PLAYING STILL NOT GETTING ANY… LIVE IN FULL FOR THE FIRST TIME EVER
TOURING NATIONALLY WITH THE OFFSPRING THIS MAY
Photo Credit: Mahe Carpentier
In 2025, SIMPLE PLAN history will be made in Australia, with the revered Canadian rockers today announcing a surprise special headline show in Sydney at the Liberty Hall on Saturday 10th May playing their 2004 sophomore album Still Not Getting Any… in full in its entirety for the first time ever. Tickets go on sale Tuesday 29 April at 12pm AEST time.
“Still Not Getting Any…” is one of our favourite albums we’ve made and last fall it celebrated its twentieth anniversary! We haven’t had the chance to properly celebrate the milestone and because we are not big fans of just sitting around, we thought we would take advantage of the few days off we have in Australia and do something really special….something we’ve never done before anywhere else in the world! We found a small, intimate venue and we’re gonna play the album in its entirety for our fans in Sydney! We’re not sure when or even if we’ll ever do this again, so you know this is gonna be a very special show. We hope to see you all at Liberty Hall on May 10th” – Chuck Comeau, Simple Plan
Introducing the world to smash hits like Welcome to My Life, Untitled (How Could This Happen to Me?) and Shut Up! over two decades ago, Still Not Getting Any… cemented SIMPLE PLAN‘s legacy as bona fide pop punk legends with the album’s moments of perky pop fused with timeless teenage angst and sharpened rock undertones offering the ultimate soundtrack for the mid-2000s; and one that still firmly permeates to this day.
Reaching #6 on the ARIA Charts and boasting hundreds of millions of streams, including 300+ million individual streams for Welcome to My Life on Spotify alone, Still Not Getting Any… went on to become certified triple Platinum in Australia and quadruple Platinum in the band’s motherland, and was praised by Rolling Stone upon release, declaring “there’s hardly a track in the bunch that doesn’t sound like a hit”. Marking the album’s 20th anniversary last year, SIMPLE PLAN commemorated the milestone by releasing a special 20th Anniversary Edition of Still Not Getting Any… featuring the B-side track Crash And Burn and an acoustic edition of Welcome To My Life available to stream for the first time ever.
Between selling over 10 million albums worldwide, taking out multiple awards, dominating MTV in its golden era and spawning their own TikTok viral challenge, multi-platinum Canadian rockers SIMPLE PLAN have remained an indelible part of pop culture for over two decades. Forming in Montreal in 1999, SIMPLE PLAN have retained a rare artist-audience dynamic that has only strengthened over time, with the band also actively releasing new music throughout their 20+ years in existence.
From their debut 2002 full-length, No Pads, No Helmets…Just Balls through to their most recent record, the self-released 2022 album Harder Than It Looks, SIMPLE PLAN‘s legacy continues to affirm as does their show-stopping live performances which has seen them tick of festival sets across the globe, tours with Blink-182, Green Day and Avril Lavigne, and, most recently down under, an entirely sold out eight show run in 2024 that squarely brought the house down night after night with endless energy and good vibes.
Alongside their upcoming standalone headline show on Saturday 10th May, SIMPLE PLAN will also join The Offspring nationally this May for the final shows of the SUPERCHARGED Worldwide in ’25 Australian tour. Offering a jam-packed arena spectacular from two of the greats, with both The Offspring and SIMPLE PLAN set to unleash a mountain of hits from across their storied catalogues, tickets for the Adelaide, Melbourne, Sydney and Brisbane shows are entirely sold out, with tickets selling fast for the second and final shows in Melbourne on Thursday 8 May and Brisbane on Thursday 15 May.
As part of these upcoming shows, SIMPLE PLAN will donate $1 from each ticket sold on this tour to the Simple Plan Foundation. Established in 2005, the Simple Plan Foundation focuses on helping young people in need and showcasing the power of music as a tool to find purpose and direction in life. Since its inception the Simple Plan Foundation has donated over $2M to various charitable causes in Canada and has been awarded many prestigious distinctions for its philanthropic work.
Early bird pre-sale tickets on sale: Monday 28 April @ 12pm AEST time
To Gain Early Ticket Access Register Here -> https://daltours.cc/SPSYD_
General tickets on sale: Tuesday 29 April @ 12pm AEST time
Tickets from destroyalllines.com
SIMPLE PLAN
HEADLINE AUSTRALIAN SHOW 2025
PLAYING STILL NOT GETTING ANY… IN FULL
SATURDAY 10 MAY – LIBERTY HALL, SYDNEY
General Tickets On Sale Tuesday 29 April @ 12pm AEST time
Tickets from destroyalllines.com
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Multi-platinum selling, GRAMMY and Golden Globe nominated recording artist, Wiz Khalifa has released his highly anticipated new album, Kush + Orange Juice 2. LISTEN HERE.
Kush + Orange Juice 2 makes its mark as Wiz’s eighth studio album and is the official follow-up to his 2010 breakout mixtape Kush & Orange Juice on the heels of its 15th anniversary. The new album features production from Kush & Orange Juice producers Cardo, ID Labs, and Sledgren, as well as producers Mike WiLL Made-It, Juicy J, Jason Martin, Dominique Sanders, DJ Quik, Crazy Mike, TM88, Crash Dummy, Lex Luger, DJ Fresh, and Kenneth Wright. Featured collaborations on the album include OT Genasis, Ty Dolla $ign, JasonMartin, Luh Tyler, Michael Prince, LaRussell, Terrace Martin, Curren$y, Max B, Juicy J, DJ Quik, Larry June, Chevy Woods, rmr, Don Toliver, and Smoke DZA.
Reflecting on the album, Wiz shares that “For me, it’s the energy that goes into it. I’ve been working on this album for a year. I wanted to get it all the way right and everyone to be excited about it. I know my fans will understand it, and I want it to be another timeless classic. It takes time to get the vision fully there. This album is the same vibe as the first Kush & Orange Juice mixtape, but we took it to a new level with some new producers, new features, and new visuals while continuing the sound with lots of the original producers. It’s perfect for smoking, chilling, riding around with the homies, and hanging with the ladies, It’s a great album, it’s musical, it’s definitely 100% for my day one fans. It comes out on Friday April 18th just in time to celebrate 420.”
