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Music News

Callum Padgham Turns Life’s Chaos Into Gold on ‘Everything is a Blessing’

by the partae December 4, 2025

written by the partae

Callum Padgham shares his top 5 blessings in disguise

G’day, I’m Callum Padgham and my debut single Everything is a Blessing is a reminder that our biggest challenges can be our greatest teachers! Here’s my top 5 blessings in disguise, that felt like legit curses at the time…

1. Rocking up to shoot my music vid and the location was fenced off for demolition

Picture this: You’ve been planning this spectacular Autumnal shoot day for months, your 14 cast and crew members have all taken work off, you’ve rented expensive equipment and even flown in your choreographer from interstate. You all turn up on the day, buzzing with excitement, it’s finally here – and then BAM: 10 foot high fences surround the exact location you need to shoot whilst bulldozers tear up the paths!!! GUTTED is an understatement.

But get this: When the fences eventually came down and we filmed the sequence a month later, Autumn was peaking unseasonably late and we ended up capturing the best looking sequence of the entire clip! Honestly, I can’t believe our luck…

2. Quitting drinking

It sounds like a cliche, but the biggest positive change in my life came from hitting my personal low point – which catalysed me to give up alcohol and never look back! 8 years of improved health, wealth and relationships later and I can confidently say that ‘rock bottom’ was my greatest blessing of all!

3. 2020 lockdowns

Ok this one’s controversial, because I know a lot of Melbournians had a justifiable shit one. When the world stopped, my creative endeavours stopped too – which sent me spiralling into a full-blown identity crisis (I know you feel me, fellow artists)! It was time to pivot and go inwards – I started live-streaming DJ sets from my garage for fun, which turned into a talk show about dance music, hosting some of the world’s top DJs and blessing me with a genuine sense of purpose for the next 5 years!

4. My ex girlfriends

For real though, you the real MVPs (and you never felt like a curse). Thanks for being patient with me – I wouldn’t be who I am, where I am, without you!

5. The GRIND, amirite?

Between my day job creating video content and DJing all weekend, it’s easy to lose sight of why we sacrifice so many hours of our lives to make ends meet. That’s when I need a reality check… whilst some people struggle to find employment, I don’t have to go to work, I get to go to work! And not only that, I get to pour my remaining time, money and effort into a 4-track EP of original music, 3 self-produced music videos and a run of 200 vinyls! What a privilege. What a blessing.

Check out my debut single Everything is a Blessing on YouTube!

CALLUM PADGHAM: Bandcamp | Facebook | Instagram | YouTube | TikTok

December 4, 2025 0 comments

Music News

Legendary NZ producer SOLA ROSA teams up with IVA LAMKUM once again on new single ‘JUPITER’

by the partae December 3, 2025

written by the partae

Photo Credit: Tom Grut

Andrew Spraggon, better known as Aotearoa New Zealand’s Sola Rosa, has returned with the first teaser for his upcoming eighth studio album, currently set for release in early 2026. The first cut is titled‘Jupiter’; a confident statement of intent — with a shuffling rhythm, gleaming synths and the effortless cool of long-time collaborator Iva Lamkum.

‘Jupiter’ finds Sola Rosa stepping into a slick new orbit. There’s a nod to the glossy funk of Oliver and the hazy shimmer of Tame Impala, but Jupiter stands firmly in its own lane; polished, propulsive and full of that rare quality: genuine uplift without the clichés. Spraggon’s production feels spacious and assured, the kind that rewards both a packed dancefloor and a solo drive with the windows down. Jupiter is a reminder that confidence isn’t always loud; sometimes it’s just knowing exactly what you’re doing, and trusting your own rhythm.

“This track started like most of my songs, with a sample flip. I chopped up some chords from a Splice loop, layered them up, and initially aimed for a 120 BPM four-on-the-floor beat. But it naturally evolved into more of a shuffling groove.. still funky, just with a looser, rolling feel.

Around that time, I was listening to a lot of Tame Impala, so maybe a bit of that sound slipped in subconsciously. I’m often influenced by whatever I’ve got on rotation, but never with the intention of copying, more just letting it filter through naturally. The track probably sits somewhere between Oliver’s futuristic funk and that hazy, melodic vibe of modern psych-pop. SOLA ROSA

As expected, the personnel on ‘Jupiter’ is an all star cast, with Simon Gooding (Pink, TEEKS, Neil Finn, Dua Lipa, Ladi6, Fazerdaze, Balu Brigada) mixing the track, as well as additional guitar/bass work from Yoka-Zuna’s Kenji Iwamitsu-Holdaway (who has also worked with CHAII & Six60 in the past). ‘Jupiter’ also features the return of Iva Lamkum’s vocals to Sola Rosa’s expansive beats – a partnership that was last seen around 15 years ago.

“I wrote all the music, then Kenji added his trademark bass pops and atmospheric guitar textures. It had been over ten years since I worked with Iva Lamkum on Turn Around (a bit of an underground hit in 2009). We reconnected online, I sent her a few beats, and she came back with the idea for Jupiter. When I was in Melbourne for some In The Mids session work, we met up – mostly catching up, but by the end of the day the song was done. I wrapped up the production back home and sent it to Simon Gooding for mixing.”

SOLA ROSA

Commenting on her approach to the track lyrically, Lamkum describes ‘Jupiter’ as “a strong, confident track with real “I’m in my era” energy. It’s about celebrating yourself, whether you’re already feeling it or need a little lift. The lyrics are empowering and self-assured, striking a balance between sleek sophistication and fun, night-out energy.”

Sola Rosa has proven himself time and time again as one of New Zealand’s most inventive musical exports, over a career that now spans two decades. Since winning the Best Electronic Release award for his debut album Solarized at the 2001 New Zealand Music Awards, Spraggon has gone on to play stages at Secret Garden Party (UK), Green Man (UK), Shambala (UK), Kendall Calling (UK), Nostock (UK), Womad (NZ), Big Day Out (NZ), Splore (NZ) and many others. His unique blend of R&B, Funk, Jazz, Hip-hop and Pop has earned a global following, attracting top-tier collaborators such as Tall Black Guy, Hermitude and DJ Vadim and racking up over 65 million combined DSP streams across his catalogue in the process.

