really appeals to me. I’m also drawn to the work of Storm Thorgerson. He (and his studio) work with photography in such a surreal way. He also creates album artwork for a large number of well know acts. A huge inspiration.
What’s your typical camera setup when shooting? Are you loyal to a specific camera and lens, or do you switch things up depending on the subject and setting?
I have quite a few toys… I’m not particularly loyal to any one camera or device. I tend to use whatever will get the job done. My main camera is a Canon 5d Mk 4. I use that most of the time, but I’m also a fan of iPhone photography and creating with whatever I have on hand.
A large portion of my art starts out as photos of land or sky and then gets manipulated into something completely differen
When it comes to post-production, what’s your workflow like? Are there any particular techniques or software tools you rely on to achieve your signature look?
I do a lot of creating in post. There are a number of programs and apps that I use to generate the assets I need to create my art. There was a time when I was beta testing iPhone photography and editing apps which gave me a real insight into what could be done with my phone. As a general rule though, all my art ends up going through the Adobe suite and put together in Photoshop.
Beyond photography, your work has a strong artistic element. Do you see yourself as a photographer first, or more broadly as an artist? And how do other artistic mediums influence your approach to photography?
I definitely see myself as an artist. I grew up with a strong interest in drawing. Through my teens and early adult life my focus switched to photography and I studied it and printmaking at University. I also had a strong interest in graphic design. When Instagram became a thing, I took an interest in digital art and design, but that all stemmed from photography too. As I have worked more as an artist full time, I’ve become more and more interested in just being creative through any medium I can get me hands on.
The book launch at @oshi_au isn’t just about the book—you’re also offering signed prints, merch, and creating an entire experience. What do you want people to feel when they step into the exhibition?
I’d like to think that people can step into my world for a little while. Art can be a great escape for both the artist and the viewer. I love the idea that someone can get drawn into my digital and surreal landscapes and they can go on a journey of sorts. Even if it’s just a little moment when their eyes do a little dance due to the digital lines. And hopefully there’s a sense of joy or wonder attached to it as well. I am aware that my art can give a feeling of isolation and maybe feel a little dark, but often if you check out the titles, that is countered with hope and opportunity.
You’ve spent a lot of time working on this book—when you finally held the finished copy in your hands, what was that moment like for you?
It was an amazing and surreal feeling. Holding the physical product and flicking through all that work. I’m really proud of it and super stoked with how the book has come together. The final product is as good as I’d dreamed it would be. Possibly better…
Looking back, what were the biggest challenges in bringing Read Between The Lines to life? If you were to do another book, would you approach it differently?
I knew going in that I would need help. If I had tried to do this on my own, it would never have got done. As a freelance, full time artist, you often have to put client work ahead of your own. So I enlisted the help of my graphic designer friend Paul of Vanda Graphics. It was the first time either of us had worked on a book, so there was defiantly a learning curve on getting everything right on the templates and working through how to piece it all together.
I feel like the second time would be easier…
Now that Read Between The Lines is about to be out in the world, what’s next for you? Do you see yourself diving deeper into publishing, or are there other creative projects on the horizon?
I’ve always got 1000 projects on the go (either in real life or in my head). I’ve already got the concept sorted for my next book and can definitely see myself doing more physical products. Most of all, I just love the fact that I get to be creative for a living. Whatever that looks like at the time…
Following overwhelming community support, the Esoteric Music Festival is excited to announce that the local Buloke Shire Council has tonight voted in favour of holding this year’s event as scheduled this long weekend in Donald from Thursday 7 March to Monday 11 March.
After submitting the Planning Permit in September, festival organiser Sam Goldsmith commended the Council for approving the Planning Permit days out from the event and thanked the local community for throwing their support behind the event.
“This year will be the 8th year that the Esoteric Music Festival will be held in this small Victorian town, and we are so grateful for the local groundswell, the Buloke Shire Council and our beloved Esoteric community for their support in making it happen,” he said.
“Ensuring festival goers are safe is our number one priority and we have demonstrated for the better part of a decade our competency as a safe, compliant, and well-run festival. Now that we have Council planning approval, the festival build can progress, and the site will be ready for festival goers on Thursday when gates open and the party begins.
“Tickets are nearly sold-out and the local community who faced a nervous wait on this can get now go about their plans to prepare for the influx of tourists from all over the world.”
