Today the Paul Institute website will relaunch, to host a new array of music from a label known for supporting creativity and independence. The Paul Institute is an independent label founded by brothers Jai and A.K. Paul alongside their friend Muz Azar.
With early access for PI enrolees at http://www.paul-institute.com over the coming days, this is the biggest drop from the Paul brothers’ label yet.
A. K. Paul says “I’m really happy we’re releasing new music with Paul Institute this summer. It’s been a while coming and the last couple of years have been perilous at times for PI, particularly because of a legal fight that set us back. So besides it being sick music, to return with such a strong set of releases feels like a vindication of our rights as artists too.”
PAULINST0009DS – A. K. Paul – Be Honest
Purchase/Stream: https://paulinstitute.ffm.to/
A. K. Paul goes first with ‘Be Honest’ a song he describes as being “about giving up control for a moment, allowing yourself to feel something beyond what you’ve known. It’s a song about liking something you didn’t think you would like, feeling something you didn’t think you would feel – and as you come to your senses being faced with the prospect you’ve only half lived…”
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a message for all existing Paul Institute enrolees
We are requesting that you now re-enrol, to stay informed of new releases and regain access to http://www.paul-institute.com
This is due to new privacy laws in effect. We apologise for the inconvenience and look forward to welcoming you for the new releases.
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This year Octavian will finally release his hotly-anticipated debut album. It’s the culmination of years of progress, evolution and experience, punctuated by two acclaimed mixtapes (SPACEMAN and Endorphins), multiple awards, co-signs and high profile collaborations. And with Skepta already announced as the album’s executive producer, it’s set to be one of the year’s defining releases.
Today, the multifaceted London rapper, producer, songwriter and ESSIE GANG founder releases the first track from that debut album. ‘Rari (Chapter 1) feat. Future‘ is the album opener and heralds the first of three musical Chapters on the record that will showcase Octavian’s diverse signature sounds. It’s also an undeniable statement of the levels of scale and ambition at which Octavian now operates. Listen HERE.
‘Rari (Chapter 1)’ not only introduces a more emotionally expansive expression of himself but also indicates the many ways in which Octavian has taken things up a notch. Featuring Future, who has dramatically transformed the rap landscape in the past decade, ‘Rari’ is in part a passing of the baton. Combining Octavian’s signature rap sound with his more experimental indie leanings, the track tells the story of companionship and looking forward to brighter days ahead. Produced by Jim-E Stack and accompanied by a Crown & Owls directed video, it’s a story told in two parts, with the Dungeon Family legend leaving his unmistakable imprint on the second half. Watch the ‘Rari feat. Future’ video HERE.
‘Rari feat. Future‘ by Octavian is out now, buy/stream it here.
Where are you currently based?
I’m living in my hometown, Loures, right next to Lisbon. For now, I feel this is the best place for me to be at, I’ve lived in London some time ago, let’s see what the future holds.
How did you first start playing music?
Fortunately, my school provided us music lessons since we were 3 years old. It wasn’t much, but it was enough for me to have the curiosity to learn more. So, when I was 8 years old, I joined a local music school to learn how to play the drums. That place was amazing, I’ve learned a lot. The teachers formed bands made up of students learning different instruments, and we played covers together. We were all kids, playing mostly rock covers, and we even played concerts. Amazing, we were quite good to be honest. After some years there, I began to learn how to play bass guitar as well.
Then, when I was 11, I joined a Symphonic Band, which gave me many opportunities to learn. I began as trumpet player, but soon became a percussionist. Learned percussion in a conservatory, played a lot of concerts, was part of some Orchestras, and so on. I’ve even been able to play with one of the best Orchestras in Portugal, as an intern. My favorite instrument is the timpani, as a percussionist you need to play every instrument, but most of the time I was playing the timpani, a beautiful instrument. To share a stage with more than 20 people, all contributing to the same purpose, is an amazing experience, it gave my ears a taste that I’m most thankful for.
What’s been happening recently?
