Sepultura has reached the end of the road and has chosen to depart via a conscious and planned death. The band are marking 40 years together and have been saying goodbye at the same time with a farewell tour spanning the globe, which has included a slew of venue upgrades and sold out shows across Latin America, Europe, and the US. Now it’s Australia’s turn, with a run of capital city shows this March.
After four decades, 14 gold records, journeys through 80 countries and countless cultural exchanges, Sepultura stands as one of the most influential metal bands of their generation. Across 15 studio albums, they have sold more than 20million records worldwide, earning gold and platinum status in Australia and beyond. Their landmark record Roots has surpassed 150 million Spotify streams.
For this final journey, the band is joined by 21-year-old American drummer Greyson Nekrutman as they undertake a worldwide run that spans multiple continents and revisits every era of their catalogue. During the tour, the band will be recording 40 live tracks across 40 cities, forming an epic compilation that captures their strongest moments on stage.
As this chapter unfolds, Sepultura reflects on this milestone with gratitude. Throughout their career, they created acclaimed records, forged enduring friendships, experienced artistic growth, met their heroes and helped place Brazilian metal firmly on the world map. With that legacy secured, the band steps away with a sense of purpose fulfilled.
“We’ve always had the best fans in the world, who supported us with praise and criticism, who were demanding and intelligent, who grew together with the band and have always been loyal,” the band says. “Without you, none of this would have been possible. This album and this tour are for you. Dear SepulNation, we love you and always will.”
This tour is the final opportunity to witness Sepultura live in Australia.
Presale begins Friday 12 December at 9am local time.
Tickets are on sale Monday 15 December at 9am local time.
Sign up and tickets: destroyalllines.com/tours/
“Euthanasia, the right to a dignified death. The right to choose to live free and to choose when you die.”
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‘Piece of Mess’ feels raw and open, almost like you’re inviting listeners inside the emotional spiral you were living through. What moment or realisation first pushed this song into existence?
The moment of betrayal. There are few things more difficult to experience; I would say grief is also up there. I tried repeatedly to show up with love, only to be taken advantage of. No matter what I did, I was always going to lose, but through that experience, I created some of the best songs I’ve ever written.
You’ve said the track came from the same creative burst as ‘Serious,’ written in your Elwood apartment. What was happening in your life at that time that made writing feel so urgent?
It was an outlet for me to express what I couldn’t in conversation. I was young, struggling, and not always surrounded by supportive people, which certainly had an impact.
Originally, this song was directed at someone else, calling them a “Piece of Mess,” but I chose to redirect it toward myself, recognising how messy I also felt in love at the time. I’m strong in many ways, but matters of the heart have always been my vulnerability.
Three songs on the album — Piece of Mess, Serious, and an unreleased track, I Can’t Love Anymore — were all written around the same day, inspired by the pain of giving someone many chances, only to be hurt by someone I trusted and loved.
There’s a real tension-and-release feeling in the production, like the music breathes with the story. How did you and Lewis Pidutti shape that emotional push-and-pull in the studio?
When I originally wrote this song, I wanted it to convey a strong sense of drama, especially through dynamics. There are subtle musical nuances in the verses designed to create an unpredictable, almost suspenseful feeling.
I had been developing this track long before meeting Lewis, and I always knew how impactful it would be live with the band — something that is often difficult to fully capture in a studio setting. I revisited many of my old recordings to refine the sound, focusing on keeping ample breathing space in the verses to allow for explosive moments, and creating a striking contrast in the chorus with powerful, chunky guitars and a surge of intensity.
He listened and nailed it. I recorded this song in one take vocally through a drum microphone, and we never changed it. There is an entire range of emotions in this tune.
You built your reputation on the streets of Bourke Street, looping in front of strangers. How does that raw, unpredictable environment still influence the way you write and perform?
The streets have been my greatest teachers, and I believe that’s why I am such a strong performer on stage. Busking requires vulnerability, creativity, and authenticity. You must find ways to capture attention and keep people engaged. If your energy is off, the audience will feel it too.
Performing in this environment has taught me to recognise impactful moments in a song — where I can connect with the audience or elevate the set to the next level. My favourite part is creating those moments where the entire crowd joins in and sings with me.
You’ve just come off shows in Italy, Germany and the Netherlands. Did sharing these songs across Europe shift the way you hear or feel them?
It was genuinely exciting to hear my songs being sung by people outside of my hometown. Experiencing this brought new life to the album and filled me with a renewed sense of joy.
My time in Europe allowed me to fully reset from a burnout I had been experiencing. Now, I connect with the music from a healed and refreshed place, feeling completely ready to share it and fully immerse myself in everything album-related. Perfect timing.
The song digs into the messy, uncomfortable side of love — insecurity, frustration, the yearning underneath it all. Was there a lyric that felt confronting to write or admit out loud?
