The Hills Are Alive Group present… |
OCEAN SOUNDS 2027 |
Saturday 9th January 2027 |
PHILLIP ISLAND, VICTORIA |
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MISSY HIGGINS THE LIVING END PETE MURRAY AND MORE ARE COMING TO PHILLIP ISLAND FOR OCEAN SOUNDS FESTIVAL ON SATURDAY JANUARY 9, 2027! |
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PRESALE TICKETS – ONSALE TUESDAY 9TH JUNE 8:30AM |
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GENERAL TICKETS – ONSALE WEDNESDAY 10TH JUNE 8:30AM |
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Soak up the sounds of summer and join us for picnic rugs, smiling friends, stunny local wines, gourmet food and some of Australia’s most amazing live music! |
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PRE-SALE TICKETS ONSALE GENERAL TICKETS ONSALE |
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SIGN UP FOR PRESALE AND WIN A HELICOPTER FLIGHT AND DELUXE ACCOMMODATION IN PHILLIP ISLAND |
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Register, share and earn points for your chance to WIN the ultimate Ocean Sounds Festival Weekend Festival Experience including: |
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Helicopter Flight for 2 people over Phillip Island 2 Festival Tickets to Ocean Sounds 2027 1 night of Accommodation at Silverwater Resort Gourmet Graze Farm to Plate Platter for 2 people Transport To and From the Festival |
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Hurry, registrations close at 5pm on June 8th. All entries receive Presale Access to tickets for Ocean Sounds Festival 2027. |
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A LOOK INTO OUR 2027 LINEUP… 🏆 Won a total of 17 ARIA Awards and 67 ARIA nominations 🎶 Over 1 BILLION streams between them 💯 And have been featured on triple j Hottest 100 a total of 38 times
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Following overwhelming demand during presale, Frontier Touring is thrilled to announce second shows have been added in both Melbourne and Sydney for multiple Academy Award® and GRAMMY®-winning composer Hans Zimmer, who returns to Australia this October with his visionary new arena production, Hans Zimmer Live – The Next Level.
In Melbourne, a second and final show has been added at Rod Laver Arena on Sunday 25 October, following the previously announced concert on Saturday 24 October.
Meanwhile, Sydney fans will now have two opportunities to experience his spectacular production, with a second show added at Qudos Bank Arena on Thursday 29 October, following Zimmer’s already announced performance on Wednesday 28 October.
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Performing alongside his powerhouse 19-piece live band and featuring the acclaimed vocals of Australian musician Lisa Gerrard among a world-class ensemble, Hans Zimmer Live – The Next Level has already captivated audiences across Europe, completing a run of 50 sold-out shows in 17 countries and performing to more than 600,000 fans.
From Gladiator, Pirates of the Caribbean, The Dark Knight, Interstellar, Mission: Impossible, F1, The Lion King, Black Hawk Down, The Last Samurai and Dune, Zimmer’s extraordinary body of work has shaped some of cinema’s most iconic moments. Hans Zimmer’s extraordinary compositions have scored more than 500 projects across all mediums, which combined have grossed more than $28 billion at the worldwide box office. Zimmer has been honored with two Academy Awards®, three Golden Globes®, five Grammys®, an American Music Award, seven Emmy ® nominations and a Tony® nomination.
With demand already proving extraordinary, fans are encouraged to secure tickets early. Don’t miss Hans Zimmer Live – The Next Level this October.
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About Hans Zimmer
Hans Zimmer has scored more than 500 projects across all mediums, which combined grossed over $30 billion at the worldwide box office. He has been honored with two Academy Awards®, three Golden Globes®, five Grammys®, an American Music Award, seven Emmy ® nominations and a Tony® nomination.
Zimmer’s career highlights include Dune: Part One, Dune: Part Two, Interstellar, Top Gun: Maverick, No Time to Die, Gladiator, The Thin Red Line, As Good as It Gets, Rain Man, The Dark Knight trilogy, Inception, Thelma & Louise, The Last Samurai, 12 Years a Slave, Blade Runner 2049 (co-scored with Benjamin Wallfisch) and Dunkirk. He also scored David Attenborough’s Prehistoric Planet, the final season of HBO MAX’s hit series Euphoria, and Joseph Kosinski’s F1, the highest-grossing sports film of all time, which earned him a Golden Globe® nomination. Upcoming, Zimmer will score the third part in Denis Villeneuve’s Dune franchise, releasing December 18.
His concert film Hans Zimmer & Friends: Diamond in the Desert was released in cinemas worldwide in 2025. It features live performances of Zimmer’s most revered compositions, as well as conversations with his closest collaborators, including Billie Eilish, Sir Christopher Nolan, Denis Villeneuve, Finneas, Jerry Bruckheimer, Johnny Marr, Pharrell Williams, Tanya Lapointe, Timothée Chalamet and Zendaya.
Beyond his award-winning compositions, Zimmer is a remarkably successful touring artist. He recently concluded his first North American and European Hans Zimmer Live tours. He has also performed in the Middle East, including two consecutive nights at Dubai’s renowned Coca-Cola Arena, as well as at Formula 1’s Singapore Grand Prix.
HANS ZIMMER LIVE – THE NEXT LEVEL
AUSTRALIA
OCTOBER 2026
Presented by Frontier Touring, Semmel Concerts and RCI Global
TICKETS ON SALE
Begins: Wednesday 3 June, 2pm (local time)
ALL SHOWS LICENSED ALL AGES
Monday 12 October
RAC Arena | Perth, WA
ticketek.com.au
Thursday 15 October
AEC Arena | Adelaide, SA
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Tuesday 20 October
Brisbane Entertainment Centre | Brisbane, QLD
ticketek.com.au
Saturday 24 October
Rod Laver Arena | Melbourne, VIC
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Sunday 25 October
NEW SHOW!