Recent times haven’t been easy for anyone. I’ve been promoting Drowning the best I can, reading a lot, and laying the ground for upcoming songs.
How did you come to start producing and creating music?
Since a kid that I dreamed about having my own songs, but I never really knew how to make them, neither felt the need to. When I was 21, I’d grown up in a way that I felt I had to share my story with others, at least I had to put it out. As a musician, I felt that there was no better way to express my feelings and thoughts than music. I’m a very sensitive person, attaching meanings to almost everything, so I had some harsh experiences through the years. My purpose was to share those experiences with others going through the same.
As a result, I started learning music production in London, an introductory course that took only 3 months. During those times I explored a lot, watched documentaries, and searched the internet for every bit of information I could find. I studied the production behind every song I listened to, all the effects and techniques. After that, I began producing my songs.
Please tell us about the third track on the EP ‘Drowning’ what influenced the sound and songwriting for this track?
Every song tells a specific part of the story I’m trying to tell. “Drowning” is the moment after I realized I was not being myself. I’d been too many years pretending to be someone I was not, which led me to a state of disbelief and numbness. I had no idea who I was, what I was doing with my life, who I was close to, what was my purpose. Drowning tells the story of facing those challenges and moving forward.
How did you go about writing Drowning
For me, lyrics play an essential role in passing a message on a song. I wrote lyrics for every song of the album after the production was completed. Then, when I contacted Verbz to collaborate on “Drowning”, we agreed that he would write his lyrics, including parts from the ones I wrote, in order to express a shared outlook on the topic.
Where and when did you record/produce?
“Drowning” was entirely produced on my computer, in July 2019. Nowadays you have access to everything you need to produce your songs without a professional studio (although I wish I had access to one, the feeling is different). Then, in December, because I was in Lisbon at the time, Verbz recorded his vocals in London, in a place of his choice, and sent them to me. As you might have guessed already, me and Verbz have never met each other personally, we always find that a bit odd given the fact that “Drowning” worked so well.
What programs/instruments did you use?
I only use Logic Pro X. My songs are combinations of instruments from Logic’s library, samples I get online, and, sometimes, I record some basslines and guitars with a small interface I have at home.
Please tell us about the concept behind your upcoming album ‘The First Chapter’:
“The First Chapter” tells my life’s story until this moment. It was produced as a soundtrack to my life. Whenever I think of a song, images come to my head, almost like a movie. For me, when you combine both things, you get the perfect mix to express something.
The album tells the story from the moment I realized I was not being myself, to the point I began to accept me as I am, with all the consequent ups and downs. I tried to create 1 big track, that has 14 parts, or 1 play that has 14 acts, so all the songs are connected between them.
What is it about Hip-Hop that you relate to most?
When I was growing up, I didn’t listen to hip hop that much. I knew Dr. Dre and Eminem, but that was it. Then, one day a friend of mine told me that I had to listen to a song called “King Kunta”, by Kendrick Lamar. This was 2015, I fell in love with Kendrick’s instrumentals at first, then paid attention to the lyrics and I was blown away. Kendrick made me realize that it is possible to put out deep messages through music, with a vibe that is unique to hip hop.
I see hip hop as a reporter of what’s going on in the world. It has a powerful voice to tell a meaningful story and to get attention to some important matters that none of the other music genres talks about. I love the freedom that hip hop provides to create, to put out deep messages, plus, as a drummer and bass player, I got to love the instrumentals.
How has classical music influenced your sound?
Classical music enabled me to listen to a lot of new sounds. I was only familiar with drums, guitars, and bass guitars. So, to play with a lot of different instruments, in a lot of different circumstances, provided me with opportunities that I could never imagine. It opened another door for me, a huge one.
There is no feeling like playing live with an orchestra. As a percussionist, I was behind everyone on stage, so I could see every instrument at all times. I loved to see the trombones and the trumpets right in front of me, playing their parts. I loved to see the conductor moving his arms while looking at me when my part was coming, then “hit” the timpani’s skin in harmony with everyone.
It gave me more tools to work with.
What does music mean to you?