My writing is extremely honest and pretty direct. I think, “I want a solid apology, not this look you’ll demolish me, swallow me, I want equality” — ain’t that the truth.
Just wanting someone to be sincere, gentle, kind, and admit being wrong instead of being blamed as a woman.
Your sound moves effortlessly between soul, pop, jazz and vocal looping. When you’re writing something vulnerable like this, do you lead with emotion first or with vocal experimentation?
I would say it’s a combination. My voice conveys my emotions, and my emotions guide me in finding the words to express through that voice.
I embrace influences from a variety of genres, as I believe this is when the most interesting, unique and authentic creative moments emerge — then you get Tanya George.
You’ve played everything from the Roma Busking Festival to WOMADelaide and Airlie Beach Music Festival. Do songs like ‘Piece of Mess’ land differently on a big festival stage compared to an intimate room?
Absolutely. It’s a great song in an intimate environment, but it goes HARD at a festival.
It’s got some very intense parts, such as the bridge all the way to the end of the song, and live, the band just throw themselves in.
With your debut album Contrast on the way, where does this track sit in the wider emotional arc of the record?
“Piece of Mess” is the fifth track on the album, placing it right in the middle at peak angst. It comes just after “The Devil” (track four) and is followed by “Can’t Love Anymore” (track six) — all intense track titles.
My Oma (grandmother) features on the intro (track one) and the interlude (track seven). By the time we reach the interlude, the album transitions from a place of anger back into one of love and growth.
Track eight, “Have You,” is the only love song I’ve ever written. I often hear “Piece of Mess” in relation to “Serious” (track two), as I feel the two songs are connected thematically.
You’ve got momentum in Europe, festival dates at home, and a debut album coming. What part of this next chapter feels the most exciting for you right now?
I think the most rewarding part of releasing these songs is finally sharing them with the world and allowing people to connect with them.
For me, the highlight has always been performing live — seeing my dreams come to life on stage. I always had this vision to begin my set solo, using only my voice and looper, and then the band joins me, taking the performance to the next level.
We had an incredible show over the weekend. People were crying and singing along with the lyrics. It was exhilarating to see my ideas, long imagined in my mind, come alive in real time.
See Tanya perform over the summer at the following festivals:
Tanglewood Festival — 30 Dec 2025 – 2 Jan 2026
Rising Sun Festival — 9–12 Jan 2026
Falls Creek Festival — 14 Feb 2026
APPLEWOOD, one of Asia’s most trusted global concert promoters, has announced that 안녕, MELBOURNE (“Hello Melbourne”) will take place on March 14 at Flemington Racecourse in Melbourne.
APPLEWOOD, who have worked with global superstars including BLACKPINK, SEVENTEEN, ENHYPEN, BAEKHYUN, LE SSERAFIM, GFRIEND and G-DRAGON, will be partnering with Australia’s leading festival promoter, Untitled Group, to bring this landmark event to life.
Produced by the team behind major Australian festivals such as Beyond The Valley and Wildlands, 안녕, MELBOURNE will showcase APPLEWOOD’s internationally renowned production capabilities to Australian audiences for the first time.
More information, including the full lineup, will be announced on Friday 12 December at 12pm AEDT.
Established in 2013, APPLEWOOD has grown into a globally respected entertainment leader, producing more than 120 shows and attracting over 750,000 attendees across 20+ cities in 18 countries. Their portfolio includes some of the most high-profile achievements in contemporary K-pop and Asian entertainment, such as BLACKPINK’s 2019 World Tour, which achieved record-breaking success in Bangkok with six sold-out arena shows, and the prestigious 37th Golden Disc Awards in Bangkok, a stadium-scale production broadcast to millions worldwide. APPLEWOOD has also delivered major tours for leading artists including SEVENTEEN, ENHYPEN, BAEKHYUN, LE SSERAFIM, GFRIEND and G-DRAGON, reinforcing its reputation as a trusted and influential brand in global live entertainment.
With a strong international footprint spanning Hong Kong, Taiwan, Thailand, Indonesia, Vietnam, the Philippines and now Australia, APPLEWOOD brings deep regional expertise and proven capability in executing complex, large-scale events across diverse markets.
Its partnership with Untitled Group marks a significant step in expanding the presence of world-class Asian touring content in Australia, further diversifying the local music landscape and meeting the growing demand for premium K-pop experiences.
Photo credit: SEVENTEEN PHOTOS – ©️PLEDIS Entertainment / APPLEWOOD
ENHYPEN PHOTOS – ©️BELIFT LAB / APPLEWOOD
Photography: Josh Ma
Rich Delinquent, Melbourne’s resident dark-pop alchemist, returns with “Healing Factor” — a track that pushes his emotional honesty and genre-bending production into sharper focus. His world is one built on confessions, sleek electronic edges, and a refusal to sit neatly inside any one lane.
