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Music News

KSHMR and 22Bullets Release Enchanting Club Record “Devotion” Sampling Nomad’s 1990’s Hit; Celebrate 10 Years of the KSHMR Project

by the partae April 5, 2024
written by the partae

Artists: KSHMR, 22Bullets
Title: Devotion
Label: Dharma Worldwide

Download / Stream

LA-based KSHMR is back with a massive new release that celebrates an equally significant milestone in the form of “Devotion,” a club record he’s been taking on tour in honor of his 10-year anniversary as a DJ and producer under the KSHMR moniker. Always one to embrace his Indian heritage as well as honor other cultures around the world, he teamed up with Thai artist 22Bullets for the new track. “Devotion” fuses hard-hitting basslines with dynamic instrumental synths and KSHMR‘s trademark melodies, making for a truly entrancing sonic experience that breaks away from genre constructs and exists in an exhilarating category of its own, all built around the famous sample from Nomad‘s 1990’s hit “(I Wanna Give You) Devotion.” The track has already proven to be a favorite during KSHMR‘s live sets on his North American club tour and Ultra Music Festival Miami Main Stage performance last month, which celebrates a decade of the KSHMR project since the 2014 debut of “Megalodon.” Thailand‘s 22Bullets has previously collaborated with the likes of David Guetta, Ty Dolla $ign, Fedde Le Grand, and more, and has released music on KSHMR‘s Dharma imprint; home to electronic dance music from around the world. Their previous collaboration “It Isn’t Me” released on the label in 2022. Catch “Devotion” live and see KSHMR live on tour this year.

“I’ve been wanting to work with 22Bullets on a track for my sets for a long time; he’s one of my favorite up-and-coming producers that’s released on my label Dharma before. He’s also one of the few producers representing Thailand in the electronic scene. Flipping this sample was the perfect collaboration, I knew it would get big reactions live. It’s been a big hit throughout my sets on this club tour celebrating 10 years of KSHMR.” – KSHMR

“Working with Niles on this second collaboration is an honor. I had always wanted to do a club track with him and this one fits perfectly for our sounds. Working on this classic sample has been fun and I feel we made something exciting for the fans.” – 22Bullets

KSHMR

Niles Hollowell-Dhar is a globally acclaimed artist who originally began in hip-hop and moved into pop music with the 2010 global smash “Like A G6.” From there, he transitioned into dance music, producing tracks like the 2013 hit “Tsunami.” Next, he launched his own artist project, KSHMR, and took the scene by storm with 10 Beatport #1, such as “Wildcard” and KSHMR‘s most streamed hit to date – “Secrets“‘ with Tiësto. After releasing his debut album “Harmonica Andromeda,” he firmly cemented his reputation as one of the most dynamic and diverse acts in global electronic music, gaining DJ Mag‘s prestigious “Best Live Act” award. As a pioneer and music enthusiast who values creative freedom, he created his Dharma Worldwide label in 2017 and, subsequently, Dharma Studio in 2020, where producers can find his tutorials and sound packs. His sound pack series “Sounds of KSHMR” is among the most used in modern music, and his latest release, “Sounds of KSHMR” Vol. 4′ debuted as the #1 pack on Splice and has remained in the Top 10 since. In 2023 we saw KSHMR release his eagerly anticipated collaboration with MC Stan “Haath Varthi,” taken from his album “KARAM,” which dropped in November 2023 and featured the biggest artists in Indian hip-hop.

22Bullets

The Thai producer and DJ 22Bullets burst onto the scene with the hit “Everybody In The Party” in 2020. Since then, his career has soared, and with his ranking as no. 76 on DJ Mag Top 100 in 2024 (no. 83 in 2023), 22Bullets growth continues and he has cemented his position as one of the world’s most current and successful DJs. Today, 22Bullets doesn’t just listen to his idols – he has become one. In fact, he is the first Southeast Asian DJ to ever appear on DJ Mag’s Top 100 list of the most high-profile DJs in the world. An achievement that emphasizes why some of the biggest stars – from David Guetta and Bebe Rexha to Fedde Le Grand and KSHMR – have collaborated with the Thai DJ. And with more than 100M streams across all digital music platforms, stage performances with the likes of Afrojack, Dimitri Vegas & Like Mike, and deadmau5, and at venues like World Club Dome in Germany and as the headliner at festivals like Ultra Music Festival and Creamfields, 22Bullets is ready to take the next steps in expanding his career outside of Asia. 22Bullets‘ music always has an emotional touch – something that reveals his personality and gives listeners a dynamic and moving experience. The 22Bullets universe focuses heavily on melodies, which are meant to take the audience on a unique journey – from the first to the last song in his set. Therefore, one experiences much more than just the typical bangers when 22Bullets takes the stage. With megahits like “Bang Bang” and “Mr. BigBoom,” he demonstrates his musical intelligence and unique approach to club music, and with high tempo and dynamics, they fulfill 22Bullets‘ mission to make music that is as non-static as possible. As a global priority with the record company Spinnin’ Records, 22Bullets has established himself as Southeast Asia‘s most recognized and biggest DJ.

More info on KSHMR / 22Bullets / Dharma Worldwide:

KSHMR: Facebook | Instagram | Twitter | Spotify
22Bullets: Facebook
 | Instagram | Twitter | Spotify
Dharma Worldwide: Facebook
 | Instagram | Twitter | Spotify
April 5, 2024 0 comments
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Music News

Von Sharp – See The Lights (feat Jones 2.0)

by the partae April 4, 2024
written by the partae

Brisbane producer Von Sharp, the moniker of Stu Galligan, has been on a steady rise since his debut in 2022. Hard to define with a  simple genre label – it’s dance music with a genuine heart and an undeniable rhythmic pull. There’s a certain magic to Von Sharp’s productions, a captivating quality that’s hard to pinpoint. He seamlessly blends modern sounds and production styles with subtle nods to the era of early raves, creating a unique sonic tapestry.