Music is the best way for me to express myself. I’m a very quiet guy, an introspective. However, although I don’t say much, I think and feel a lot. I’m the kind of person that pays attention to everything that is happening around me. I have this kind of unquenchable thirst that makes me think about everything, to find every meaning beyond what the eyes can reach. In one word, I’m hypersensitive. I’m not saying I cry if you scratch my arm, it’s not like that. It’s more like I am a sponge absorbing all the things that are happening.
As a hypersensitive, I tend to see and to feel things way beyond what others do. When I was younger, it was a bit of a curse, but now, I feel like it is a blessing. Music enables me to put my head in order, because while I’m creating songs, I’m giving those experiences a final meaning, arranging my past and making space for the present.
Who or what influences your music?
I listen to a bit of everything. If you went digging my phone right now you would see Fado, Classical, Opera, Hip-Hop, Rock, and so on. I enjoy music, so if I feel there is something to pay attention to or to dance to (I love Kaytranada as well), I will listen to it, and I’ve always been like that, so I’m a bit of a blend.
What do you like to do away from music?
I’m taking an MsC in Business Management, it is another part of me that I am gradually learning to combine with music. I like the perspective Business Management gives me, besides the classic Wolf of Wall Street, the idea that a suit makes your opinions worthier, or pimps trying to sell the next golden eggs’ chicken, Management is all about people and strategy, I like that.
I love to hang with my friends at home and to be with my family. Besides that, I’m very connected to nature. Absolutely love trail running in the middle of nowhere, it is like meditation. That and keeping fruit trees.
What’s planned for 2020?
2020 will hopefully be the year when “The First Chapter” comes out. As a producer, it is hard to get rappers and singers to collaborate, especially at the position I am at. I’m hoping that “Drowning” opens some doors which enable me to finish the album.
Favorite food and place to hangout?
I love to be at home, so if you give me a backyard, friends, speakers, hamburgers and some drinks, I’m a happy guy.
Where are you currently based?
I am currently based in the South East Suburbs of Melbourne, so unfortunately that means I am in lockdown at the moment haha
How did you first start playing music?
I started playing guitar when I was about 8 years old, I hated it at first, was kind of a chore for me, but when I started listening to artists like Jimi Hendrix and John Frusciante and how they played the guitar, I kind of just wanted to be like them and found a love for it. I’ve worked really hard on being able to play all the instruments I play to a good standard , but I think Songwriting, Structure and Melody are the components I probably work on the most when it comes to music. I find them to be the most important, and a lot of that learning comes from just listening to as many different styles of music as possible.
What’s been happening recently?
I am in the process of finishing off my debut EP. The Songs have been done for a while but I just have to finish off some recording. Melbourne has just gone back to Stage 3 Lockdown which has delayed the last couple of sessions, but would much rather everyone be safe than sick. Gives me some extra time to make sure things are perfect.
Your new single ‘Feels’ will be out August 14, what influenced the sound and songwriting?
I was listening to a D’Angelo record when I wrote the opening riff, so I often think that inspired the sound of the intro section, however when I hear the song, I hear a lot of Jamiroquai and some of my more funk/soul influences coming through. Lyrically I was inspired by the situation I was in at the time where I was scared to be vulnerable with someone and fall in love. I think it’s something a lot of people can relate to. There is a lot of inner turmoil that goes on with those feelings and I tried to convey that while also touching on the beauty that also comes with love.
How did you go about writing Feels?
Like a lot of the songs I write, I often take bits and pieces from other songs I have written and trial them with new ideas. For example, ‘Feels’ started off as an intro riff and a Chorus idea and nothing much else. So I grabbed the verse of a song I’d be working on that wasn’t really going anywhere and made it fit to the overall vibe of ‘Feels’, it ended up working super well so I left it. The only other thing I added was the Pre-Chorus, which had been a stand-alone melodic idea sitting in my phone voice memos for months. From here I just had to work on the structure and production, which flowed really well once I had all the sections written.
Where and when did you record/produce and who with?