This time he links with alt-pop rule-breaker phem, and the collaboration feels effortless — two artists orbiting the same emotional gravity from different angles. Their contrasting vocals shape the narrative: twin perspectives moving through the wreckage of heartbreak, colouring the track with tension, vulnerability, and the slow, uneven climb back to feeling human again.
Rich’s signature blend of pop sensibility and darker electronic shadows is at full charge here. Pulsing beats push beneath glassy synths and subtle hip-hop flashes, giving the song a restless momentum that mirrors its theme — processing the hurt while still trying to move forward. The production never sits still; it wraps and reshapes itself around the vocals, amplifying every emotional shift.
phem’s presence sharpens the dynamic. Where Rich leans into restraint, phem cuts through with a rawer edge, opening up new emotional angles and grounding the duet in real contrast. Together they build an immersive sonic space — suspended between the weight of the past and the fragile hope of healing.
“Healing Factor” isn’t just another dark-pop moment. It’s a layered, mood-heavy journey that cements Rich Delinquent’s place as one of the most compelling voices redefining where pop and electronic music can go next.
What moment made you realise that The Music wasn’t just another release, but a full creative shift for you this year?
I’m not sure I ever had a moment exactly like this, but there was one kind of “uh huh” moment that I feel guided the process of putting this EP together.
I was throwing a lot of ideas at the wall, and halfway through writing the title track it became apparent that this would be the northern star of the project — a sonic reference for the rest of the tracks. Lyrically, the track The Music was my reflection on how crazy the world is and how music can be a reprieve from that craziness. I wanted that to be the thing someone might hopefully take away from this whole collection of songs.
How did the idea for that “rubber band” synth line in Nobody (Like You) first hit you, and what feeling were you chasing sonically?
I guess it was a bit of a happy accident! I had it in an old session, and kind of pieced it together like a puzzle with the drums and vocals, all from different sessions. That combination felt like the track could tear apart at any moment — a lot of energy, and I found that really exciting.
This EP arrived quickly after legitimate dj behaviour — what sparked this streak of momentum for you in 2025?
It really did, and it kind of surprised me! A combination of things — I love making music for starters. And I had some great people in my corner: Leo Horton who did the artwork, my manager Jez, the team at Believe who did distribution. Great people to bounce ideas off and expand the world I was conceiving for this EP. I really attribute a lot of the momentum to the people around me who encourage and push me directly and indirectly.
When you listen back to the five singles together, what thread ties them into one cohesive world?
Hmm, it’s hard to say! I think the drum grooves, or maybe some of the synth elements feel quite cohesive across tracks.
Which track from the EP surprised you the most during the production process?
100% 1Mhz. It’s quite different to the rest of the EP in my opinion. A few days before it came out I was low-key freaking out it was going to flop, but it ended up doing better than some of the songs I felt more confident in.
A lot of your music feels built for communal moments on the dancefloor. How much do crowd reactions influence the way you shape a track?
I think I’m more focused on listener reactions. How does this feel in headphones? Is it exciting, and do I want to listen from start to finish? I’m also somewhat mindful of how it could be mixed when making it, but mainly on the listening aspect.
What did you want listeners to feel during that moment where the EP “could tear apart at any second”?
Excited and alive!
You’ve called this project spontaneous — how do you balance instinct, experimentation and discipline when you’re in a creative sprint?
I think the foundational element is discipline, or building and maintaining a routine to be creative. This was a bit of a challenge this year while juggling an almost full-time day job.
Experimentation is the second most important factor, and I would conceptualise it more as being freely creative without judgement, pressure or expectation getting in the way.
I think once I’ve turned up to be creative and gotten an idea somewhat fleshed out with enough essential elements to have some form, that’s where instinct comes into play. Instinct guides the refining period of finishing ideas for me — mostly subtracting elements, occasionally adding.
Where do you see The Music taking you next, both on stage and in the studio?
I’m figuring out the studio stuff now, and I think that’ll become clearer over the next few months. I’d like to work with some other people on tracks — it’s been almost entirely me on production so far. I’d also love to be involved in other people’s projects too!
Hopefully a lot more sets in 2026!
Stream:
https://bfan.link/the-music-ep
Socials:
https://linktr.ee/harleygirl.vroom
Credits:
Written & Produced by Connor Grant (aka HARLEY GIRL)
Mixed by Connor Grant & Doug Wright
Mastered by Suture Mastering
Artwork by Leo Horton
Photos by Koady
Photography & Words: Darren Chan
There was a quiet expectation on Sunday night at The Forum in Melbourne — the kind that only exists when a band’s songs have been a soundtrack to people’s lives. The Fray returned to Australia on their 20-year anniversary tour of “How to Save a Life”, the show felt less like nostalgia and more like a shared experience between the band and audience.