PRAISE

“Andrew Spraggon reaches for the big time”

MOJO (‘Chasing The Sun’, 2020) ★★★★

“..blooms with sensuality and sass”

ROLLING STONE MAGAZINE (‘Low & behold, High & Beyond’, 2012)

“Low And Behold is fresh and funky”

NZ HERALD (‘Low & behold, High & Beyond’, 2012) ★★★★

“Melodic Soul Poetry”

SYDNEY MORNING HERALD (‘Get It Together’, 2010) ★★★★

Sola Rosa: Official Website | Facebook | Instagram | Youtube

December 3, 2025 0 comments

AUSTRALIA’S BIGGEST GUITAR SHOW LAUNCHES IN SYDNEY

by the partae December 3, 2025

written by the partae

Since its inception in 2015, the Melbourne Guitar Show has become a mecca for guitar-lovers, a flagship gathering for the industry, and a totally unique event. In 2026 the iconic event will arrive at Sydney Olympic Park for two big days of guitar gear, performances, workshops and experiences for the Sydney Guitar Show on Saturday 7 March and Sunday 8 March. An extensive celebration of the versatility and endless possibility of the world’s most popular instrument, this all ages, all levels event will span two unforgettable days for the first time ever in Sydney next year, guaranteed to ignite axe-slingers from all walks of life. The first program announcement includes Lismore-based Americana duo Hussy Hicks, Australian blues icon Ray Beadle, trailblazing guitarist and producer Godriguez, and 2025 ARIA Award winning bassist Lucy Clifford, YouTubers SuperFunAwesomeHappyTime Pedal Show, and more to be announced.

Tickets for the Sydney Guitar Show are on sale to the general public today from guitarshow.au/tickets/, and just in time for the festive season, Super Early Bird prices are available now until December 25.

“We have been running a successful and popular guitar show in Melbourne for a decade and people always ask us, why not Sydney?” shares Alex Masso, Producer of the Sydney Guitar Show and CEO of the Australian Music Association (AMA). “We’re answering their question with a big debut at Sydney Showground.”

“We’re building on the success of Melbourne, but the Sydney Guitar Show will have a character of its own”, said Masso. “I can’t wait to give Sydney’s guitarists the same kind of experience that people have been enjoying for the past decade in Melbourne. There is really no event like this in Australia.”

The multi-purpose and expansive Sydney Showground Hall 5 at Olympic Park offers easy access to public transport, parking, accessibility from all parts of the city, and the perfect meeting place to check out over 80 brands, multiple stages, interactive displays and other surprises.

“The Guitar Show is a place for guitar lovers to be completely absorbed in all things ‘guitar’, whether it’s trying new gear, talking to luthiers and pedal makers directly, enjoying performances, discovering new brands and new music, learning something, and surrounding themselves with a community that loves the same instrument that they do,” says Masso.

Boasting Australia’s largest showcase of guitars and just about anything guitar-related, the Sydney Guitar Show will also feature a vibrant program of ideas, workshops and live performances. Whether you’re a seasoned pro, just starting your guitar journey, even if you don’t play but love the instrument, the Sydney Guitar Show is your one-stop-shop. Iconic brands like Fender, Marshall, Ibanez, ESP, BOSS and PRS will sit alongside many great Australian made guitars from Cilia Custom Guitars (NSW), Ormsby Guitars (WA), Cole Clark Guitars (VIC), Fenech Guitars (QLD) and the launch of Mestric Guitars from Port Macquarie.

Much more than a guitar products showcase and music festival, the Guitar Show is evolving and introducing new elements including:

The Make Music Room: a full program of workshops and interactive sessions to inspire and inform music makers about playing styles, songwriting, and more.
A dedicated Kids’ Room, in partnership with Big Music, will offer guitars to try and some helpful advice for younger players, including total beginners.
Quieter mornings, with no amps in the exhibitor halls until midday. If you’re not ready for the full volume experience or want to bring the family at a quieter time, get along to the show from 10am-12pm on either day.
The Studio, a dedicated room showcasing recording / pro audio equipment and software for home recording, content creation and live performance.
The popular Pedal Party, curated by Pedal Empire, featuring Australian pedal makers.

“The goal that ties all this together is to create a place and an experience where people are excited about the guitar,” explains Masso. “Whether you want to check out gear or enjoy some live music, whether you’re one of Australia’s top professional guitarists or a total beginner, whether you’re obsessed with guitars or just curious, whether you’re ready to buy something or just want to hang out with other guitarists, the Sydney Guitar Show has something to offer.”

The Sydney Guitar Show will be held at Sydney Showgrounds, Olympic Park, on Saturday March 7 (10am-5pm) and Sunday March 8 (10am-4pm), 2026.
Purchase your Sydney Guitar Show tickets online now and save, with Super Early Bird prices available until 25th December. https://guitarshow.au/tickets/

Visit the Sydney Guitar Show site at http://guitarshow.au/sydney for the latest show announcements and information.

SYDNEY GUITAR SHOW 2026

Tickets available from http://guitarshow.au/sydney

SAT 7 MAR | SYDNEY SHOWGROUND, SYDNEY NSW | LIC AA
SUN 8 MAR | SYDNEY SHOWGROUND, SYDNEY NSW | LIC AA

SYDNEY GUITAR SHOW 2026 BRAND / EXHIBITOR LIST:

December 3, 2025 0 comments

Festival News Music News

FROM THE BACKYARD TO THE WORLD STAGE: SUMMER JAM GOES NATIONAL WITH A STREETBALL REVOLUTION

by the partae December 3, 2025

written by the partae

Australia’s biggest celebration of basketball culture, Summer Jam, is set to return for its 14th edition with a major national expansion that will see the streetball phenomenon travel to four major cities before culminating in Melbourne in February 2026.