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
Wednesday 28 October
Qudos Bank Arena | Sydney, NSW
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Thursday 29 October
NEW SHOW!
Qudos Bank Arena | Sydney, NSW
ticketek.com.au
Patrons are advised to purchase tickets only through authorised ticket sellers.
We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website.
Julia Jacklin, trials
King Gizzard and The Lizard Wizard
Confirmed for Artist in Conversations at BIGSOUND
NEW WAVE OF INTERNATIONAL INDUSTRY GUESTS INCLUDE
BONNAROO, MOM+POP, PARTISAN RECORDS, PITCHFORK AND SOHO HOUSE
International guests confirmed for BIGSOUND 2026 – Partisan Records, Pitchfork, Bonnaroo, Soho House, MOM+POP (US), ROAM Artists (UK), Reeperbahn (GER), DMT Law Firm (US), Carpark Records (US), The Great Escape (UK), True Panther (US) and SXSW (US)
Artists In Conversations confirmed – Stu Mackenzie and Lucas Harwood (King Gizzard and the Lizard Wizard), Julia Jacklin, and trials
Early Bird Tickets On Sale Now, Delegate Tickets from $699 – visit bigsound.org.au to take advantage, early bird offer ends Monday, 30 June 2026
Magandjin (Brisbane), Queensland – BIGSOUND is excited to announce esteemed international industry guests, as well as its first wave of Artist In Conversation for their 25th anniversary edition this September 1-4, 2026.
This year, BIGSOUND is focused on delivering more opportunities for delegates to connect directly with the global market, with an expanded focus on facilitated networking, conversations and meetings throughout the week. With more networking events than ever before, this year’s BIGSOUND aims to nurture meaningful connections, with the return of our roundtables, conversation corners, curated meetings, and bigger-better mixers. BIGSOUND is excited to bring an expertly curated and diverse program of networking events, panels and discussions to connect Australian artists and industry with international delegates; ranging from festivals, labels, sync, media, agents and more.
Bringing over a decade of experience from a massive career as part of one of Australia’s most prolific rock groups, King Gizzard and the Lizard Wizard, delegates will have the chance to hear from Stu Mackenzie and Lucas Harwood as they reflect on their career. Taking the BIGSOUND stage in 2013, this Melbourne band caught the attention of punters and music industry alike, building momentum before catapulting into a career filled with a ton of music, massive wins and everything in between. With over 25 albums to their name, this globally known collective has remained steadfast in their creative vision and approach to art, leading them into the overseas market and becoming one of the most important bands of their generation.
Acclaimed songwriter and musician, Julia Jacklin also joins the BIGSOUND Artist in Conversation lineup; the multi ARIA Award nominee whose catalogue of striking alt-pop and indie music has won her a global audience made her first appearance at BIGSOUND in 2016 – just ahead of the release of her seminal debut album Don’t Let The Kids Win. Jacklin has become one of Australia’s finest songwriters and performers, known as a master of emotional storytelling – most recently evidenced on her ARIA-nominated album PRE PLEASURE. Jacklin has proven time and again her enduring talent, and has taken it to the world. In 2026, Jacklin returns to international stages, having signed her first-ever global record deal with 4AD, marking an exciting new chapter for the artist.
Award-winning Ngarrindjeri hip hop producer, composer and innovator, trials has been a driving force behind some of Australia’s most important projects. With funkoars, one of Australian hip hop’s most respected groups, and then with A.B. ORIGINAL, his powerful project with Yorta Yorta artist Briggs, trials is one of the country’s most important creatives. In 2026, trials has stepped out into the solo spotlight, releasing his long-awaited debut album hendle to widespread acclaim.
Included in today’s international guest announcement:
- Partisan Records – Chris Fraser (Head of A&R): joined Partisan in May 2025, working closely with label founder Tim Putnam in overseeing the current and future roster, helping to bring their creative vision to life. With offices in New York, London and Los Angeles, Partisan has signed Geese/Cameron Winter as well as Blondshell, and works with artists including IDLES, Cigarettes After Sex, PJ Harvey, Ezra Collective and Laura Marling; as well as launching the career of Fontaines D.C.
- Pitchfork – Nina Corcoran (Associate Staff Writer): Chicago-based, joined the staff team in 2021 after contributing to the website since 2015. She’s also written for Rolling Stone, Wired, NPR and Stereogum, and was previously the music editor of alt-weekly newspaper, DigBoston.
- Bonnaroo – Bryan Benson (Music Exec, Talent Buyer): Bryan Benson is a live music executive and talent buyer helping book and curate lineups for major festivals including Bonnaroo, Boston Calling, Railbird and High Water. Benson is also the Lead Buyer for Live Nation in Nashville, where he oversees bookings for venues across the city, including Bridgestone Arena, Ryman Auditorium, FirstBank Amphitheatre, Ascend Amphitheatre, and Live Nation’s new iconic room, The Truth.
- Mom+Pop Music – Thaddeus Rudd (Co-Owner): Thaddeus Rudd co-owns New York-based independent Mom+Pop Music alongside Michael Goldstone. With a roster spanning Magdalena Bay, Porter Robinson, Courtney Barnett, MGMT and Underscores, and a back catalogue including Flume and Tash Sultana to name a few, Mom+Pop is an independent label force to be reckoned with.
