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The Partae

Festival NewsMusic News

Crowded House to headline inaugural Golden Hour on Bondi beach supported by Thelma Plum

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PRE-SALE REGISTRATION

Sydney’s most iconic shoreline will take centre stage next year with the arrival of GOLDEN HOUR, a new live music series produced by Fuzzy. Launching in February 2026, the event will turn Bondi Beach into a sunset celebration of live music. Headlining the inaugural edition are Crowded House, supported by acclaimed singer-songwriter Thelma Plum, for a landmark evening honouring Australian music in a setting unlike any other.

GOLDEN HOUR is designed as a new end-of-summer ritual and marks the first major concert on Bondi Beach in more than a decade. The main stage sits directly on the sand, while guests are encouraged to bring picnic rugs and settle on the hill above the foreshore for sunset views.

“Golden Hour was created to celebrate the magic of outdoor live music in a way that feels grounded in place and community,” said Adelle Robinson, Managing Director of Fuzzy. “It’s about uplifting the voices that define who we are, including First Nations artists whose stories and creativity continue to shape Australia’s cultural landscape.”

Crowded House are among Australia and New Zealand’s most acclaimed and enduring bands, with more than 15 million albums sold worldwide and a legacy defined by eight APRA Awards, 13 ARIA Awards, a BRIT Award and induction into the ARIA Hall of Fame. Their 2024 album Gravity Stairs marked a bold new chapter for the group, reaffirming their creative evolution and leading into an extensive global tour that has continued through 2025. Their headline performance at GOLDEN HOUR will give fans the rare chance to experience the band as the sun sets over Bondi, with a setlist spanning decades of songs that have shaped the soundtrack of Australian life.

Award-winning Gamilaraay artist Thelma Plum will also take the stage. Known for her honest lyricism and unmistakable voice, Thelma has become one of Australia’s most compelling storytellers. Her 2023 album I’m Sorry, Now Say It Back reaffirmed her standing as a singular talent in Australian music, weaving personal reflection with emotional depth. The record built on the success of her acclaimed debut and years of touring across the country, marking Thelma as a vital, enduring voice in the nation’s contemporary soundscape.

Waverley Mayor Will Nemesh welcomed the announcement, saying the event would add a new cultural dimension to the area. “An iconic band deserves an iconic location, and what better combination than Crowded House and Bondi Beach,” he said. “I’m proud that another major event is making its home in Waverley, strengthening Council’s commitment to the cultural life of this special part of Sydney. Golden Hour not only brings a world-class concert to our doorstep but also creates opportunities for local creatives, businesses and service providers, delivering lasting benefits for the community.”

At its core, GOLDEN HOUR is a community-first music experience that celebrates local talent and creative collaboration. From the lineup to its visual identity, created by Warumungu/Wombaya artist Jessica Johnson of Nungala Creative, every element of the event reflects a commitment to Australian art and storytelling, especially highlighting the contribution of First Nations creatives. The 2026 edition runs from 5 pm to 10 pm, marking the beginning of an annual series that will return each summer with new artists and experiences still to be announced.

GOLDEN HOUR LIVE ON BONDI BEACH
Friday 20 February 2026

Presale: Wednesday 12 November, 12pm AEDT (Bondi Locals will have early access from 10am AEDT)
Artist Pre Sale: Wednesday 12 November, 12pm AEDT
General On Sale: Thursday 13 November, 12pm AEDT

CROWDED HOUSE
THELMA PLUM
& MORE TO BE ANNOUNCED

GOLDEN HOUR: Website | Instagram

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JUST ANNOUNCED — RÜFÜS DU SOL [DJ Set] x The Wool Store

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TEG MJR presents Rain City Drive Debut Australian tour set for March 2026

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American post hardcore / emo outfit Rain City Drive are set to make their headline debut in Australia next year, with  a run of shows in March 2026. Proudly presented by TEG MJR, the band will bring their formidable live show to audiences in Melbourne, Sydney, Brisbane, Adelaide, and Perth.

Rain City Drive will be joined on all dates by viral alternative act TX2, as well as rising Sydney metalcore band Melrose Avenue. Kicking off at Melbourne’s 170 Russell on Friday 6th March, the tour continues at Sydney’s Metro Theatre on Saturday 7th March and Brisbane’s Triffid on Sunday 8th March, before the final leg at The Gov in Adelaide on Wednesday 11th March and Perth’s Magnet House on Friday 13th March. Tickets are on sale next Wednesday 12th November at 12.00pm local time via www.teglive.com.au

Rain City Drive makes vibrant and dynamic alternative rock n’ roll, with strong roots in the post-hardcore subculture and unapologetically ambitious swings into contemporary pop. Their music is streamed by over 1,000,000 fans on Spotify each month, with their hit songs ‘Talk to a Friend’ and ‘Heavier’ from their 2020 album To Better Days accounting for 100 million streams between them alone. In 2024, the band released acclaimed album Things Are Different Now – a record that catapulted the band to new heights with full-throttle singles like ‘Medicate Me’ and ‘Frozen’.

Armed with arena-ready anthems ready-made for long drives, workouts, intimate clubs, and massive festivals alike, the Florida-based group have built a reputation as a powerhouse live act – don’t miss their explosive performances as they head to Australian venues for the very first time.

 

TEG MJR presents

RAIN CITY DRIVE

with special guests TX2 & Melrose Avenue

Friday 6th March – 170 Russell – Melbourne

Saturday 7th March – Metro Theatre – Sydney

Sunday 8th March – Triffid – Brisbane

Wednesday 11th March – The Gov – Adelaide

Friday 13th March – Magnet House – Perth

Local Presales: Tuesday 11th November 11:00am local time

General On Sale: Wednesday 12th November 12:00pm local time

Presale Sign Up HERE

Tickets On Sale HERE

CONNECT WITH RAIN CITY DRIVE

OFFICIAL WEBSITE | INSTAGRAM | FACEBOOK | TIKTOK | YOUTUBE | SPOTIFY | APPLE MUSIC

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Fuck the Techbros’: Al Matcott on Loneliness, Masculinity, and Making Meaning in 2025

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Your new album feels like a big evolution from Summer’s Coming — how did you approach writing Fake The Days Away differently this time around?
Summer’s Coming was a very singular, blunt, distorted, heavy record about global warming.
Not everything I write is that heavy. Maybe thematically it is. I don’t tend to write about happiness. But not everything needs a fuzz pedal.
I didn’t have an overarching theme going into the album; each song was its own island.
But once I was finishing most of the songs, I could see some thematic connections between all of them.