Once Perth, now Melbourne-based Joan and the Giants set the tone as the night’s support act. Opening with “Intro” and “Beg,” lead singer Grace danced with careless abandon across the stage. Tracks like “Sleep Alone,” “How Could You?” and “Still Breathing” eased the crowd with their cinematic brand of indie-pop, while “Born in the Wrong Time” and “Good Time” carried anthemic lift. Closing with “Figure It Out” and a collaboration on “Cool Kid,” the band left the crowd ready for The Fray.
When The Fray took the stage, the significance of the night became clear. Frontman Joe King spoke about what a privilege it was to be back in Australia after 20 years, a sentiment that resonated with a crowd spanning generations — longtime fans who discovered the band in the 2000s standing alongside younger fans.
The core of the set centred on How to Save a Life, played in its entirety, allowing the album to unfold as a complete emotional narrative rather than a collection of hits. Opening with “She Is” and moving through “All At Once,” “Look After You,” and “Fall Away,” the band honoured the record that defined their global rise. Rather than sticking rigidly to studio versions, the arrangements were often extended and reimagined — most notably during “How to Save a Life,” which evolved into an ambient, almost dance-like reprise before rebuilding, giving the familiar song a fresh take.
Mid-set moments like “Little House,” “Dead Wrong / Trust Me,” and “Heaven Forbid” were embraced by fans, while “Hundred (Interlude)” and “Vienna” created moments of reflection inside The Forum’s historic interior. When “Over My Head (Cable Car)” arrived, the room erupted into an extended “woah” singalong, thousands of voices carrying the chorus until the end of the song.
Beyond the album, the band expanded the set with select songs from across their catalogue, including “My Heart’s a Crowded Room,” “Hurricane,” “Heartbeat,” “You Found Me,” and “Love Don’t Die.” New material was showcased with the recent single “Songs I’d Rather Not Sing,” which sat comfortably among the classics — a sign that The Fray’s story is still unfolding.
The audience remained fully engaged throughout the night, their attention fixed squarely on the band’s performance. Toward the end of the set, Joe King stepped off the stage and walked through the crowd, establishing a connection between band and audience in a moment that felt intimate rather than theatrical.
Closing with “Never Say Never,” The Fray delivered a performance that balanced legacy with relevance. By revisiting How to Save a Life in full while introducing new music, the band proved that twenty years on, their music continues to evolve.
PHOTOGRAPHY: NATE HILL
Good Things Festival Melbourne 2025 rolled into Flemington Racecourse with the sort of energy that hits you the moment you walk through the gates. From the first crack of guitars to the last sweep of lights, the whole day moved with this steady, confident momentum — big crowds, louder singalongs, and an atmosphere that reminded everyone why this festival has such a devoted heartbeat. Lorna Shore came out firing and absolutely bulldozed their stage, Refused delivered a set loaded with emotion and a sense of finality, and Garbage ended up at the centre of one of the day’s most replayed moments after Shirley Manson’s now-legendary clash with a runaway beach ball. It summed up the tone of the day perfectly: unpredictable, loud, and impossible not to watch.
Across the grounds, everything just clicked. Lines moved quickly, the production kept pace, and there was this easy sense of community running through every set change. Fans drifted between eras and genres without missing a beat, letting nostalgia brush up against new discoveries as younger acts held their own beside the icons. By the time the sun slipped away, it felt like everyone knew they’d been part of something that landed a little differently. Good Things 2025 didn’t just arrive — it left people buzzing, carving itself in as one of the festival’s standout years.
PHOTOGRAPHY: NATE HILL
Good Things Festival Melbourne 2025 roared into Flemington Racecourse with a lineup that felt built for a day of pure release. From the first guitar punch to the last surge of lights, the festival moved with a kind of effortless momentum — big crowds, big singalongs, and the sort of atmosphere that reminds you why this scene has such a loyal heartbeat. Lorna Shore levelled their stage with razor-tight intensity, Refused brought a rush of emotion and finality, and Garbage delivered one of the most talked-about sets of the day, thanks in part to Shirley Manson’s now-legendary showdown with a runaway beach ball. It was a moment that summed up the whole event: unpredictable, loud, and impossible to look away from.
Across the grounds, the festival felt alive — quick lines, smooth production, and a sense of community that threaded through every set change. Fans drifted between eras and genres without missing a beat, weaving nostalgia into the present as newer acts held their own beside icons. By sundown, there was a shared feeling that this edition hit differently. Good Things 2025 didn’t just land; it left people buzzing, marking itself as one of the festival’s most memorable chapters yet.
How did returning to Christmas music open a different creative or emotional space for you compared to your previous albums?
I am a songwriter and I sing my own songs. I have not regularly performed other people’s songs for twenty years. However, over the course of this project, I was captivated by the process of curation and how it is artistry of a different kind. Earlier this year I looked closely into how art and museum curators work. Placing different objects side by side, or in particular rooms, can take visitors on a specific journey through an exhibition. In curating the Christmas EP, I found myself doing the same, but sonically. The artistry involved was such a wonderful surprise.