Kush + Orange Juice 2 follows the previous releases of singles ‘Hit It Once‘, ‘Bring Your Lungs (ft. Smoke DZA)‘, ‘Hide It (ft. Don Toliver)‘, ‘Khalifa’s Home‘, and ‘5 Star (ft. Gunna)‘. With a strong 18-track core and 5 bonus tracks, the album’s 23-song lineup blends Wiz’s signature Kush & Orange Juice sound 15 years later with his evolved artistry and the album’s collaborators to create a fresh new listening experience for fans – just in time for 4/20. Wiz will also be performing a special 4/20 show at Red Rocks Amphitheatre in Morrison, CO with Larry June, Ab-Soul, Chevy Woods and DJ Bonics.
In support of the album, Wiz is set to kick off his new tour, Wiz Khalifa – Taylor Gang the World, next month on May 20 in Nashville. The 18-date tour will see Wiz performing in intimate venues so fans can have a more personal experience and hit cities including Minneapolis, Sacramento, Kansas City, and more. Chevy Woods, Fedd the God, and DJ Bonics will support on all dates.
Stay connected with Wiz Khalifa:
23 Profile | Website | Facebook | Instagram | YouTube | X | Soundcloud
| This summer, Solomun +1 returns to Pacha Ibiza with a fresh perspective and a meticulously curated lineup that cements its status as one of electronic music’s most consistently forward-facing residencies. A tradition that began as a simple concept—one artist, one guest—has grown into a cultural cornerstone, setting the standard on The White Isle with its unexpected pairings, undeniable selections, and unforgettable nights on the dancefloor.
Brimming with memorable moments, the 2025 season will feature Solomun playing all night for four pivotal dates – the opening, June, July, and closing shows – offering fans the fully immersive sets that his legend is built on. Fresh from a showstopping audiovisual performance at The Sphere in Las Vegas, and with his latest remix of Empire of the Sun’s “Television” teasing a colorful, indie-leaning summer sound, Solomun arrives in Ibiza with momentum, clarity, and an appetite to surprise. |
| The 2025 lineup is a blend of friends, legends, and leftfield thinkers. Jamie xx, Four Tet, Âme, DJ Gigola, Denis Sulta, Chloé Caillet, Steve Angello, and Job Jobse all return—each bringing their own distinct flavor to the +1 experience. First-time appearances this year include Caribou, making his long-awaited +1 debut with a rare DJ set, Carlita, who brings her global, kaleidoscope of sound to the party and Anyma, whose first-ever +1 performance will bring his signature melodic style to the island. Peggy Gou returns to +1 after a multi-season break, while The Dare—rising out of New York’s fashion, art, and nightlife scenes—adds a dose of edge to an already stacked lineup. |
| This year’s Solomun +1 schedule also breaks new ground with a landmark artist-swap, welcoming fellow Ibiza heavyweight Marco Carola to the +1 booth, while Solomun makes a guest appearance at Carola’s Music On residency. With more unexpected performances still to be announced, it’s clear that Solomun +1’s 2025 season is not only looking to open new doors, but dance through them. |
| Still, at the heart of +1 is the creative fire that drives Solomun himself. After more than two decades at the forefront of global dance culture, he continues to reframe what a residency can be. Supplemented with a lineup that balances trusted collaborators and head turning curveballs, this season reflects Solomun’s instinct for keeping things fresh without ever losing the plot. The 2025 season runs weekly throughout the summer. Don’t forget your +1. |
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| CONNECT W/ SOLOMUN INSTAGRAM | TIKTOK | SPOTIFY |
‘Kinetic’ explores movement through the human experience — can you walk us through how that theme shaped the sound and structure of the EP?
K: As I get older, more things keep happening in my life to suggest that everything around me is constantly in motion. I presented this idea to Connor when approaching him with the idea of a collaborative EP, and he was on board straight away. I think the titles do a great job of referencing the music, with Swell being on the chipper side, Oscillate constantly bouncing between moods, and Pirouette being the full circle moment within the EP where there’s plenty of easter eggs and references to those previous songs.
You both have distinct playing styles. What was the process like blending your techniques without losing your individual voices?
K: Despite Connor and I having a very similar play style, I’ve always admired Connor’s lead playing and ability to produce orchestral scores which gelled well with my heavy and rhythmic tendencies. It really was a very seamless process, I didn’t feel like I was losing my individual voice at any moment. From the start it seemed like we complemented each other’s playing and productions’ styles very well.
C: I think what was important for me with this entire project, was to be completely unapologetic with our voices. I wanted to lean into both our strengths, which in turn, lended itself very well to constructing an EP that comes full circle. I’ve never worked with another person on this kind of music before, so it was utterly important to me to have a completely open space where we could both suggest musical ideas, without consequence. The result is “Kinetic”.
“Swell” has a cinematic, expansive feel — what story or emotion were you aiming to capture with that track?
K: Just as the song title suggests, I wanted to have a slightly happier sound while still remaining true to my love for heavy music. Those with keen ears might also recognise all of the volume and pitch swell scattered throughout both the rhythm and lead guitars pretty much over the whole song. As I release more music, those concepts of push and pull, ebb and flow, are very important to me. I want the listener to feel good when they listen to the track, I want the story of every song to feel like it starts and ends exactly where it should be. No more, no less!
How did the collaborations with Adam ‘Nolly’ Getgood and Jack Gardiner come about, and what did they bring to the project that surprised you?
K: Having insane players like Nolly and Jack were always a part of the plan and they were brought up very early in the writing phase. We purposely wrote songs around their parts to make sure that they had a platform to show exactly why we wanted them on the track in the first place. One thing that surprised me was Nolly’s bluesy solo and how well it translated within that section of the song. When originally recording scratch takes on my own, my style of solo was completely different before we sent it to Nolly. Hearing his takes for the first time, I was immediately smiling from the first note because it was something that I never would have thought to play.
