Photography: Jake Harm Nam
Photography and Review: Darren Chan
On a cool spring evening, Rod Laver Arena was set ablaze — literally and figuratively — as Tennessee powerhouse Jelly Roll brought his blend of country soul, hip-hop grit, and gospel heart to a sold-out Melbourne crowd. It was part rock show, part revival, and all heart.
The night opened with Drew Baldridge, the Illinois-born country artist known for his big-hearted lyrics. Backed by a dynamic live band, Baldridge wasted no time winning over the crowd with crowd-pleasers like “She’s Somebody’s Daughter” before throwing in a few Aussie-flavoured surprises — a roaring cover of AC/DC’s “Highway to Hell” and a gritty take on Cold Chisel’s “Working Class Man”, which drew a deafening singalong from the crowd.
Between acts, DJ Chill turned the arena into an impromptu block party, spinning everything from Snoop Dogg to Lynyrd Skynyrd and keeping the crowd buzzing.
Next up was Shaboozey, the Virginia-born trailblazer currently redefining modern country with hip-hop swagger and crossover hits like “A Bar Song (Tipsy)”. His set was tight, confident, and effortlessly cool. With a full band behind him, Shaboozey moved between smooth R&B flow and Southern grit, earning cheers and appreciation from new fans.
On the rear stage, rising Nashville star Julia Cole made a surprise cameo — her strong vocals and relaxed stage presence delivered her music in pure Nashville country style.
When the lights dropped and the flaming house frame ignited at the back of the stage, Jelly Roll appeared like a man stepping out of his own story. Opening with “I Am Not Okay,” the raw honesty in his voice hit hard — and the crowd was his from that moment on.
From there, the set moved through an emotional delivery of “Heart of Stone,” “Get By,” “Liar,” and a mashup of “Take Me Home, Country Roads / Lonely Road.” Each song was a confession — gritty, grateful, and honest.
Midway through, Jelly welcomed Shaboozey onstage for a powerful rendition of “Amen,” the two artists trading verses like old friends. Later, Drew Baldridge returned for a massive, beer-raising cover of “Friends in Low Places” that turned Rod Laver Arena into one big honky-tonk choir.
Between hits like “Hard Fought Hallelujah,” “Halfway to Hell,” “Bottle and Mary Jane,” and “Son of a Sinner,”Jelly balanced pain and praise, struggle and salvation. The fire and pyro might have been spectacular, but it was his authenticity that burned brightest.
A covers medley — “Sweet Home Alabama,” “How You Remind Me,” “Party Up,” “Flowers,” and “Young, Wild & Free” — A Night to Remember started to show Jelly’s energy waning.
Jelly Roll took to the rear stage alone for the finale “Save Me.” As rain began to pour down over him creating an unfiltered cinematic moment — he sang like a man laying everything bare – the crowd fixated on every word. It was Jelly’s symbol of redemption and why his story resonates so deeply with so many people.
It was powerful, emotive, and honest show that blurred genres and boundaries — proof that Jelly Roll is on the journey to redefining himself and his music.
“Majestically maneuvering between indie rock, trip-hop, psychedelia, dream-pop, darkwave, shoegaze, and garage punk, among many other sounds and textures, THE HORRORS enraptured the spectators at Dark Mofo in a sonically wondrous journey. The five-piece undeniably bring ‘all wonders to light’ with their scintillating soundscapes and lustral gothic poetry, which coalesce entrancingly in magnificence.”
– William Oakeshott (Wall Of Sound)
Earlier this year, The Horrors made a captivating exclusive appearance at Dark Mofo in Hobart and treated Melbourne fans to an intimate Live at 3RRR set ahead of the festival. The visit marked the group’s first Australian shows since 2012, when they appeared at Laneway Festival alongside a run of headline shows in support of their third studio album Skying.
In April 2026, The Horrors are set to return to Australia for a headline national tour, today announcing dates in Brisbane, Sydney, Melbourne, Adelaide, and Perth.
After nearly 20 years making music, few bands have created a canon as determinedly innovative and consistently acclaimed as The Horrors. Emerging as zeitgeist-shaking garage-goths on their 2007 debut Strange House, before taking a sharp left turn for their Mercury-nominated follow-up Primary Colours, The Horrors have continually evolved — roaming freely between genres.
Their 2011 album Skying won the NME Award for Best Album, while V (2017) was hailed as “a triumph” by The Guardian in a five-star review. Their 2021 EPs Lout and Against The Blade ushered in a new era with their most industrial and uncompromising sound yet.