As I have pursued the meaning of Christmas art, I have found the coexistence of light and darkness. Images of homes, greenery, merriment, and the warmth of fireplaces and hot summers sit against a backdrop of war, longing, death, and grief. There is a lot to work with.
What drew you to curate a collection that blends German hymns, wartime Hollywood ballads and early Laurel Canyon storytelling — and how did those influences shape the final EP?
Often, it’s easy to think of Christmas music as what we hear blaring through shopping centres. These tend to be seasonal songs of the Christmas experience like White Christmas or Jingle Bells. However, there is a huge pool of music to draw from.
One of the oldest and still very popular carols is O Come, O Come Emmanuel, which dates back to the eighth century, but there are even older tunes still used in Byzantine churches at Christmas time. One of the carols I chose for It’s Coming on Christmas is Lo, How a Rose is Blooming from around 1580. Silent Night dates to the early 1800s. These carols have a rich history and have survived the test of time.
However, the popular songs from wartime Hollywood like I’ll Be Home for Christmas and Have Yourself a Merry Little Christmas also have a rich history and interesting stories, especially around separation and longing for home. River by Joni Mitchell provides another perspective on the season. It’s not even a Christmas song, but it has become one because of its wide use. It is a very personal and complex song for Joni Mitchell. I wanted to record the songs and live in those different worlds that bridge the centuries.
When you talk about Christmas being “beautifully complex,” what memories, images or personal experiences informed that perspective while you were recording?
I have great memories of my childhood Christmas experiences. I am from a very big family – one of six children. We also have such a large extended family. Christmas has always been a huge affair.
However, in 2011, I lost my father, my uncle, and my seven-year-old niece within the span of three months. From that point on, Christmas has involved a lot of grief, but has also been a time when the memories of our traditions or the quirky, silly stories from our past provide a lot of comfort.
Your version of “River (It’s Coming On Christmas)” feels like a centrepiece of the EP — what did you want to emphasise or reinterpret in such an iconic and deeply melancholic song?
The song starts with familiar festive imagery and sounds – It’s coming on Christmas / They’re cutting down trees / They’re putting up reindeer and singing songs of joy and peace. Then Joni Mitchell hits us between the eyes when she sings, I wish I had a river I could skate away on.
To me, it’s like that lyric sums up how I have felt before. Even though there is a lot of joy happening, and everyone is caught up in regular rhythms of the season, I don’t want any part of it because it’s too painful.
This EP has been out for such a short time, but so many people say that this is the song that has touched them the most. River resonates with many people. It’s saying the outside does not match how I feel inside. That song speaks to me each time I hear it or think about the lyrics. Joni really is one of the best songwriters. What a gift she is to our world.
Working with Sean Carey at Church Street Studios brings a particular warmth and honesty to the recordings — how did that collaboration influence the atmosphere of the project?
Sean Carey was the perfect producer for It’s Coming on Christmas. Every moment in the studio was filled with ease, and I absolutely loved working with Sean. I performed at Church Street Studios in 2024. Before the show, I poked around the halls and found his magical studio. We met and then stayed in touch for about a year or more about working on some of my songs.
I reached out to him in July and said, what about a “Christmas-adjacent” EP? This is why Angel by Sarah McLachlan is on the EP. We wanted to touch the sides without going “Christmas proper.” Well, obviously we ended up making a proper Christmas record. But I think the honesty is there because the intention was that we wanted to record songs that brought comfort to people.
When we selected the songs, the benchmark was that they had to have a particular emotion, fragility, and sensitivity. He was the best person to create a soundscape that matched that intention. Sean has great taste and the kind of restraint needed for these recordings. It was just one of those rare times where it all fell into place. We were really in step, and it was completely stress-free.
As you explored Christmas music traditions from different countries, what surprised you the most about the way people use holiday music to cope, connect, or remember?
Okay, stick with me. I think music is a way to find comfort and solace. The seasonal music of Christmas especially feels familiar and safe. When I created the songs for my 2023 album Familiar Drama, I went on a journey to discover more about nostalgia. And this Christmas EP really extends those findings.
Nostalgia comes from two words, nostos and algos, which mean home and pain. However, there is so much more than wanting to go home. First of all, nostos is first used in Homer’s poem The Odyssey:
“Take off these clothes, and leave the raft to be carried on by the winds, and then, I tell you, strive for your nostos, the land of the Phaeacians, by swimming with your hands; your destiny is to flee [from death] there.”
While nostos has come to be known as home, in The Odyssey, it is not about home only. Instead, the word’s use in this poem also means escaping death, safe landing, returning from war, and being back home. When we think about nostalgia, we think it’s about wanting to return home.
I don’t think people really get that full satisfaction when they return home. Instead, this longing we call “nostalgia” could be simply an escape from difficult times. I like to think about this at Christmas because we want to go home, but sometimes, once there, it’s not all we remember it to be. All that to say, I think music at Christmas time is a way to live in a world that feels secure, and as you say, cope.