- Soho House London – Jessica Moss (Music Programming): Jessica Moss leads music programming at Soho House London, with over 100 events a month across the UK and Europe, working with a huge range of artists and genres from Skepta and the Wu-Tang Clan, to Honey Dijon, KAYTRANADA and Nubya Garcia.
Also included on today’s announcement, are representatives from some of the world’s most recognisable music festivals such as Director of SXSW Music, Dev Sherlock; Marie Robinson from The Great Escape; artist booker for MOJO in the Netherlands, Puck Stoelinga; Yuta Nomura, founder and organiser of CUEW Showcase & Conference in Shibuya, Tokyo, as well as the ONE MUSIC CAMP and ARIUFUJI Weekenders in Japan.
International label delegates announced for BIGSOUND today also include TBA Agency festivals agent Kyle Kernohan; BBC Radio 1 presenter and DJ Tara Kumar, and two representatives from India: Rafael Pereira from India International Music Week and Roydon Bangera from Skillbox.
“BIGSOUND has always been a place where real connections happen, and this year we’re focused on creating even more opportunities for Australian and New Zealand artists and industry to connect with each other and the global market. The program focuses on the conversations the industry is having right now — how the business is changing, how we stay ahead, and how Australian and New Zealand artists continue to grow on the global stage.” — Kristy Ellis, Interim CEO, QMusic
BIGSOUND 2026 will again feature the popular Roundtables, Conversation Corners, Artist Hub, Content House, Delegate Hub, and Goolwal Goolwal, (Yagara language for BIGSOUND) – BIGSOUND’s First Nations-led program bringing free cultural experiences by day and deadly tunes by night. Alongside these crowd favourites an expanded technology and partner showcase program will be launched in the coming months.
The full BIGSOUND program will launch in July, with early bird tickets on sale now – make sure you are subscribed and staying tuned to all official updates via the BIGSOUND website: www.bigsound.org.au/subscribe
QMusic is supported by the Queensland Government through Arts Queensland and the Australian Government through Creative Australia, its principal arts funding and advisory body.
About BIGSOUND
The biggest week in Australian music and largest music industry event in the Southern Hemisphere, BIGSOUND has been where the music industry does business for 25 years. Held annually in the sacred home and beating heart of Australia’s Live music scene – Fortitude Valley, Magandjin (Brisbane), BIGSOUND is four days and three nights of showcases, development, conversations and connections.
BIGSOUND is the place where managers find their next act, agents close touring deals, labels discover the artists that define the next generation, and where introductions made over a drink at the Artist Hub become the partnerships that shape careers. Part showcase, part conference, part pilgrimage for the Australian music industry and its global peers – BIGSOUND is a cultural moment that has helped launched and propelled the careers of artists including Flume, Tash Sultana, Tones and I, and Courtney Barnettt, and continues to attract the international music industry to Brisbane each September.
BIGSOUND 2026 | 1–4 September, Fortitude Valley, Brisbane. Early bird tickets on sale now.
About QMusic
QMusic is the not-for-profit music industry peak body and development association for Queensland. The work of QMusic is critical to the success and development of Queensland’s music economy. It is the only significant and established not-for-profit organisation in Queensland dedicated to delivering sector and talent development, and recognition and capacity building initiatives including Industry Connect, the QMAs, and BIGSOUND.
For more information on BIGSOUND 2026 visit
BIGSOUND 2026 | 1 – 4 September Fortitude Valley Brisbane, QLD
INTERNATIONAL INDUSTRY GUESTS – JUST ANNOUNCED
Bonnaroo (C3 Presents) – Bryan Benson (US)
CUEW / One Music Camp / Arifuji Weekenders – Yuta Nomura (JP)
India International Music Week – Rafael Pereira (IN)**
Mojo – Puck Stoelinga (NL)
Mom+Pop Music – Thaddeus Rudd (US)
Pitchfork – Nina Corcoran (US)
Partisan Records – Chris Fraser (UK)
Skillbox – Roydon Bangera (IN)
Soho House – Jessica Moss (UK)
TBA Agency – Kyle Kernohan (US)
** delivered in partnership with Sounds Australia and Consul General to Mumbai
INTERNATIONAL INDUSTRY GUESTS – ALREADY ANNOUNCED
Bandcamp – Mariana Timony (US)
Carpark Records – Steph Salas (US)
DMT Law Firm – David Telfer (US)
Hellfest – Christie Medina-Gonzalez (FR)
Low Profile – Carole Ann Vetter (US)
Reeperbahn – Patrick Daniel (GER)
ROAM Artists – Lucy Atkinson (UK)
Rough Trade Retail – Nigel House (UK)
Sziget – Márk Bónal (Hungary)
SXSW – Dev Sherlock (US)
The Great Escape – Marie Robinson (UK)
True Panther – Kelley Lin (US)
TICKET PRICING
EARLY BIRD DELEGATE TICKETS ON SALE NOW
FULL DELEGATE EXPERIENCE – Full Price $899
Early Bird Offer (ends 30 June)
$699 / QMusic Subscribers & Reciprocal Members $649
Join the waitlist for festival tickets.
*Concession and youth pricing is available by request. Prices are subject to change and platform booking/processing fees
LUUDE TOUR KICKS OFF THIS WEEKEND
This is it. Luude’s Australian return lands this Saturday, and tickets are nearly gone across all cities.