Now, with their brand new album Night Life, The Horrors return with a record of weight and space; of melancholy and euphoria. It’s a work that entwines the visceral and the sublime — the thoughts that bloom under cover of darkness, when the rest of the world sleeps. Night Life rekindles the raw, instinctive spirit of their early years while expanding their sonic reach into thrilling new territory.
Tour Dates — The Horrors “Night Life” Australia 2026
Friday 10th April – Princess Theatre – Brisbane
Saturday 11th April – Manning Bar – Sydney
Sunday 12th April – Northcote Theatre – Melbourne
Tuesday 14th April – Lion Arts Factory – Adelaide
Wednesday 15th April – Rosemount – Perth
Presale: Friday 31st October, 9:00am local time
General On Sale: Monday 3rd November, 9:00am local time
Presented by Premier Artists, ThePhoenix.au & 3RRR (Melbourne only)
For tickets and more information, visit thephoenix.au
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What first inspired you to create “Japanese Onsen,” and how did your trip to Japan with your son shape its emotional core?
Upon my son’s college graduation, we decided to take a trip to Japan. I had never been to Asia before, and we wanted to experience both big-city life and small towns. One of my friends recommended Kinosaki since I was interested in its Onsen culture. While researching the trip, a month before we left, the main melody you hear in Japanese Onsen came to me, and I recorded it in my studio. The title came later, after the trip — which turned out to be deeply magical and emotional. The heart of it was spending time with my son, who would soon be moving away for work.
Can you describe the moment in Japan when you knew this experience would become music?
Walking around the shrines and forests in Kyoto, and later experiencing the Onsen and Ryokan life in Kinosaki, solidified the musical vision. It was peaceful, quiet, and completely different from the energy of big cities. My next project captures Tokyo’s urban pulse — with a traditional cultural twist.
How did the sounds and atmosphere of Kinosaki’s hot spring villages influence your approach to rhythm and texture?
While composing, I dimmed the lights in my studio, bathed the room in red light, and played a video of hot springs. It brought me straight back to that atmosphere.
In what ways did Kyoto’s temples and shrines inform the tone or spiritual feeling of the composition?
I bought a small Torii gate for my studio — like the ones at Fushimi Inari Shrine. My son and I avoided the main crowds and stumbled upon a quiet bamboo forest where I began forming new melodies in my head. That stillness found its way into the song.
You’ve explored a wide range of sonic worlds as Monster Taxi — what makes “Japanese Onsen” stand apart from your previous work?
A lot of my recent songs are inspired by places and family experiences. Reflect came from a trip to Arizona with my father. Field of Dreams was born from a journey through rural America with my daughter. Pacifica was inspired by Oregon’s coastlines. Japanese Onsen continues that pattern — rooted in emotional travel memories. I wanted this one to authentically reflect Japan’s landscapes and culture. Danny Rein’s video brings it to life beautifully, transforming my photos into anime-like visions. Everything shown in that video really happened. And yes, I still owe my mother a song — and Iceland may be next!
Was there a particular sound or field recording from your travels that made it into the final piece?
I recorded train station sounds for a future Tokyo-inspired track, but not for Japanese Onsen. Everything you hear was crafted with my synths, instruments, and sound libraries — especially Arturia, which provided many of the Asian tones.
How do you balance capturing the authenticity of a place while still translating it into your own musical language?
Honestly, a lot of it is instinct. I experiment until it feels right. Many of the best parts were happy accidents — like the improvised middle solo, done in one take. I considered bringing in traditional Japanese instruments like the Shamisen and Shakuhachi, but what I had already felt authentic and complete.
What role does family connection play in your creative process, especially in translating shared experiences into sound?
Family and friendship are my creative fuel. They bring the magic and emotion that turn ideas into melodies.
How do you hope listeners feel when they immerse themselves in “Japanese Onsen” for the first time?
I hope they find peace and beauty in the song — and maybe feel inspired to travel to Japan themselves.
If you could return to one moment from that trip with your son, where would it be — and what sound would you want to capture there?
Sitting with my son in the ancient Onsen of Goshono-Yu in Kinosaki, followed by our Kaiseki dinner in Kyoto’s Geisha district. The central section of the song captures the Onsen, while the middle reflects that intimate Kaiseki experience.
Newcastle and Brisbane sold out!
Final tickets on sale now for Sydney this weekend + Melbourne
Sydney, it’s finally happening: Daniel Johns is back on stage for the first time in over five years with In Conversation: What If The Future Never Happened? kicking off this Saturday 1 November at Sydney’s State Theatre. The tour then hits Newcastle, Brisbane and Melbourne this November – and trust us, you won’t want to miss it.