“Blue” seems to be a recurring emotional colour throughout the EP — how intentional was that palette, and what does “blue” mean to you in the context of the season?
I started working on pre-production for this in July. It was weird to immerse myself in Christmas while it was Winter, because this EP would come out in Australia in Summer. But in another sense, it wasn’t weird because Christmas comes with so many northern hemisphere Winter references.
However, I decided to lean into the Winter metaphor. I think this is what makes the album a little blue. I read Stopping By Woods on a Snowy Evening by Robert Frost, Susanna Clarke’s The World at Midwinter, and listened to Kate Bush’s 50 Words for Snow. Even though I will have a very summery Christmas and holiday season this year, I really enjoyed immersing myself in imaginary white Winters. We are having a private show and will perform White Winter Hymnal by Fleet Foxes. I find that Winter is magical, mysterious, and strangely comforting.
This is your first release since Familiar Drama — how did stepping into a Christmas EP help you reconnect with your artistry after the emotional weight of that record?
In a way, It’s Coming on Christmas extends the emotional arc found in Familiar Drama. That album is filled with grief, redemption, and nostalgia. It’s Coming on Christmas explores all those themes. Including Angel by Sarah McLachlan, as well as River, provides a bridge between the two.
Running your own label gives you a unique vantage point on independence and creative direction — how did Lights Record Label shape the way this EP took form?
I just love being over in my little corner of the world. I am not really part of the music scene; I play on the edges. I love to create and dream without any inhibitions, without worrying about where the work will end up.
Many years ago, I heard a visual artist talk about how he was going into the bush in South Australia with his 80-year-old Dutch mentor to paint for a few days. As they drove there, this 80-year-old said, “Oh by the way, everything we paint, we will burn.” Can you imagine? It meant that my friend could paint without any rules, take risks, paint for the joy of it, and be in the moment. I love that philosophy, and I think that’s what I try and do with Lights Record Label.
As listeners revisit these songs each December, what do you hope this collection adds to their own holiday memories, traditions or reflections?
When we recorded this music in Church Street Studios, I said over and over again, make it sound like a hug. I want to pour proverbial tea in an oversized gingerbread-man-shaped mug for people. I hope this brings comfort and bears witness to those who find Christmas a little tricky.
What drew you back to the electronic sounds that first made you fall in love with production?
Electronic music blew my mind when I was younger when I realised how it was made, and got into making music with computers. The creative possibilities are endless and the only limit really is your imagination. I played piano but I was never very good, so not being limited by my technical ability on a particular instrument was really cool. I also loved computers and games at the time, so it kind of felt like playing a more productive and artistic video game.
How does working as 44 Ardent open a different creative door for you compared to cln?
I think it just gives me a dedicated outlet for a different sound. I can make whatever comes naturally and don’t have to feel too restricted.
When you named the project “Me, Again,” what part of yourself were you recognising or reclaiming?
It’s mostly a literal reference to this being my second musical project, and going back to my more electronic roots—sort of where I first started making music in the first place.
This EP feels deeply rooted in the influences of Caribou, Bonobo, Tourist, and Odesza. How did those inspirations naturally guide the writing?
I try to let the music that influences me happen subconsciously. So my strategy is to listen to a lot of great music (like the artists you mentioned), and then what your brain thinks sounds good when you are making music will (hopefully) actually sound good to others too. You don’t want to over-do it to the point where you are copying another sound. Ideally you want to be inspired but not let it impact your creativity.
What was happening in your world when “Chemicals” and the title track came together for the first time?
Honestly, I can’t remember. That project file is super old and has survived a few different computers. It was a forgotten idea that I found again when I was going through old project files. If you still like it after all that time, it’s probably a keeper and deserves to be released. A few of the songs on this EP are like that—old tracks brought back to life.
You mentioned wanting to focus less on social media and more on the music itself. How did that mindset shape the final EP?
Yeah I dunno, I think I am just getting a bit old and probably out of touch, but I don’t really have any desire to be a social media personality or make content. I like making songs and am pretty lacking in the social media skills department. I also don’t think I am cool enough for that world anyway lol.
The artwork comes from a photo you took inside a mountain cave. What does that place mean to you, and why did it feel right for this project?
The photo is from a mountain called Mt. Maroon in Queensland. It’s a beautiful spot with a bunch of locally endemic wildflowers that only occur on top of the mountains in that area. I really liked the photo, and it just felt right as the EP cover.
How did reconnecting with your early musical instincts shift the energy or emotion in your production process?
It took the pressure off a little bit and helped me to get over writer’s block. It brings a bit more fun to the process—I can just make things and see what happens, and I have more options to release them now.
Where do you feel the line sits between cln and 44 Ardent now that this EP has recalibrated your direction?