Von Sharp’s latest single, “See The Lights,” perfectly embodies this approach. The track brims with classic elements, yet it’s propelled to new heights by the dynamic performance of UK rapper Jones 2.0. Jones’s distinctive flow injects an extra layer of flavor into the groove, adding a gritty counterpoint to the lush chords and a captivating choral lick that weaves through the steady beat. “See The Lights” is a vibe setter, and is out today.

https://vonsharp.com/home

https://www.instagram.com/von_sharp_official/

April 4, 2024 0 comments
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Music News

Hannes Bieger Launches New Label with Epic Melodic Release “Black Hole”

by the partae April 1, 2024
written by the partae

Inaugurating the launch of Hannes Bieger’s label, Elektrons, is ‘Black Hole’, the beguiling cut that started it all. Born out of a desire to create a space to explore, embrace and expand his unique sound, Elektrons is a bold extension of Hannes’ vision and purpose. The platform represents his extraordinary abilities as a producer, performer and engineer; innate talent that has seen him travel around the globe picking up a huge following along the way. With Elektrons he embarks on a new adventure, where his
progressive and melodic techno sounds have a home to grow and thrive.

This adventure begins with the aptly-titled ‘Black Hole’. The mesmerising cut is the product of one of Hannes’ many jam sessions in his studio. A dedicated student of the analogue school, Hannes revels in experimenting with sounds through his modular set up. The track went viral and attracted over 20 million views after Hannes posted a clip of it on his socials, demonstrating that it resonated with people all over the world. This sparked the idea of launching his own platform, and the process began… ‘Black Hole’ sees Hannes channelling Giorgio Moroder, composing a hypnotic bassline that encapsulates the mid-70s protohouse disco sound. From this entrancing foundation, he builds a typically emotive arrangement, bright melodic layers juxtaposed with the pulsating low end. The tension builds progressively, guiding the listener towards a soul-nourishing breakdown.

Hannes’ grasp of dance floor-friendly arrangement is evident in the effortless way in which he brings together various layers to tantalise and captivate throughout. As is typical of Hannes’ productions, this is a cut that moves the body and soul in equal measure. Dance floor groove and energy, with emotionally-charged elements that are designed to trigger unforgettable moments. A statement of intent, ‘Black Hole’ marks a brand new chapter for Hannes Bieger and signals the launch of his label Elektrons. A harmonious marriage of rhythm and melody with Hannes’ unique fingerprints all over it, this cut sets the bar high and gives a clear indication of the direction he’s taking with Elektrons.

(Photo by A K BERLIN PHOTO)


Hannes Bieger – Black Hole: https://paradise.ffm.to/blackhole
https://www.instagram.com/hannesbieger

 

April 1, 2024 0 comments
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Music News

“ELECTRICITY” IS THE NEW EXHILARATING COLLABORATION BETWEEN FAST BOY AND R3HAB

by the partae April 1, 2024
written by the partae

Artists: FAST BOY, R3HAB
Title: Electricity
Label: Universal Music/Virgin Records

Download / Stream

Introducing a must-listen track, the skyrocketing duo FAST BOY has joined forces with multi-platinum DJ and producer R3HAB on their new single “Electricity“. This powerful combination of R3HAB and the FAST BOY duo, composed of brothers Felix and Lucas, is a highly anticipated pairing resulting in a new banger that is likely to become a new electronic dance music anthem this year. Infused with a contagious beat and hype energy capable of pulling everyone to the dance floor, “FAST BOY x R3HAB – Electricity” is presented under Virgin Records and is available now on all major digital streaming platforms. Expected to make waves, the new track remains loyal to each producer’s signature styles. The combination of talents in this collaboration has taken this release to the next level, becoming an exhilarating track that will play on repeat. Exuding talent in this collaboration and presenting an uplifting and dance floor banger, “FAST BOY x R3HAB – Electricity” is poised to become a must-listen and must-dance-to track to ignite the upcoming spring-summer season in the company of these thrilling artists.

FAST BOY continues on a promising path to the top of their game in a skyrocketing and exciting music career. Amassing over 850 million streams across all platforms, and with over 10 million monthly listeners on Spotify alone, the career of producer, singer, and songwriter brothers include thrilling collaborations with artists such as Tiesto, Öwnboss, Goodboys, Nico Santos, Topic, Ofenbach, among many others. Their hit “Bad Memories“, produced with Meduza, James Carter, and Elley Duhé, has already surpassed one billion streams and received multiple platinum recognitions, including remixes by top artists such as David Guetta and Felix Jaehn. As the cherry on top of their achievements, the duo has also gained over one billion streams combined as songwriters.

Injecting his contagious and unique music style into this track is R3HAB, who has earned his place in the industry with a remarkable career. Maintaining a steady presence in Spotify’s Top 400 most-streamed artists, the DJ and producer also ranked 14th in the DJ Mag Top 100 DJs chart 2023, and his music has garnered over 11 billion streams across platforms. From his breakthrough remixes for Rihanna, Drake, Taylor Swift, Calvin Harris, Sia, Jason Derulo, Ed Sheeran, Tyga, Ellie Goulding, The Chainsmokers, P!nk, to name only a few, to collaborations with the likes of Ava Max, Luis Fonsi, Sean Paul, Afrojack, Armin van Buuren, Lukas Graham, Icona Pop, the impressive career of R3HAB also includes more than 80 recognitions between diamond, platinum and gold certificates, and global hits like “All Around The World (La La La)” and “Lullaby.”

More info on FAST BOY / R3HAB / Universal Music / Virgin Records:

FAST BOY: Facebook | Instagram | Spotify
R3HAB: Facebook
 | Instagram | Twitter | Spotify
Universal Music: Facebook
 | Instagram | Twitter | Website
Virgin Records: Facebook
 | Instagram | Twitter | Website
April 1, 2024 0 comments
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Music InterviewsMusic News

Interview – Unveiling Musical Journeys: A Conversation with Julia Sound

by the partae March 27, 2024
written by the partae

What inspired you to pursue a career in music production and composition, and how did Julia Sound come to fruition?

I became obsessed with music as a young kid, and learned the piano, and later also orchestral percussion. I segued into recording and mixing in my 20s, which naturally led to writing and producing . I spent years producing for other artists, and then when the pandemic hit, it seemed a good time to focus on my own art – Julia Sound is like the cumulative result of all of that.


Could you elaborate on why you chose to create “Julia Sound” as a project, and what sets it apart from your other musical endeavors?
I’d always loved electronic bands like Massive Attack, Chase & Status & Leftfield, who have the core band members but feature different vocalists on many songs, and I wanted to emulate that model. I had a ton of beats, snippets of tracks and ideas, and wanted to complete the songs, so I decided to reach out to different singers and rappers to see if they wanted to be a part of this collective. The project snowballed and now I have three full albums of material.