What began as a grassroots tournament on local outdoor courts has evolved into a cultural movement uniting basketball, music, and community. Founded in 2011 by Eamon Larman-Ripon and Daniel Ella, Summer Jam has grown from a local event into Australia’s premier streetball festival, one that gives pro-am and emerging players across the country a platform to compete, connect and represent their city on the national stage.

The Summer Jam Tour will kick off in January 2026, bringing its signature energy to Brisbane (Sunday 18 January), Perth (Saturday 24 January), Melbourne (Monday 26 January), and Sydney (Saturday 31 January), before culminating in the Summer Jam Championships in St Kilda, Melbourne from 20–22 February 2026. Each stop of the tour will host a free, family-friendly streetball festival featuring elite 5v5 competitions, live DJs, MCs, National and World Slam Dunk Contests, food trucks, prizes, and special guests. Winners from each city will earn automatic entry into the Summer Jam Championship event held at Peanut Farm Reserve, St Kilda, Melbourne.

The Summer Jam Championships will feature both men’s and women’s divisions competing for a $20,000 prize pool, the National Slam Dunk Contest featuring top Australian and international dunkers, and the Creator Cup, where teams of creators and athletes will be led by a surprise NBA guest coach. Fans can also look forward to global street food and live entertainment celebrating the intersection of basketball and culture.

Since its inception, Summer Jam has been driven by the belief that world-class basketball moments can be created locally. “We grew up dreaming of the NBA, so we made our own, in our backyard,” said Summer Jam co-founder Daniel Ella. “Summer Jam was born from the love of the game and the community that surrounds it. It’s about giving players a platform, connecting cultures and celebrating basketball at every level.”

Co-founder Eamon Larman-Ripon added: “What started as a single event in Melbourne has grown into a national and now, global movement. Summer Jam is about breaking down barriers, creating opportunities, and showing that streetball in Australia can stand shoulder-to-shoulder with the world.”

Proudly supported by Jordan Brand and Foot Locker, Summer Jam continues to lead the way in inclusivity and equality, hosting the world’s largest women’s streetball prize purse. With basketball participation at an all-time high – 1.3 million players nationwide and women’s participation up 25% over the past three years – Summer Jam stands at the forefront of Australia’s basketball evolution, representing a new era of cultural and sporting unity.

Since its early days, the event has attracted teams and talent from Tokyo, Manila, Auckland, China, and the USA, cementing its reputation as the pinnacle of streetball culture in the Asia-Pacific region.

Summer Jam Early Bird tickets go on sale on Tuesday 2nd December, followed by First Release General Admission and VIP tickets from Monday 8th December 2025. With past years selling out in record time, fans are encouraged to secure their tickets early at Australia’s biggest basketball festival.

For Summer Jam Tour event updates, exclusive announcements, and ticket details, visit summerjam.com.au or follow on Summer Jam on Instagram and Facebook using #SpreadTheJam

December 3, 2025 0 comments

Festival News Music News

Freaks of Nature festival returns to Riyadh in February 2026 with episode 7, Freakyard

by the partae December 3, 2025

written by the partae

Taking place across Thursday–Friday, 5th–6th and 12th–13th February 2026, Freaks of Nature returns with its seventh episode, titled Freakyard. Across three stages, it will welcome 120 DJs to Riyadh and attract more than 30,000 visitors per day, further establishing the boutique electronic music and arts event as Saudi Arabia’s most dynamic, immersive and memorable festival experience.

Since its inception, Freaks of Nature has consistently hosted a wide array of leading international and local artists, including Lost Frequencies, Nic Fanciulli, Morten, Agents of Time and many more. The upcoming episode will unfold on the same grounds as MDLBEAST’s Soundstorm Festival, transforming the site into an industrial yet visually striking and fully immersive new universe for attendees to explore.

Freakyard invites festival-goers to embrace a sense of freedom, leaving behind work, stress and the pressures of daily life. It celebrates the “Freak”, an unapologetically authentic, fun-seeking individual, encouraging attendees to reconnect, lose themselves in the music and atmosphere and create unforgettable memories that endure long after the night ends.

As part of the 2026 programming, which will be revealed over the coming weeks, Freakyard will also introduce a new merchandise range, a DJ competition, and several other experiential activities for local and international guests to enjoy throughout the duration of the festival.

Freakyard will feature meticulously designed stages, each with its own distinctive concept and visual identity, brought to life by immersive art installations and characters that roam the grounds, creating a truly interactive and unforgettable experience like no other.

Yazeed Al-Hashim, Chief Freak, comments:

“As a team, we’ve spent the last two years building an experience that treats every person with the care, intention, and creativity they deserve. Freakyard 2026 isn’t just our return; it’s a homecoming for everyone who believed in us. This festival was designed to make people feel seen, connected, and free to be themselves. That’s what Freaks of Nature has always stood for, and this year we’re bringing that feeling back to life in the biggest way yet.”

Freaks of Nature is an internationally recognised series of boutique electronic music and arts festivals born in Saudi Arabia and loved globally. It provides a vibrant platform for international headliners, emerging artists and local talent to showcase a diverse electronic soundscape focused firmly on the dance floor and encouraging freedom of expression for attendees. Each event is a multi-sensory experience, featuring electrifying dance, stunning visuals, immersive special effects, and flamboyant costumes. Freaks of Nature actively transcends barriers, celebrates music, and continues to captivate audiences with its unforgettable, transformative atmosphere. As Saudi Arabia’s first globally exportable entertainment brand, Freaks of Nature fosters cultural exchange and positions the Kingdom as a hub for world-class festivals, elevating its presence at the forefront of the international scene.

Set to take place on 5th–6th and 12th–13th February 2026 in Riyadh, Freakyard promises diverse musical programming, immersive art designs and a visually stunning festival experience, with the first wave of artists to be announced in the coming weeks.

Be the first to enter the Freakyard and sign up now to get early access to Episode 7.