C: I can only speak for myself when saying that I feel incredibly privileged to be in the position that I am. I used to walk home from college every day listening to Periphery II on my iPod touch, never really imagining that not only would I come to know Nolly personally, but be able to feature him on a track. It’s all a little bit crazy to me. And Jack is well… Jack! The dude is a beast, a lovely guy too, and we wanted him to contribute exactly what he did. The whole process was a dream.
Connor, you recently released your signature .strandberg* guitar — did that influence any tonal or compositional choices on this EP?
C: Absolutely. I’d just received the early prototype (which is still my main guitar to this day!), and Oscillate just sort of happened on that guitar. I think that song almost *needed* to happen. The very first riff was a result of me messing around with the fuzz and octave pedals on Archetype: Rabea. That “messed” up sort of guitar tone actually ended up being layered with a more traditional one, which was a pretty consistent decision for the entire EP. A lot of my leads were tracked with that guitar too!
KEYAN, your background in creating viral content has made you a massive presence online. How do you balance that fast-paced world with crafting music as detailed and technical as ‘Kinetic’?
K: Honestly, it’s not easy! As time goes on I think I’m starting to almost reject the idea of extremely fast paced socials content. Of course I still post and still remain active, but the content is much more fulfilling now. I definitely had more drive for all that “content” social stuff previously, especially when it was all kicking off 5 years ago when I was 20 years old. Now at 25, I think I just want to go back to my roots, writing music that I like! That’s what got me into all this stuff in the first place, I’m very cautious of not wanting to lose that part of my love for guitar.
What were the biggest creative challenges you faced during this collaboration — and how did you overcome them?
K: This might be a bit of a cop-out answer but honestly, the creativity between Connor and I flowed so effortlessly in the making of this record that I can’t recall any time that was a creative challenge or difference. Connor and I were constantly innovating off each other’s ideas and would basically finish each other’s sentences in music-form.
C: It turned out it was more like creative benefits. I’ve never really had someone to bounce ideas off before, so it was that much easier to half bake an idea and pass it over to let Keyan do his thing. With the insane UK-Aus time difference as well, it worked out even better as I could send him an idea as I went to sleep, and he would just be waking up! So we sorta hacked things and worked 24 hours round the clock.
If you could describe ‘Kinetic’ in just three words, what would they be?
K: Energetic, Vast, Potent
C: Experimental, Expansive, Expressive.
For fans of instrumental prog — how does this EP expand or evolve the genre, in your opinion?
K: The world of instrumental prog is always changing and evolving on a very familiar formula. Connor and I both have a great appreciation for familiar things done the best that they can be, whether that be culinary, architecture or music. At this point in time, Connor and I believe these are some of the best songs we’ve ever written. After both releasing music on our own, we feel that at this point, the music is the truest representation of our ability to write the music we love to write.
C: I think it hopefully shows everyone that no matter where in the world you are, you can collaborate, you can work together, and you can create something that you would never be able to on your own. So I hope this collaborative EP inspires other people to do the same, reach out to their friends, and work together to make cool music.
Lastly, with the release on May 16, what do you hope listeners walk away feeling after their first playthrough of ‘Kinetic’?
K: I always hope that listeners walk away feeling inspired to write their own music. That is always a major goal for me, in anything I do that’s related to music.
C: What Keyan said!
Socials: https://linktr.ee/
GRAMMY®-nominated producer, DJ and label head, Chris Lake has today announced OUT 2 LUNCH Festival sideshows, set to ignite stages in Melbourne (PICA) on Friday 9 May, and Sydney (Hordern Pavilion) on Saturday 10 May. In huge news for Aussie fans, Lake will be bringing along a whole new production and brand-new music.
Fans can register for presale tickets (Melbourne & Sydney sign up) with a 24 hour presale kicking off on Tuesday March 4 at 12pm AEDT. Tickets will go on sale to the general public on Wednesday March 5 at 12pm AEDT through Ticketek.
Hyped to be hitting Aus for OUT 2 LUNCH and extending his trip to Melbourne and Sydney, Lake enthuses, “Australia holds a special place in my heart, with some of my favorite shows and memories having happened there. Coming out for OUT 2 LUNCH, Sydney and Melbourne is an early highlight of my year, and I’m buzzing to share some new music with fans down under. Looking forward to making this trip a truly special one!”
Expertly occupying the middle ground between dance music’s underground and commercial realms, the British producer’s finely-tuned ear for club-forward basslines and catchy vocals plays a large role in his success, all connected by his ability to make big moments both onstage and in his music.
Since breaking through with a string of No. 1 singles in the late 2000s, English-born Lake relocated to Los Angeles as dance music began bubbling up in America and has since helped redefine America’s house music scene in the post-EDM age. His music is a regular fixture on Billboard’s Hot Dance/Electronic Songs chart, including recent hits Summertime Blues, Beggin’, and More Baby. He has headlined EDC Las Vegas and Coachella stages, shut down Hollywood Boulevard for over 12,000 fans, and spread the dance floor gospel through his Under Construction events with FISHER.
One of house music’s most compelling figures, Lake founded Black Book Records in 2017, dropping releases from heavyweights like Green Velvet, Armand Van Helden, and Kevin Saunderson, proving its status as a coveted label for producers, also utilising the label as a developmental platform to share wisdom, experience and contacts to help launch new acts.
Tickets to Chris Lake side shows go on sale on Wednesday March 5 at 12pm AEDT from Ticketek.
Tickets to OUT 2 LUNCH Festival with Vodafone are on sale now from out2lunchfestival.com.
Find Chris Lake online: Website | Instagram | TikTok | YouTube | Spotify
Indie rock favourites Ball Park Music are set to join the Oasis Live ‘25 Australian Tour, supporting the UK legends on the most anticipated tour of the year.
The Oasis Live ’25 world tour will arrive in Australia on Friday 31 October, following 31 sold-out shows across the UK, Canada, the USA, Mexico, South Korea and Japan. In response to phenomenal demand, Oasis will play three massive nights at Melbourne’s Marvel Stadium, followed by two unmissable shows at Sydney’s Accor Stadium while down under.