What led you to decide on making “Julia Sound” an instrumental album rather than incorporating vocals?
I love working with singers and rappers, in fact, I think that’s one of my strengths as a producer. However, for this album I wanted to get a little more experimental and also give myself the challenge of a fast turnaround on the tracks, and as such didn’t want to be thinking about lyrical themes. The result is an instrumental album, and the pieces are more of an improvised study in synths and beats than my other work. 

As a female musician, how do you perceive the role of women in the music industry, and how does that influence your work with Julia Sound?
I’ve been in the industry a long time, and for many years I was pretty much the only woman on the engineering and production side, in whichever studio and whichever city I was in. I’m really encouraged to see this has been changing over the last decade or so, with many more women entering the field from the technical side. I think it’s important all ‘voices’ and ideas are heard, and for so long, our industry has been the domain of men. I decided to make Julia Sound a 100% female (and non-binary) project to make space for this different sound and approach.

Can you share some of the key musical influences that have shaped the sound of Julia Sound, particularly those from 90’s and 00’s British electronica?
I think the 90’s and going into the 00’s was an incredible time for electronic music, and the scene in the UK was absolutely bursting with the creativity of brilliant electronic bands – Chemical Brothers, Underworld, Portishead, Massive Attack, Faithless to name a few. All these bands had tracks, albums and live shows that really resonated with me. Even if I listen to these albums less these days, they made an indelible impression on my musical tastes, so I think Julia Sound naturally leans into these influences.

How do you approach blending old synths with new plugins in your production process, and what do each contribute to the overall texture of the album?
I have a couple of old Roland synths (Juno 60 and JX3P) that I’d just got fixed, so they form the basis of some of these tracks. I also have a Korg Minilogue which is the key tone on ‘Quatre-Vingt-Quinze’. I tried not to get too prescriptive about what I used on each track, but I did find that blending a bunch of newer Native Instruments plugs, as well as Re-FX Vanguard with the analogue synths got me the results I was aiming for. 

In what ways does “Julia Sound” reflect your growth and evolution as a composer and producer since your earlier releases?
I think the project has given me the confidence to see myself as an artist and composer, whereas until then, I was more a producer for other people. It’s also given me the flexibility to put myself out there as a creator of music for visual media as well.

What inspired you to incorporate trip-hop elements into Julia Sound’s music, and how do you feel it enhances the listening experience?
As mentioned above, I think the trip-hop elements from some of my earlier musical influences naturally come out when I’m creating downtempo tracks. I also love listening to hip hop, so there’s crossover there from a beats perspective too.

Could you discuss the decision to introduce harder beats into “Julia Sound,” and how it adds to the overall aesthetic of the album?
I had leaned into some cool Native Instruments beats plug ins, with the Butch Vig drums forming the basis on a couple of the tracks. I wouldn’t have leaned into these tones on the first two albums, but they just seemed to fit this time round, probably because I was not focused on supporting any vocals and felt I had more freedom to increase the edge drum-wise as a result.

What significance do mellow synth pads, sound design, and smooth arpeggiators hold in creating the atmospheric moods of Julia Sound’s music?
I also listen to ambient music, and all these elements form the basis of that genre, so naturally become part of the melting pot of tones that I draw from.

What challenges did you encounter during the production of “Julia Sound,” and how did you navigate through them?
A goal I set for myself was to turn this album around super quickly, which in itself I guess could be considered challenging, because, as any music creator knows, the temptation is there to endlessly noodle and tweak. If I found myself going down a rabbit hole, I quickly stopped the track and moved onto a new one.

Looking ahead, what are your upcoming goals and aspirations for Julia Sound, and how do you envision the project evolving in the future?
One reason for setting myself the challenge of working fast was that I’d love to get into more composition for film and TV, and I know that turnaround times can be tight in that field. I think this project proved to myself I can create compelling music that would work well for visual media, so that’s something I’m going to explore. Also, now that I have a large body of Julia Sound tracks to draw from, I’m planning live shows. There’s a big appetite for live music of all kinds where I live (on the West Coast of BC) so I’m looking forward to taking some of these pieces to live audiences.
https://www.facebook.com/JuliaSoundMusic
https://www.instagram.com/thesoundgardenretreat/
March 27, 2024 0 comments
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Festival NewsMusic News

Knotfest, Melbourne, March 21, 2024

by the partae March 25, 2024
written by the partae

Photography: Louie Mosscrop

March 25, 2024 0 comments
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Music InterviewsMusic News

Interview – Transcending Genres: A Journey from Ljubljana to Berlin with Tzena

by the partae March 21, 2024
written by the partae

From its early beginnings in Ljubljana to Berlin, Tzena has made a name for himself in the European underground scene. Praised for his genre-transcending sets that take listeners on a journey, his music brings positive vibes with an energetic yet elegant style. Tzena sits with us to open up about his story, music philosophy and dreams in this interview.

The Partae: Thanks for being with us, Tzena. The first question is about your name, where does it come from?

Tzena: It’s an anagram of my name Nace (pronounced Na-tze), a kind of Balkan wordplay that involves replacing syllables. At the time, I thought it might be a clever idea, as I believed that foreigners would find it easier to pronounce than my actual name. As it turns out, it’s quite the opposite so I’ve been considering a name change somewhere in the back of my mind.

The Partae: Tell us about your journey as a DJ. How did it start and how did you develop into what you are today?

Tzena: Well, it might sound a bit cheesy, but my journey into DJing started before I even knew what a DJ was. As soon as I got my first iPod or MP3 player, I just always wanted to plug it into some speakers and play music to friends.

Then, in high school, things took a turn when one of my closest buddies bought a DJ controller, at the time we were into mainstream EDM. I started feeling left behind: “He’s going to be a DJ and not me?”. I vividly remember thinking, “I’ve watched many DJs at parties, and I bet I could do it better. I want to do this!” But making the big move wasn’t easy. It felt like DJs were from another planet, and I had no idea where to start. Until one day, I walked into a store, bought a controller, and just like that, I was a DJ – at least in theory.

We started spinning at birthday bashes and high school parties, you know, the usual stuff. Slowly, I started discovering new music and expanding into different genres like tech house, techno and deep house. After high school, my sound horizons expanded as I started going to raves and parties in Ljubljana, mostly Klub K4. Since then, I began collecting records like a maniac. At that point, I didn’t know yet other DJs playing vinyl in the Ljubljana scene. I relied on this website called Decks to order new records each week – a bit of techno, a sprinkle of Romanian minimal, Kerri Chandler re-presses, whatever I could find.