What sparked your interest in exploring the way the internet distorts reality and human connection?
I think, like most people, I hate social media.
But I have to use it as a musician.
And because of how it’s designed, I’m addicted to it.
I’d say that’s what sparked it.
And just knowing what its consequences have been.
I don’t have to go into them; everybody knows.
Silicon Valley has been allowed to take control of everyone’s 21st century without any regulation, seemingly to the detriment of everyone. When I was writing a lot of the songs, it was crypto, which seemed like a Ponzi scheme. Now it’s artificial intelligence, which is being sold as either a) a god or b) the devourer of all human jobs, and already has the environmental impact of, like, Germany.
I think some of the books I was reading as well, like Society of the Spectacle, Surveillance Capitalism, and Doppelgänger.
In short, fuck the techbros.
You’ve described the album as a reaction to “a death spiral of lies, paranoia, hate, and stupidity.” How do you process those feelings creatively without letting them consume the work?
I would slightly rephrase the question and say I process those feelings creatively to ensure I don’t let them consume me.
There’s a noticeable shift sonically — fewer walls of distortion, more space and warmth. What inspired that change in sound?
Ummmm, there was more variety in the types of songs, I think. And I wanted there to be more variety in the sonics and textures.
I’ve always kind of written 50/50 rock songs vs folk songs. ‘Summer’s Coming’ was very, like, straight-up rock. Whereas this record felt more like a return to how I usually write.
Basically, every song I write starts on an acoustic guitar, and some of them don’t need much more than that.
But because a lot of the songs focus on our digital world, I wanted more digital sounds. So there are drum machines and lots of synthesizers.
I also think there was a lot more unknown when I was going into the studio. Which is fun. Feels very exploratory.
“There Is Much Wrong I Have Done” feels deeply personal. What was happening in your life when you wrote it? 
My wife was away overseas and I missed her a lot.
The themes of loneliness, masculinity, and friendship weave through the record. How do those threads connect for you?
Umm, good question. At least in my experience, as you get older, friendships are harder to maintain. I know some people who are great at it, I do okay, but I know I’m not the best. I don’t have many friends’ birthdays memorised. I text more often than I call. Friendships take tending to and making time for. But they’re the most important thing in the world for saving you from loneliness, which we can all suffer from.
And at the moment, it feels like every minute of our waking lives is trying to be captured, bought, and sold by giant tech companies and is seemingly making us all more lonely. Even our sleeping lives as well, I guess, with all the sleep monitoring devices people now wear.
As for masculinity, the song ‘Rebel Without A Clue’ is about a pick-up artist, and the song’s kind of comedic, tongue-in-cheek, like “look at this dickhead”.
“I Decide” is about a guy at a party who sees his ex-girlfriend dancing with someone, and the guy throws a hissy fit and is kicked out of the party. But the song’s sung from his perspective.
“Wouldn’t Expect To See You Here” is about a guy, at the pub, too drunk, he’s been dumped, and it’s entirely his fault, but he’s taking it all out on his friends rather than taking accountability for his own actions.
I didn’t write any of these songs thinking about, like, the manosphere or from watching Adolescence.
But what it means to be a man, or be a decent man, and what does masculinity mean are things I think about. I don’t know to any degree more than other people.
But like it’s 2025, in a city as progressive as Naarm/Melbourne, and I still get messages like “oh, you’re on the same lineup as that band, just FYI, one of the guys in the band did X to a woman”.
I remember when there was this ad that came out which did a gender flip of a woman going into music stores.
It was very comical but was highlighting the serious point that even now, women still feel shut out of or unsafe in musical spaces.
I remember at a band practice asking Miranda and Phoebe in my band whether things were actually as egregious as that – and they just had story after fucking story.
I’m not trying to win an award or anything. I didn’t do gender studies at uni. I haven’t read any feminist books.
But it’s stuff I think about.
As to how loneliness, friendship, and masculinity all relate and connect to the themes of the album, I would say there are a lot of loud voices offering easy answers and snake oil to a lot of men, especially young ones.
Working honestly on yourself is hard work. I know I generally feel like I fail at it most of the time. As most people do, I guess. We’re all our own worst critics.
Unless you’re a narcissist.
“When The War Is Over” takes on the Ben Roberts-Smith story head-on. What made you want to write about that, and how did you find the right tone to tackle such heavy subject matter?
I don’t know if I can say I did find the right tone.
The Ben Roberts Smith story, Australia’s most decorated soldier, father of the year, turned disgraced war criminal, having his defamation case funded by some of Australia’s richest people (Kerry Stokes, maybe Gina Rinehart), the fact that he’s obsessed with the movie 300. There’s a lot to it.
You’ve drawn inspiration from poets like Alejandra Pizarnik and artists like The Stooges and The Replacements. How do literature and rock history feed into your songwriting?
I like words and I like riffs \m/-_-\m/
There’s a tension between cynicism and compassion throughout the record — between disgust at the world and tenderness toward people. Is that something you consciously balance?
Yeah, it’s a sick, sad world, but most people I meet are lovely. Even and especially the ones with whom I disagree on things. I can’t say I meet too many people keen to kick immigrants out of the country, though. I’m not sure how tender I’d feel towards them.

When listeners reach the final track, “Song For A Ghost,” what do you hope lingers with them after the album ends?

A feeling of pride at their efforts in managing the herculean task of sitting through an entire album in 2025.