With Newcastle and Brisbane shows already sold out, final tickets remain for Sydney’s opening night this weekend, as well as Melbourne’s Palais Theatre on Thursday 13 November. Grab them now via frontiertouring.com/
These are one-of-a-kind nights of storytelling, film, and music with one of Australia’s most iconic and enigmatic artists. Each evening celebrates the worldwide premiere of Johns’ highly anticipated short film, What If The Future Never Happened?, and features an intimate, hour-plus conversation where Daniel shares his creative secrets, never-before-seen photos and footage, unreleased demos, and music spanning his Silverchair days to his acclaimed solo work.
Joining Daniel onstage to guide the chaos is beloved broadcaster, musician and unicorn, Double J’s Dylan Lewis (aka D Lord The Prophet), alongside Luke Eblen (Creative Director). Lewis will take the mic as MC, alongside Ebflow and Dr Dream. Known for his infectious energy, quick wit and deep love of music, Dylan first burst into living rooms as the host of ABC’s cult ’90s music show Recovery, redefining how a generation connected with live music.
Since then, Dylan’s carved out a celebrated career across radio and television, from winning hearts (and trophies) on Celebrity Big Brother and I’m A Celebrity Get Me Out Of Here, to soundtracking lives on Double J, triple j, Nova and beyond. Whether on stage with one of his funk bands or choirs, or behind the mic on the radio or in front of the camera on telly, Dylan brings a rare mix of warmth, chaos and rizz – the perfect guide for an unforgettable night of conversation, storytelling and sonic exploration with Daniel. He loves you. Boom.
This is your chance to be part of something truly unrepeatable – an evening of deep dives, stories, music, and surprises with Daniel Johns as he celebrates What If The Future Never Happened? and the 30th anniversary of Frogstomp. Don’t wait. Tickets are nearly gone!
About Daniel Johns
With six #1 albums and a career marked by reinvention, Daniel Johns stands as the most decorated Australian songwriter of his generation. As the frontman of Silverchair, he led the band to an unprecedented run: five studio albums between 1995 and 2007, each debuting at #1 on the ARIA Albums Chart and collectively selling more than 10 million copies worldwide. Along the way, Johns became the first artist in history to claim APRA’s Songwriter of the Year award three times, cementing his reputation as one our most innovative musicians.
DANIEL JOHNS IN CONVERSATION: WHAT IF THE FUTURE NEVER HAPPENED?
+ special guest host Dylan Lewis
AUSTRALIA
NOVEMBER 2025
Presented by Frontier Touring
TICKETS ON SALE NOW
via frontiertouring.com/
ALL SHOWS LICENSED ALL AGES
Saturday 1 November
State Theatre | Sydney, NSW
ticketmaster.com.au
FINAL TICKETS
Friday 7 November
Newcastle Civic Theatre | Newcastle, NSW
SOLD OUT!
Sunday 9 November
Fortitude Music Hall | Brisbane, QLD
SOLD OUT!
Thursday 13 November
Palais Theatre | Melbourne, VIC
ticketmaster.com.au
FINAL TICKETS
Patrons are advised to purchase tickets only through authorised ticket sellers.
We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website.
FOLLOW DANIEL JOHNS:
Website | Facebook | Instagram | X | YouTube | Spotify | Apple Music
BUY TICKETS HERE
BUY/STREAM LOVE BALLOON
Beloved Aussie rockers Ocean Alley have announced five massive new shows to their 2026 Summer run, celebrating their acclaimed new album Love Balloon.
With previously announced dates selling fast, the band will now extend their tour along the Australian coast and regional locations this March with shows presented by SummerSalt – kicking off at Exhibition Park, Canberra (7 March), then heading to Torquay Common (8 March), Speers Point Park in Lake Macquarie (14 March), Sunshine Coast Stadium (15 March) and wrapping up at Glenelg Beach, Adelaide (21 March). They’ll be joined by an all-star lineup including DIY heroes Skegss, American rock band Allah-Las (all shows except Adelaide), Byron Bay psychedelic rockers Babe Rainbow, Melbourne garage rockers The Grogans (Adelaide only), indie-rock five piece Mid Drift, indie/psych-pop pals Le Shiv and raw indie-rockers Seaside – making for one of the band’s biggest outdoor tours to date.
Fans can secure tickets via the Artist Presale from 9am on Thursday 30 October until 8am Friday 31 October local. Register for presale access at oceanalley.com.au.
These shows follow Ocean Alley’s capital city run in January, which will mark their largest ever headline dates, with stops in Melbourne, Brisbane, Sydney, Fremantle and Margaret River. East Coast shows feature Nothing But Thieves, Rainbow Kitten Surprise and Ruby Fields, while the West Coast welcomes Skegss, Ruby Fields and rising Perth outfit Smol Fish.