That’s when I started connecting with the Slovenian scene and I found myself immersed in a more underground rhythm. Francesco Del Garda and Nicolas Lutz were two of the artists that I first heard at K4 and it was a transformative experience, not just for me I think, but for the entire scene.

The Partae: You are now based in Berlin, why did you decide to make the move? Was it primarily for your DJ career, or are there other motivations?

Tzena: Yeah, it’s been on the cards for a while. At first, I was hesitant because I was worried about losing my identity in a big, chaotic city like Berlin, you know? We were really building something solid back in Slovenia with Luckison. But then the pandemic hit, and I also got together with my girlfriend, who was a big part of the decision. Plus, I felt like I was stuck in Slovenia – not making much money, no other career prospects, and lacking inspiration for digging or making music. Berlin offered a fresh start with various opportunities. Living with just my girlfriend also meant fewer distractions and more time to focus on myself and my music. It was definitely the right move for me.

The Partae: It’s interesting how the music scene is becoming more genreless, drawing influences from different styles. Yet it’s somehow important for a DJ to categorize or label their music for the audience. How would you describe your music with three adjectives?

Tzena: Honestly, the tracks that inspire me the most are the ones that defy easy categorization. They blend genres in ways that make you go, “What even is this?”.
Moving beyond genres, some adjectives describe the essence of my music and my approach to making it.

The first would be “smooth”. I don’t even know if this is a real adjective for music, but it is something I like to maintain while playing.
Another one is “positive”. There’s this happy vibe in house music that I try to capture. It’s like the foundation. Overall, I’d say my music has a general aura that leans towards the light rather than the dark.
Oh, and I’ve been hearing people describe my music as “elegant” lately, which I think is pretty cool. So, let’s go with that – elegance.

The Partae: Let’s now talk about your methodology in making music. How do you discover new music? Are you more of a record store person, or do you rely on online platforms?

Tzena: I do a bit of both. Living in Berlin now, I’m lucky to have access to such a variety of record stores and I should definitely go digging more often. Sometimes I’ll have a week where I hit up all the shops, and then I might go a couple of months without buying anything. It varies. But yeah, I try to take advantage of being here.
Of course, I also search for anything online, it’s a mix of different platforms and online stores: Discogs, Beatport, Juno, Decks, Bandcamp – whatever I feel like that day. Lately, I’ve been getting into new releases more. There’s been a surge of quality and originality of production in the last couple of years so I get to play a lot of newer stuff.

The Partae: How about your live performances? Do you have a specific method when you’re prepping for a set or do you prefer keeping it more spontaneous? 

Tzena: For me, one of the joys of DJing is figuring things out on the spot. I need the crowd in front of me to see what they react to before starting to put all the pieces together. Of course, I do some prep at home, especially with new records. But mostly, it’s about listening to tracks, understanding their vibe, and knowing how they start, how they end and how they flow. I tend to group tracks into different categories: Beginning of the set, big-time escalation, something in between etc.. That’s it. If I try to prepare too much at home, it just messes with my mood and somehow nothing works! Things come together better in the moment. That’s just how it works for me.

The Partae: You are part of the label Luckison together with other emerging Slovenian artists like Mayell, Mornik and Kosta and Tim Kern. Do you see the label as a platform for international exposure, or is it more of a casual project among friends?

Tzena: It was always more of an experiment than a serious project. The first couple of releases were just our own productions with no names. Whenever we felt like something was ready, we put it out but we didn’t really put much info out there, just a stamp on the record to see what happens. International exposure or not, the attitude was always meant to be casual.

The Partae: So, do you see the LuckIsOn leaning more towards releases or gigs?

Tzena: Definitely more towards gigs, and parties. The label is more like a safe space where to put music out there. We released other artists too. We had a release with some talented mates from London called Felon5 and we’ll have more with other artists in the future. We have to come across something truly interesting and unique – something fresh that hasn’t been heard before – that’s when we’re interested. Otherwise, we’re not actively hunting for music to release. If something falls into our lap and it feels genuinely cool and fresh, then we go for it. But we’re not in a rush to put out records just to keep things active. If we have something, great. If not, that’s fine too.

The Partae: And for you personally, do you prefer the production side or playing gigs?

Tzena: Personally, I’m still more of a DJ than a music maker. Playing music is what I enjoy most. But I do love being in the studio too. Both take a lot of time and dedication, especially if you’re juggling it with a day job. I enjoy both, and I started producing more so I could make tracks to play live. That’s how it all started to get more serious. So yeah, I’m more of a DJ than a producer, but they go hand in hand for me.

The Partae: Where do you see yourself playing in Berlin or Europe in the future? Any dream venues or festivals?

Tzena: I had a bucket list moment last year at Closer in Kyiv, Ukraine. Played there in February 2023: Incredible club, with amazing people. They’re struggling now due to the war, but they’re still doing cool daytime parties. Also, Robert Johnson in Offenbach (DE) has always been a dream spot. In Berlin I feel really comfortable at Hoppetosse and Club der Visionaere. Sometimes I forget how much of a dream come true it is to play there. There are plenty of clubs or festivals that I could name, but there are so many cool spots all over the world that it’s hard to single out any particular one. If I can just manage to play out regularly that’s a dream come true on it’s own!

Follow Tzena on Socials

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March 21, 2024 0 comments
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Music News

A mesmorising soundscape, Rain is the latest creation from the illustrious collective Queens Of Club

by the partae March 21, 2024
written by the partae

A captivating metaphor & double entendre. On one hand, it represents the cleansing downpour of emotions that washes away the residue of a night’s revelry. Yet, it also symbolises the unstoppable nature of Queens Of Club’s musical prowess. A force as steady and inevitable as a heavy rainfall. Featuring guest vocals from Evangeline, Rain transports listeners through a whirlwind of sensations.

Sultry beats and hypnotic pop melodies intertwine, mirroring the longing for intimacy after a night of boundless energy. But beneath this shimmering surface lies a darker complexity, a current that pulls the listener deeper. It’s here that the Queens Of Club’s true essence unfolds – moonlit, ethereal, and enigmatic. Let Rain wash over you, immersing you in its spellbinding allure. Surrender to the rhythm, and allow it to guide you through the emotional landscape it creates. Rain is more than just a song; it’s an experience. Out Now on all Platforms.

 

https://open.spotify.com/track/0KPfoW2XPqPbRf8bxrI6OU

https://noisehive.ffm.to/rain

https://www.instagram.com/queens_of_club/

https://www.facebook.com/thequeensofclub

March 21, 2024 0 comments
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Music InterviewsMusic News

Interview – “Driving Authentic Success: Inside Tracks To The Max’s Approach to Spotify Promotion and Artist Development”

by the partae March 21, 2024
written by the partae

What inspired the creation of Tracks To The Max and its focus on authentic promotion for Spotify? 