AL MATCOTT AND THE FOREVER BAND
ALBUM LAUNCH

Friday November 14 @  Stay Gold, Brunswick VIC
w/ Alex Hamilton And His Band + Tambourine Jesus

TICKETS  FB EVENT

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AL MATCOTT RELEASES NEW ALBUM FAKE THE DAYS AWAY ON VINYL & DIGITAL VIA CHEERSQUAD RECORDS & TAPES — LAUNCH SHOW FRIDAY NOV 14 @ STAY GOLD, BRUNSWICK VIC

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Al Matcott‘s debut album, Summer’s Coming, was a full-throated howl against global warming and the forces behind it. Featuring caterwauling guitars, driving rhythms, and incisive lyricism, it earned him a Double J feature album.

Now the Naarm/Melbourne artist releases his new, second album, Fake The Days Away, featuring the focus track ‘There Is Much Wrong I Have Done‘.

Fake The Days Away often explores how the electronic hallucinations of the internet have pushed reality and nature aside and are now, foot-to-the-floor, driving us into a death spiral of lies, paranoia, hate, and—above all—utter, dogshit stupidity.

The album touches on themes of loneliness and isolation, toxic masculinity, Ben Roberts-Smith, liars and fake people, and the importance of friendship. Strikingly, the album is counterbalanced by some of Matcott’s most personal writing. There’s even a love song.

Sonically, it dials down the distortion of Summer’s Coming, with a lush, varied, and more naturalistic sonic palette. What remains is his penchant for earworm melodies, the rich timbre of his vocals, and his engrossing narratives. Folk and country meet garage and psychedelic rock as Matcott turns his earworm melodies and memorable one-liners to the hyperreal wasteland of our digital lives.

‘There Is Much Wrong I Have Done‘, one of the album highlights, is delivered initially over a sparse drum and guitar backing as he details failings and misgivings in the face of love and devotion, the song adds swelling synths, pedal steel, and piano, adding emotional gravitas to Matcott’s heart-laid-bare songwriting.

To celebrate the album’s release, the song is accompanied by a Richard Clifford-directed music video. Highlighting the melancholic mood of the song, the video is a vignette of the every day joys and devastations of long-term love.

The album’s first single ‘Wouldn’t Expect To See You Here’, received widespread national support across community radio. It’s a song that tumbles forth like a lost outtake from The Stooges’ Funhouse before morphing into a sound that seamlessly blends into a sound akin to both The Replacements and The Strokes. The surprises don’t end there! It’s a song of two halves, with the fuzz-drenched riffs and shout-along choruses giving way to mournful and melancholy pedal steel and piano.

Matcott’s second single from the new album was the opening track ‘All Night‘, which has also picked up strong radio airplay. It’s a compelling statement of indie rock, overflowing with vocal, guitar, and bass melodies all surging along with invigorating momentum as Matcott writes about the feeling of limerence (“a state of involuntary infatuation with another person, characterised by obsessive thoughts and a longing for reciprocation of feelings”).

As Matcott explains, “‘All Night’ was inspired by the poetry of Alejandra Pizarnick. The song explores the stark contrast between how obsessive and all-consuming night can be, in contrast with the barren desert of the morning after.”

Elsewhere, Matcott sings about billionaires investing their ill-begotten wealth into fantasies about cheating death and immortality while the world burns around them on ‘Saint Haven‘, artificial intelligence and constant surveillance on ‘One By One‘, and the manosphere, pickup artists and angry dudes, viewed from different angles, on the darkly comic and subtly psychedelic ‘Rebel Without A Clue’, and the baroque and brooding ‘I Decide’.

‘When The War Is Over‘ takes a strong and principled swing at the much-publicised Ben Roberts-Smith, Australia’s most highly decorated war soldier who was found, in a civil defamation trial, to have committed murder and other war crimes while deployed to Afghanistan.

“There’s so much about this shit that annoyed me,” says Matcott. “The main thing that stood out was how he killed Ali Jan. He kicked this defenceless prisoner in the chest and off a cliff. In following the case, I discovered Roberts-Smith is obsessed with the movie 300. His troops even called him Leonidas. So it’s likely he was re-enacting that “This is Sparta!” scene from that movie, on a defenceless farmer. Just so utterly sickening.”

With the blurred and dreamy psychedelia of ‘Song For A Ghost‘, the album ends where it began, lonely and obsessing, late at night. Staring into a phone.

ALBUM CREDITS

All songs by Al Matcott

Al Matcott – vocals, electric guitar, acoustic guitar, drums
Miranda Holt – drums
Phoebe Neilson – bass, vocals
Brendan West – electric guitar, vocals
Elizabeth M. Drummond – vocals
James Bowers – piano, synthesiser, organ
Rob Muíños – acoustic guitar, funk box phone app, space echo
James Gilligan – pedal steel guitar

Produced, Recorded & Engineered by Rob Muíños
Mastered by Jordan Power
Artwork by Hamish Mitchell
FAKE THE DAYS AWAY IS OUT NOW VIA CHEERSQUAD RECORDS & TAPES,
ON BANDCAMP, SELECT STREAMING SERVICES, AND AMRAP

AL MATCOTT AND THE FOREVER BAND
ALBUM LAUNCH

Friday November 14 @  Stay Gold, Brunswick VIC
w/ Alex Hamilton And His Band + Tambourine Jesus

TICKETS  FB EVENT

PAST PRESS

“Al Matcott has made a strong first impression with a record that makes its rock charms obvious while providing more depth and diversity in sound and lyrics than your average bar band.” –  Double J – Feature Album

“On his topical new single, Melbourne singer-songwriter Al Matcott, with guest vocalist Kate Dillon, sings with steady despair and fury from nature’s perspective. Scuzzy garage guitars expand into wailing soundscapes as Matcott delivers a warning at the end of an unseasonably warm winter, with the worst yet to come: “You motherfuckers, you deserve what you get.”
The Guardian – Australia’s best new music

“Whether he’s playing the role of the outlaw or the loveable rogue, he captures the spirit of Americana-blues and indie rock at its core.”
Real Tasty Music

“There’s a soft, sunset element to his sound, a quiet sense of reflection that is tied to his endearing lyricism.”
CLASH

“a hazy blend of alt-rock and country that relishes with its personality, taking these charming and quite bright-eyed guitar melodies and twisting them with darker, potent lyrics”
Pilerats

 
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Oasis ignite Melbourne’s Marvel Stadium as the Australian leg of Oasis Live ’25 kicks off!