Register Here https://freaksofnature.me/

Find out more & follow:

Website | Instagram | TikTok | YouTube

December 3, 2025 0 comments

Festival News Music News

Good Things Festival Is Almost Here. Stand Atlantic + Alpha Wolf Join The 2025 Line Up

by the partae December 3, 2025

written by the partae

The Good Things Festival is just days away, and the excitement is building as we count down with you.

Life can be unpredictable, and moments like these remind us just how important it is to come together, support one another, and cherish the experiences that connect us. Good Things Festival isn’t just about music, it’s about community. Over the years, you’ve become like family to us.

We rally together in the highs and stand together through the challenges, and this moment is no different, as unfortunately, we would like to share an important update that due to family emergencies The All-American Rejects and Knocked Loose will no longer be able to perform.

“We’re heartbroken to share that due to a sudden family loss, we won’t be able to make it to Australia as planned. This has been an incredibly difficult moment for us, and as much as it devastates us to miss such a great opportunity to reconnect with our Australian fans, family has to come first.

Thank you for your understanding, your patience, and all the love you continue to give this band. We’ll make it up to you as soon as we’re able.” – The All American Rejects

“We’re very sorry to everyone but we have to cancel our Australia trip, including the Good Things Festival and our headline shows around it.

Anyone familiar with this band knows we do not take cancelling shows lightly; but family will always come first. We are already planning our return and cannot wait to be back as soon as possible. Love you all.” – Knocked Loose

Critically acclaimed and resoundingly adored, Sydney’s Stand Atlantic and Aussie metalcore behemoths Alpha Wolf will join the line up.

Due to the extensive logistics involved with trucking, flights, accommodation, and stage production for these bands across three days, we’re unable to adjust the timetable. As a result, the newly added bands will fill the existing schedule slots.

“Our hearts are with The All-American Rejects – it’s never an easy decision to make no matter what the circumstances are. We are honoured, nervous, and ready to show up and do what we do best.” – Stand Atlantic

“Unfortunately, our friends in Knocked Loose are unable to play the Good Things Festival, we’re sending them all our love and we’re going to try our best to fill their shoes on super short notice. Catch us on the Main Stage at 3:30pm in Melbourne, Sydney and Brisbane this weekend!” – Alpha Wolf

Our thoughts are with the band and their families during this time. We want to also acknowledge our fellow artists and colleagues who feel this absence alongside us.

While life can throw unexpected hurdles our way, the show will go on, and this weekend, we’ll come together as one community to create a great experience.

We appreciate your understanding and continued support. We look forward to delivering an unforgettable experience for you all.

DATES AND VENUES:
Friday 5 December – Flemington Racecourse, Melbourne (16+)
Saturday 6 December – Sydney Showground, Sydney (16+)
Sunday 7 December – Brisbane Showgrounds, Brisbane (16+)

Tickets available from www.goodthingsfestival.com.au

GOOD THINGS FESTIVAL | FACEBOOK | X | INSTAGRAM | TIKTOK

December 3, 2025 0 comments

Festival News Music News

Queenscliff Music Festival Celebrates A Huge Weekend Of Music On The Bellarine Peninsula

by the partae December 2, 2025

written by the partae

Queenscliff Music Festival has wrapped up for another year with a huge weekend of live music, sunshine and community spirit, welcoming more than 11,000 ticket holders to the Bellarine Peninsula from November 28 – 30, for three unforgettable days on Wadawurrung Country.

The weekend was truly alive with celebration as over 75 artists took to the festival stages,
as crowds were treated to King Stingray lighting up Friday night and a surprise appearance from Baker Boy setting the tone for an unforgettable event. Thelma Plum, The Cat Empire, The Waifs, Cosmic Psychos and an incredible lineup of local talent kept the foreshore buzzing all weekend long, while the new floating stage upon the Peninsula Princess Ferry became an instant festival favourite.

King Stingray lit up the main stage on Friday night with their high energy Yolnu surf groove, made even more special when Baker Boy jumped on for a surprise appearance that sent the audience into a frenzy. Earlier, Tex Perkins and Matt Walker belted out their iconic Australian rock classics, warming up the afternoon crowd in style, before Ella Hooper delivered a joyous tribute to Linda Ronstadt in a set filled with admiration, storytelling and soaring singalongs of some of the greatest songs ever written.

Saturday delivered one of the most anticipated lineups in Queenscliff Music Festival’s memory. Thelma Plum warmed hearts and souls in a set overflowing with laughter and connection as the audience lapped up every note. Didirri and Rowena Wise held the crowd in quiet awe through the afternoon, offering a beautiful moment of stillness before The Waifs had thousands singing back every word. The Cat Empire followed with an explosive blend of jazz, Latin and funk, driving the foreshore into raptures long into the night. On the other side of the park, Cosmic Psychos closed out Saturday with a thunderous set that sent fans home grinning all the way home.

Festival goers were also quick to jump aboard the new Queenscliff Music Festival floating stage on the Peninsula Princess ferry, with seven gigs across the weekend proving an instant favourite. These intimate shows offered a completely unique way to experience live music, pairing the beauty of the bay with up close performances by a handpicked selection of artists including Skyscrapper Stan & The Commission Flats, Romaine, Ally Row, Minor Gold, Grace Robinson and more.

Across the whole weekend, audiences embraced the incredible array of local talent, from emerging artists making their QMF debut to regional favourites returning to the festival stage. The depth and diversity of home-grown music remained one of the event’s defining strengths, drawing full venues across the town of Queenscliff with passionate crowds from morning until long into the evening. Performances from Bones and Jones, Madeliene Cope, Fenn Wilson, Get Behind the Mule, Imaginary Millions, Kit Genesis, Kook Joey, Lewis Love, Matt Davis and dozens more helped cement QMF as one of the most important platforms for Victorian and Australian music discovery.

The closing Sunday saw the energy rise from the afternoon into the evening with standout sets from Mama Kin Spender, whose stirring vocals and rhythmic communal energy sparked one of the biggest singalongs of the weekend, especially when joined by the 37 piece Acabella choir.