The tour comes on the heels of Love Balloon’s release – the band’s fifth studio album, which debuted at #1 on the ARIA Vinyl and Australian Album Charts, #3 on the ARIA Albums Chart and has remained in the Top 10 Australian Album Charts for six weeks. A journey through love and life in all its colour and chaos, the record is anchored by moments of light, vulnerability and connection, led by the luminous single “Drenched” and its nostalgic early-2000s-inspired video.
The new dates round out a huge 2025 for Ocean Alley – including their biggest headline show to date at London’s Alexandra Palace, two North American tours and their first South American shows across Brazil, Chile and Mexico. The band also made festival appearances at Lollapalooza, Sziget and Austin City Limits, as well as their breakthrough hit “Confidence” placing #65 in triple j’s Hottest 100 of Australian Songs.
With over 1 billion streams and a reputation for magnetic live performances, Ocean Alley have become one of Australia’s most successful musical exports. Across five albums – including 2022’s Low Altitude Living – the six-piece (Baden Donegal, Angus Goodwin, Lach Galbraith, Mitch Galbraith, Tom O’Brien and Nic Blom) continue to evolve their unmistakable sound. With chart success across Australia, New Zealand, the UK and the US – and nine Gold or higher accredited singles – Ocean Alley are stepping confidently into a bold new chapter, with stadium-sized ambition and an enduring global legacy in sight.
OCEAN ALLEY
AUSTRALIAN COASTAL TOUR 2026
With special guests Skegss, Allah-Las*, Babe Rainbow, The Grogans^, Mid Drift, Le Shiv and Seaside
Presented by SummerSalt & Face To Face, Supported by triple j
TICKET INFO HERE
Saturday 7 March – Exhibition Park, Canberra, ACT
Sunday 8 March – Torquay Common, Torquay, VIC
Sat 14 March – Speers Point Park, Lake Macquarie, NSW
Sunday 15 March – Sunshine Coast Stadium, Sunshine Coast, QLD
Saturday 21 March – Glenelg Beach, Adelaide, SA
*Not playing Adelaide, ^ playing Adelaide only
TICKETS ON SALE FRIDAY 31 OCTOBER, 9AM LOCAL
Artist Presale: Thursday 30 October, 9am – Friday 31 October, 8am local
Live Nation and Face To Face Presale: Thursday 30 October, 9am – Friday 31 October, 8am local
Spotify Presale: Thursday 30 October, 11am – Friday 31 October, 8am local
Plus already announced Australian tour, all shows selling fast:
Saturday 24 January – Catani Gardens, Melbourne/Wurundjeri VIC*
Friday 30 January – Brisbane Showgrounds, Brisbane/Meanjin, QLD *
Saturday 31 January – The Domain, Sydney/Eora, NSW*
Saturday 21 February – Freo Esplanade, Fremantle/Whadjuk, WA^
Sunday 22 February – 3 Oceans Winery, Margaret River/Wadandi, WA^
For complete tour and ticket information, visit: oceanalley.com.au
*Supported by Nothing But Thieves, Rainbow Kitten Surprise (both exclusive to Mel/Bris/Syd) and Ruby Fields
^ Supported by Skegss, Ruby Fields and Smol Fish
NEW YEAR, SAME START
FIELD DAY CELEBRATES 25 YEARS WITH SYDNEY RETURN ON NEW YEAR’S DAY
CARL COX & JAMIE JONES, DEBORAH DE LUCA, KÖLSCH, PATRICK MASON, PATRICK AND STÜM AMONG WORLD-CLASS NAMES SET TO PERFORM & BRAND NEW PRIDE STAGE DEBUTING IN 2026
A Sydney institution and New Year’s Day tradition, Field Day returns to add another chapter to its legacy with an epic celebration on Gadigal Country this New Year’s Day. Featuring a stacked lineup of Australian and international talent, the festival will once again fill The Domain with music, energy and community spirit.
Across three stages, the Field Day 2026 lineup brings together some of the biggest names in global dance music. Legendary British DJ Carl Cox teams up with Welsh producer Jamie Jones for solo and back-to-back sets that promise to keep Sydney moving well into the night.
Across three decades, Carl Cox has remained one of the UK’s most influential DJs. A multi-award winner at the DJ Awards, International Dance Music Awards and NME Awards, Cox has long been a mainstay at Tomorrowland and Ultra Music Festival. With five studio albums, countless singles, collaborations and remixes for Fatboy Slim, Sofi Tukker and deadmau5, his impact on electronic music is undeniable.