I guess the cln project sort of got to a point where it is very vocal-driven and calm/peaceful. I still really love making that sort of thing, but I also wanted the option to make fun electronic sounds too. I guess what I make mostly depends on my mood.
Looking back at the full journey of making “Me, Again,” what moment or realisation stands out as the turning point?
Hard question. I am not sure if there was a clear turning point for this one. I guess I played a few shows under this project last year, and had a fun time, so I wanted to write a few more songs that would sound good in a live context.
Stream:
Socials:
https://soundcloud.com/44ardent
Over the past few months, Australian producer/DJ HARLEY GIRL has been steadily building anticipation for his latest body of work, The Music, which is a high-energy, club-ready collection that cements his reputation as one of the most exciting new producers in Australia’s electronic scene.
Following the release of four dancefloor weapons – ‘Gimme !’, ‘The Music’, ‘Turn Up The Sound’, and ‘1Mhz*’ – HARLEY GIRL now shares the full EP, complete with the energizing sounds of ‘Nobody (Like You)’.
Speaking on the new track, HARLEY GIRL explains: “I started with the main synth line, which kind of reminds me of a rubber band being stretched out. I wanted the track to have that same kind of feeling and energy — like it could tear apart at any moment.”
The Music marks HARLEY GIRL’s second EP of 2025 (arriving just months after legitimate dj behaviour EP) which came together almost by chance, yet it carries a striking emotional weight. Through its thumping rhythms, playful synths, and bursts of club-fuelled energy, the EP channels both spontaneity and purpose.
“To me, this EP felt like it came out of nowhere. I’d just finished my first EP for 2025 and knew I wanted to drop a few more tracks this year. The tracks and the concept felt like they arrived in front of me, always just in time too. When I wrote the title track, it really became apparent that music is such a reprieve for me from the craziness of the world, and I wanted this EP to be that for other people as well. It could be a moment on a dancefloor, or in your headphones, in your car, on a walk, or with friends.”
Stream:
https://bfan.link/the-music-ep
Socials:
https://linktr.ee/harleygirl.vroom
Credits:
Written & Produced by Connor Grant (aka HARLEY GIRL)
Mixed by Connor Grant & Doug Wright
Mastered by Suture Mastering
Artwork by Leo Horton
Photos by Koady
WHERE WORLD-CLASS MUSIC MEETS MELBOURNE’S MOST BEAUTIFUL OUTDOOR STAGE – LIVE AT THE GARDENS RETURNS IN MARCH FOR ITS EPIC FOURTH SEASON
BLISS N ESO, CUT COPY, LEFTFIELD, MARLON WILLIAMS, SONS OF THE EAST AND THELMA PLUM TO HEADLINE MELBOURNE’S MOST MAGICAL MUSIC SERIES UNDER THE STARS
ROYAL BOTANIC GARDENS MELBOURNE
6-8 MARCH & 13-15 MARCH 2026
TICKETS ON SALE WEDNESDAY 10 DECEMBER
PRESALES COMMENCE MONDAY 8 DECEMBER
After a hugely successful third season of Live at the Gardens that wrapped last weekend, excitement is already building for what’s coming next. Fans can now look ahead and mark their calendars for next year – the acclaimed concert series has confirmed its return to the iconic Royal Botanic Gardens Melbourne in March.
Set against Melbourne’s most stunning natural backdrop, Live at the Gardens will once again deliver another unforgettable lineup of live music under the stars. Across two magical weekends – 6-8 March and 13-15 March – the Royal Botanic Gardens’ Observatory Precinct will be transformed into a vibrant open-air venue, with MG Live thrilled to today announce five shows for the March 2026 season, featuring an incredible mix of Australia’s biggest names and international stars.
Tickets on sale Wednesday 10 December at 12pm AEDT, with presales commencing Monday 8 December at 11am AEDT. Sign up here for presale access.
The opening weekend launches with the soulful sounds of MARLON WILLIAMS echoing through the Gardens as he brings his extraordinary artistry to Live at the Gardens on Friday 6 March. Hailed as one of Aotearoa New Zealand’s most compelling singer-songwriters, Marlon is known for his haunting vocals, magnetic stage presence and blend of folk, alt-country and indie-rock – with his new te reo Māori album, Te Whare Tīwekaweka, further showcasing his poetic storytelling and cinematic soundscapes. The album was Marlon’s third chart-topper in a row in New Zealand, and his fourth Top 40 album in Australia. Powerhouse Gumbaynggirr soul sensation EMMA DONOVAN and the dynamic KEE’AHN join the lineup.