Our current focus is on developing the artists of tomorrow, providing them with the tools and platform they need to succeed. With our extensive experience and passion for music, we are well equipped to guide emerging talents towards achieving their dreams. We specialize in driving organic growth and engagement on popular streaming platforms. 

Can you elaborate on the significance of Spotify promotion in today’s music industry landscape? 

Spotify promotion is crucial for artists looking to establish themselves, expand their fan base, and succeed in today’s highly competitive music industry landscape. However, it’s important to note that while Spotify promotion is powerful, it should ideally be part of a broader, multi-platform promotional strategy to maximize reach and impact. Most importantly, the Spotify promotion must be completely real and organic; otherwise, you’re just wasting your time and money. Tracks To The Max promises real Spotify promotion, not like many others online. 

How does Tracks To The Max differentiate itself from other promotion services, particularly those that rely on bot-driven tactics? 

We focus on helping artists and labels grow their music with 100% real tactics. We pitch your music to our verified playlist curator network. We promise 100% genuine streams, steering clear of bots and fake methods, to ensure real people listen to your tunes. We research this approach not only to ensure compliance with Spotify’s guidelines but also to mitigate the risks associated with artificial inflation, such as account suspension or bans. We use tools like , artist.tools Is It a Good Playlist? Spot on Track 

, & to research the history and authenticity of playlists on Spotify to make sure you get 100% real streams. 

Could you discuss some key features of Tracks To The Max’s promotion services and how they ensure authenticity? 

100% Genuine Promotion: At Tracks To The Max, we offer genuine promotion services to 

  1. supercharge your music career. We help you reach a broader audience and achieve your career aspirations without any bots or risks.

100% Refund Guarantee: We stand by our promise to provide exceptional promotion 

2. services for your music. If, for any reason, you find that we are unable to effectively promote your music to your satisfaction, rest assured that we offer a 100% refund guarantee. 

10 Years of Experience: Our team at Tracks To The Max brings over a decade of experience 

  1. in music marketing, ensuring that your music reaches the right audience and makes a significant impact. We operate by Artists, for Artists.

Over 300M+ Streams Successfully Delivered: In the past five years alone, we have 

  1. successfully delivered more than 300 million streams for our clients, aiding them in gaining visibility and expanding their fan base.

Artist-Centric Approach: At Tracks To The Max, our experienced team understands the 

  1. unique needs of artists as they are artists themselves. We employ effective tactics tailored to your specific goals.
  1. Rated ‘Excellent’ (4.8/5) by Customers 4.8 out of : Customers have rated Tracks To The Max 5 on Trustpilot based on over 125 reviews. Check out what customers have to say here.

Focused on Results: At Tracks To The Max, we’re different from many music promotion 

  1. services because we focus on getting you the best results for your investment.

With over 100 million streams delivered across various campaigns, what factors do you attribute to the success of Tracks To The Max? 

Our bot-free promotion, results-oriented approach, 10 years of experience, and 100% refund guarantee make us stand out from others. 

Our repeat customer rate is really high because artists are thrilled to have found a trustworthy partner in the music promotion industry. 

Can you describe the process artists go through when utilizing Tracks To The Max’s promotion services? 

How it works: 

  1. Place Order

Select a campaign size that fits your budget and requirements, then place your order.

2. Pitching Process 

We pitch your track to our curator network within 1-2 days. They’ll review your song within 1-7 days to consider it for sharing. 

  1. Results 

Your song has been placed on a playlist(s), and it will stay there until you reach your campaign goal. You’ll also gain access to our customer dashboard. 

What sets Tracks To The Max apart in terms of customer satisfaction and transparency in pricing? 

Our support team is always available on Working hours: Monday-Friday, 9am-6pm (CEST). Our pricing is transparent and tailored to accommodate artists of all budgets. 

How does Tracks To The Max cater to artists of different budgets and levels of experience? Our pricing is transparent and tailored to accommodate artists of all budgets. From starter packages for newcomers to premium options for established acts, we offer a range of solutions to suit your promotional needs. 

Could you share some success stories or testimonials from artists who have utilized Tracks To The Max’s services? 

We’ve worked with big names like Mason, Carl Cox, Paul Oakenfold, and Shermanology, as well as Universal USA, DGTL, Labelworx. Plus, we’ve helped lots of independent artists and labels too. 

In addition to Spotify, what other platforms does Tracks To The Max offer promotion services for, and how do these services differ? 

In addition to Spotify, we also offers promotion services for and catering to SoundCloud YouTube, artists across different platforms. Whether you’re an aspiring rapper or an established indie band, our comprehensive solutions are designed to meet your specific needs. 

How does Tracks To The Max ensure that artists’ music reaches the right audience through their diverse network of playlists and industry connections? 

Our service is Genre-tailored. No, One-Size-Fits-All. We take care of pitching your track to the correct curators to make sure your music reaches the right ears. Let us help you navigate the complexities of digital marketing so you can focus on what you do best—creating unforgettable music.ven 100% Refund Guarantee, If we are unable to effectively promote your music. 100% Risk-Free. 

Looking ahead, what are the goals and future plans for Tracks To The Max in continuing to support artists’ growth and success on streaming platforms? 

Our current goal is developing the independent artists of tomorrow, providing them with the tools and platform they need to succeed. With our extensive experience and passion for music, we are well-equipped to guide emerging talents towards achieving their dreams. We want to help as many artist as possible to navigate to the complexities of digital marketing so they can focus on what you do best—creating unforgettable music. 

With over 10,000 happy customers on board, it’s time to join the success train and give your music the recognition it deserves. For more info on prices and options, check out our website.

 

WEBSITE

March 21, 2024 0 comments
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Music InterviewsMusic News

Interview – “Exploring the Divine: Unveiling the Mystical Journey of ‘Evensong’ with Composer Kevin Keller”

by the partae March 21, 2024
written by the partae

Your latest album, Evensong, seems to be a departure from your previous work, incorporating vocal music and drawing inspiration from Early Christian concepts. What led you to explore this new direction?