Speaking on his return, Cox said, “I’ll never forget seeing in the year 2000 on Bondi Beach. It’s great to be back with Fuzzy for another milestone, celebrating 25 years of Field Day.”
Jamie Jones, one of the UK’s defining electronic artists, has been shaping global dance culture since his 2006 debut. Voted Resident Advisor’s Top DJ of 2011, he has headlined clubs around the world, built a loyal following through his Paradise residency in Ibiza and played festivals including Coachella, Creamfields and Glastonbury.
Italian powerhouse Deborah De Luca brings her signature techno to Sydney following her 25-track album Hard Pop Vol. 2. Danish producer Kölsch joins the bill, performing material from his critically acclaimed 2025 release KINEMA. British producer and Trick label head Patrick Topping makes his Field Day debut, bringing remixes of Calvin Harris, Robyn and more alongside his standout single Want U.
Australian icons The Presets return with their unmatched live set. The ARIA-winning duo remain leaders in electronic music, commanding festival and club stages nationwide. Rising producer STÜM, whose Solar Safari Tour sold out in minutes across Australia, and Berlin-based Patrick Mason, known for his high-energy house and techno, also join the lineup.
The 2026 roster features ‘Shooting Stars’ duo Bag Raiders, Irish hitmakers Belters Only, and London’s BL3SS, representing the next wave of UK talent. Charlotte Plank brings her ClubLiminal EP back to Sydney, while ARIA-nominated CYRIL makes his debut with tracks from To the World and From Down Under. Fish56Octagon, drum and bass producer SOTA, and French-born, London-based DJ Swimming Paul round out the international lineup.
Field Day’s commitment to homegrown talent continues with Atomic Kiss, Chase Zera, Djanaba, Eva Charley, Jarred Baker, Jessi Lowkey, Tomgraaam, Troy Beman, Yemi Sul and ZOTDOTCOM each set to light up The Domain on New Year’s Day 2026.
Making its debut in 2026 is CAMP GROUND, a new stage dedicated to Sydney’s queer talent. Explaining its creation, organisers Fuzzy said;
“Field Day has always been a space where LGBTQIA+ communities are welcome and celebrated. Queer artists and revellers have been a big part of Field Day’s 25 years of success, we’re thrilled to honour that by introducing CAMP GROUND to the festival in 2026 – curated by and for LGBTQIA+ communities, spotlighting some of Sydney’s best.”
Now celebrating its 25th year, Field Day remains one of Australia’s most loved festivals. With a lineup that reflects the momentum of electronic music both here and abroad, the event continues to prove its place at the heart of Sydney’s summer.
FIELD DAY 2026
MONDAY 1 JANUARY THE DOMAIN SYDNEY, GADIGAL COUNTRY
Pre-Sales: 12pm AEDT, Wednesday 29 October
General Sales: 12pm AEDT, Thursday 30 October
First Release: $159.90
Second Release: $169.90
Third Release: $179.90
Final Release: $199.90
VIP: $265.90
Fast Forward add on: $40
*All ticket prices listed are before fees
A-Z
CARL COX & JAMIE JONES (B2B and SOLO SETS)
DEBORAH DE LUCA
KÖLSCH
PATRICK TOPPING
THE PRESETS (LIVE)
STÜM
PATRICK MASON
A-Z
BAG RAIDERS (LIVE)
BELTERS ONLY
BL3SS
CHARLOTTE PLANK
CYRIL
DJANABA
FISH56OCTAGON
SOTA
SWIMMING PAUL
A-Z
ATOMIC KISS
CHASE ZERA
EVA CHARLEY
JARRED BAKER
JESSI LOWKEY
TOMGRAAAM
TROY BEMAN
YEMI SUL
ZOTDOTCOM
Having set out on an ambitious yet creatively fulfilling journey on New Years Day, LOS LEO is just weeks away from the release of his brand new album LL-1000, out November 14. The Adelaide songwriter and producer’s forthcoming record is the result of his goal to write, record, and release an album all within a calendar year, and today he shares the first single ‘I Miss You’.
Stream ‘I Miss You’ now on DSPs (Spotify, YouTube, Amazon Music, Tidal, Deezer, Apple Music) and pre-save LL-1000 HERE.
‘I Miss You’ is a sweet pop-driven ode inspired by the long distance friendships that were a significant part of LOS LEO’s creative process during lockdown. “During the height of COVID, when borders were closed and isolation became the new norm, I found a lifeline in music along with some of my closest friends that live across the world – a musician in Los Angeles, a biomedical engineer in Switzerland, a graphic designer and carpenter in Australia,” says LOS LEO.