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Oasis made their monumental return to Australia, delivering an explosive first Aussie show of their history-making and universally celebrated global tour, OASIS LIVE ’25 at Melbourne’s Marvel Stadium.

Playing to a capacity crowd of 58,000 fans, the band showed Melbourne exactly why this tour has become the most defining live music moment of the year, as they gave fans a taste of what’s to come on their five-date, sold-out stadium run of Australia.

Liam and Noel strode onto the stage with their customary swagger, hands clasped and raised high, as Liam fired up the crowd with a question: “G’day Australia. Did you miss us? Because we missed you.”  The packed stadium roared its answer, a thunderous yes.

Just before launching into the emotive “Live Forever” the third single from Oasis’ 1994 debut album Definitely Maybe, he announced, “This next song’s dedicated to all the people who can’t be here. You know who they are, we know who they are. Live forever!” prompting a huge, heartfelt singalong.

OASIS LIVE ’25 has ignited a worldwide frenzy, with anticipation for the shows spanning countries and generations. Demand for the tour has been staggering with 18 million people applying for tickets when dates were first announced and 2.6 million fans securing their spot to witness what has become one of the biggest and most in-demand tours in history.

The Australian leg of the OASIS LIVE ’25 tour kicks off as Oasis celebrates 30 years since the release of “Wonderwall” on 30 October 1995. Three decades on, it’s still one of the most enduring songs in modern music. Before they played the track Liam asked the crowd to “Wish this baby happy birthday, 30 years Wonderwall.” For many in the crowd, it was a full-circle moment. Fans who grew up with Oasis now singing alongside their kids as “Wonderwall” rang out across the packed stadium, showing just how deeply the music continues to resonate.

The biggest reunion in rock has become a unifying celebration of a band whose influence has never faded. Oasis continue their Australian run this week with two more sold-out nights in Melbourne, before heading to Sydney for back-to-back shows on Friday 7 and Saturday 8 November.

Alongside the tour, and to celebrate the 30th anniversary of “Wonderwall”, Oasis have announced a limited edition (What’s The Story) Morning Glory? 7” Singles Box Set – a replica of the highly collectible 1996 CD cigarette-style box. The Box Set includes four 7” singles, featuring the 2014 remastered versions of “Wonderwall”, “Some Might Say”, “Roll With It”, and “Don’t Look Back In Anger”, along with their original B-sides. Released 12th December, it’s available for pre-order HERE.

Content Credit: Big Brother Recordings

SET LIST
Hello
Acquiesce
Morning Glory
Some Might Say
Bring It on Down
Cigarettes & Alcohol
Fade Away
Supersonic
Roll With It
Talk Tonight (sung by Noel)
Half the World Away (sung by Noel)
Little By Little (sung by Noel)
D’You Know What I Mean?
Stand By Me
Cast No Shadow
Slide Away
Whatever
Live Forever
Rock ’n’ Roll Star

Encore
The Masterplan (sung by Noel)
Don’t Look Back in Anger (sung by Noel)
Wonderwall
Champagne Supernova

REMAINING AUSTRALIAN OASIS LIVE ‘25 TOUR DATES
Sat 1 Nov – Marvel Stadium, Melbourne, Australia
Tue 4 Nov – Marvel Stadium, Melbourne, Australia
Fri 7 Nov – Accor Stadium, Sydney, Australia
Sat 8 Nov – Accor Stadium, Sydney, Australia

There are a limited number of tickets available for Melbourne and Sydney. These include face-value re-sale tickets, restricted and rear restricted view tickets.
      

 

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Vincent Yelle’s “Apples & Honey” — A Haunting Portrait of Loss, Family, and Memory

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Apples & Honey, the debut album from Montreal singer-songwriter and multi-instrumentalist Vincent Yelle, is an intimate, haunting meditation on loss, family, and memory. Written, recorded, and produced entirely by Yelle, the album traces the emotional landscape that followed the passing of his father—capturing grief not as an endpoint, but as a living thread that binds generations together.

The record is steeped in personal history: field recordings of birds captured by Yelle’s late father, snippets of family conversations, and the voices of his mother and sister all blur into the music’s textured layers. Each song feels like a memory preserved in amber—delicate, luminous, and deeply human. What emerges is a tender strain of memory-folk, where emotion takes precedence over perfection, and vulnerability becomes an act of quiet resilience.

After more than a decade shaping the sound of Quebec’s indie scene as a bassist for artists including Pelch, Jeffrey Piton, Pataugeoire, and Simon Daniel, Yelle steps confidently into his own creative space. His solo work expands the language of modern folk, marrying intimacy with sonic experimentation. Apples & Honey is less a collection of songs than an emotional document—one that captures the ache and beauty of remembering.

The album features contributions from Claire Morrison, Florence Lefebvre-Gagnon, Josée Desranleau, Paul Émile Yelle, Antoine Loiselle, and Olivier Guertin, with mixing by Christian-Adam Gilbert and mastering by Jean-Philippe Villemure.

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Queenscliff Music Festival Announces New Special Ferry Sessions And Releases Set Times

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With just one month to go  until the gates of Queenscliff Music Festival are flung open across the weekend of 28–30 November on Wadawurrung Country in the historic seaside town of Queenscliff, Victoria, the festival  continues to grow bigger and better as it today releases festival set times and adds special event  ferry sessions..

The festival has unveiled two brand-new Special Event Ferry Sessions aboard the Peninsula Princess, with intimate live performances that take audiences on a 40-minute cruise across Port Phillip Bay, pairing live music with coastal views and a complimentary beverage.

While the already announced six regular ferry sessions are open to all festival ticketholders, those wanting to secure this unique experience can do so through these two new special sessions as they are separately ticketed.