The Preatures delivered a powerful and polished performance, reminding audiences exactly why they remain one of the country’s most dynamic live acts as Isabella Manfredi commanded the stage with charisma and fire. The Pierce Brothers followed with an unforgettable set that had audiences hanging on every note, before Donavon Frankenreiter brought his unmistakable laid back Californian soul to the foreshore to close the main stage, gliding through warm grooves and effortless vocals that held the entire crowd.

Queenscliff Music Festival Director, Claire Stickland, Said,

“What an incredible weekend for Queenscliff Music Festival. With packed stages and an electric atmosphere along the foreshore, this year was a true celebration of music and joy.

“We are so proud of what unfolded, and none of it would have been possible without the amazing artists and people behind the scenes. More than 550 volunteers pour their time, passion and care into making this festival what it is, and it wouldn’t be possible without them. Queenscliff Music Festival remains a genuine community celebration of music and the arts, set in one of Australia’s most beautiful destinations.”

Queenscliff Music Festival will return in 2026. from 27 – 29 November, on Wadawurrung Country, in the historic Victorian seaside town of Queenscliff.

For more information – WWW.QMF.NET.AU

December 2, 2025 0 comments

Music News

Tobey Kai Finds Light Again With ‘Twinkle Twinkle Mistletoe’

by the partae December 2, 2025

written by the partae

For Tobey Kai, Christmas has never been a simple season. It has always carried a bittersweet pull—filled with longing, distance, and the quiet ache of rarely being able to spend the holidays with the people she loves most. That emotional mix became the spark behind her new original Christmas song, “Twinkle Twinkle Mistletoe.” In it, Kai distills the magic of wishing, waiting, and believing that love—romantic, familial, or otherwise—can bridge any distance. The song is both tender and hopeful, celebrating the warmth the season can bring while reflecting the resilience that has defined Kai’s own journey.

That resilience was tested in profound ways. Following a life-altering accident that left her with a severe brain injury, Kai faced an uphill battle to rebuild her body, mind, and voice. Returning to music took years of determination, and “Twinkle Twinkle Mistletoe”—a light, whimsical track three years in the making—now stands as a milestone in her recovery. Its release on Christmas Day marks a personal triumph, a joyful statement that creativity and spirit can survive even the darkest chapters.

Kai’s work has long been shaped by emotional truth and lived experience. Known for her cinematic sound and soulful storytelling, she first connected with audiences through songs like “Who Are You” and “Time,” pieces rooted in personal loss—from her grandfather’s struggle with dementia to the grief carried by families affected by political violence. A musician since the age of six, she has built a catalogue that transforms heartache into something deeply human and universally felt.

With “Twinkle Twinkle Mistletoe,” Kai adds a brighter thread to that tapestry. The song offers a reminder of survival, connection, and the enduring pull of hope—especially during the holidays, when emotions often land hardest. For Kai, music has never been just self-expression; it’s a way of bringing light to others. And with this new release, she continues to prove that even after life’s hardest storms, the human spirit can find its way back to joy, clarity, and song.

INSTAGRAM

December 2, 2025 0 comments

Festival News Music News

Hoi AIRBEAT ONE Festival reveals the first artists for 2026

by the partae December 1, 2025

written by the partae

Brennan Heart, Dual Damage and Charly Lownoise lead the Dutch lineup for the “Netherlands Edition” – Amelie Lens, Boris Brejcha, Charlotte de Witte, Holy Priest, Lilly Palmer, Scooter, Timmy Trumpet, Vini Vici and more kick off the international announcements.

The preparations for AIRBEAT ONE Festival 2026 are in full swing. The 23rd edition will take place from 8–12 July 2026 and will transport visitors to the “Netherlands”, home to countless DJ megastars and birthplace of the modern festival culture. Fittingly, the first artist announcement already features a strong Dutch contingent.

Fans can look forward to four heavyweight acts from the Dutch dance scene. Leading the charge is Brennan Heart, the undisputed Mister Hardstyle and one of the genre’s global icons. After his spectacular Mainstage set at the last edition—marking the first-ever Hardstyle performance on that stage—he will once again deliver the harder sounds in 2026. And of course, “Wonderful Days” needs no introduction: the legendary Happy Hardcore anthem by Dutch duo Charly Lownoise & Mental Theo. Charly Lownoise has practically become a Butterfly Stage resident, guaranteeing the most euphoric throwback journey of the weekend. The Dutch Hardstyle duos D-Block & S-te-Fan and Dual Damage complete the first Harder Stage announcement.

Techno has long since reclaimed Mainstages worldwide, and AIRBEAT ONE was one of the first festivals to showcase the genre at this scale. With Amelie Lens, Charlotte de Witte and Lilly Palmer, 2026 will bring three Techno queens to the Mainstage. Joining them are three major German Techno heavyweights: Alfred Heinrichs, Boris Brejcha and Holy Priest. Adding to the impact is Scooter—one of the most successful Techno acts of all time—returning to Neustadt-Glewe.

EDM remains an essential part of one of the world’s largest and most spectacular Mainstages. Australian superstar and Top 10 DJ Timmy Trumpet will bring his unmistakable energy to Mecklenburg-Vorpommern. Psytrance legends Vini Vici from Israel and Novah complete the first Mainstage announcement.

On the Arena Stage, fans can expect dark, driving sounds from German DJ Kobosil, along with cinematic hard techno from Nicolas Julian and Schrotthagen. The PsyTrance community can look forward to stars like Andrew Rayel and Slovakian DJane Nifra on the Second Stage.

A brand-new stage will debut in 2026: the Groove Castle. The first confirmed acts, Cara Elizabeth and Davyboi, will deliver vibrant house and groove sounds.

The Butterfly Stage will once again transform into a nostalgic sanctuary with Charly Lownoise, Aquagen, Cascada, DJ Gollum and DJ Quicksilver delivering unforgettable classics.