The group formed a virtual band called Friendship Global, who would meet on Zoom and play a songwriting game where one person would start an idea, then pass it along to the next member, with each artist independently adding their own idea until a full song eventuated. “At the end, we’d all jump on a call, press play, and hear how our ideas had evolved into a song. It wasn’t even about making songs, it was about laughing, socialising and having fun in a strange time.”
The track’s backing vocals were recorded on Zoom audio, in order to emulate the digital compression heard during Friendship Global’s virtual meetings. “I decided to bring that same spirit back for ‘I Miss You’. The track grew out of that playful process of shaping a song by fellowship. At its core, ‘I Miss You’ is about distance and the people you wish were closer.”
LOS LEO’s ability to seamlessly transcend genre and traverse emotion is rooted in his open approach to creativity, allowing inspiration to strike whenever and wherever, guided by his surroundings as much as his own experiences. “One of my biggest strengths is being emotionally available for art and the moments,” he says. “The amount of times I’ve been moved by an artist singing in a pub to 10 people. I’ve always been moved by small, honest, authentic performances, the kind that feel bigger than the room they’re in or that specific moment in time. That’s the feeling I want to recreate in my music.”
LL-1000 is a pure and triumphant result of this creative ebb and flow. “This project started as a creative experiment,” reflects LOS LEO. “I wanted to see what would happen if I built an album completely from scratch within a single year. No recycled ideas, no safety net, just momentum. I didn’t know what it was going to be when I started, but after a while I realised there was a thread running through everything. identity, reinvention, and change. This album really revealed to me what it was going to be over the year.”
“It doesn’t feel like a collection of singles to me. It’s more like an impressionist painting, songs written so close together that they bleed into each other. I want people to listen to it all the way through and let it wash over them as one larger arrangement, not individual songs.”
With LL-1000 arriving on November 14, ‘I Miss You’ sets the pace for the final stint of a creative journey that has been 11 months in the making.
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What first drew you toward the darker, more introspective territory explored in “Occulent,” and how did that vision evolve during its creation?
Lyrically, this subject is hard for me to get away from – and I’m not sure I want to. While it’s dark and difficult at times, it’s also a way I continue to remember my friend who I lost: what we went through, both the incredible fun we had and the dark last few years while he battled cancer. Musically, it all came very organically. My favourite songs always seem to click the fastest.
How did collaborating with Simon Grove and Mitta Norath influence the sonic weight and emotional intensity of the track?
Mitta is just such a great energy to have around while recording – super passionate and always keeping the vibes high. Simon was integral in developing our sound. We knew we didn’t want to go down the same path as a lot of metalcore bands. We wanted something polished yet raw at its heart. Simon made that happen for us and delivered something beyond our expectations.
“Occulent” touches on illness, mortality, and the fragility of connection — what personal or shared experiences inspired those themes?
It really stems from a relationship with my best mate who passed away a few years ago. His battle with cancer was horrific, yet his life was so colourful and joyous. There’s a real dichotomy there. I remember the crazy and loving relationship we had as mates, but also how tough it got towards the end and how that affected everyone differently. I know for other members of the band, this subject hits differently because of their own experiences with loss.
There’s a haunting beauty in how the song balances heaviness and vulnerability — was that contrast something you consciously aimed for?
I think that’s something we’re always conscious of. Some of the members of nightdive are the best at their craft – I saw that as a personal admirer of their skill. However, everyone in the band is constantly focused on emotion and feel rather than showing off technique. That’s something I find really special about this band and the musicians I’m playing with.
As a band that only formed this year, how have you managed to carve such a defined sound and identity so quickly?
What we learned pretty quickly is that we share a lot of common interests in the music we love and grew up on. There was about a two-month period where we really dialed in our sound and found what works for us. Fortunately, we’ve all been around music for a while, so we know how to work with each other to get the best results.
Your first show as nightdive is coming up, supporting Ladders on Tables. How does it feel to debut so strong so early in your journey?
It feels amazing. The response has been really incredible – not just from an industry standpoint, but from people who genuinely seem to be enjoying what we’re doing. That means so much to us.
How do you each approach songwriting when dealing with deeply emotional or existential subject matter like this?
I think it’s just an opportunity to explore your own grief, or to take a step back and look at things from multiple points of view to understand how we all deal with things differently. In that way, it’s really cathartic.
Your sound evokes comparisons to Deftones and Thornhill — what influences do you draw from, both musically and beyond music itself?
We’re all kids of alternative metal and grew up on it, so there’s a deep love there. But we’ve also explored other genres like indie rock and EDM, so there are multiple influences in our music that happen organically. That’s really what makes all musicians unique in the end – no two people have the exact same taste.
How do you see the band evolving as you continue working on your upcoming four-track collection?