Since 2017 Esoteric Music Festival has been an important feature on the Victorian music festival calendar and injects more than $15 million into regional tourism in the state, the local community of Donald and surrounds. It is the single largest event in the Wimmera Mallee tourism region, which comprises 14 per cent of the state of Victoria.
More than 7,000 festival goers will descend on Donald this weekend and the festival continues to provide thousands of jobs to industry personnel and local contractors.
We continue to work closely with Buloke Shire Council and the relevant authorities on making this a sustainable event for future years. Subject to a further Place of Public Entertainment Permit being approved by the Municipal Building Surveyor in the coming days, the festival will proceed as planned.
Members of the public are encouraged to purchase a ticket to support the event sell-out. Tickets on sale here: https://esotericfestival.com.au/tickets/
After an 8-year hiatus from Australian stages, ILL NIÑO, the trailblazing Latin-influenced metal band that redefined heavy music, is set to return for a blistering run of shows across Australia. This long-awaited tour will feature special guests ADEMA.
ILL NIÑO, known for their explosive live performances and genre-defining fusion of heavy metal and Latin influences, will bring their unique sound to Australian venues in September 2025. The band’s return is highly anticipated, as they prepare to deliver a high-octane setlist filled with fan-favourite hits and new tracks. ILL NIÑO released their ground-breaking debut album Revolution Revolución in 2001. Whilst their sophomore album Confession boasting the U.S. smash hit single ‘How Can I Live’, hit the Billboard Top 40 and has gone on to sell over 600,000 copies.
Joining ILL NIÑO on their Australian journey, for the first time ever are U.S. Post-Grunge, Alternate Metal band Adema, who will bring their signature sound of hard-hitting electronic rock and nu-metal to the stage.
The two bands are set to deliver an evening of hyped-up intensity, bringing a mix of heavy riffs, Latin infused percussion, emotionally engaging lyrics, and powerful performances that will make this an unmissable experience.
ILL NIÑO and ADEMA September 2025 Australian Tour Dates
Friday 12th September SYDNEY, Liberty Hall
Saturday 13th September MELBOURNE, Max Watts
Sunday 14th September BRISBANE, The Trifid
General Public on sale: Monday 3rd March 9:00am AEDT: https://www.octoberpresents.com/illnino2025
Photo Credit: Ewan Ogden
Set to make their long-awaited Australian return in March, Blossoms are bringing with them their latest chart-topping album, GARY. Ahead of their national tour supporting British indie icons Kasabian, the Stockport five-piece share focus track ‘I Like Your Look’ – a key entry in GARY’s sprawling tapestry of fun and dynamic sounds.
Co-written with breakthrough Irish musician and performer CMAT, ‘I Like Your Look’ is a homage to the aesthetic and sounds of the ‘80s, with vocalist Tom Ogden noting, “‘I Like Your Look’ is a tipping of the hat to Blondie’s ‘Rapture’ and a wink to Joan Baez ‘Time Rag’, and lyrically it explores a tongue-in-cheek approach to high fashion. ’Mothers’ is an ode to my and Joe’s friendship and it references the fact that our mothers were friends back in the 80s.’”
Their fifth studio album, GARY sees Blossoms engage with some of their most dynamic music to date. Having consistently released music that has remained in line with the energy of their earlier releases, the five-piece have also kept their focus very much trained on new sounds and directions that keeps the chemistry within the band fresh and tight.
GARY is a perfect example of such chemistry. Their first studio record as independent artists, there is a spirit of rejuvenation that threads its way through the record; from its singles in ‘Gary’, ‘Perfect Me’ and ‘What Can I Say After I’m Sorry?’, the album captures a unique turning point in Blossoms’ journey. The music is fun without losing poignancy in songwriting; dynamic without sacrificing precision in execution.
The impact of GARY only speaks to Blossoms’ continued staying power – debuting at #1 on the UK Albums Chart, the album has become the band’s fourth #1 record and has gone on to spark two special additional editions: a deluxe edition, and a covers edition featuring reworks of songs by artists including Radiohead, Whitney Houston, Caroline Polachek and Lady Gaga.
Selling over 100,000 tickets in the last year alone, as well as logging excellent sets at festivals including Glastonbury, Blossoms are set to have another busy and fruitful year with the release of GARY putting them back on the map as a band not to be missed.