“Evensong” came to me in a vision. One day in October 2021, I was suddenly struck with the idea of incorporating songs by Hildegard of Bingen into a tapestry of string, piano, and synthesizers. All at once, the title and concept of the album were clear to me, and from that day forward, I was laser-focused on realizing this vision. I can’t really say where this album came from. Perhaps it was divine intervention, as the album felt like it landed in my lap, fully formed.

Could you share some insights into your creative process when incorporating the plainchant melodies of Hildegard of Bingen into your compositions for Evensong?

Although the theme and concept of “Evensong” was always clear to me, this ended up being the most challenging album I’ve ever made. My creative process was very slow, taking me a full year of experimenting with different sonic combinations and sounds before arriving at the one that felt right. Once I had just the right approach, the album came together fairly quickly. While composing the music, I was using existing recordings of the different chants and placing them into my demo tracks. Once everything was flowing, I then had to transcribe the vocal parts into traditional sheet music so that we could record the vocals in the studio.

The concept of Evensong takes listeners on a journey through various stages of life, from conception to beyond death. How did you approach translating these themes musically?

Very slowly and carefully! Once I decided to use the Church modes as my guide, things became a lot easier. It was a happy coincidence that the first Hildegard chant I adapted was “Favus distillans”, which talks about the virgin Ursula waiting to embrace God. I took this as a metaphor for conception, and the image of an ovum floating in the Fallopian tubes waiting to be fertilized. This image led to the sounds you hear on “Evensong 1”. The album then proceeded from there, moving through the different stages of life, using an ascending pattern through the Church modes as the guide.

You’ve been composing music for nearly three decades now. How has your approach to music evolved over the years, and how does Evensong reflect this evolution?

Well actually, I’ve been composing for over 40 years, and recording albums for 30 years. My approach to music has always come from a place of improvisation and experimentation, while exploring the mysteries of life and death. Each album has explored a different theme or idea: memory, death, mysticism, grief, loss. While the sounds and instruments differ from one album to the next, there is always a common thread that weaves through the entire catalog.

Can you elaborate on the significance of the church modes and their influence on the different tracks in Evensong? How did you use these modes to convey the emotions and narratives of each stage of life?

The Church modes were the key to how this story unfolds. Since I had chosen “Favus distillans” as the opening chant, and this chant is written in Phrygian mode, the subsequent chapters of the story were influenced by the modes that follow Phrygian. So, “Evensong 2” has a very mystical and magical feel to it because it’s in Lydian mode, while “Evensong 3” is more uplifting and childlike because it’s in Mixolydian. Those two tracks are about early childhood, and the sense of play and wonder that we all have at that age. Those two modes really helped express those emotions. And this was also the case with Aeolian (Evensong 4), Ionian (Evensong 6), and Dorian mode (Evensong 7). I decided to end the album with the same mode that I began with (Phrygian), since it felt right to close the circle and take the listener back to the beginning of the journey.

The combination of classical textures and modern timbres in Evensong creates a unique sonic landscape. How did you strike a balance between tradition and innovation in your production process?

This has always been a big mystery to me! When I’m working, I find myself in “the zone” and I don’t really remember how the music is made. I am always searching for new sounds and textures, and in this case, I combined those new sounds with the traditional sounds of voices and strings. Much of it was created intuitively, and I was often very surprised by the outcome. “Evensong 3”, in particular, was a huge surprise to me, because the Hildegard song that I used (“Columba aspexit”) ended up fitting perfectly into that percolating synthesizer music. It was an experiment that simply worked.

The album’s fifth track, “Evensong 5,” is described as the most intense. What inspired the intensity of this particular piece, and how does it contribute to the overall narrative arc of the album?

“Evensong 5” deals with the conflict and struggles of adulthood, as well as the uncertainty we all face. It was a challenging piece to compose. It is expressing that crisis point in our lives between childhood and old age. It’s the turning point of the album, just as it is the turning point in our life’s journey.

What role do the four female voices play in Evensong, and how did you approach integrating them into the compositions?

The voices are the main characters in the story. They are like the narrators, guiding you through the journey. As such, it was more about integrating the music into the vocals, rather than the other way around. The voices and the text were the focal points around which the music grew and developed. 

Your music has often been described as deeply contemplative. How do you cultivate this sense of contemplation in your compositions, particularly in Evensong?

I think that it grows out of my own contemplations. I put myself completely into my work, and my music is a direct reflection of what’s going on for me as I compose it. It’s a very personal creative process. Since I am a fairly solitary person who spends a lot of time outdoors contemplating life’s mysteries, this comes through naturally in the music that I create.

Can you tell us more about the plainchant melody you wrote in homage to Hildegard’s style for the album’s finale? 

For “Evensong 8”, I found an Anglican prayer for the end of the day, and this became the text. I composed an original plainchant in Phrygian mode to express the words and the images in the text. That melody came to me intuitively. It wasn’t something that I spent a great deal of time on. Much like the rest of the album, “Evensong 8” felt like it arrived in my studio fully formed

As a composer based in New York, how does the city’s vibrant music scene influence your work and artistic vision?

I find myself being more influenced by the art and architecture of New York City. I regularly visit the Metropolitan Museum of Art, and other art museums and galleries around the City, and this inspires me a great deal. I don’t attend that many music events, surprisingly. I sort of live in my own little bubble!

Looking ahead, what do you hope listeners will take away from Evensong, and what can they expect from your future projects?

I hope that people are inspired by “Evensong”, and that the music accompanies them on their own life’s journey. The same goes for my future albums. I never know where the journey will take me next.

www.kevinkeller.com

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www.instagram.com/kevinkellerpro
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March 21, 2024 0 comments
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Music News

LORENZO GUEVARRA releases bewitching debut single, ‘AS WELL AS I DO’

by the partae March 21, 2024
written by the partae

Photo by: Tom Southey

Sydney artist Lorenzo Guevarra has just released his debut single, a stunning indie folk track titled ‘As Well As I Do’. A bewitching song built up of warm acoustic strings, twinkling chimes, as well as Lorenzo’s gentle and velvety vocals, this debut release marks Lorenzo as a true indie folk treasure in the making.