Get set for a triple treat on Saturday 7 March when three of Australia’s finest acts captivate the Gardens with quality songwriting and storytelling. THELMA PLUM, a proud Gamilaraay artist who writes about culture, heritage, love and pain, has released two Top 10 albums – 2019’s Better In Blak and 2024’s I’m Sorry, Now Say It Back. The title track of Better In Blak won the prestigious Vanda & Young Song of the Year award, and Thelma has been nominated for 15 ARIAs, winning this year’s Best Pop Release. Sydney band SONS OF THE EAST recently released their second album, Sons. With a catalogue of hits that run deep, their legendary live shows have thrilled audiences worldwide. The STACK review declared, “Sons Of The East bring sunshine to even the bleakest of winter days, with magical melodies and heavenly harmonies … they’re ready for stardom.” Sons was nominated for Best Blues & Roots Album at the 2025 ARIA Awards. Opening the night is enchanting singer-songwriter JEM CASSAR-DALEY.
Electronic music pioneers LEFTFIELD take over the Gardens on Sunday 8 March for a night of legendary grooves, seismic bass and immersive, boundary-pushing, high-energy electronic dance music. Formed in 1988, and originally comprised of Neil Barnes and Paul Daley, LEFTFIELD quickly became one of the most influential and innovative acts of all time, with seminal albums Leftism and Rhythm & Stealth and classic tracks such as Open Up and Phat Planet cementing their place in dance music history. Now led solely by Barnes for more than 15 years, LEFTFIELD – whose acclaimed fourth album, This Is What We Do, was released in 2022 – continue to push boundaries, shake foundations and sell out venues around the world. This is their first visit to Australia in eight years. Acclaimed musician, producer and songwriter PAUL MAC (DJ Set) and Australia’s Godfather of Techno, LATE NITE TUFF GUY both join the bill, adding to what will be an electrifying celebration of hypnotic sound, rhythm and dancefloor energy.
Get ready for a hometown dancefloor takeover when Melbourne’s own CUT COPY bring their euphoric blend of synth-pop and indie electronica to the Gardens on Friday 13 March. The Grammy-nominated, ARIA Award-winning group have for more than two decades shaped the sound of Australian electronic music with era-defining hits including Hearts On Fire, Lights & Music and Take Me Over. CUT COPY recently returned with their seventh studio album Moments, an album made to bring people together, pulsing with warmth and optimism. Expect a mesmerising live set of celebrated anthems to fresh new sounds, perfect for dancing under the stars. Joining CUT COPY is a stacked lineup of international and local legends, with DJ sets from TODD TERJE, CC:DISCO!, CRAZY P and COLETTE.
Aussie hip hop heavyweights BLISS N ESO bring the series to a dynamic close on Sunday 15 March. Five ARIA number one albums, two ARIA Awards and more than half a billion streams, the Sydney crew have carved an enduring legacy in Australian music. Their latest album, The Moon (The Dark Side) – a bold companion to their chart-topping The Moon (The Light Side) – showcases their continued evolution. And BLISS N ESO’s live shows are legendary for their energy, connection and scale. Fresh off a national tour that sold more than 30,000 tickets, they return to prove once again why they’re icons of the Australian live scene. Multiple ARIA Award-winning artist DRAP
“Any event that can be enjoyed under the stars is a welcome addition to the summer calendar. Hopefully, after a triumphant season, it returns!”
The Music
“Live at the Gardens teased what it’s like to be in Melbourne for a summer of music, nature and culture.”
Arts Hub
“The people behind the acclaimed A Day On The Green series have transformed Melbourne’s Royal Botanic Gardens’ Observatory Precinct into a delightful new inner-city live music experience … Incredible band, great venue, good times.”
Australian Musician Magazine
“One of the most beautiful places on earth.”
Alex Kapranos, Franz Ferdinand
World-class music under the stars in the heart of the city! We’ll see you Live at the Gardens!
Tickets on sale Wednesday 10 December from Ticketmaster.
TOUR TRAILER
LIVE AT THE GARDEN MARCH 2026 DATES
Friday 6 March
Marlon Williams
Special guests Emma Donovan and Kee’ahn
*Presented by Triple R
Saturday 7 March
Thelma Plum and Sons Of The East
Special guest Jem Cassar-Daley
Sunday 8 March
*Public Holiday Eve
Leftfield
Special guests Paul Mac (DJ Set) and Late Nite Tuff Guy
*Presented by Triple R
Visit frontiertouring.com for national tour dates
Friday 13 March
Cut Copy
Special guest DJs Todd Terje, CC:DISCO!, Crazy P and Colette
*Presented by Triple R
Sunday 15 March
Bliss n Eso
Special guests Drapht and Horrorshow
TICKETING
LIVE AT THE GARDENS MEMBER PRESALE
via liveatthegardens.com.au
Runs from: Monday 8 December, 11.00am AEDT
For 48 hours or until presale allocation exhausted
MG LIVE MEMBER PRESALE
via mg.live
Runs from: Monday 8 December, 11.00am AEDT
For 48 hours or until presale allocation exhausted
GENERAL PUBLIC ON SALE
Tickets on sale Wednesday 10 December, 12.00pm AEDT
From Ticketmaster