SET TIMES
Here’s how the nights look:
Sat 6 June, 2026 | Eora/Sydney
7:00pm – Doors and Foura
9:00pm – Charlie Shell B2B Prizefight
11:00pm – Luude
Sat 13 June, 2026 | Boorloo/Perth
7:00pm – Doors and Charlie Shell B2B Prizefight
9:00pm – Foura
11:00pm – Luude
Fri 26 June, 2026 | Tarntanya/Adelaide
7:00pm – Doors and Charlie Shell B2B Prizefight
9:00pm – Foura
11:00pm – Luude
Fri 26 June, 2026 | Meanjin/Brisbane
7:00pm – Doors and Foura
9:00pm – Charlie Shell B2B Prizefight
11:00pm – Luude
Sat 4 July, 2026 | Naarm/Melbourne
7:00pm – Doors and Foura
9:00pm – Charlie Shell B2B Prizefight
11:00pm – Luude
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Photo: BRTHR
Critically acclaimed singer and producer Joji surprise-releases the Deluxe edition of his fourth studio album Piss In The Wind, out now via Palace Creek.The Deluxe version expands the album’s sonic world with 9 additional tracks, featuring collaborations with The Kid LAROI, Yeat, Anyma, and Corbin. For longtime fans, the Deluxe also includes two highly sought-after, previously unreleased demos: ‘DYKILY (2017 Demo Version)‘ and ‘FTC‘. LISTEN HERE.
Deluxe highlight ‘Bluffin” features The Kid LAROI, pairing the Australian singer-rapper with Joji‘s glitched-out vocals over bright, pulsing production from Sam Homaee, BNYX, and 1SRAEL. The Deluxe also packages recently released collaborations with Yeat (‘Back Home‘) and Anyma (‘Beautiful‘), further showcasing the breadth of Joji‘s sound.
Later this month, Joji kicks off his international SOLARIS TOUR with dates spanning North America, Europe, Asia, Australia, and New Zealand. Joji will take the stage at major arenas around the world, including Prudential Center, Barclays Center, Intuit Dome, The O2, and more on this Live Nation-promoted tour. The SOLARIS TOUR marks Joji‘s most ambitious production to date and features a setlist packed with his biggest hits, from ‘Glimpse of Us‘ to ‘SLOW DANCING IN THE DARK‘. The tour will also mark the first-ever live performances of songs from Piss In The Wind, bringing this next chapter to life on stage for the very first time.
The North American leg of the SOLARIS TOUR will be supported by Nate Sib and Corbin. The Europe and Australia/New Zealand legs will be supported by Tommy Richman. For tickets and the latest updates, fans can visit Joji‘s website HERE.
Released in February via Palace Creek, Piss In The Wind bridges Joji‘s sonic past and present, balancing melancholic, brooding songwriting with gritty yet atmospheric production. An expansive 21-track record with vivid creative direction, it stands as a fully realised artistic statement — one that lets the music speak for itself. The album features collaborations with Giveon, 4batz, Yeat, and Don Toliver.
Upon release, Piss In The Wind debuted at #5 on the Billboard 200, #1 on Indie Store Album Sales, and #1 on both the Current Alternative Albums and Current Pop Albums charts in the U.S. The album also reached new chart heights globally, with Top 10 debuts in Australia (#3), the UK (#6, a new peak), Germany (#4, a new peak), and the Netherlands (#9, a new peak), as well as his highest-ever chart debuts in France, Belgium, Italy, and beyond.
Piss In The Wind (Deluxe) LP is out now, buy/stream here
AU/NZ TOUR DATES
Wed 11 Nov – Brisbane Entertainment Centre – Brisbane, AU
Sat 14 Nov – Qudos Bank Arena – Sydney, AU
Tue 17 Nov – Rod Laver Arena – Melbourne, AU
Thu 19 Nov – Spark Arena – Auckland, NZ
Stay connected with Joji:
23 Profile | Facebook | Instagram | YouTube | X
There’s a certain kind of nostalgia that doesn’t simply look backwards—it illuminates the present. On La Vie Side B, French indie songwriter INDOLORE invites listeners into that space, uncovering the hidden half of life where vulnerability, memory, longing and wonder quietly coexist.
Released today, June 5, La Vie Side B is a four-track collection that feels less like a continuation and more like a rediscovery. It explores the moments we often keep to ourselves: the people we still love, the places we miss, the dreams we once carried so effortlessly, and the innocence that somehow survives beneath adulthood’s layers.
“This is the B-side of our lives,” explains Indolore. “The side where we feel vulnerable, where we want so badly to dare. To dare to tell the people and places we loved that we will always love them, that we miss them terribly.”
It’s a powerful concept, one that transforms the traditional idea of a “B-side” into something deeply personal. Rather than discarded material or alternate takes, La Vie Side B represents the emotional undercurrents of existence—the memories and feelings that continue to shape us long after we’ve moved on.
At the heart of the EP sits the irresistible new single “Manhattan 89”, accompanied by a striking new video. Equal parts dream sequence and time capsule, the track channels the neon-lit romance of the late 1980s through Indolore’s distinctive lens of reflective melancholy. Weird, sexy, cinematic and unapologetically nostalgic, it has all the ingredients to become one of this summer’s most memorable slow-dance anthems.
The song is rooted in a vivid personal memory.
“I dedicate this track to my teenage self, a young French boy who, in the summer of 1989, slipped away from his parents’ watchful eye to enjoy the most exciting two hours of his life in the heart of New York City. Well done kid, you deserve it!”
That blend of autobiography and universal longing gives “Manhattan 89” its emotional resonance. It captures the feeling of standing on the threshold of possibility, when every street corner feels like the beginning of an adventure and the world seems infinitely larger than yourself.