Inspired by the likes of Passenger and Damien Rice, Lorenzo leaned into the styles of many of his musical influences while working on ‘As Well As I Do’, looking to the former particularly in the writing of the track, and to the latter in its production:

“The song was written on acoustic guitar and has seen little change over the years. At the time of writing, I was obsessed with Passenger and loved his way of fingerpicking the melodic lines of his songs before the words came in… At the time of recording I was listening heavily to Damien Rice’s ‘My Favourite Faded Fantasy’ record and drew some inspiration from its production, particularly the orchestral arrangement of the tracks. The string section ideas came organically as we kept replaying what we had. The song’s melody left much space to experiment so we didn’t have to force anything.”  LORENZO GUEVARRA

Written by Lorenzo back in 2017, shortly after he graduated from university, ‘As Well As I Do’ 

was “inspired by two of [his] friends who started a relationship when [they] were in school. It was a largely turbulent one, constantly reshaping itself over the course of [their] education. The heart of the song was sparked by how they handled the “final” breakup. There was a mutual understanding that it was for the better and lacked the violence, drama & ugliness that usually accompanied the enterprise.” Lorenzo remarks that they “were about 20-21 which [he] thought was impressively mature.” 

Coming back to this song at a later point, with different experiences and perspectives, Lorenzo shaped the track into what it is today. In the midst, then, of “processing a recent breakup of [his] own, the memory of this song helped [Guevarra to] maintain a state of grace throughout the ordeal” in a “roundabout way.”

Remoulding and readjusting the tune into its final, glittering form, Lorenzo’s years-long project makes for a deeply impressive debut single, demonstrating the passion, patience and care which inevitably went into the end product. 

‘As Well As I Do’ is out everywhere 

 

Play/Listen

‘As Well As I Do’ is out now

Lorenzo Guevarra: triple j Unearthed | Instagram | YouTube

March 21, 2024 0 comments
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Festival NewsMusic News

RACE FANS INVITED TAKE THE FRONT SEAT IN A LUXURY SUPERCAR WITH JACK’S RIDES

by the partae March 20, 2024
written by the partae

Bringing the track to Melbourne’s streets, Jack Daniel’s is offering fans complimentary rides between some of the city’s most popular venues in a pair of racing inspired supercars 

In celebration of its partnership with the McLaren Formula 1 Racing Team, Jack Daniel’s Tennessee Whiskey is bringing the exhilaration of the racing circuit to Melbourne’s streets by offering fans the exclusive opportunity to take a complimentary adrenaline-fuelled drive in a pair of luxury supercars via some of Jack’s favourite venues. 

From Friday 22 to Sunday 24 March, ‘Jack’s Rides’ will transport locals and visitors alike from the city to South Melbourne and back, whether they were lucky enough to snag a ticket and are getting amongst the action at Albert Park, or just want to soak up the heart-pumping energy of the circuit off-track. 

Those looking to roll up on race day in style will be able to book a ride from 12:00pm each day, with the supercars picking up fans in pairs from the Next Hotel on Little Collins Street in the heart of the city and dropping them off at South Melbourne icon, the Golden Gate Hotel – just a short stroll from the Albert Park entrance. 

Then, for fans keen to rev their engines into the night, until 10:00pm each night, there will be an option to add an electrifying evening ride from the Golden Gate Hotel to popular drinks den, George on Collins or the city’s largest rooftop bar, Good Heavens. 

To book a ride, fans can register their name with the Jack’s Host at the entrance of each of the designated venues. Each ride will also have a complimentary Jack Daniel’s cocktail waiting at the finish line. 

As an added bonus, each pair of passengers will also have the opportunity to communicate with each other through on-board headsets just as a driver would in a real racing car. 

Excited to bring a taste of the race track to the Melbourne masses, Tom Rogers, Senior Brand Manager at Jack Daniel’s Australia, commented: 

“Our partnership with the McLaren Formula 1 Racing Team is all about giving fans unique opportunities to celebrate the best in team sport. Through offering rides in some of the most exclusive

supercars in Australia, we’re so excited to be giving fans the chance to not only see, but feel first-hand the thrill of being part of the pinnacle of racing.” 

Beyond the Jack’s Rides: Luxury Supercars Experience, Jack Daniel’s will also be delighting fans with a series of venue takeovers at some of Melbourne’s most popular venues over the race weekend including the Next Hotel, George on Collins, Good Heavens and Golden Gate Hotel. 

March 20, 2024 0 comments
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Music News

Elevate Your Music with Authentic Promotion from Tracks To The Max

by the partae March 20, 2024
written by the partae

Tracks To The Max

 

Elevate Your Spotify Game with Authentic Promotion

In the bustling realm of music streaming, making waves on platforms like Spotify is essential for artists and labels alike. Yet, amidst the sea of tracks, standing out can feel like a Herculean task. Fear not, because Tracks To The Max offers genuine promotion services that serve as a beacon of hope for musicians striving to amplify their presence.

The Power of Spotify Promotion

Spotify, with its vast user base and algorithm-driven playlists, offers a fertile ground for music discovery. However, without effective promotion, even the most exceptional tracks risk fading into obscurity. Genuine promotion not only boosts streams but also enhances discoverability, paving the way for long-term growth opportunities.

Spotify Promotion

Authentic Growth vs. Bot-Driven Tactics

Unlike dubious services that rely on bot-generated streams, Tracks To The Max’s authentic promotion focuses on real engagement from genuine listeners. This approach not only ensures compliance with Spotify’s guidelines but also mitigates the risks associated with artificial inflation, such as account suspension or bans.

Key Highlights of the Service

Tracks To The Max’s service places authenticity above all else. They guarantee 100% real streams, steering clear of any bot-driven tactics. By closely adhering to Spotify’s rules, they safeguard your account against potential penalties, providing peace of mind throughout the promotion process.

Impressive Achievements

With over 100 million streams delivered across various campaigns, Tracks To The Max’s track record speaks volumes about their efficacy. They boast a diverse network of 2500+ playlists, curated by genuine tastemakers who prioritize quality over quantity. Their direct connections with 250+ industry influencers ensure that your music reaches the right ears.

Proven Success Stories

Over the past five years, Tracks To The Max has executed over 10,000 successful campaigns, helping artists of all genres gain traction on Spotify. But don’t just take their word for it—satisfied clients can attest to the effectiveness of their services.

The Process Made Simple

Tracks To The Max’s promotion process is simple yet comprehensive. Upon submission, their team carefully evaluates your music and devises a tailored strategy for maximum impact. From playlist pitching to social media promotion, they leave no stone unturned in their quest to elevate your Spotify presence.

Why Choose Tracks To The Max?

What sets Tracks To The Max apart is their unwavering commitment to authenticity and results. Unlike other services that promise shortcuts to success, they prioritize sustainable growth that withstands the test of time. With them, you’re not just a number; you’re a valued partner on the journey to musical success.