I recorded all the songs for the upcoming EP including ‘Feels’ at Debasement Studios in Ferntree Gully. One of my Uni Teachers owns it so I just book it out for the day and get everything done. It’s a really sweet set up and just a great place to record! I do all the recording and production by myself, which sounds super stressful, but really I prefer it that way. I have worked with recording engineers in the past and learnt a lot of great things, but eventually I felt in order to get the sound I wanted, I had to do it myself. It does often mean very lonely days in the studio starting at 8am and leaving at like 11pm at night, but once it all works out, and thankfully it always does, it’s so worth it.
You also have an EP titled ‘Feels’ coming out in November 2020, what can we expect?
‘Feels’ the EP is something I am really excited to share with the world. It is a collection of stories of my experiences with love, attraction, sexuality and the inner conflicts that come with feelings of that nature. There’s a bit of a pink Floyd thing going on in that it plays as a whole piece of art, rather than a collection of songs that don’t really relate to each other. There is a good mixture of Funk, Rock and Soul in their too, depending on what the song is trying to convey. Overall I am really proud of how it sounds and just can’t wait for people to hear it.
What did you find most challenging and rewarding during the creation of the EP?
I think there are always challenges when you are creating something for release. There is a lot of pressure you tend to put on yourself, trying to make things perfect. Engineering the whole thing by myself definitely took it’s toll a few times, especially when I was by myself in the studio after days in a row tracking. But at the end of the day I think once it’s out there, that’s reward in itself. I know I’m proud of it and that is enough for me.
What do you like to do away from music?
I am big into my sport and fitness, so I usually try and fit a run or a gym session into my daily routine as it allows me to remove myself from music for a while. I’m also a big Richmond supporter so I love kicking the footy or watching it at home. Besides that I spend a lot of time watching films or writing poetry. Movies give me a lot of musical inspo, not even from the scores themselves, but general imagery in a scene can spark some really cool ideas for me.
Who are you listening to at the moment?
I’ve been listening to a lot of stuff from the 70s lately, mainly The Isley Brothers and Prince’s first few albums. But I have also been digging The Goods new abums ‘II’ which is sick! I usually listen to a bit of everything though.
What’s planned for the remainder of 2020?
2020 has been a very unpredictable year! The EP and it’s release is my main focus at the moment, and I’m trying not to write any new material until it’s all been recorded. But I think once the EP is out I want to get back into the studio as I have a few plans for next year that I want to get underway. I am also hoping we can get back to playing gigs soon as well because I am really missing being on stage.
Favourite food and place to hangout?
Favourite food – Chicken Parma, nothing compares!! Favourite Place to Hangout – I love going to live music and Melbourne has so many amazing live music venues. So really any chance I get to go to a gig with friends and listen to music, that’s my favourite place to be.
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PRAISE FOR JEROME FARAH
“A powerful debut”
NME Australia
“Chilling”
Sniffers
“Jerome Farah pulls no punches”
Acclaim Magazine
“I Can’t Breathe threads attitude with artistry”
triple j
Melbourne singer-songwriter and producer Jerome Farah today shares his highly anticipated second offering ‘Mikey Might’. Listen HERE.
Jerome Farah is an APRA-award winning songwriter and a much sought after collaborator, who has previously worked with Baker Boy, KIAN, Adrian Eagle and Dallas Woods. His debut release ‘I Can’t Breathe’ was a confident and self-assured stepping-out and into the limelight for the 27-year-old artist, receiving full rotation on triple j and garnering praise from NME Australia, Acclaim, Pilerats, Purple Sneakers and more.
Jerome’s second solo release arrives weeks after his debut exploded onto the Australian music scene via a premiere on triple j’s Good Nights with Bridget Hustwaite. A compelling, politically-charged fusion of neo-soul, alternative rap, and R&B that spoke to issues of police brutality and racism, ‘I Can’t Breathe’ packaged Jerome’s unique, dexterous sound that threads together styles and influences informed by his multicultural upbringing into a powerful opening statement of intent. All proceeds from his fierce debut going to the Victorian Aboriginal Legal Service.