Over 15 years into their brilliant career, Ball Park Music are no strangers to commanding arenas – and now, they’ll bring their signature mix of euphoric anthems, emotional depth, and electric live energy to Melbourne’s Marvel Stadium and Accor Stadium in Sydney, when Oasis Live ’25 hits Australia this October/November.
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Few clubs are able to make a name for themselves on the international stage, but Boothaus is one of them. Ranking in DJ Mag’s Top 10 Worldwide for the second year in a row, this time in 7th place, the Cologne club blends a storied legacy with unrivaled production, prestigious bookings and coveted high-energy crowds.
Born out of an industrial warehouse with a hundred-year history in Germany, Boothaus turned a small underground techno venue into a pioneering club that has evolved year on year since 2004. Having upgraded the Funktion One systems to a custom-built L-Acoustics sound system, the pulse of the beat is felt in every corner of the club, from the intense energy of the main room to the raw intimacy of the Dreheri room.
Production is where Boothaus excels, with five distinct rooms of varying sizes, brought to life by custom lighting design that reflects each space’s unique atmosphere, from indulgent to intimate. Boothaus takes it a step further, creating custom-designed lighting for special events, reinforcing the venue’s reputation as a one-of-a-kind experience.
Boothaus continues to foster a community of music-first clubbers, bringing in world-class DJs with global appeal, including Amelie Lens, DJ Diesel (Shaquille O’Neal), Hardwell, Headhunterz, I Hate Models, James Hype, KSHMR, Oliver Heldens, David Guetta, Steve Aoki, Tiësto, and Vini Vici. The venue’s finger-to-the-pulse attitude towards booking has cemented its status as a key player on the global stage.
As Boothaus continues to push boundaries, it remains a beacon for club culture not just in Germany, but worldwide. With an unwavering commitment to innovation, a fiercely loyal community, and an ever-growing roster of international talent, Boothaus proves that the spirit of the underground can thrive on the global stage — and its reign shows no signs of slowing down.
Upcoming Shows
20.04.25
Bootshaus Sommerfest Opening
25.04.25
Oliver Heldens pres. by Bootshaus
30.04.25
Loonyland pres. Luca-Dante Spadafora, Ely Oaks & many more
09.05.25
Bootshaus pres. Die Gebrüder Brett
16.05.25
Euphoria pres. Miss Bashfull x DBBD, Shoki287
23.05.25
Chrome pres. Jazzy, Omaks, Secret Guest & more
24.05.25
Bootshaus Sommerfest
28.05.25
Frances Mercier & MoBlack
06.06.25
Rheinaudio pres. Zapravka
13.06.25
Will Sparks
21.06.25
Levi
27.06.25
DJ Snake
WEBSITE
Photography & Words: Darren Chan
You can’t help but feel a big dose of nostalgia when experiencing legendary rock bands live—especially when they deliver their iconic hits with the same passion that made them famous decades ago.
Christopher Cross is a good friend of Toto, and having him as the support act with his classic soft rock style was a fitting start to the evening. Cross and his band casually entered the stage to warm applause. Unfortunately, at that point in time, a good portion of the audience was still queuing to get into the venue.
He took a humble bow before launching into “All Right.” His laid-back nature allowed the quality and familiarity of his music to speak for itself.
Cross and the band delivered yacht rock classics like “Sailing” and “Arthur’s Theme” with effortless sophistication. The backing singers provided smooth vocal support, even singing in Swahili on “Light the World.”
Although a very accomplished musician himself, Cross gave plenty of opportunities for other band members to showcase their talents—particularly Andy Suzuki on various wind instruments and Jerry Leonide on piano. He did take some impressive guitar solo moments in “I Really Don’t Know Anymore” and the final song, “Ride Like the Wind,” ending the performance on a high note.
With over 14 studio albums, numerous Grammys, and more than 50 million albums sold worldwide, Toto’s live performance proves they still have that magic that’s kept fans coming back since the late ’70s. While the touring band lineup has changed over the years, the current roster includes core members Steve Lukather (guitar/vocals) and Joseph Williams (vocals), alongside world-class musicians: Greg Phillinganes (keyboards/vocals), Shannon Forrest (drums), John Pierce (bass), Warren Ham (horns/percussion/vocals), and Dennis Atlas (keyboards/vocals).
Toto took to the stage with a confident but relaxed energy. From the opening notes of “Child’s Anthem,” the crowd cheered with enthusiasm. Toto infused each song with energy, allowing moments of improvisation while honoring the arrangements fans know by heart. They struck a masterful balance between nostalgia and musicianship.
The setlist featured a well-rounded mix of their chart-topping hits—like the groove-laden “Rosanna,” the piano-driven soft rock of “Georgy Porgy,” the guitar-heavy classic “Hold the Line,” and the prog ballad “I Will Remember”—as well as deeper cuts for the true fans, including the funky “99” and the ’80s rocker “Angel Don’t Cry.”
The band’s performance was a masterclass in meticulous arrangements and instrumental interplay. Both Williams and Lukather delivered their trademark vocals with distinctive flair. Lukather—one of rock’s most respected guitarists—was in spectacular form. His solos during “Rosanna,” “White Sister,” and “Hold the Line” showcased his chops as one of the greatest session musicians of all time.
The rhythm section of Forrest and Pierce provided a rock-solid backbone, anchoring the performance with precision. Atlas, the youngest member of the band and a prog rock prodigy, shone with a keyboard solo and an impressive vocal range, taking the lead on “Angel Don’t Cry.” Phillinganes, who’s played with a who’s who of music legends, also had his moment in the spotlight with a brilliantly musical keyboard solo.
There was clear camaraderie and chemistry among the band members—some of whom have been friends since they were young. They appeared relaxed and content on stage, sharing casual banter and genuinely appreciating each other’s performances. Williams’ fun interactions with the audience created memorable moments of connection throughout the arena.
The visual production subtly complemented the music without overshadowing it—tasteful lighting shifts enhanced the mood of each song without relying on unnecessary flash. This, combined with exceptionally balanced front-of-house audio, kept the focus squarely on the top-tier musicianship happening on stage.