The EP follows the moving single “Terry,” a tribute to the late Terry Reid, whom Indolore considered both a friend and an idol. Together, the songs form a collection that balances grief, gratitude, remembrance and hope with remarkable grace.
Tracklisting
Manhattan 89 (4:35)
Terry (3:35)
So Long (2:32)
Hotel Chelsea (2:05)
Known offstage as Guillaume Simon, Indolore has built an impressive global audience through understated honesty rather than grand gestures. Drawing on a luminous melancholy shaped by his Irish heritage, he creates intimate acoustic landscapes where delicate guitar and piano arrangements support his soothing vocal delivery.
With more than five million streams across Spotify and Apple Music, Indolore’s success has been quietly earned—one heartfelt song at a time. La Vie Side B continues that journey, offering listeners a chance to reconnect with forgotten parts of themselves.
Perhaps that’s the EP’s central question: what if the things we’ve been searching for all along were waiting on the other side? Not at the end of the story, but at the beginning.
Stream – La Vie Side B
Stream:
Rising electronic producer/DJ Arky Waters continues a prolific run toward his highly anticipated debut album – which is set for release on July 2nd (presave) – with the release of his most daring single to date, ‘Just’.
Following the success of club-heavy hitters like ‘Run It Up’ and ‘OMG’, Arky Waters pivots away from the formulaic to deliver a track defined by intentional disorder.
‘Just’ is a masterclass in controlled chaos. Moving away from the polished grooves of traditional tech-house and breakbeat, the track leans into a high-tension, experimental landscape. By intentionally placing snares in irregular patterns and deploying “out of time” vocal chops, Waters creates a sonic environment that feels both urgent and unpredictable. It is a stark departure that showcases his evolution from a club-focused producer to a boundary-pushing artist.
Reflecting on the creative process behind the track, Arky Waters shares:
“I wanted to make an experimental track for the album – something that felt intense and chaotic. I was just throwing snares in random places and chopping vocals up out of time. I feel like a lot of the time in electronic music you can feel tempted to make things really formulaic and groovy and I wanted to break out of that. It’s definitely a direction I’ll be running with moving forward.”
The single serves as a pivotal chapter in the lead-up to his debut full-length project. While his previous work has drawn comparisons to the industrial weight of Bicep and the intricate textures of Overmono, ‘Just’ sees Waters carving out a lane that is entirely his own, filtering UK-inspired club culture through a raw, experimental Australian lens.
‘Just’ is out now via Mammal Sounds Records:
Socials:
Credits:
Written & Produced by Arky Waters
Mixed by Doug Wright
Mastered by Suture Mastering
Artwork, Photos & Visuals by Arky Waters
For all media enquiries, please contact:
How much of your new track Medicinal Liquor came from lived experience versus character-driven storytelling, and where do you personally draw that line when writing?
For Medicinal Liquor, pretty much all of it was drawn from personal experiences and emotions. I’ve always been drawn to writing with imagery and metaphor because it helps communicate a feeling without having to spell out every detail.
As for where I draw the line, I don’t think I’ve reached it yet. There are definitely things I’ve chosen to disguise or soften through storytelling, but the emotions behind the music are real. Even when the details become more artistic, the feeling I’m trying to convey is always honest.
There is a tension in the track between emotional collapse and control. Was that contrast intentional from the beginning, or did it reveal itself naturally as the song developed?
A bit of both. At this stage in my life, I’ve become a very different person to the one who was experiencing a lot of the things talked about in the song. Medicinal Liquor is a showcase of both the struggle and the growth that came from it. The emotions are real, but so is the strength that was built by going through them.
The production feels immersive without becoming over polished. How important is it for you to leave imperfections in your music?
Funny enough, there’s actually a small audio glitch right at the start of the song that I decided to leave in. It almost sounds like a record player starting up, and at some point I stopped hearing it as a mistake and started hearing it as part of the atmosphere.
I record all of my vocals in my room rather than a studio because that’s where I can really immerse myself in a song emotionally instead of chasing perfect takes. For me, it’s about finding a balance. I want the music to sound polished, but not so polished that it loses its character.
When you are writing under the name Mr Elusive, do you feel like you are stepping further into yourself, or creating distance from who you are away from music?
It’s a bit of both. On one hand, writing as Mr Elusive allows me to go deeper and give a voice to thoughts and emotions that don’t always make it to the surface in everyday life. A lot of the music comes from places I probably wouldn’t express as openly in a normal conversation.
At the same time, Mr Elusive feels like the side of me that normally stays hidden. It’s not a character, but more a part of my personality that gets brought into the light through music. In a way, it’s the elusive side of me becoming visible, with each song acting as a piece of that picture.
A lot of independent artists talk about the pressure to release music constantly. Did Medicinal Liquor come together naturally, or was this one of those tracks you kept pulling apart and rebuilding?
Medicinal Liquor actually came together pretty naturally, which isn’t always the case. Some songs get pulled apart and rebuilt over and over again, but this one felt like it knew what it wanted to be from early on.
That said, I definitely feel the pressure that comes with being an independent artist in a world that moves so quickly. A big reason I stepped back from releasing for a while was to focus on improving the music and building a bit of a vault of songs. That way I could stay consistent with releases while still having time to work on new ideas. You’ll definitely be seeing a lot more of me moving forward.
The atmosphere of the track feels almost cinematic. Were you deep in any particular headspace while making this one?
I’m glad you felt that because it was slightly intentional. I wanted the song to feel almost like a movie trailer, where every scene is building tension and emotion towards something bigger.
The very first line actually came out raspier than I had planned, but the second I heard it back I knew it was right for the song. It felt like it captured the atmosphere perfectly and set the tone for everything that followed.