‘Mikey Might’ continues that train of thought, with his free-flowing verses evoking early Chance the Rapper. He ponders the hurt and internalisation of racist stereotypes through the lyrics: “Way too White to be a Black kid, right? / Not enough to live that White kid life / Am I ever gonna quite feel right? / Cause no one know my pain”. Of the emotions and experiences animating ‘Mikey Might’, Jerome shares that: “I am too White to be Black. I am too Black to be White. This grey area is confusing as hell.”
This new single by Jerome is another potent, genre-melding track from the stylistic polymath that is sure to cement his standing amongst Australian music, mixing gospel-flavoured, soulful harmonies with agitated vocals ringing off in the background and piano that is at once both compassionate and sorrowful.
‘Mikey Might’ by Jerome Farah is out now, buy/stream it here.
Website | Instagram | Facebook | Soundcloud | Twitter | TikTok
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Jess Cornelius
Facebook | Bandcamp | Instagram | Spotify
parttimerecords.com
remotecontrolrecords
ARMADA MUSIC
TENSNAKE – ‘SOMEBODY ELSE’ FEAT. BOY MATTHEWS (ELI & FUR REMIX)
OUT NOW
London based electronic duo Eli & Fur have remixed Tensnake’s latest single ‘Somebody Else’ feat. Boy Matthews.
Eli & Fur opt for a deep, melodic version of ‘Somebody Else’ that loses none of the dancefloor energy that makes the original so special, allowing Matthew’s key vocals to shine through. The track follows Shadow Child’s remix released in June, harnessing a nostalgic rave vibe to perfectly bring together the two new versions of the single into one package.
“Somebody Else” is probably my favourite song on the album. When Boy Matthews and I met in Los Angeles we instantly got along and the songwriting came very naturally together. I’d say it is also the song which reminds me the most of my time in Los Angeles; this city has such a nostalgic feel and I tried to capture that vibe in this song. There is a fair bit of retro style to the instrumental, but in combination with the modern vocals it sounds very fresh to me.” Tensnake
One of the most influential electronic artists of recent times, Hamburg-born Tensnake tasted UK chart success with 2010 smash ‘Coma Cat’, which peaked at #11 in the UK Indie Charts. He has since remixed songs from the likes of Aloe Blacc, Lana Del Rey, London Grammar and Duke Dumont, collaborated with Nile Rodgers, and dropped debut album Glow and amassed over 70 million streams on Spotify alone.
Eli & Fur’s unwavering passion for producing, songwriting and performing has put the London-based duo at the forefront of the international house & techno scene. They have released dark, emotive dance anthems on NYX, Kitsune ,and Above & Beyond’s Anjunadeep imprint.
Capturing the imagination of followers new and old from all over the globe with their signature sound, Eli & Fur put the perfect touch to create an addictive and mesmerizing track to add to the Tensnake catalogue of remixes around his upcoming album, L.A., due out this summer via Armada Music.
Tensnake ‘Somebody Else’ Feat. Boy Matthews (Eli & Fur Remix) is available now on Armada Music
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FACE the Music, an alliance For Art and Cultural Entertainment (FACE) formed as a response to the negative economic and cultural impact of COVID-19 pandemic, has just launched its worldwide operations. This alliance exists as a not-for-profit association which will act globally, with the aim to support and enhance the electronic music industry. Founding members and associates include booking and management agencies, artists, promoters, club owners and other professionals from this industry, such as representatives of Yoyaku Agency, Toi.Toi.Musik, Fabric London, Mutek Festival, The BPM Festival, Visionquest, Avant Garden, BArtist Agency, Bleach Agency, Zero Logistics, Nomad Talent, Lola ED, Minibar, Discobar, Subsonic Music Festival and more.
The alliance will take action in creating a dialogue with decision-makers in politics and culture and national governments to investigate ways to be supported and saved. FACE the Music will, also, serve as a platform for professionals to communicate, collaborate and educate on designing the music industry’s re-opening. Additionally, FACE considers its mission to go beyond the so-called creative economy and raises awareness of the beneficial effects of nightlife in its social, intellectual, academic, artistic, and (counter-)cultural forms.