Diverse Promotion Offerings

In addition to Spotify, Tracks To The Max also offers promotion services for SoundCloud and YouTube, catering to artists across different platforms. Whether you’re an aspiring rapper or an established indie band, their comprehensive solutions are designed to meet your specific needs.

Customer Satisfaction Guaranteed

At the heart of Tracks To The Max’s service lies customer satisfaction. They go above and beyond to ensure that every client is satisfied with the results. In the rare event that expectations aren’t met, they offer transparent refund policies to uphold their commitment to excellence.

Trustpilot

Transparent Pricing and Packages

Tracks To The Max’s pricing is transparent and tailored to accommodate artists of all budgets. From starter packages for newcomers to premium options for established acts, they offer a range of solutions to suit your promotional needs.

Ready to Take the Leap?

Ready to take your Spotify presence to new heights? Getting started is easy—simply head to their website and select your desired package. Their friendly team is standing by to assist you every step of the way.

In the competitive landscape of music promotion, authenticity is the ultimate currency. With Tracks To The Max’s Spotify promotion service, you can elevate your presence on the world’s leading streaming platform with confidence. Say goodbye to bots and artificial inflation—choose genuine promotion that delivers real results.

 

Visit: Tracks To The Max

March 20, 2024 0 comments
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Introducing… Mickey Avalon & The F*ck Boys First Single “Wasting Your Time” Out Now!
Music News

Introducing… Mickey Avalon & The F*ck Boys First Single “Wasting Your Time” Out Now!

by the partae March 19, 2024
written by the partae

Wasting Your Time

March 19, 2024 0 comments
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Festival NewsMusic News

PARKWAY DRIVE ANNOUNCE 20 YEAR ANNIVERSARY TOUR WITH SPECIAL GUESTS I PREVAIL (USA) THE GHOST INSIDE (USA) + VOID OF VISION

by the partae March 19, 2024
written by the partae
Two decades ago, a band that would go on to pioneer and dominate the landscape of heavy music was born on the sunny shores of Byron Bay. Now in 2024, Australian metal titans PARKWAY DRIVE will triumphantly return to home soil this September to celebrate their 20th anniversary with their biggest headline tour to date, with the 20 Year Anniversary Tour set to ignite stadiums and arenas across the country, alongside very special guests I PREVAIL (USA), THE GHOST INSIDE (USA) and Void Of Vision.

A world-first experience and 20 unforgettable years in the making, Australia will play home in 2024 to PARKWAY DRIVE‘s brand new production; the band’s biggest show they have ever produced fittingly set to christen in their own backyard as part of the 20 Year Anniversary Tour.

“Australia, it’s been a while. To be honest, it feels like forever. We didn’t plan it to be this way, but then again we didn’t plan on making it this far in the first place. So here it is, we’re finally back, with the biggest headlining tour we have done, anywhere, ever, full stop. A celebration of a 20 year journey, of the roads we have walked through, the generations, to the path we still define, our own. 20 years, through blood sweat and tears. Still Australian, still unbreakable. Australia, turn the fuck up and make us proud, this is one for the history books” – Winston McCall, Parkway Drive

Wielding an incomparable legacy lined with boundless innovation, the juggernaut journey for PARKWAY DRIVE from teenage metal underdogs into becoming an unstoppable global force is one most could only dream of. With seven full-length albums in their wake, PARKWAY DRIVE have also scored three consecutive #1 releases on the ARIA Albums Chart courtesy of 2015’s Ire, 2018’s Reverence and, most recently, 2022’s Darker Still. With six of their albums certified Gold in Australia and multiple ARIA wins under their belts, the five-piece have also garnered worldwide chart success, cementing their status as a festival-headlining behemoth alongside three documentaries, a live album, millions of streams and thousands of live performances.

Also armed with an unforgettable live prowess which has sold out arenas and stupefied festival crowds worldwide, PARKWAY DRIVE‘s formidable reputation in a live setting doesn’t merely live up to the hype; it sets the hype on fire, literally. Transcending their metalcore foundations into another stratosphere, the spectacle of a PARKWAY DRIVE performance is one that stays with you well after the stage has emptied, with the band previously headlining the likes of Wacken, Good Things Festival in Australia and So What?! Festival amongst countless shows with some of the biggest names in metal, including Lamb Of God, Soulfly and Killswitch Engage.

Platinum-certified and twice Grammy-nominated Michigan rock powerhouse I PREVAIL will return down under this September to unleash their towering wares Australia-wide. An arena-level band, I PREVAIL have racked up billions of streams, close to 400 million views on YouTube, and toured the globe extensively. Catch I PREVAIL playing hits from across their entire catalogue this September.

Forming in California, THE GHOST INSIDE have survived and thrived against unimaginable odds since erupting onto the scene with their 2008 debut album Fury and the Fallen Ones. Blending the new wave of metalcore with driving punk hues, THE GHOST INSIDE cleave aggressive sounds with thoughtful thematics and melodics, and are set to release their sixth album Searching for Solace this April.

The Melbourne entity known as VOID OF VISION have solidified their standing as one of the most innovative and sonically explosive acts in the modern heavy scene for over a decade. From performing at Australia’s first ever Knotfest in 2024 alongside Slipknot, Parkway Drive and Megadeth through to their most recent groundbreaking single Angel Of Darkness, VOID OF VISION ceaselessly astonish.

Don’t miss your chance to witness PARKWAY DRIVE‘s biggest headline tour to date this September, this will absolutely be one for the ages.

Early bird pre-sale tickets on sale: Tuesday 26 March @ 9am local time

To Gain Early Ticket Access Register Here -> https://daltours.cc/PWD20Yrs

General tickets on sale: Thursday 28 March @ 9am local time
Tickets from destroyalllines.com

PARKWAY DRIVE
20 YEAR ANNIVERSARY TOUR

WITH SPECIAL GUESTS
I PREVAIL (USA)
THE GHOST INSIDE (USA) + VOID OF VISION

FRIDAY 20 SEPTEMBER – BRISBANE ENTERTAINMENT CENTRE, BRISBANE
SATURDAY 21 SEPTEMBER – QUDOS BANK ARENA, SYDNEY
SUNDAY 22 SEPTEMBER – JOHN CAIN ARENA, MELBOURNE

FRIDAY 27 SEPTEMBER – AEC ARENA, ADELAIDE
SUNDAY 29 SEPTEMBER – HBF STADIUM, PERTH

General tickets on sale: Thursday 28 March @ 9am local time
Tickets from destroyalllines.com

March 19, 2024 0 comments
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