A lot of the headspace behind the track came from a particular chapter in my life. There was a lot of raw emotion that surfaced while writing it, and in a way the song became a trailer for that chapter of my story.
Do you think audiences are connecting more deeply with emotionally complicated music now because everything else online feels so curated and overstimulated?
I think once people find it, then yes. Some people are perfectly happy where the algorithms take them, while others are actively searching for something that feels a bit more raw, real and emotionally complicated.
Life naturally moves up and down, and when people hit those lower moments, music can give them a place to sit with what they’re feeling. Everyone experiences those moments at some point, and I think that’s why songs that come from a genuine place continue to connect with people regardless of trends.
What part of the song took the longest to get right, and was there a specific moment where you realised the track was finished?
The chorus definitely took the longest to get right. The verses came together pretty naturally, but I knew the song needed something stronger to tie everything together and I couldn’t quite figure out what it was.
Then my dad randomly mentioned “Copperhead Road” by Steve Earle during a phone call and it instantly unlocked the missing piece. I remember cutting the conversation short because I wanted to get back to recording before I lost the idea.
That was probably the moment I knew the song was finished. Once the chorus clicked, everything felt like it belonged together.
There is a real sense of restraint throughout Medicinal Liquor. Did you ever feel tempted to make the track bigger, louder, or more commercially direct?
I wasn’t really thinking about restraint consciously, but I was trying to serve the song. There were definitely things I could have added, but sometimes what you leave out is just as important as what you put in.
As an independent artist building momentum right now, what do you think people misunderstand most about the reality of making and releasing music in 2026?
I think people underestimate just how much goes into being an independent artist today. It’s a lot more than writing songs and jumping on stage. It genuinely feels like having two full-time jobs because there are so many different skills you need to develop if you want to turn it into a career.
There’s the creative side of writing, recording and releasing music, but then there’s also everything that comes with building an audience around it. Social media, content creation, marketing, networking and all the moving parts in between. The list never really ends, and all of those industries are constantly changing.
My friends and family have pretty much gotten used to the same answer whenever they ask what I’ve been up to: grinding.
After years of making people move as one-half of Sydney disco-house outfit Midnight Pool Party, Oliver Dela Cruz is stepping out on his own with the launch of a new solo project, Le Cruize.
The project officially begins with the release of debut single ‘SWEET DAY’, a track that has been years in the making and represents a different side of Oliver’s songwriting and production.
For fans of Midnight Pool Party, Le Cruize offers a glimpse behind the curtain. While the duo’s music has always been built around infectious grooves and dancefloor energy, Oliver has spent years collecting ideas that didn’t quite fit that world. Rather than leaving those songs unfinished, he decided it was time to give them a place of their own.
“This project has been a long time coming,” Oliver says. “As one half of Midnight Pool Party, I’m constantly writing, experimenting and building ideas. Some end up becoming MPP songs, while others get left behind. Over time, I built up a collection of unfinished tracks and ‘Sweet Day’ came from the decision to finally revisit that space and create something that’s entirely my own.”
The result is a song that feels personal and optimistic in equal measure. Built around the idea of taking chances and being honest about how you feel, ‘SWEET DAY’ explores the kind of vulnerability that often comes with putting your heart on the line.
“This song is about seizing the moment because life moves too fast not to take chances, especially when it comes to love,” Oliver explains. “There’s something powerful in being open and wearing your heart on your sleeve. That kind of vulnerability takes courage. And sometimes, when you lean into that courage, you get a sweet day.”
As the first taste of what Le Cruize has to offer, ‘SWEET DAY’ marks the beginning of an exciting new chapter for Oliver Dela Cruz—one that gives him the freedom to explore ideas beyond the boundaries of Midnight Pool Party while staying true to the songwriting that has always been at the heart of his music.
Stream:
https://bfan.link/sweetday
Credits:
Written, Produced & Mixed by Oliver Dela Cruz
Mastered by Jack Prest
Artwork, Photos & Visuals by
With the release of their long-awaited debut album Are You Falling In Love? (out July 10) on the horizon, rising Naarm indie rockers The Velvet Club are today proud to announce a national tour in support of the record, taking place in August. The four-date run will see the band bring their magnetic, nostalgia-rich live performances to stages in Sydney, Brisbane, Perth, and Melbourne. Tickets are on sale now and available HERE.
“We can’t wait to tour our debut album,” says frontman AJ Tilyard. “It feels like this is what we have been building up to for the 8 years we have been a band. We have always been a live band first and have always put all of our energy and focus into our live shows.”
Over the past year or so while writing and recording the album, and around single releases, The Velvet Club opted to play a handful of secret shows, small rooms, and parties both in Melbourne and interstate. The upcoming album tour marks the band’s first official headline tour since their Space Between EP run in 2024, and will see emerging Adelaide favourites Pureé support the east coast dates, and WA indie darlings Ghost Care join in for Perth.
“This headline tour around Australia is so exciting for us, we have so much planned for these shows to bring all of these new songs to life for you. I have no doubt these will be the best shows we’ve ever put on, especially having two of our favourite Australian bands Pureé and Ghost Care on support duties at the shows!”
The tour announcement follows the recent release of fan-favourite track ‘We Don’t Talk’, which debuted on triple j Drive with Abby and Tyrone. Stream HERE, and watch the music video HERE. It’s the latest of three singles released so far from the band’s upcoming debut album, Are You Falling In Love?, due for release on July 10. Pre-save the album HERE and pre-order merch and vinyl HERE.