Every song, or collection of songs, seems to take us closer to understanding who we are as a band and where we want to go sonically – at least in the short term. Who knows where we’ll end up.
What do you hope listeners take away from “Occulent”?
We hope it hits on an emotional level and gives people an outlet for some of the tough things going on in their lives.
SHOWS
WED 12TH NOV – KING ST WAREHOUSE, NEWCASTLE (18+)
SUPPORTING LADDERS ON TABLES
THURS 13TH NOV – CROWBAR, SYDNEY (18+)
SUPPORTING LADDERS ON TABLES WITH DAYS LIKE THESE
FVTURE Bangkok has been called Southeast Asia’s first “Hyperclub.” What does that term mean to you, and how do you see it redefining nightlife in this region?
To me, a Hyperclub is not just a club — it’s a fully immersive cultural experience. We want to break the traditional boundaries of nightlife by merging music, technology, visual art, fashion, and community into one ecosystem. “Hyper” isn’t just about being bigger — it represents an evolution in dimension. FVTURE embodies the next generation of entertainment — a space born from Bangkok’s energy, powered by Asia’s creative spirit.
You’ve built a 6,000-capacity venue from the ground up, right in the heart of Bangkok. What was the biggest challenge in bringing a project of this scale to life?
The biggest challenge was finding the balance between scale, functionality, and experience. We had to engineer every element — from acoustics and lighting to flow and comfort — while keeping the soul of the space alive. Being in the center of Bangkok also meant an incredible level of coordination. But beyond construction, the real challenge begins once we open — delivering world-class service and detail in every moment. No one has done something like this before here, and that’s exactly what fuels our motivation and passion.
FVTURE was designed to rival nightlife capitals like Ibiza, Las Vegas, and Berlin. What key elements do you think are essential to compete at that level?
To compete with those global destinations, the key is consistency of experience. Every detail — from sound and lighting to curation, service, and brand ethos — must align with one vision. We want FVTURE to be a place where world-class DJs, artists, and guests feel, “this could be anywhere in the world.” At the same time, we’re proud to showcase the unique soul of Asian nightlife — so that people from Ibiza, Vegas, or Berlin come here to feel something they’ve never felt before.
From L-Acoustics’ Asia’s-first L2 & L2D system to 1,000 sqm of LED displays — the technology behind FVTURE is incredible. How do you approach balancing innovation with atmosphere?
Technology should always serve emotion. From day one, our philosophy was clear: every technical choice must enhance the experience, not distract from it. The L-Acoustics system delivers unmatched depth and precision, while our visual architecture blends seamlessly with the building itself — immersive but never overwhelming. That’s what FVTURE is about: people first, experience first.
Bangkok’s creative and nightlife scene has exploded in recent years. How do you see FVTURE contributing to the city’s global cultural rise?
Bangkok is in the middle of a cultural renaissance. FVTURE aims to be a catalyst in that movement — amplifying the city’s creative energy. We’re working with local artists, labels, and collectives to make Bangkok’s voice heard globally, while bringing in top international brands and performers to foster cross-cultural exchange. Bangkok is already amazing — but we believe Bangkok deserves even better.
You’ve emphasized the importance of building the right team and culture behind FVTURE. What kind of environment are you fostering backstage?
Everyone on this team shares one vision — and we’re genuinely proud to build it together. We encourage bold ideas and ensure they’re executed with precision and passion. We’re not just running a club; we’re co-creating a better FVTURE. Every night here is the result of true collaboration — from sound and lighting to stage design, hospitality, and security. Every detail reflects teamwork and dedication, and that’s something we celebrate as much as the music itself.
As COO, how do you balance operational excellence with maintaining that sense of wonder and magic that nightlife depends on?
Operations are about creating sustainable structure, while nightlife is about the beauty of unpredictability. My role is to balance both. We have strong systems to guarantee quality, but we always leave room for surprise — through storytelling, programming, and design. Every visit to FVTURE should feel like the first time. That constant renewal is what makes it sustainable. A great business starts with great art — and every FVTURE night is a masterpiece.
With modular stages, VIP lounges, and space for touring shows and label takeovers — what kind of experiences can people expect once the doors open this December?
Expect world-class music programming, immersive audio-visual storytelling, and experiences that redefine space with every show. Our modular stage design ensures that no two nights will ever be the same. The venue itself is expansive — featuring nearly 2,000 square meters of dance floor, balcony-view VIP areas, and private VVIP rooms. Whether you’re a true music enthusiast, coming with friends for a night out, or seeking a more exclusive and intimate experience, there’s a place for everyone at FVTURE. We welcome each guest to find their own rhythm within the space. We’re preparing something truly special. The best is yet to come.