In total, the first 25 artists for the “Netherlands Edition” of AIRBEAT ONE Festival are now confirmed. Ticket sales are already in high demand. The 3-Day Regular Ticket – Full Weekend is currently available in presale phase 1 for €175.99 including fees via https://airbeat-one.myticket.de

AIRBEAT ONE is a subsidiary of DEAG Deutsche Entertainment AG. Exclusive ticket partner is myticket.de.

AIRBEAT ONE Festival 2026

vom 08–12 July 2026

Flugplatz Neustadt-Glewe (near Schwerin), Mecklenburg-Vorpommern

Theme 2026: „Netherlands Edition”

7 Floors:

– Mainstage (EDM, Trance, Progressive)

– Arena Stage (Techno)

– Terminal (Electro, Tech House, Tropical)

– Harder Stage (Harder Styles)

– Second Stage (Trance, Psy, Goa)

– Butterfly Stage

– Groove Castle

http://www.airbeat-one.de/

facebook.com/airbeatone

https://www.youtube.com/@airbeat1festival

instagram.com/airbeatone

December 1, 2025 0 comments

Music Interviews Music News

Interview: Ernie Garland Jr – The Rhymed Line That Sparked ‘Baby Mama Drama’

by the partae December 1, 2025

written by the partae

‘Baby Mama Drama’ arrives as a groove-heavy, emotionally grounded track. What was the moment that first sparked the idea for this song?

Well, to be honest, it came from the rhyming words: even Obama has baby mama drama… then I kind of worked backwards from there. I originally thought of it coming from the perspective of a relationship counsellor. You know, an old guy in a tweed jacket and bow tie…he’s got a sign out the front of his office that reads something like, “Been Married Seven Times, Each One A Success..” and his basic message is, tough times in a relationship are inevitable, it’s how you deal that counts.

The song speaks openly about holding onto love even when things get messy. Was there a specific relationship experience that shaped the message behind it?

Haha, more than one, I’d say. Also, I’ve drawn from friends’ experiences, not just mine. But yeah, if you ever hear someone say they never have any conflict in their relationship, then that union is probably not fully formed. Conflict is essential and part of the game.

You recorded vocals across hemispheres, directing the session from Sydney at 3 a.m. What was that experience like, and how did that pressure shape the final take Arica Jackson delivered?

It was kind of like a Teams Meeting with high fidelity audio equipment. We got the girls into the studio in Brooklyn; they were super professional and quick studies, so they nailed their parts really easily, which was a joy for me. It was so crazy hearing them chat in the vocal booth over there whilst the engineers were setting up… “hey, how are you? I love your hair! Oh, thank you!”.. Like they were in the next room…

We didn’t have a lot of time before they had to take off for work (on Broadway), so there was definitely pressure to get everything done. But it came out great.

The outro vamp from Arica Jackson was a one-take moment. How did it feel hearing that performance come together in real time?
By the time all the written stuff was in the can, we literally had minutes left when I asked Arica to do a vamp on the outro. She had time for one take, and it was surreal. It meant a lot to finally get this part of the puzzle complete because we went through so much to get to this point. Not only the lockdown, but the studio had to close down halfway through the project, so there was a delay there until we got set up in an in-between studio, plus it took ages to finally get the right singers… I was like a dog with a bone and not willing to compromise. I knew what I wanted, and I eventually got it.

<a href="https://erniegarlandjr.bandcamp.com/track/baby-mama-drama">Baby Mama Drama by Ernie Garland Jr</a>

Your influences span Teddy Atlas to Steely Dan and The Roots. Where do you hear those inspirations most clearly in ‘Baby Mama Drama’?Well, in the case of Steely Dan, it’d be those half-diminished chromatically descending jazz chords that create the harmonic environment for the track. And would I like to hear Teddy Atlas sing my song? Would I what!!

You made much of the upcoming album while living in your family’s granny flat during lockdown. How did that stripped-back, solitary environment affect your writing and emotional approach?

I had no distractions except for the welcome ones, like my 2 year old nephew, who was in the main house with the family. Nothing but a bed, a piano and my little studio set up. I got to go really deep whilst on that 3 and a half month sabbatical. And the results are there. A strong case for a universal basic income for artists!! Alas, it’s Australia, so don’t hold your breath.

This track carries both groove and vulnerability. How do you balance storytelling, humour, and honesty in a song that deals with conflict and reconciliation?

Everyone can relate to this to some degree, so I guess it’s about relatability. And humour is a good way to take the edge off of something that can be all-consuming. I suppose when you’re past it, you can look back and think, maybe I’ll do things differently next time…

You spent years fronting a nine-piece roots-reggae outfit. What feels different about sharing music under your own name and shaping every detail yourself?

It feels easier and very liberating doing it this way. I can perform these new tracks on a piano or a guitar, or with a couple of spoons and get the message across. Yeah, the nine-piece thing was amazing when it all came together, but it was a challenge doing it in a tiny scene like Australia…

The lyrics nod to the universal nature of relationship tension — “even Obama has Baby Mama Drama.” Why was it important to approach the topic with warmth and relatability rather than blame?

As I’ve said, no one escapes the harsh reality of relationship conflict, and you can use it for good. And you can’t go around carrying grudges and hatred toward people who you feel did you wrong. Well, maybe for a bit, but then you have to let it go. The Obama line is about the fact that he presents this almost god-like persona of perfection, you know, the way he carries himself, you know, he’s a cool guy, but I guarantee you he’d have spent his fair share of time in the dog house.

‘Baby Mama Drama’ is part of your upcoming 2026 album Dealin’ Out The Healin’. What larger story or emotional arc does this single represent within that new body of work?

Well, if I look at the themes throughout the record, a lot of it is about experiences I have had or those of close friends’ experiences that I witnessed first hand, dealing with relationships. Hopefully the references are opaque enough for them not to recognise themselves, haha. I think I did. I’ve never done this before, where the stories are all of the same arc… I thought, let’s make it relatable, cos it’s about getting the music heard by as many people as possible, isn’t it?