The show closed with the band’s most well-known anthem, “Africa.” The iconic opening keyboard pattern drew an immediate crowd reaction and kicked off a massive sing-along. Toto delivered classic rock magic to Melbourne, proving that great music—executed with exceptional skill and production—never goes out of style.
The biennial Wanderer Festival set off an avalanche of excitement today as organisers confirmed this year’s dates. Mark your calendars and set your compass for Pambula Beach these spring holidays as your favourite music & arts festival kicks into gear over the October long weekend, 4th-5th October 2025.
Previous Wanderers have sprawled over three days with organisers this year delivering the event over two epic main days. Over 50 stellar acts will grace the stages and the first line-up announcement is set to be released in coming weeks.
A genuine festival of culture, Wanderer is a world-class production of music and art that expertly weaves the unique and creative spirit of the region through the vast and diverse program of national and international artists. As always, the cuisine will be heavenly.
Festival founder, Simon Daly said “events have a tremendous ability to inspire, uplift and connect people in a way that is so vital. I love that anyone can come to Wanderer and feel like it’s for them – no matter how old, young or where you’re from – the atmosphere and experience transcends everything.”
So unique and so wonderful is Wanderer that it draws audiences from all over Australia. One quarter of Wanderers come from interstate and sixty percent visit from outside the local region. The onsite campgrounds will open on Friday 3rd October, ensuring visitors journeying to the Sapphire Coast can settle in early and not miss a beat.
Minister for Jobs and Tourism Steve Kamper said:
“We are thrilled to back Wanderer Festival on its return to the NSW major events calendar. It proved an enormous hit with festivalgoers and will again draw thousands of people to one of Australia’s most pristine locations, supporting local businesses and jobs.
“Delivering major events like Wanderer Festival in the South Coast of NSW will help us to drive visitation across the state, and ensure people visit the wonderful offerings of our regional communities.”
It’s been a long wait for devotees of this spectacular biennial event. The time has come to start planning.
Line-up announcement and tickets on sale in May.
October 4th-5th Wanderer Festival Pambula Beach, NSW
3rd-5th Oct Onsite Campground
Tickets from www.wanderer.com.au and will be kept at 2023 prices.
Payment plans available.
Subscribe to www.wanderer.com.au and follow us on socials to stay up to date.
Wanderer Festival is proudly supported by the NSW Government through its tourism and major events agency, Destination NSW.
Reconnect. Explore. Discover. Be a Wanderer.
Wanderer: Official Website | Facebook | Instagram
Renowned modern guitarists KEYAN and Connor Kaminski have joined forces to unveil their new instrumental progressive metal three-track EP, ‘Kinetic‘, set for release on Friday May 16. The duo share first single Swell and announce EP tracklisting, revealing featured artists Adam ‘Nolly’ Getgood of Periphery and Jack Gardiner.
KEYAN, a Fender/Jackson-endorsed shred-lord and YouTube sensation, has made waves in the global guitar community through his social media presence and online persona. Known for his technical prowess and ability to bridge social media virality with serious musicianship, KEYAN has shared the stage with progressive metal icons like Animals As Leaders, Periphery, Intervals, Leprous and more, and has over 50M YouTube views to boast.
Across the ocean, UK-based composer, producer, and technical guitar virtuoso Connor Kaminski has built a reputation for his intricate guitar work and innovative approach to modern prog metal. Influenced by Dream Theater, Devin Townsend, and Intervals, Connor has honed his craft as a guitarist and cultivated a strong following online. This growth helped him establish relationships with .strandberg*, D’Addario, Neural DSP, GetGood Drums, and even allowed him to design and release his dream signature guitar with .strandberg* at the young age of 27 last October.
The pair pool their talent on ‘Kinetic’, a 20+ minute progressive metal journey, exploring the concept of movement in relation to the human experience. The release showcases the unique synergy between KEYAN and Connor’s distinct playing styles, offering a dynamic listening experience that blends soaring leads, intricate rhythms, and cinematic soundscapes. The EP’s first single, Swell, is available for streaming now, offering listeners a taste of the duo’s technical brilliance.
‘Kinetic’ features guest performances from two modern guitar titans—Adam ‘Nolly’ Getgood from Periphery, who is known for his precision production work and bass/guitar mastery, and Jack Gardiner – known for his melodic phrasing and jazz-fusion-infused approach to prog.
With ‘Kinetic’, KEYAN and Connor set out to push the boundaries of instrumental progressive metal, showcasing a new chapter in the evolution of modern guitar music. The EP captures the energy, complexity, and technicality that define their artistry, solidifying them as key players in the global prog scene.
The ‘Kinetic’ EP will be available everywhere on Friday May 16.
For more information, visit www.linktr.ee/
Electro-punk trio Bae Baracus have announced the release of their brand-new EP, “Escape to Freedom,” via Boomsmack Records.
Born in the depths of a snowy weekend in xwesam with the world in meltdown, Escape to Freedom is the latest wild and wonderful transmission from the Bae Baracus sonic universe. It’s a full-flavored, four-track experience brimming with bold experimentation, raw energy, and unwavering defiance—a testament to the band’s electric chemistry and uncompromising creativity.
Bae Baracus just keeps on giving. Their offbeat, upbeat pop-electro style returns with a punch, as the band continues to spin chaos into catharsis. Whether it’s pounding resistance anthems or slow-burning revelations, Escape to Freedom makes it clear: the revolution comes with a beat.
TRACK LISTING
1. Transgressive
This blistering electro-banger is an anthem for outsiders and warriors of justice. It’s about embracing your inner freak and standing tall in a techno-fascistic future. Inspired by those who’ve fought for hard-won rights—women, immigrants, Indigenous peoples, POC, and especially LGBTQ2SI+ communities—Transgressive celebrates rebellion and pride with a thunderous pulse.
🎥 Official music video out Friday, April 4, 2025.
2. Brink of Volition
A desolate, frozen soundscape slowly overtaken by a relentless, marching beat. It began as an attempt to create something “soothing,” but instead became a song about power—about knowing, even in the darkest moments, that you still have control over your own actions.