On Saturday 29 November at 1:30pm, the Peninsula Princess will set sail with Skyscraper Stan, one of Australia’s most captivating lyricists and performers, known for his razor-sharp storytelling and magnetic live energy.

On Sunday 30 November at 1:30pm, audiences will be treated to Minor Gold, the award-winning folk-rock duo of Dan Parsons and Tracy McNeil, whose effortless harmonies and heartfelt songs have won fans across Australia and the world.

Tickets to both Special Event Sessions are $25 bf and include a complimentary beverage on board.

And if that isn’t enough to get excited over, the festival set times for the three-day festival are now live so everyone can start planning their Queenscliff Music Festival experience.

Start planning your adventure HERE

SET TIMES

Queenscliff Music Festival Director Claire Stickland, said that the new Ferry sessions were added due to overwhelming response for the first, festival-based sessions:
“We’ve been overwhelmed by the response to the Ferry as a floating venue. If you absolutely don’t want to miss out, these special ferry sessions are for you and guarantee you a spot on  this unique experience.”

All ferry sessions run throughout the weekend, offering an unforgettable perspective of Queenscliff, from the water, with live music, salty air and spectacular bay views.

Throughout the weekend you’ll also be able to experience the beautiful Bellarine right within the festival – with craft beers, boutique wines, cocktails, gourmet produce, including pastries from Ket Baker and oysters and cheese platters from TARRA Queenscliff. Or take the time to stroll the historic streetscape or sparkling harbour of Queenscliff and drop into one of the local cafes for your morning fix.

The region’s creative community will bring interactive and engaging experiences to the Festival, with a pub choir experience from Chorus Club, cool projections of local flora & fauna from Cosmic Wilderness or a mass jam session from Imaginary Millions.

2025 Queenscliff Music Festival Lineup (Alphabetical Order):

 

Ally Row – Alex Kosenko – The Badloves – Bones & Jones – Chris Cavill – The Cat Empire – Cool Out Sun – Cosmic Psychos – Dom Turner & The Rural Blues Project – Didirri Rowena Wise – Donavon Frankenreiter – Ella Hooper – Emilia Fol – Fenn Wilson & The Weather – Get Behind The Mule – Grace Robinson – Hendrix Frankenreiter – King Stingray – Kit Genesis – Kook Joey | Lewis Love – Little Birdy – Madeline Cope – Mama Kin Spender – Matt Davis – Minor Gold | The Mojo Corner – Munroe – Norwood – Opelousas – Otis Namrell Band – Pierce Brothers – The Preatures – Public Figures – Riley Catherall – Romanie – The Routine – Ruby Mae – Ruby McKenna – Sex On Toast – Skyscraper Stan & the Commission Flats – The Smith & Western Jury – Squid Nebula – SUNEDEN – Sweethearts – Tex Perkins & Matt Walker – Thelma Plum – Tides of Welcome – Velvet Trip – Victoriana Gaye Trio – The Waifs

 

DJs: 

Cool Out Sun (DJ) – Dangerboots (DJ) – Fee B Squared (DJ) – Miss Goldie (DJ) – 

Mz Rizk (DJ) – Rob Major (DJ)

 

Comedy:

 Claire Hooper – Lizzy Hoo – Ben Searle – Nick Capper – 

Nick Schuller – Tess Birch

 

Kids: 

Teeny Tiny Stevies – Peter Coombe – Bebop Circus – Giant Seagulls – Guru Dudu Silent Disco – Krazy Koala Puppet Show – Marimba Taters – Nicholas Ridiculous High Wire – 

Woody’s World Ukulele

 

Arts:

Chorus Club – Cosmic Wilderness – Imaginary Millions – Playable Streets –  

Slow Art Collective – Yoga & Live Music 

 

2025 SECOND RELEASE TICKETS ON SALE NOW – PRICE INCREASE NOVEMBER  1
All Prices inclusive of booking fees
3 Day Adult – $319
3 Day Accompanied Youth 14-17 – $159
3 Day Children 1-13 – $32 (sold in conjunction with an Adult ticket)
Single Day Tickets also available for Adult, Youth & Children
Queenscliff Music Festival Camping – $30 for 3 nights (per person), children camp free
Rent A Tent – from $460 for 3 nights

CLICK HERE FOR FESTIVAL TICKETS CAMPING INFO
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The Belair Lip Bombs share Again LP + announce Australian headline tour in 2026

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The Belair Lip Bombs today share their new record Again, the first Australian album release on Jack White’s Third Man Records. Tickets are on sale now for their Australian headline tour in Feb – Mar 2026. LISTEN ON SPOTIFY + APPLE MUSIC + AMAZON MUSIC + YOUTUBE MUSIC + MORE HERE + BUY TICKETS HERE.

Again is an undeniably polished effort from The Belair Lip Bombs, who boldly present an elevation of their humble beginnings, to a band on a trajectory long beyond the DIY venue foundations. The group’s upcoming Australian tour sees the group performing across revered rooms as the Corner Hotel, Oxford Art Factory, Crowbar, Freo.Social, Lion Arts Factory and Altar. See all tour routing dates BELOW. 

Backed by a gut-instinct approach, each track across Again has its own mood, built on a bed of each Lip Bombs’ members individuality – an amalgam of influence that makes the group sonically diverse in practice. Their taste as a collective is guided by the pursuit of sinking their teeth into a project unlike before. Whether you have the words, or it’s a song lyric that does for you – reflective of the group’s own reserved personalities, at odds with their power-pop range – they continue “This is an album for real lovers and feelers around the world.”

Motivated by the pursuit of sharpening their pen and cultivating sonic diversity, Again is the reward of getting deep in the weeds. The longest time the group have spent in the studio in their tenure to date also marked the first time The Belair Lip Bombs collaborated with producers Nao Anzai (The Teskey Brothers, Missy Higgins, Mildlife), and Joe White (Rolling Blackouts Coastal Fever) who together have delivered a timeless, holistic album.