Since forming in 2013, Blossoms have enjoyed widespread success and acclaim. Their 2016 debut Blossoms topped the album charts for two consecutive weeks and went on to earn the band BRIT Award and Mercury Prize nominations, while 2018’s Cool Like You charted at Number 4 in the UK album chart, spawning the anthemic singles I Can’t Stand It, There’s A Reason Why (I Never Returned Your Calls) and How Long Will This Last? Their third studio album, 2020’s Foolish Loving Spaces was the band’s second UK Number 1 album, while their fourth studio LP Ribbon Around The Bomb gave the band their third UK Number 1 album, with the record’s standout tracks Ode To NYC, The Sulking Poet and Care For well established as fan favourites. Blossoms have had five top 5 albums in the UK, including their In Isolation/Live From The Plaza Theatre, Stockport release.
PRAISE
“At the top of their game…”
ROLLING STONE UK
“A band who gets better with each release…”
SUNDAY EXPRESS
“A cohesive, well-crafted and captivating album which is testament to their artistry.”
CLASH MAGAZINE
“Gary is Blossoms’ most accessible, cohesive record to date.”
LOUDER THAN WAR
“Gary is the most fun you’ll have with any band in 2024.”
DORK UK
BLOSSOMS AUSTRALIAN TOUR DATES
SUPPORTING KASABIAN
Tickets via destroyalllines.com
Tuesday 11 March Forum Melbourne
Wednesday 12 March Forum Melbourne SOLD OUT
Saturday 15 March Enmore Theatre Sydney SOLD OUT
Sunday 16 March Enmore Theatre Sydney
Tuesday 18 March Fortitude Music Hall Brisbane
GARY is out now.
BLOSSOMS: OFFICIAL WEBSITE | FACEBOOK | X | INSTAGRAM | YOUTUBE
FIREWORKS, FOOD AND FANTASTIC TUNES!
LIVE AT THE GARDENS RETURNS THIS WEEK
FIVE UNMISSABLE SHOWS OVER TWO HUGE WEEKENDS IN MELBOURNE
ROYAL BOTANIC GARDENS MELBOURNE
7-9 MARCH & 14-15 MARCH
FINAL TICKETS ON SALE NOW
Melbourne, we’re back! Following a sensational debut in November, Live At The Gardens returns to the breathtaking Royal Botanic Gardens Melbourne for two more unforgettable weekends of live music, great food and open-air magic. A collaboration between the beloved venue and Roundhouse Entertainment – the creators of a day on the green – this unique outdoor concert experience transforms the lush Observatory Precinct into a vibrant wonderland of music, food, and festivities under the stars.
Kicking off this Friday night, 7 March, the series will bring a dynamic mix of dance, rock, indie, electro, jazz and soul to the stunning surrounds of the Garden’s Observatory Precinct in the heart of the city. Don’t miss RÓISÍN MURPHY (Friday 7 March), THE CRUEL SEA (Saturday 8 March), GROOVE ARMADA DJ SET (Sunday 9 March / Sold Out), BOY & BEAR (Friday 14 March) and LAKE STREET DIVE (Saturday 15 March).
Adding to the spectacle, Melbourne’s Labour Day weekend fireworks – part of the Moomba Festival – will light up the night sky, providing a breathtaking backdrop for the first weekend of concerts with dazzling displays each evening.
“Turning the Observatory Precinct at the Gardens into a concert space is a new feat. Brought about by a partnership between the Gardens and Roundhouse Entertainment (A Day On The Green), their combined experience at successfully transforming a space was evident.”
Arts Hub
“As for the lineup, it hits right in those summer feels.”
Urban List
“Cleverly bringing two of Melbourne’s favourite pastimes together: drinking in the park and live music.”
Scenestr
Come for the music, stay for the feast! Our tasty lineup of food and drink vendors will keep you fuelled for the ultimate garden party.
Step into The Eatery for a feast of global flavours.
From Greek delights at The Greek Trojan Yiros and vibrant Thai dishes from Mai Thai Food Truck to Mexican favourites at Taco Station and rich Spanish paella from Melbourne Paella, there’s something for every craving. Dig into fragrant Indian curries from Two Fat Indians, wood-fired pizzas from Primo Pizza, crispy chicken schnitzels from Schnitty Schnitty, and freshly made gozleme from Gozleme Food Truck. Plus, don’t miss out on gourmet toasties from Little Eutopia, delicious burgers from Goldie Boy and all-natural artisan ice creams from Billy Van Creamy. You definitely won’t go hungry!