FACE the Music will be acting as a centralized force that will strengthen the industry’s collective needs and tackle common issues and difficulties, especially in times of turmoil such as the current global emergency. The alliance will also collate up-to-date information on measures as a response to the current crisis to provide instructions in a consistent manner. Furthermore, FACE will identify ways of driving sponsorship and/or funding which would be available to the benefits of our members, and aim to create partnerships and initiatives with other similar associations.
As a reminder, nightlife has not only been suspended worldwide, but it’s also a sector facing the most uncertainty about how and when it may re-open fully. While national efforts to save this culture are under discussion in places recognising nightlife such as Berlin or Amsterdam, FACE has identified the need for a collective and coordinated international response in the rest of the world as well.
All industry professionals, companies, associations are welcome to become members via the link: https://www.face-the-music.
More information on the official channels:
Fresh off the heels of releasing an official remix for Lady Gaga’s ‘Stupid Love’, Velvet Code is making a spectacular return to form with his new single, ‘Teenage Dreamer’. The song is accompanied by a cutting-edge, digitally enhanced 4K music video, filmed entirely while in self-isolation.
Blending vibrant progressive house and electronic influences, ‘Teenage Dreamer’ is the first follow-up single to Velvet Code’s 2019 sophomore album release, ‘Dreamer’. The song, which is written, produced, mixed and mastered by Velvet Code himself, is an empowering electronic anthem filled with nostalgic and thought-provoking lyrics; aimed to connect with fellow members of the LGBTQ+ community.
“Over the past few difficult months, I’ve felt compelled to write a song that empowers listeners to continue to dream big and not give up hope,” says Velvet Code. “‘Teenage Dreamer’ embodies the joy and happiness I’d like to impart on my amazing supporters as they navigate through these tough times.”
Velvet Code – ‘Teenage Dreamer’ is out now on ENSIS Records.
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Caleb Hawley
Harlem-based Caleb Hawley’s distinctive, breathy vocal is utterly captivating on new single ‘Tell Me What It’s Like to Have a Dream Come True.’ The dreamy chorus is juxtaposed with the gritty, melancholic verses. With subtle rock influences, this mid-tempo ballad is like a breath of fresh air for the pop scene.
Michael Lukes
Michael Lukes has released the luminary music video for his song ‘Stars’, taken from his dynamic EP ‘I AM’. The indie-pop and folk singer-songwriter collaborated with director Angelice B. Ganti and a diverse cast from multiple countries, creating a visual which amplifies the song’s message of unity.
KnowledgeBoy
Buoyant keys and tinny beats create a summery soundscape on KnowledgeBoy’s new single ‘Hottie Baby’. The Chicago-born rapper delivers a confident, smooth flow supported by R&B-style harmonies, all enveloped in sugary autotune. This track is taken from his upcoming album release, ‘Leaders 4’.
BTWN US
Melbourne trio BTWN US have perfected the recipe for an indie-pop floor-filler with their latest single ‘Talk.’ Featuring smooth melodies and powerful vocals throughout, the chorus bursts with whirring bass, guitar locks and chanting harmonies. This irresistible anthem is accompanied by a gritty, sunset-soaked music video.
Silver Coast
‘You Could Have It All’ is the enticing new single from Scottish Alt-Rock band Silver Coast. The emphatic electric guitar and vivacious drums create an immense sound, featuring the vitality of Pop Punk and the gritty edge of Indie Rock. Lead vocalist Aaron Murray delivers powerful, compelling belts which elevate the track further.
Black Sands
‘The Hardest Pill to Swallow’ is the dark, dynamic and electric debut single from producer Black Sands. The smooth R&B vocal is partnered with a driving Alt-Rock beat and swirling synthesisers, creating a unique fusion of genres. The momentum of this track never waivers, building anticipation for Black Sands’ upcoming record.