“With Again, we wanted to create a body of work that reflected our maturity as people and as songwriters,” The Belair Lip Bombs explain. “I think an album is the most significant demonstration of all of our hard work as a band. Touring the world and playing iconic venues or supporting big bands is all incredible but at the end of the day none of that would be happening if it wasn’t for making a record.”

Maisie‘s staunch leadership backed by the powerhouse combination of Mike, Jimmy and Dev, paint a surface happy-go-lucky, limerence rock sound. A combination of quick-footed rhythms, warm and fuzzy guitar melodies with catharsis at its core. The Belair Lip Bombs are always listening, studying and tinkering away at their form, piecing Again together along the road, between soundchecks and meagre time back home.

Springboarding Kings Of Leon to Yeah Yeah Yeahs with a hint of influence pulled from their local surroundings like jangle heroes Cool Sounds and Way Dynamic, theirs is an earnestness with ultra sticky power-pop song structures that crash through – no skips. From the fiddle that features on opener ‘Again and Again’ or the angsty ‘Another World’, to the shared vocals by Maisie and Mike on ‘If You’ve Got The Time’.

Elsewhere ‘Smiling’ captures the intoxicating, new relationship jitters while ‘Burning Up’ is the group’s clearest throughline to the undeniable hits of New Radicals, Sugar Ray or Matchbox Twenty – and the credibly they give those influences – indelibly felt on the groove laden ‘Cinema’s addictive funk piano chords. ‘Price Of A Man’, is most indicative of the power of the Lip Bombs bond, born from an accidental strum in soundcheck that spawned a story of two fellas and toxic behaviours.

A performance with pummelling instrumentation bound for endless toe-tapping, with biting words to unabashed joy. The band’s unshakable connection as four close friends shines throughout Again.

Again LP is out now via Third Man Records, buy/stream it here.

TRACKLIST
Again and Again
Don’t Let Them Tell You (It’s Fair)
Another World
Cinema
Back Of My Hand
Hey You
If You’ve Got The Time
Smiling
Burning Up
Price Of A Man

AUSTRALIAN ALBUM TOUR
Fri 27 Feb – Corner Hotel – Naarm / Melbourne
Fri 6 Mar – Altar – nipaluna / Hobart
Fri 13 – Lion Arts Factory – tarntanya / Adelaide
Sat 14 Mar – Freo.Social – Boorloo / Perth
Fri 20 Mar – Oxford Art Factory – Eora / Sydney
Sat 21 Mar – Crowbar – Meanjin / Brisbane

2025 TOUR DATES
Sat 1 Nov – Ideal Bar – Copenhagen, DK
Mon 10 Nov – Maschinehaus – Berlin, DE
Tue 11 Nov – Ekko – Utrecht, NL
Wed 12 Nov – Charlatan – Ghent, BE
Thu 13 Nov – Point Ephemere – Paris, FR
Mon 17 Nov – Dabadaba – San Sebastian, ES
Tue 18 Nov – El Sótano – Madrid, ES
Wed 19 Nov – Laut – Barcelona, ES
Fri 21 Nov – Rock School Barbey – Bordeaux, FR
Mon 24 Nov – Volks – Brighton, UK
Tue 25 Nov – Clwb Ifor Bach – Caerdyf / Cardiff, UK
Wed 26 Nov – Exchange – Bristol, UK
Fri 28 Nov – Scala – London, UK
Sat 29 Nov – YES – Manchester, UK
Sun 30 Nov – Stereo – Glaschu / Glasgow, UK
Mon 1 Dec – The Grand Social – Baile Átha Cliath / Dublin, IE

2026 TOUR DATES
Sat 7 Feb – Laneway Festival – Kombumerri Jagun Land / Gold Coast
Sun 8 Feb – Laneway Festival – Gadigal & Bidjigal Land / Sydney
Fri 13 Feb – Laneway Festival – Wurundjeri Biik Land / Melbourne
Tue 24 Mar – Brick & Mortar – Ohlone Land / San Francisco, CA*
Thu 26 Mar – Polaris Hall – Chinookan Land / Portland, OR*
Fri 27 Mar – Baba Yaga – Si’ahl / Seattle, WA*
Sun 29 Mar – Treefort Music Festival – Shoshone Land / Boise, ID
Mon 30 Mar – Kilby Court – Pi’a-pa / Salt Lake City, UT*
Tue 31 Mar – Hi-Dive – Apache Land / Denver, CO*
Thu 2 Apr – White School House – Kansa Land / Lawrence, KS / Kansas City, MO*
Fri 3 Apr – Turf Club – Dakhóta Land / Minneapolis, MN*
Sat 4 Apr – Empty Bottle – shikaakwa / Chicago, IL*
Mon 6 Apr – The Garrison – Tkaronto / Toronto, ON*
Thu 9 Apr – Night Club 101 – Lenape Land / New York, NY*
Fri 10 Apr – Baby’s All Right – Lenape Land / New York, NY*
Sat 11 Apr – PhilaMOCA – Coaquannock / Philadelphia, PA*
Sun 12 Apr – Songbyrd – Nacotchtank Land / Washington, DC*
Mon 13 Apr – Kings – Algonquian Land / Raleigh, NC*
Wed 15 Apr – Blue Room @ Third Man Records – Cherokee, Chickasaw Land / Nashville, TN*
Thu 16 Apr – The Earl – Muscogee, Cherokee Land / Atlanta, GA*
Sat 18 Apr – Sons of Hermann Hall – Nermernuh Land / Dallas, TX*
Sun 19 Apr – 29th Street Ballroom – Tonkawa Land / Austin, TX*
Wed 22 Apr – Rebel Lounge – Hohokam Land / Phoenix, AZ*
Thu 23 Apr – The Casbah – Kumeyaay / San Diego, CA*
Fri 24 Apr – Zebulon – Tongva Land / Los Angeles, CA*
*co-headline with dust

Tickets available HERE.