And of course, no Melbourne event is complete without great coffee. Little Eutopia has you covered with expertly brewed coffee, alongside refreshing cold-pressed juices, chai teas and hot chocolates.
Sip on a selection of beers and ciders from Melbourne’s own Mountain Goat Brewery, longtime champions and supporters of live and local music.
For wine enthusiasts, indulge in a selection of premium Victorian-sourced wines by Mt Duneed Estate, including Sauvignon Blanc (Yea Valley), Rosé (Yarra Valley) and Shiraz (Yea Valley), along with their sparkling Blanc de Blanc (Yarra Valley).
Meet ISLA Vodka – an all-natural, irresistibly smooth, Australian-made, great tasting, deliciously refreshing range of premium ready-to-drink vodkas, best shared with friends as the music plays and the sun sets.
And we’re squeezing the last bit of summer with a refreshing lineup of your favourite spritzes and cocktails. Don’t miss the Aperol Spritz Bar in the eye-catching Airstream, where signature good vibes meet iconic cocktails. Plus, el Jimador Tequila is rolling in with their Margarita truck, pouring premium tequila, freshly made margaritas and a variety of delicious mixed drinks.
Don’t miss the ANZ Circle Happy Hour! Enjoy 20% off your drinks purchase when you pay with an eligible ANZ Visa debit or credit card for the first hour after gates open.
The series kicks off on Friday 7 March, with Ireland’s queen of indie electronic pop RÓISÍN MURPHY, joined by special guests MIDNIGHT JUGGERNAUTS DJ SET and DJ PAULETTE, setting the stage for an electrifying opening night that will have you dancing all night long.
Saturday night – 8 March – sees Aussie legends, five-time ARIA Award winners THE CRUEL SEA joined by an all-star lineup of MARK SEYMOUR & THE UNDERTOW, VIKA & LINDA and LOOSE CONTENT, promising to be a night of unforgettable performances, gritty rock anthems and soulful harmonies, in a celebration of Aussie music.
Sunday night – 9 March – is set to be a SOLD-OUT celebration as GROOVE ARMADA bring their iconic DJ set to the Gardens, transforming the space into a pulsating outdoor dancefloor, delivering an epic journey through their legendary record collection for an unmissable night of non-stop grooves. Joining the dance party are special guests TIFF CORNISH and MIRAMAR.
The music keeps flowing into the following weekend, with BOY & BEAR headlining on Friday 14 March for a night of compelling indie-folk anthems. Joining them on this fantastic bill are SARAH BLASKO, AUGIE MARCH and DE PORSAL.
Finally, on Saturday 15 March we wrap up the series in spectacular style with Brooklyn quintet LAKE STREET DIVE bringing to the stage their unique blend of soul, pop and jazz. They’ll be joined by Melbourne musicians PLAYLUNCH and BATTS, for a night of pure musical magic.
For a smooth and enjoyable experience, we highly recommend using public transport. The Royal Botanic Gardens Melbourne is easily accessible via convenient tram and bus routes, with Flinders Street Station only a short stroll away.
The music, food and beverages are sorted … now all we need is you! Set against the magnificent backdrop of Melbourne’s iconic Royal Botanic Gardens, get ready for an unforgettable garden party at Live At The Gardens. Incredible artists, an iconic location – we’ll see you under the stars!
Tickets on sale now from Ticketmaster.
LIVE AT THE GARDEN DATES
Friday 7 March
Róisín Murphy FINAL TICKETS
with special guests Midnight Juggernauts (DJ Set) and DJ Paulette
Saturday 8 March
The Cruel Sea FINAL TICKETS
with special guests Mark Seymour & the Undertow, Vika & Linda and Loose Content
Sunday 9 March
Groove Armada SOLD OUT
with special guests Tiff Cornish and Miramar
Friday 14 March
Boy & Bear FINAL TICKETS
with special guests Sarah Blasko, Augie March and De Porsal
Saturday 15 March
Lake Street Dive FINAL TICKETS
with special guests Playlunch and BATTS
IMPORTANT INFORMATION
Patrons are advised to purchase tickets only through authorised ticket sellers. Ticketmaster are the authorised ticketing agency selling tickets for Live At The Gardens. We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Live At The Gardens, MG Live and Royal Botanic Gardens Melbourne websites.
All event information liveatthegardens.com.au