🗣 “To me, the most soothing thought in a dark moment is knowing that maybe you still have some power of your own actions.” – Dolly De Guerre
3. London Calling
Bae’s first-ever cover—and what a choice. The Clash classic London Calling is reimagined with urgency, edge, and a deep respect for the original message. It’s a rallying cry for now, just as much as then: unite, resist, and fight against unjust regimes.
⚡ A sonic S.O.S. for our times.
4. Wwise Words
When someone asked, “Can you produce a dance track on the fly?”, Bae said, “Fuck yes!” The result is Wwise Words—a sensual, slow-motion revelation. A shimmering groove born in the moment, only to pull back just before the thought crystallizes. It’s Bae’s version of a l’esprit d’escalier—the feeling of a perfect response coming to you just a second too late.
Escape to Freedom is a cathartic, defiant, and magnetic EP. It’s music made in madness, and for it. A celebration of resistance, self-expression, and the strange joy of dancing through the collapse.
French electronic Grammy winners, Justice, is bringing its acclaimed live show with full production to Australia for three special east coast shows this December, presented by TEG Live.
The Australian leg of the JUSTICE tour kicks off in Sydney at Qudos Bank Arena on Wednesday 3 December, then heads to Melbourne’s John Cain Arena on Friday 5 December, before winding up in Brisbane at the Entertainment Centre on Sunday 7 December.
A Justice fan presale starts Monday 7 April, 1pm local time and runs until Tuesday 8 April, 12pm local time (sign up). A TEG Live presale starts Tuesday 8 April, 1pm local time and runs until Wednesday 9 April, 12pm local time (sign up). Tickets go on sale to the general public Wednesday 9 April at 1pm local time. Visit www.teglive.com.au for more information.
Gaspard Augé and Xavier de Rosnay’s ongoing global tour behind last year’s ‘Hyperdrama’ album has been lauded as a “pulverising audio-visual spectacular that deserves to go down in history” (Rolling Stone UK).
The tour announcement comes after a big couple of years for the Parisian pair, who made their comeback at Coachella in April 2024 with a hotly anticipated debut of their new live show. This kicked off a massive US tour leading to a win at the NRJ Awards (French Music Awards Ceremony) for Best International Tour. Meanwhile, Hyperdrama, the first Justice album in eight years, received a nomination in the 2025 GRAMMY Awards. The album featured singles including GRAMMY winning track Neverender and One Night/All Night, both starring one of Australia’s most popular and influential artists, Tame Impala. One Night/All Night landing as triple j’s most played song in February last year. And just last month, Justice featured on The Weeknd’s smash single, Wake Me Up which is already nearing 50 million streams on Spotify.
Tickets to the JUSTICE Australia tour go on sale to the general public Wednesday 9 April at 1pm local time. Visit www.teglive.com.au for more information.
Tour dates
Wednesday 3 December – Qudos Bank Arena, Sydney
Friday 5 December – John Cain Arena, Melbourne
Sunday 7 December – Brisbane Entertainment Centre
On sale information
Justice Fan Presale (sign up): Mon 7 Apr, 1pm local until Tue 8 Apr, 12pm local
Spotify Presale: Tue 8 Apr, 1pm local until Wed 9 Apr, 12pm local
TEG Live Presale (sign up): Tue 8 Apr, 1pm local until Wed 9 Apr, 12pm local
General On Sale: Wed 9 Apr, 1pm local
Visit teglive.com.au for tour details and tickets.
“When It’s Raining” explores themes of loneliness and isolation. What was the inspiration behind the song, and how did you bring those emotions to life musically?
With this whole project we’ve been working on, we’ve been heavily focused on evoking emotions and feelings through the music. So when writing and recording ‘When It’s Raining’ we spent a lot of time getting the sounds right so that you can feel those raw emotions right from the beginning.
You mentioned that the song captures the feeling of being lost in anger and sadness. Can you share more about your personal experiences or thoughts that influenced this track?
When we wrote this song we were more focused on capturing emotions rather than telling a story. A lot of our songs are very upbeat and dancy – songs that put you in a good mood. This time we decided to write something in the opposite direction. These themes of isolation and loneliness are feelings everyone experiences at some point, and we wanted to capture how it feels to be in that state through the music and lyrics. The song is meant to serve as a reminder that everyone goes through tough times, but it’s important to remember you’re not alone.
The song follows your 2024 track “Heartbeat.” How does “When It’s Raining” differ musically and emotionally from “Heartbeat”?
“When It’s Raining” offers such a contrast to heartbeat in almost every way. “Heartbeat” is a super upbeat track loosely involving young romance, and the latter depicts the chaos of that falling apart. We tried to create these feelings as well as we could musically for each track. It mattered to us how the songs ‘felt’ more so than just how they sounded. Visually, the music videos for each are polar opposites as well.
This track was recorded at Neil Finn’s Roundhead Studio in Auckland. How did that environment contribute to the creation of the song?
Roundhead is such a creative space for us. There’s so many toys and fun pieces of gear for us to explore, we could spend weeks there just discovering new sounds. Being able to freely create in that kind of environment is so special, and I think a lot of the magic of that song comes from the room. Every stage of the song’s creation – writing, recording, producing was all done at Roundhead.
You collaborated with producers Joel Jones and Nic Manders, as well as Vivek Gabriel for mastering. How did they help shape the sound of “When It’s Raining”?
All three of them had such a vital role in the song coming into fruition and it really wouldn’t be possible without them. They really are the best of the best.
The visual collaboration with Tom Grut for the music video sounds exciting. Can you talk about the creative process behind the video and how it complements the song’s mood?
Tom is a genius… He totally gets our creative vision but takes our ideas and makes them 100x better. For this song, we knew we wanted rain, and we wanted lots of performance shots. When we started shooting, we were filming with the intention of the video being in colour but Tom had the brilliant idea of seeing how it would look in black and white, and we didn’t look back. That black and white palette shaped the song’s whole visual identity and it was such a good call from Tom.
You’ve signed with EMPIRE, marking a huge milestone for the band. What does this mean for you, and how does it impact your future as a band on the global stage?