Stay connected with The Belair Lip Bombs:
23 Profile | Website | Instagram | YouTube

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Music News

Arky Waters & MAMI Release Holdin’ On

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Australian producer Arky Waters makes a powerful return this week with his brand-new single “Holdin’ On”, which has him teaming up with Australian-bred/London-based artist MAMI for her impeccable voice – and it’s also the lead and title-track from his upcoming debut album.

“This release has been a long time coming. I originally sent the instrumental to MAMI, and what she wrote over it was absolute magic. The song itself came together quickly, but I spent what felt like forever fine-tuning every detail because it deserved that level of care. It’s not every day you strike gold with a collaboration like this. We’re absolutely stoked!” ~ Arky Waters

Drawing inspiration from Bicep, Jamie xx, and Fred again.., Arky Waters continues to blur the lines between breaks, jungle, and bass, showcasing his knack for emotional yet club-ready productions.

Following on from last year’s acclaimed “Johera EP”, this latest release sets the tone for a massive new chapter in his career.

“Holdin’ On” is out now via Mammal Sounds Records.

Stream:
https://bfan.link/holdin-on

Socials:

https://linktr.ee/arkywaters

Credits:

Co-Written by Arky Waters & MAMI

Produced by Arky Waters

Mixed by Doug Wright

Mastered by Suture Mastering

Artwork & Photos by Arky Waters

Visuals by Version Khan

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Fashion & CultureFestival NewsMusic News

Oasis’ Legacy Celebrated in Exclusive Australian Photography Exhibition

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As Oasis return to Australia for their long-awaited stadium tour, fans will be able to step inside the band’s story like never before. Behind The Gallery is proud to announce an exclusive exhibition of Oasis photography by three of the UK’s most celebrated music photographers: Chris Floyd, Kevin Cummins, and Scarlet Page.

“Oasis aren’t just a band – they’re a cultural phenomenon. Through the eyes of Chris Floyd, Kevin Cummins and Scarlet Page, fans can experience the attitude, chaos and brilliance that defined an era of British music,” said Stephen Dallimore – Behind the Gallery.

Running in both Melbourne and Sydney, the exhibition is timed to coincide with the tour, offering fans a rare chance to revisit Oasis’ meteoric rise, unforgettable live shows, and candid behind-the-scenes moments through striking imagery.

The exhibition brings together more than two decades of imagery, spanning gritty early gigs, iconic stage moments, backstage portraits, and rare personal insights into the Gallagher brothers and the band’s inner circle.

  • Chris Floyd – Known for his evocative portraits and collaborations with leading cultural figures, Floyd captured Oasis in their prime, offering photographs that reflect both their swagger and their vulnerability.
  • Kevin Cummins – Legendary Manchester photographer whose lens defined the visual identity of the city’s music scene, from Joy Division to The Stone Roses. His work with Oasis charts their journey from hometown heroes to global superstars.
  • Scarlet Page – Acclaimed rock photographer, Scarlet brings a uniquely intimate perspective. Her portraits of Oasis are celebrated for their warmth, honesty, and insider’s eye on the band’s world.

“When you start out as a photographer one of the things that you secretly hope for is that one day your work will have some resonance or interest for future generations. It’s over 30 years since the first of these pictures were taken and it gives me a lot of satisfaction to see that the love and passion for Oasis is as strong, if not stronger, as it ever was,” said Chris Floyd.

Scarlet Page reflects “These photographs capture Oasis right at the height of their raw, unstoppable energy. It was an incredible moment in British music, and I feel lucky to have been there to document a part of it.”

Together, their work creates a powerful narrative that reflects Oasis’ music, attitude, and enduring cultural influence. Each print in this series is an artist’s print, available exclusively through Behind the Gallery for this exhibition in Australia.

Melbourne Exhibition

Venue: 14 Langridge Street, Collingwood, VIC 3066

Pre-Concert Meet Ups:

Friday 31 October, 11:00am – 5:00pm

Saturday 1 November, 11:00am – 5:00pm

Closing Date: Sunday 2 November 11:00am – 4:00pm

Sydney Exhibition

Venue: 17 Oxford Street, Paddington, NSW 2021

 Pre-Concert Meet Ups:

Friday 7 November, 11:00am – 5:00pm

Saturday 8 November, 11:00am – 5:00pm

Closing Date: Sunday 9 November – 11:00am – 4:00pm

For further information head to https://www.behindthegallery.com.au/pages/oasis-exhibitions

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Music InterviewsMusic News

Interview: Paris Wells & Finley François / Lounge Of The Flamingo

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This project feels like a new chapter built on two decades of creative chemistry — how did Lounge of the Flamingo first come to life?

Paris: Thank you! Finley and I had been talking about this sound for ages, but we kept getting distracted by our various dance music projects. When the opportunity to record at Frying Pan came along, it was like the record wrote itself.

The record carries this slow-burning calm — part Latin lounge, part late-night jazz bar. What led you to explore that sound at this point in your journey?

Finley: Our chats about a jazz-inspired album kept circling, but I didn’t want to do a swing record! Eventually, we landed on the lounge era — elegant, stylish, smooth, and moody, but still rhythmic. It opened the door to exploring more complex harmonies and textures… and off we went.

You’ve both moved through so many styles over the years. What did this album let you express that you hadn’t captured before?

Paris: For me, it was about intimacy. I’d rarely had the chance to explore close-mic vocals — everyone always wanted big notes and big sounds, but I knew there was a tenderness I wanted to capture. Slowing things down and letting the space breathe took real discipline. I’ve also always loved the sound of the soprano sax, so being able to weave that in was such a joy.

Recording live at MONA’s Frying Pan Studios must’ve been a rare experience. How did that environment shape the sessions?

Paris: Aside from being pregnant and needing to pee every hour, walking in there every day made me feel like a working artist again — and that’s a rare feeling these days! We’d take the ferry each morning, debrief on the water on the way home, and the whole process felt calm and purposeful. The vista from the studio really seeped into the music. I love Tazzie.

Paris, you’ve described this as an album rooted in humour, calm, and family. How did being a married mum influence what came out creatively this time?