Pook Hustle
‘Purple: Grass Is Always Greener’ is the new dual-track release from Brooklyn-born hip-hop prodigy Pook Hustle. The bouncing hook line of ‘Sickwitit’ is paired with energetic percussion, whilst ‘Budapest’ offers spacey synths and a smooth, assured rap flow. This project precedes his upcoming sophomore EP ‘Red Tape’.
Stock Footage
The debut album ‘Broken Together’ from Indie-Rock band Stock Footage indicates that this is a duo unafraid to explore uncharted sounds. High-octane percussion and driving guitar lines create a rock edge to the pop-inspired melodies, partnered with the band’s signature horns.
Jennie from Bad Cop /Bad Cop is on Strano podcast (episode #44). They talk about turning points, fun and scary rides, what to do when you’re invisible, home… and more!
Overcast link: https://overcast.fm/
Website: www.stranopodcast.com
She first gained some attention when, at 10, she was nominated for a Toronto International Music Award for Best Young Songwriter by a panel of judges (including Juno-nominated singer- songwriter Jully Black) for her original song “Remember Me” – following this experience, Mackinnon placed as one of the Top 10 musicians for the worldwide Hard Rock Rising Contest in March of 2014 and in 2015 when she was contacted by director-producer Sean McNamara to use her original song “Espresso Kiss” in the feature film “Just in Time for Christmas” starring Eloise Mumford, William Shatner and Christopher Lloyd.
Originally from Toronto, Kaylan has been living in Vancouver to complete her Creative Writing degree at the University of British Columbia – AND – she’s not only released been the EP “Savour” (with west coast writer-producers Winston Hauschild and Troy Samson), but she’s also gearing up to release a brand new record before the end of the year.
https://www.kaylanmackinnon.com/
As we head into the weekend that would have been, the team at Splendour HQ are feeling a little (okay a LOT) nostalgic for our favourite weekend of the year.
We’re missing the 100+ bands across the 4 main stages, the 21 bars, 70+ food stalls, 60 market stalls, 240 showers, 842 porta loos (actually not really missing them that much), 185 site sheds, 4850 pallet walk boards, 20km of temporary fencing, 70 golf buggies, 750 lanterns, endless gaffa tape and more than anything the 3500+ staff, volunteers and crew along with tens of thousands of music lovers that come together at North Byron Parklands each year to create the magic that is Splendour in the Grass.
Splendour memories are starting to fill the social media feeds, giving us all the happy sads. So we thought we’d ramp it up a notch and drop this vid on you too!
Now you’re feeling all the feels, here’s how you can get involved in Splendour in the Grass right now!
LISTEN – TRIPLE J’s SPLENDOUR IN THE PAST
If you can’t be at Splendour IRL then tuning into triple j’s Splendour in the Past is definitely the next best thing! Listen on Saturday 25 and Sunday 26 July between 9am – 6pm for highlights from Splendour’s past including tracks from A.B Original to Yeasayer and everyone in between.
WATCH – DMA’S STREAM PERFORMANCE FROM SPLENDOUR’S AMPHITHEATRE
DMA’S are no strangers to Splendour in the Grass, having played the GW McLennan stage in 2014 and the Amphitheatre in both 2016 and 2018. 2020 would have been a triumphant return to a stage they hold dear. While the festival has been put on hold, you can still catch DMA’S when they stream a very special acoustic set from Splendour’s Amphitheatre. Fans will be able to watch the stream via the Splendour in the Grass and DMA’S Facebook pages, and DMA’S YouTube today (Friday 24th July) at 4:30pm (sunset slot).
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SUPPORT SPLENDOUR CREW & PURCHASE T-SHIRT HERE
100% of profits from the sale of these T’s will go directly to Splendour’s crew, who are doing it super tough during Covid, so rest assured this is a purchase that will have you looking and feeling extra good! And at just $40 + postage they are a total bargoon!
All money raised will be distributed via Support Act, which provides crisis relief, mental health and wellbeing services to Australia’s music industry community.