Signing with EMPIRE has been so awesome for us, the team there has been so amazing and supportive of us and what we want to do and allowing us to create. We’ve always had dreams of being a global band, and reaching international markets has always been on the cards for us. We recently made our first trip over to the states to play some shows, which was such an incredible experience for us. EMPIRE has such an incredible global presence which makes us really excited to travel and share our music with the rest of the world.
Your music blends indie pop and rock influences. How would you describe your musical evolution, and where do you see yourselves heading in the future with this new direction?
Our main focus has always been to make music that we would want to listen to, and as we expand our listening palette we bring in a wider range of influences to the creative process. One thing we can guarantee is that we’ll stay true to who we are as musicians and make music that we’re proud of, and this will evolve as our taste evolves. Hopefully others will resonate with that.
The song is described as one that allows listeners to feel seen in their struggles. What do you hope listeners take away from “When It’s Raining”?
I think more than anything, we hope that listeners can feel a little less alone in their struggles. It’s super normal to feel the emotions the song explores, so we want people to know that it’s okay to feel rubbish, and you’re really not alone.
Looking ahead, what’s next for Borderline? Are there any upcoming projects or plans you’re particularly excited about in 2025?
100%, we’ve been hard at work for the past year and a half writing a bunch of new music, and we’ve spent the last 6 months recording a large handful of them. We’re about 60% done, and they are sounding so good. We’re so excited to share this new project with you, we think it’s our best work yet. We’ve also got lots more plans for touring in the coming year, lots of international shows and a bunch at home in NZ too. Keep an eye on our socials for updates, but we can’t wait to see a bunch more of the world this year and share our music with you.
Killer Qız marks a major milestone in your journey. What was the driving force behind this album, and how does it reflect where you are as artists today?
Aigel Gaisina: This is our first full-length album in five years. We had a lot of material stored up—we released some of it as singles over time, but overall we were in a kind of silence mode, which is unusual for us—we used to release albums every year. During that break, there was the pandemic, the war, emigration. I moved—first to Turkey, then to Berlin. There was a very difficult adaptation process for my teenage child in a German school, and a partial abandonment of the concept of “home” as such. I feel like we’ve become completely cosmopolitan internally. As a Tatar who had already gone through assimilation and developed a mixed identity—absorbing both Tatar and Russian cultures—I felt after moving that continuing to blend with German, Turkish, or any other culture is not a loss, but a gain. We even have a song in German now, and writing in it was pure joy.
Ilya Baramia: The milestone is simply that we managed to record and submit an album after a five-year break. In 2022, after the full-scale invasion began, Aigel said many times that she couldn’t write songs and was afraid she never would again. I’m older, I’ve lived through different kinds of creative crises, and I kept telling her: don’t rush, breathe, don’t overthink—it will come back. And it did. It’s hard to put the driving force into words—we’re musicians, and our music is a natural, almost reflexive reaction to reality. We don’t invent concepts—we just create when it happens, and only later do we look back and see what it all meant. One clear desire this time was to make music that pulses and pushes forward—something danceable, in a sense. Most of the early drafts were slow, emotional ballads—but we wanted to inject them with dance beats, sometimes even aggressive ones. Not to dive into melancholy, but to hit the dancefloor instead.
This is your second album entirely in Tatar. Was returning to your native language a conscious decision, or did it just feel like the most natural way to express what you wanted to say?
Aigel Gaisina: I love my native language—it’s healing for me. In emigration, for some reason, your first identity becomes more tangible. I’ve talked to many Tatars who grew up mostly within Russian culture and hardly spoke Tatar, but once abroad, they began remembering the language and reviving family traditions. I guess it’s a grounding practice—when you leave, your home stays inside you, and you recreate it through rituals, through the language of your grandparents. But in general, I never consciously decide which of my native languages to write in. Songs just come in whatever language flows at that moment. We’ve had Tatar songs even on our Russian-language albums—it’s never been about sticking to a rule.
Ilya Baramia: I don’t care which language I’m working with. 90% of the music I’ve listened to and still listen to is not in Russian—English, French, Italian, German, Spanish. Emotion translates. Music is a universal language. Aigel is a very good poet—I trust her words no matter what language she writes in. The first language that woke up in her after the break was Tatar, so that’s where we started.
The album tells a gripping story about a DJ killer escaping the country. What inspired this concept, and how does it tie into the themes of loss, rebirth, and human nature?
Aigel Gaisina: That song is more like a joke, a child’s fantasy about how amazing it would be if the people who don’t know how to live among others—those who suppress, destroy, impose their will, roll over human lives without shame—would just get off the dancefloor of our lives. The country we left has always had serious problems with power and respect for individuals. But my generation grew up during a 20-year window where, even if life was hard, the state didn’t dare climb into your soul and force you to think and speak in a certain way—or dictate what music you were allowed to listen to.
Our concerts, along with those of many of our musician friends, are now banned in Russia. Some officials have decided they get to choose what people are allowed to hear. It’s arrogant and rude—not surprising, but infuriating. As our recent shows proved, a touch of dark, blood-tinged humor can work like a bit of antidote—dancing to a track where normal people defeat the madness of power-drunk officials and justice triumphs, even just in a song—that’s fun.
Ilya Baramia: I love when Aigel writes funny, punchy verses. And there’s always a depth to them that squeezes your heart. My main job is to catch and hold that feeling—that’s when the songs really land.
One of the most haunting moments on the album is the child’s voice shifting from Tatar to German in real time. How did that idea come about, and what does it say about cultural identity and assimilation?
Aigel Gaisina: The idea came up by accident. Initially, we just wanted to add voices of Tatar children who had emigrated—let them say a few words about what “home” means to them and how they’re experiencing emigration. One of the girls, Alsu, turned out to be incredibly talkative and funny, and I suddenly noticed that while she was telling her stories, she was already replacing some Tatar words with German ones. I also admired how naturally children move from rejection to acceptance of their new reality. At first, Alsu says she dreams of returning to where her toys are—and then, just as cheerfully, she starts dreaming of bringing those toys to Germany.
She finds solutions, adapts, becomes part of the world she landed in, begins speaking its language. Her flexibility and wisdom are inspiring—and at the same time heartbreaking.