How do you see FVTURE shaping the next chapter of Asia’s electronic music movement, both locally and globally?
We want FVTURE to become a bridge between Asia and the world. By inviting international labels and artists while empowering local talent, we’re helping the region’s creative ecosystem grow stronger and more visible on the global stage. FVTURE isn’t just a venue — it’s a platform for Asia to be seen and heard.
Finally, after such a monumental build, what will be the moment that tells you — “we did it, this is FVTURE”?
That moment will be when the lights come on, the music drops, and thousands of people move together for the first time. When I see their energy, their smiles, their freedom — I’ll know we made it. FVTURE isn’t just a space; it’s an emotional resonance we all share. Every performance on that stage will be a reflection of our team’s effort, passion, and love. That’s the moment we’ll all feel it — FVTURE is now.
Follow FVTURE at the following channels to be the first to hear about news and lineup announcements; instagram.com/fvture.bkk | https://fvture.co/
FVTURE BANGKOK
6th Floor, BRAVO Mall, RCA, Bangkok, Thailand
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Sydney alternative metal newcomers nightdive continue to turn heads with the release of their haunting new single “Occulent”, out everywhere today. The track arrives as the band prepare to launch it live, supporting Ladders on Tables – the new project from Trenton Woodley (formerly of Hands Like Houses) – at upcoming shows in Newcastle and Sydney in November. Tickets on sale now.
“Occulent” was mixed and mastered by Simon Grove (Plini, Intervals, Protest The Hero) with drum engineering by Mitta Norath. Lyrically, the song is a haunting reflection on mortality and the psychological weight of illness. “The song moves through the experience from multiple angles: the person living inside a failing body, the friends and family watching from the edges, and the lingering ache of loss that outlives the diagnosis,” says the band.
“It’s not just about death – it’s about the slow erosion of hope, the fragility of connection, and the quiet persistence of love in the face of it all. It’s an exploration of what it means to lose control of your body, your world, and the people who make it feel worth saving.”
Formed only this year, nightdive is Sam Thomlinson on vocals and guitar, Mitch Clews on guitar, Jared Philips on guitar and Jack Robert on drums. The band have already made a confident entrance into Australia’s heavy music scene, with early support from triple j, Unearthed and tens of thousands of digital streams. Their sound lands with a weight that belies their short existence, showcasing an all-consuming clash of light and dark, ambience and volatility mixed with melody and menace. Flaunting a sound not unlike that of Deftones, Underoath, and Thornhill, nightdive are already staking their claim among Australia’s rising alternative heavyweights.
Blending dense guitars with evocative textures and introspective lyricism, the band sets out to craft music that sits somewhere between heavy and vulnerable, exploring the moments that linger in the aftermath. The quartet are currently at work on a four-track collection, due early 2026, each track serving as a descent into the emotional undercurrents that define the band’s identity – immersive and unflinchingly human.
“Occulent” is available and streaming everywhere now.
WED 12TH NOV – KING ST WAREHOUSE, NEWCASTLE (18+)
SUPPORTING LADDERS ON TABLES
THURS 13TH NOV – CROWBAR, SYDNEY (18+)
SUPPORTING LADDERS ON TABLES WITH DAYS LIKE THESE
Miami-based composer, producer, and musician Jason Klein, the creative force behind Monster Taxi, returns with an evocative new release — Japanese Onsen. Inspired by a once-in-a-lifetime journey through Japan with his son, the piece unfolds as a meditative exploration of culture, connection, and memory through sound.
Japanese Onsen transports listeners far from the neon pulse of Tokyo and Osaka, delving instead into the stillness of Japan’s hidden heart. From the misty mountain air of Kinosaki’s hot spring villages to the quiet reverence of Kyoto’s shrines and temples, the composition captures the profound sense of harmony found where nature and tradition coexist.
Klein’s sonic palette mirrors the sensory poetry of Japan — the gentle bubbling of onsens, the rustle of bamboo, the soft cadence of footsteps on temple stones. Each note flows like steam rising into the dawn, invoking the calm introspection of a hot spring retreat and the artistry of Kaiseki cuisine, where every detail speaks to balance and respect for the moment.
Beyond a musical experience, Japanese Onsen is a personal homage — a father and son’s shared pilgrimage through wonder, reflection, and renewal. Through layered textures and immersive sound design, Klein transforms memory into melody, distilling the timeless spirit of Japan into an intimate, cinematic journey.
As the final notes fade, one truth lingers: the spirit of Japan — tranquil, eternal, and alive — continues to call them back.
Photography: Jake Harm Nam
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