The Velvet Club
Are You Falling In Love? Album Tour
With special guests Pureé & Ghost Care *
7th August – Marrickville Bowlo, Sydney
8th August – Black Bear Lodge, Brisbane
14th August – Rosemount Hotel, Perth *
21st August – Howler, Melbourne
Tickets HERE
Are You Falling In Love? is a triumphant return to creative joy for The Velvet Club, as the product of a burnout-induced hiatus in the wake of their 2024 EP Space Between. The band’s decision to take a break from writing, recording, and touring instead found AJ in his most prolific songwriting period yet. The unravelling of a long term relationship, and the rise of anxiety and other mental health struggles during that time saw AJ turn to songwriting and nostalgia as a salve, revisiting live videos of the bands he had decorated his bedroom walls with in high school – the likes of The Strokes, The Vaccines, The Drums and The Smiths.
“The theme of the album basically encapsulates this year and a half period of my life between 2024-2026 where everything seemed to come to a head,” AJ reflects. “While writing, I started therapy, and after we began tracking for the album I started medication to help manage depression, anxiety and OCD. Finally addressing these as issues I had been ignoring definitely changed the trajectory of this album, and helped shape the overall tone and feeling of the record.”
Throughout the record’s 10 tracks, The Velvet Club navigate mental health struggles, relationship breakdowns, friendship, and solitude, fuelled by jangly guitars and hooks that move from bright to melancholic and back again. The Velvet Club’s return to the hazy immediacy and raw, unpolished charm of 2000s indie is what made the title track ‘Are You Falling In Love?’ the perfect album opener. At just over two minutes, the track captures the punchy energy of a TVC live show with its catchy, repetitive melodies – an intentional choice that AJ says “really sets the scene for the rest of the album.” Songs like ‘Blue’ and ‘We Don’t Talk’ dive into AJ’s experience with heartbreak and healing, while ‘Wasted Space’ and ‘I Need Something Too’ touch on mental health, particularly his experience with OCD and his journey in accepting its impact on his life.
From their intimate DIY release parties and secret shows, to tearing up the stage alongside the likes of Hockey Dad, DICE, The Rions, and Rum Jungle, The Velvet Club’s passion for honouring and reimagining a beloved genre has led the band to a tight-knit community of music lovers, musicians, and fans alike. As well as their influences abroad, The Velvet Club also look to their peers – the likes of sleepazoid, The Belair Lip Bombs, and Highschool – for motivation. “Aside from the personal cathartic experience of writing and creating it, my favourite thing about making music is the community you build around it,” says AJ. “All the friends we’ve made through it and the bands we’ve grown close to along the way have been by far the most rewarding part about making music.”
That sense of community is what led them to working with friend, producer, and fellow musician Luke Thomas (Fan Girl, Harris, World’s Best Neighbours) on Are You Falling In Love?. “We literally could not have made the record without Luke. He co-produced and engineered the entire thing from his own studio, Taste Police, in Brunswick. It’s also why I believe this album sounds so true to us and what we are about as a band. We made this record completely on our own with our friends.” The album was mixed by Scott Hoorscroft (DMA’s, Middle Kids, DZ Deathrays) and mastered by George Georgiadis (The Rions, The Buoys, Teenage Dads).
Prolific multi-platinum Australian artist Crooked Colours today announces his fourth studio album Dirt Road Gold, set for release Friday August 21st 2026. Alongside the announcement an upcoming multi-date Australian tour and drop of his latest single from the LP, ‘Oxford’. Once a trio now solely led by lead singer Philip Slabber, this is a deeply personal and career defining moment for Crooked Colours, his vulnerability on display as he steps through to the dawn of a new era. Pushing the boundaries of his own musical scope and in turn flawlessly delivering. Slabber effortlessly genre-hops through Dirt Road Gold, from alternative euphoric builds to upbeat melodies to electronic stabs alongside his instantly recognisable heartbreaking vocals; stacked to perfection. Available to pre-save here.
Speaking of the overall process, creativity and what to expect from Dirt Road Gold Slabber shares, “The inspiration for the album wasn’t one single thing, it was movement. Change. The push and pull between holding onto what’s familiar and letting it go. There were moments of isolation, but also a lot of clarity in that space. Sonically, I wanted it to feel expansive but intimate at the same time, something that could live in a club but still hit you when you’re alone driving at night. I want you to be able to hear the moments.”
An industry heavyweight both locally and abroad with nods from Billboard, NME and Dancing Astronaut, Crooked Colours continually craft a distinctive soundscape with over a decade of multifaceted experience. Known for bridging the gap between indie and electronic music, ‘Oxford’ succeeds the Rolling Stone AUNZ featured-single ‘Pink Limo’ followed by ‘Come Thru’, all calling Dirt Road Gold home. Showcasing the calibre and hinting at the dynamic of the overall album. Effortlessly navigating sonic moments of light and shade, a true stand-out in the current global dance scene, and highlighting Slabber’s unparalleled storytelling ability.
With a dedicated following as a cornerstone of the Australian music scene, the upcoming Dirt Road Gold tour kicking off in October will see Crooked Colours perform at Freo. Social in Fremantle, Metro Theatre in Sydney, Northcote Theatre in Melbourne, Lion Arts Factory in Adelaide, Brisbane’s The Triffid and Byron Bay’s The Northern.
Of-late, 2025 saw Crooked Colours take on a national tour before making his way across Europe hitting London, Paris, Berlin and more. Having notably performed at Laneway Festival, Falls Festival, Beyond The Valley, Red Rocks, Bonnaroo, Grooving The Moo, Spilt Milk and Splendour In The Grass, Slabber has continually earnt a dedicated following as an institution in the dance realm.