Here in Berlin I see many children of Russian-speaking parents who still know Russian but already speak it worse than they do German. You begin to root for them to keep their mother tongue, to preserve themselves. At the same time, you realize global culture is one huge, rich, complex system—and it’s at the intersections, when we stay open instead of shutting down, that truly remarkable things are born. People who have gone through cultural assimilation become bridges and translators—those who can connect different worldviews and create deep dialogue and mutual understanding.
Ilya Baramia: Aigel works closely with language—it matters to her, and she watches it carefully. I grew up with my grandmother in Georgia and spoke Georgian better than Russian as a child, but then forgot it. Later, when I worked a lot with music publishers in the UK, I noticed I started thinking in English. And I went to a very intense physics-math high school—so the language of science, of math, is also very important to me.
I want my son to know English, since it’s the most universal language—the language of the internet, the emotional language of music, and the logical language of math. Which one he chooses to think and speak in doesn’t matter to me—what matters is that he feels comfortable, and I’ll always be able to communicate with him.
It was only after about the 20th time listening to that track that I started to hear where the Tatar switches into German—both languages are unfamiliar to me.
Your music has always blended different genres, but this album seems to push even further—K-pop, hard bass, dance music. What was the vision behind this sonic shift?
Aigel Gaisina: We really wanted to make a dance album. We wanted more music and fewer meanings. I always dream of making an album without words—though that probably doesn’t seem obvious, since paradoxically, the less I want to use lyrics, the longer my texts end up becoming.
Ilya Baramia: For me, it was important to keep things light—no brooding, no dragging or stickiness. I wanted it to pulse, to vibrate, to push forward. And yes, we wanted to play around with the most primitive forms and genres, because they don’t give you room to get stuck in your head.
Of course, in the end, it still turns into our own kind of interpretation.
You’ve both been living in different countries—Berlin and rural Montenegro. How has this physical and emotional distance influenced your songwriting and production?
Aigel Gaisina: I really love the Berlin techno scene — and, I moved here for that raw rave atmosphere. I think that spirit definitely made its way somehow into the album.
Ilya Baramia: We’ve always lived in different cities. Flying from Montenegro to Berlin actually takes less time than from Saint Petersburg to Kazan. Our working method hasn’t changed—it’s the same as always. And I don’t think it would change even if we lived next door to each other. For both of us, having solitude while working with material is crucial.
Since 2022, you’ve openly spoken against the war in Ukraine, which led to your performances being banned in Russia. How has this exile affected you both personally and creatively?
Aigel Gaisina: We knew it would happen, but we held out as long as we could because we wanted to keep playing shows in Russia and connecting with people inside the country. In every city we played, the audience was anti-war. In a country where public gatherings are banned, concerts became a space where people could look each other in the eye and realize they weren’t alone in their horror.
I also wanted to stay in Russia to be precise in my wording, to document what was happening. But the longer we stayed, the more suffocating it became—the pressure, the fear. I couldn’t write anything.
After we left, there was enormous relief. I remember the first night in Turkey, staying at a friend’s apartment—I lay down to sleep and it felt like a concrete slab had been lifted off me.
From then on, it was all about bureaucracy, looking for housing, adjusting to a new reality. There was no room for creativity, and I doubted I’d ever write again.
But while working on this album, we suddenly felt a surge of inspiration—it felt like we were fixed. And I think another album is already on the way.
Ilya Baramia: There’s nothing good about it. It feels like the country we lived in was thrown back a hundred years.
Despite feeling cosmopolitan inside, the reality was that I had lived in the same apartment for 50 years—I had never really moved. My son was born in the same hospital I was.
Moving wasn’t hard for me, and honestly, my current environment is better than before. But the delayed psychological response is still very present.
Oddly enough, music was affected the least. It turned out to be the most stable core.
AIGEL’s music often carries a strong social and political message, but it’s also deeply personal. Do you ever feel torn between those two sides, or are they naturally intertwined for you?
Aigel Gaisina: My speciality in university was political science, but I was never interested in activism or public life—I’m too much of an introvert for that. It’s hard for me. I existed parallel to the state.
The story of our band began when the state invaded my family and imprisoned the person I loved. That’s when the personal mixed with the political.
And the last few years in Russia have been a time of total fusion between the personal and the political. Many of my friends are in prison, their families scattered across the world. Some families broke apart because of political differences.
My child had to adapt to a new country—she was supposed to live in her own, next to family and friends. So now even the kid can’t separate the personal from the political.
Ilya Baramia: Again, this comes down to lyrics and meaning. I’ve worked with many writers and poets with radically different methods and beliefs.
When an artist creates honestly, reality seeps into the text, the meaning—it carries power. Aigel is an honest and talented poet. And she has a mesmerizing voice.
Together, we’re a strong and compelling duo.
Tracks like You Born and Pıyala have had massive global success. Do you ever feel pressure to top what you’ve done before, or is each project its own world?
Aigel Gaisina: We are completely fulfilled, happy, and self-sufficient in what we do. We’ve never done heavy promotion—each song that resonates with people finds its own organic path.
We don’t love those songs more than the others. We understand it’s a matter of luck—any one of our songs could’ve taken that place. We love all our songs, each one carries a part of our soul. So no—we don’t feel pressure to outdo ourselves.
Ilya Baramia: We’ve had enough hits already—we know how to handle them.
At first, overcoming the weight of a hit song is a challenge. When you’re asked to perform it five times in a row.
We’ve gone through that enough times that now, every new success just adds to and strengthens our live set.
Writing music is how we live.
And from our perspective, we don’t have bad songs. We’re ready to play any of them live—even all of them in a row.
Some songs are just harder to digest or more emotionally intense, while others are easier.
With Killer Qız out now, what’s next for AIGEL? Are there new sounds, collaborations, or ideas you’re excited to explore in the future?
Aigel Gaisina: We already have about half of album in Russian. That’s what we’ll be working on next.
Ilya Baramia: We’re not really into collaborations. We’ve built up enough of our own ideas—and that’s what we’re going to focus on.
As for how it will sound—that can’t really be put into words in advance. It’s electronic music—it takes shape as you work with it.