Follow Ernie Garland Jr on Instagram & Spotify

December 1, 2025 0 comments

Festival News Music News

Wave To Earth Photos – Enmore Theatre – 29/11/25

by the partae December 1, 2025

written by the partae

Photography: Jake Harm Nam

December 1, 2025 0 comments

Music News

Sophia Petro Cuts Through the Noise on New Single “Better Say”

by the partae November 28, 2025

written by the partae

Australian singer/songwriter Sophia Petro returns with a sharp new single, “Better Say”, out 28 November 2025. It’s a track that dives straight into the mess and confusion of modern dating — the crush you can’t quite read, the mixed signals you pretend don’t bother you, and the moment you finally decide you’re done waiting.

Built around tight, punchy production and Petro’s direct, emotionally grounded vocal delivery, Better Say captures that internal tug-of-war between wanting answers and trying to appear unbothered. The song sits right at the point where frustration turns into clarity. As Sophia explains in her press notes, it reflects the moment you stop trying to decode someone else and choose yourself instead.

The track was written solely by Petro and created entirely by a female team, with Melbourne producer Gabrielle Emery shaping the sound and Alex Warren handling the mix and master. The result is clean, confident alt-pop with an emotional hit that lands immediately.

Petro has been steadily carving out a name for herself in Australia’s emerging alt-pop space. Her writing leans into intimacy and honesty, pairing diaristic detail with melodies that burrow in quickly. Her influences — artists like Holly Humberstone, Olivia Rodrigo, and Gracie Abrams — show up not in imitation, but in her ability to make vulnerability feel sharp and direct.

In the last few years, she’s collected a string of early wins: shortlisted in the International Songwriting Competition, second place in the Australian Songwriters Association Annual Contest, and praise across outlets such as Scenestr, Couch Mag, Iggy Magazine and Triple J Unearthed presenters. Her debut EP The 11th Hour also premiered on The Partae and helped solidify her growing reputation.

With Better Say, Petro steps forward with a clearer artistic voice — one that’s honest, self-aware, and unafraid to call things for what they are. It’s an alt-pop release that feels both immediate and quietly powerful, and it shows exactly why she’s quickly becoming one of the most promising new artists in the country.

INSTAGRAM

November 28, 2025 0 comments

Music News

Arky Waters Releases ‘Ay Papi’

by the partae November 27, 2025

written by the partae

Just last month, Australian producer Arky Waters made a triumphant return with his new single “Holdin’ On”, alongside the announcement of his upcoming debut album which is set for release in early 2026.

He’s coming back to us this week with his latest offering, “Ay Papi”, delivering an energetic, uplifting sound that merges classic synth textures with modern production, as Arky explores the roots of some of his favourite electronic tracks, bringing warmth, character, and a timeless vibe to a contemporary setting.

“I started to visit a lot of analog modelling synths to see where a lot of my favourite older electronic tracks came from. It’s cool seeing how pieces of gear can become so pivotal in so many genre-defining tracks. A lot of the sounds you hear on this track are from moog emulations and the classic korg m1. It’s been really fun merging those classic sounds with modern production techniques. The textures, warmth and character you can get is just undeniable.” ~ Arky Waters

‘Ay Papi’ is out now via Mammal Sounds Records.

Stream:
https://bfan.link/aypapi

Socials:

https://linktr.ee/arkywaters

Credits:

Written & Produced by Arky Waters

Mixed by Doug Wright

Mastered by Suture Mastering

Artwork & Photos by Arky Waters

Visuals by Version Khan

November 27, 2025 0 comments

Music Interviews Music News

Interview: Sophia Petro Unpacks the Chaos, Vulnerability and Clarity Behind ‘Better Say’

by the partae November 27, 2025

written by the partae

What inspired the emotional direction of Better Say, and when did you realise this song needed to exist?

‘Better Say’ was born from a place of emotional limbo – when you like someone and you’re pretty sure they like you back, but both parties refuse to actually say anything. ‘Better Say’ captures the struggle of pretending to be chill when internally, you’re spiraling. I was noticing how often my friends and I would assume these effortless, nonchalant personas, even when we cared deeply, and that’s when I thought, “okay I want to write a song about this”.

How did the push-and-pull energy of modern dating shape the way you approached the lyrics and delivery?

I think modern dating is basically a masterclass in ambiguity. Everyone’s trying to act casual, play mind games and ultimately, avoid saying the wrong thing and appearing too interested. That’s exactly why I chose to sarcastically open the song with “I am casual, I’m non-committal… I don’t have needs, don’t have expectations”. It’s the persona so many of us put on in the dating scene, this performance of being impenetrable and unbothered whilst we’re secretly hoping this person might be our happily-ever-after.

You wrote this track entirely on your own — what was happening in your life creatively or personally that fed into the writing process?

I wrote ‘Better Say’ after I found myself back in the dating scene. I realised I’d been shrinking my needs to seem cooler and more laid-back, and writing the song really forced me to confront that. I had a lot of fun exploring the juxtaposition between my internal and external personas – the version of me that acts chill and unfazed, and the version that actually cares a lot. I really lent into that contrast, and here we are!

Working with Gabrielle Emery and an all-female production team adds a strong layer of meaning to the track. What made that collaboration feel right for this release?

‘Better Say’ is primarily about speaking up for yourself and clearly outlining your expectations, so working with women who really understood that feeling was special. Gabrielle Emery isn’t just a brilliant producer, she’s also a great friend. I always feel so comfortable with her, like I can completely unleash and leave everything on the table, and we have so much fun creating together.

We really leaned into the chaos of an internal spiral, and having such an encouraging space is exactly why things like the last-minute intro “well, he took four hours to text me back, what do you think that means?” made it into the song. That moment came out of us laughing and oversharing stories about the trials and tribulations of modern day dating. Honestly, I just had the best time.

Your music often feels like a diary entry that hits hard. How do you walk the line between vulnerability and empowerment in your songwriting?

I think I’ve realised that pretending you’re fine is actually the opposite of empowerment. It might sound cliché, but being vulnerable and naming how you feel can be incredibly difficult and takes a lot of strength. When I write, I try to sit with my emotions long enough to understand them and then shape them into something listeners hopefully recognise in themselves. That’s why I knew I wanted to release ‘Better Say’, because it’s about finally telling the truth and asking for the clarity you deserve.