As one of the globe’s most reliable and energetic Australian exports, previous albums Vera (2017), Langata (2019) and triple j Feature Album Tomorrows (2022), all encompassing the brooding, sun-kissed euphoria of Crooked Colours. Collectively delivering standout tracks including ARIA Platinum accredited records ‘Flow’ and ‘Do It Like You’, alongside Gold singles ‘I Hope You Get It’, ‘I’ll Be There’, ‘Hold On’ and ‘Love Language’; quickly surpassing one billion streams worldwide across all platforms and counting.
Highlighted collaborations with Don Toliver, Masked Wolf and Ladyhawke alongside official remixes from Claptone, HOSH, Kyle Watson, SNBRN, Alison Wonderland, Hermitude and Bag Raiders all adding to the culture and escape that is Crooked Colours. Dirt Road Gold and all that it embodies, will no doubt add to the act’s long and growing list of accolades.
Crooked Colours’ Dirt Road Gold LP is set for release on Friday August 21st 2026.
Pre-save/pre-order here
BUY/STREAM: CROOKED COLOURS – OXFORD
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For most songwriters, being asked to write a love song might inspire heartfelt lyrics and grand romantic gestures. For Audio Lounge bassist and songwriter Eric Merryman, it sparked something entirely different.
The Annapolis rock outfit’s latest single, Virginia’s Not for Lovers, began as a tongue-in-cheek response to repeated requests from Merryman’s then-girlfriend to write a romantic track. Rather than delivering a conventional declaration of love, he leaned into irony, crafting a deliberately generic love song that slowly evolved into a sharp commentary on emotional detachment and hollow relationships.
Released on May 29, 2026, the single marks a significant step forward for a band that has been growing together since childhood. Founding members Trent and Connor first started making music together in fifth grade, laying the foundation for what would eventually become Audio Lounge. Years later, that friendship remains at the heart of the group’s creative chemistry.
While the band’s collaborative spirit is evident throughout the recording, much of the track’s foundation came from Merryman himself. He handled virtually every instrument during the initial sessions, building the song piece by piece before drummer Connor Fuerst stepped in to contribute his own rhythmic ideas. The result is a recording that balances individual vision with collective refinement.
Adding another layer to the song’s texture are background vocals from Michaela Palazzo, bringing subtle depth to a production that already feels larger than life.
That expansive quality is no accident. Audio Lounge openly embraces the influence of Foo Fighters, a longtime favorite of Merryman’s. The band’s impact can be heard throughout the track, particularly in the explosive post-chorus sections where the song shifts from restrained storytelling into full-scale stadium-rock territory. Yet rather than simply imitate their heroes, Audio Lounge uses those influences as a launchpad for a sound that feels increasingly their own.
Recorded at the University of Maryland, Baltimore County’s recording studio, the project also carries personal significance for the band. It was there that Trent and Connor studied music production during college, giving the sessions a sense of familiarity and creative freedom that shines through in the finished product.
What makes Virginia’s Not for Lovers stand out is the contrast at its core. On the surface, it presents itself as a love song. Dig a little deeper, however, and the irony becomes impossible to miss. The lyrics and delivery create the impression of a relationship running on autopilot, where affection feels more performative than genuine. It’s a clever inversion of a familiar theme, transforming romantic expectations into something far more nuanced.
For Audio Lounge, the single represents more than just another release. It signals a new level of confidence in both songwriting and production. The band describes it as their strongest recording to date, and it’s easy to hear why. Between its soaring hooks, emotional weight, and polished execution, the track captures a sense of ambition that pushes beyond their previous work.
With Virginia’s Not for Lovers, Audio Lounge has managed to turn a simple challenge into a compelling rock anthem—one that combines humor, honesty, and arena-ready energy in equal measure. If this release is any indication of where the band is headed next, their future looks every bit as expansive as the sound they’ve created here.
Dom Dolla | Thursday 24th September | Marvel Stadium, Melbourne (SOLD OUT)
Melbourne’s own Dom Dolla has sold out his Marvel Stadium show and is set to deliver one of the most significant moments in Australian electronic music history this September.
Presale allocations were exhausted within hours, with all remaining tickets selling out instantly from general on sale.
Presented by Untitled Group and Frontier Touring, the show is an Australian-exclusive and the world premiere of his brand new stadium production in front of his home crowd.
The sellout cements a remarkable trajectory for the GRAMMY Award-nominated DJ and producer. Following his record-breaking, sold-out debut at Allianz Stadium in Sydney in December 2025, he now brings the experience to Melbourne on a scale that puts Australian electronic music on a new footing globally.
Nicholas Greco, Co-Founder and Managing Partner of Untitled Group said, “Untitled Group has been part of Dom’s journey from the very start of his career, and to watch him sell out Marvel Stadium in his hometown is a moment we’ll never forget. This puts electronic music in Australia firmly on the global map and is a historic moment for Dom, for Melbourne, and for electronic music fans across the country.”
Dom’s catalogue has surpassed 1.5 billion streams, earning him four ARIA Awards for Best Dance/Electronic Release and the inaugural ARIA Global Impact Award presented by Spotify.
In 2025, he headlined two sold-out nights at New York’s Madison Square Garden to over 30,000 fans, completed a 10-week residency at the world’s #1 club Hi Ibiza, and made his film soundtrack debut with “No Room For A Saint” ft. Nathan Nicholson for the movie “F1” and has collaborated with Kid Cudi, Tove Lo & Nelly Furtado.
This is an 18+ event.
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