Paris: I’d love to say my house is always calm (lol), but it’s really the moments of calm I wanted to capture. Those flashes between the chaos. I’ve always written with a bit of social commentary too — I was writing songs about “Karens” before the term even existed!

Finley, reconnecting with your Afro-Latin jazz beginnings seems to have reignited something deeper. What was that rediscovery like for you?

Finley: My whole journey with piano began with Latin jazz compilations — samba, bossa nova, and jazz improvisation completely captivated me. Those CDs were on heavy rotation. At the same time, I was hearing those same jazz elements in electronic records I was DJing. It was an amazing era of discovery and curiosity as a young musician.

With voices like Kylie Auldist and the strings of Dean Stevenson woven in, the record feels rich and cinematic. How did those collaborations unfold?

Paris: Kylie and I have supported each other for years — we’re all about girl power! Dean is such a core part of MONA’s music scene, and we got to know each other while I was down there. When I asked him for some instrumentals, he sent a huge batch, and one of them became Strange Days. That song just poured out.

There’s an effortless confidence throughout these tracks — unhurried and self-assured. Was that an intentional approach or just chemistry doing its thing?

Paris: Fin musically directed the players and got about 70% of the recording done in a single day — it was magic. My husband made amazing sandwiches, I kept everyone caffeinated, and Fin was large and in charge! The confidence came from preparation and from knowing exactly who we are. I focused on the right character for each tune — the delivery sets the scene and tells the story.

Finley: This album was all intentional. Paris and I had long chats about what we wanted to create. The brief came down to moods and times of day — pre-dinner apéritif cocktails, beachside evenings, post-dinner single-cask sips.

After years performing on major stages alongside global names, what’s it like now stepping into something so intimate and textured together?

Paris: The best. Dinner music is back.

And for everyone coming to George Lane on November 27 — what kind of atmosphere should they expect when Lounge of the Flamingo comes alive on stage?

Paris: St Kilda always delivers a perfect musical summer night. We’ve got guest vocalists, backup singers, incredible local jazz players — and yes, everyone gets a flamingo in their drink. You’ll leave slightly buzzed, your ears won’t be ringing, your taste buds will crave one more cocktail… and you’ll still be home by 11.

ALBUM LAUNCH 

Thursday November 27 George Lane Melbourne VIC

 TICKETS

Paris Wells: Facebook | Instagram | YouTube 

Finley François: Facebook | Instagram | YouTube 

Lounge Of The Flamingo: Official Website | Facebook | Instagram

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Music News

Midnight Pool Party Release ‘OUTTA YOUR MIND’

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Australian disco duo Midnight Pool Party have been on a roll lately, serving up a run of irresistible tracks with FIDELITY, WHAT AM I GONNA DO?, and NEVER GONNA GIVE UP, and the good news is they’re not slowing down anytime soon.

This week they’re back with another disco-pop gem called ‘OUTTA YOUR MIND’ which is a playful, uplifting anthem about shaking off a tough week and leaning into good vibes with your friends.

“The song’s basically about having a shitty week at work and just wanting to hang out with your friends and not needing attention from anyone else. It’s about confidence, setting boundaries, and firmly rejecting any assumption that you are available or interested. It’s very much a ‘I’m with my friends, leave us alone’ kinda vibe,” they explain.

The track was born out of frustration but quickly flipped into something fun and rebellious. “I actually wrote this one night after a stressful week at work. I just needed to write something carefree. The song came together in about 30 minutes. The next time Ollie came over, we arranged it in under an hour, and we just knew it had to be the next single,” says the band.

‘OUTTA YOUR MIND’ is out everywhere now.

Stream/Watch:
https://bfan.link/outtayourmind

Socials:

https://linktr.ee/MPP_PoolBoys

Credits:

Co-Written by Darren Morilla & Oliver Dela Cruz

Produced by Midnight Pool Party

Mastering by Jack Prest

Artwork, Photos & Visuals by Morilla Media

Choreography & Dancing by Whyan Chen & James Vidigal

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Eats & Drinks

Pleasure Club and BACARDÍ team up to launch Sydney’s newest Sunday night ritual – stirring disco, funk, and heat into late-night desire with headline act Touch Sensitive.

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Sydney’s Sunday nights are getting a shake-up. Tongue Tied at Pleasure Club presented by BACARDÍ in collaboration with Pleasure Club is the city’s newest late-night series, transforming the traditional Sunday session into a high-energy celebration of sound, flavour, and rhythm. Running every Sunday from November 2025 through January 2026, the series invites night owls to dive into an immersive experience where live performance and DJ culture collide from 9pm until 4am. 

Less about winding down the weekend and more about keeping the energy alive, Tongue Tied channels the golden era of Sydney nightlife, when dance floors felt like living rooms and the crowd became family. Expect an eclectic mix of yacht-disco, Italo-house, and synth-laced grooves curated to move bodies and free minds. 

The series launches Sunday, November 2, with Touch Sensitive headlining opening night, fresh from the release of his first album in eight years, In Paradise. He’ll return for an encore set the following week, followed by a stellar lineup featuring Art vs Science (DJ Set with Live Elements), OYOBI, and Archil & Leon. 

Behind the bar, BACARDÍ brings the flavour, from the nostalgic BACARDÍ & Coca Cola™ Cherry to the indulgent Lip Service cocktail (BACARDÍ White Rum, Mapo Sour Cherry Gelato, Dragonfruit, Amaretto Whip). The drinks menu pairs nostalgia with creativity, served alongside a playful line-up of rum-based shots designed for late-night sipping. 

“Tongue Tied is a love letter to Sydney’s Sunday nightlife, where good music, great energy, and a splash of Bacardi spirit keep the weekend rolling” says Rebecca Lines, COO of Odd Culture Group. 

Tongue Tied at Pleasure Club runs every Sunday from 2 November 2025 to 25 January 2026. 

BACARDÍ Presents: Tongue Tied at Pleasure Club 

Basement, 6 Wilson St, Newtown 

Every Sunday, 5pm – 4am 

www.oddculture.group/whats-on

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