Better Say has a very punchy, confident tone. Was there a moment in the studio when the sound locked in and you knew you’d nailed it?

I think the moment it clicked was when we nailed the final vocals. We really wanted to capture the chaos of that internal versus external battle, and I’m so happy with how they turned out. One moment that stands out is when we were literally jumping around the studio screaming “I don’t care!!!” for the group vocals before the second chorus. The second I heard that back, I knew we’d hit the nail on the head.

You’ve been compared to artists like Holly Humberstone and Olivia Rodrigo, but you also have a very distinct voice. Where do you feel your sound sits right now?

I like to think I sit in this pocket between soft-spoken vulnerability and sharp, witty storytelling. I love writing from a really emotional, introspective place, but I also want the choruses to pack a punch. Holly Humberstone and Olivia Rodrigo do that so beautifully – their emotional precision is something I really admire and draw inspiration from.

You’ve had some huge early milestones — songwriting comps, radio play, strong media support. How have those experiences shaped the artist you’re becoming?

For a long time, I treated music like a secret passion, but things like media support, radio play, and competition recognition helped me realise that people genuinely connect with what I’m making. That’s been really motivating. I think we often feel like we’re alone in what we’re feeling or going through, so having people respond to my music and see themselves in it means everything to me.

What do you hope listeners feel when they hear Better Say for the first time?

I hope it makes listeners think, “I’m done with mixed signals and hot and cold behaviour! I do deserve clarity!” That’s the energy I’m embracing right now – either show up clearly and honestly, or not at all.

As you move toward your next chapter, what can fans expect from the music you’re creating after this release?

I think I’m exploring themes that feel central to your early to mid-twenties – identity, self-worth, discomfort, relationships, and the emotional intersections between them all. I’ve been doing a lot of self-reflection, and I think that’s really evident in the music. Sonically, it feels bolder, but it still carries that intimate, diary-like storytelling.

LINKTREE

November 27, 2025 0 comments

Music Interviews Music News

Interview: Superdose Gangway – Inside the Existential Spark Behind “No Reason At All”

by the partae November 27, 2025

written by the partae

What headspace were you all in when “No Reason At All” first began to take shape, and how did those early ideas evolve into the final version?

I was feeling fairly existential when I started writing the chorus. The lyric “I hope I feel like this for no reason at all” was floating around in my head and was included in a couple of different demos before being fleshed out into the song it is now.

The song speaks to a kind of generational fatigue and existential doubt. How much of that came from your own experiences over the past five years?

I think most people experience some kind of malaise in their mid-late 20s. Going through a global pandemic framed that period of my life in a really interesting way. When you couple that with the current state of the world, socially and politically, I’d be surprised to find anyone who’s not slightly fatigued.

Max mentioned that action is the ideal response to the state of the world, even when despair feels easier. How did that emotional tug-of-war influence the writing and performance?

I’m not as much of an activist as I wish I was and certainly not as much as some of my friends (who I respect a lot). Some of that probably comes from fear but I also tend to see the world through the lens of music. This song is my best attempt at capturing how I respond to the world around me.

The track has that nostalgic pop-punk energy but still feels grounded in something real and current. How did you find the balance between familiar influences and your own voice?

There’s a few subtle nods in this track to bands we love like Motion City Soundtrack, Hot Mulligan and The Story So Far. All of those bands have such unique sounds that we could never even try to imitate them. I’m fascinated by the idea of pairing elements of pop-punk with other sounds to try and create something that’s both fresh and familiar.

Lachy Pitcher came on board for production. What did he bring out of you that wasn’t there before?

Lachy has one of the best sets of ears in Australian music and he’s a huge asset to our sound. He and I tend to think the same way about music so collaborating in the studio is always really seamless and enjoyable. He’s basically a secret member of the band at this point.

The music video adds a cinematic layer to the song’s themes, especially with the imagery of the burning couch. What was the initial concept behind the clip, and how did it come to life?

We worked with the director Pete Williams on his film The Last Grind (out now on SBS On Demand and Apple TV). He and cinematographer Johanis Lyons-Reid did a tremendous job of capturing the messaging of this track for the music video. Pete’s concept of the burning couch is quite a resonant way of representing the struggle faced by many Australians to keep a roof over their head and stay afloat.

Your jazz backgrounds at the Elder Conservatorium plays into your songwriting in subtle ways. How does that training shape the textures or structures you lean toward in Superdose Gangway?

What I love about jazz is the way that musicians keep finding unique ways of interpreting familiar pieces of music. We try to do that when we pick a cover for our live set. For years, we used to do a punk version of Hollaback Girl which worked out great. To me, jazz music (and all music) is freedom of expression. Everything that Superdose Gangway does tends to follow that mantra.

You’ve experimented with unusual release approaches in the past, did that early hustle play a part in this release? Has it made it easier to connect creatively/write music together?

We did a project called ‘26 Songs in 2016’ which involved releasing a new song every fortnight for a whole year. Each song title started with a different letter of the alphabet and we tried to learn something new or do something different with every song. The biggest lesson we learnt from that process is never to be married to an idea. Everything is a placeholder until the song is released!

The new single captures a sense of tension and uncertainty that feels very of this moment. What do you hope listeners take away from it when they first hear it?

I hope this track helps people feel a little bit less alone and encourages people to be even kinder to those around them. I’d be happy with any result like that.

You’ve shared stages with an incredibly diverse group of bands over the years. How have those experiences influenced the direction of this single and where you see Superdose Gangway heading next?

Next year, we’ll be celebrating 10 years of being a band. We’ve played with so many incredible bands, toured some amazing parts of Australia, released heaps of music and had so much fun doing it. We’ve been pretty quiet for the past year or so but I’m looking forward to our 10th year as a band being a big one, hope to see you at a show!

INSTAGRAM

November 27, 2025 0 comments

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