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Frontier Touring is excited to announce indie-folk singer-songwriter, Hazlett, will bring his Coming Home Tour to Australia and New Zealand for the first time in January and February 2026.
Following the release of his highly anticipated album last night you said you missed me, the Australian-born, Swedish-based singer will return home, performing debut shows at Astor Theatre, Perth on Tuesday 27 January, Princess Theatre, Brisbane on Saturday 31 January, Sydney’s Metro Theatre on Tuesday 3 February, Melbourne’s Corner Hotel on Thursday 5 February and Lion Arts Factory, Adelaide on Friday 6 February, before heading over to Auckland for a final show at The Tuning Fork on Sunday 8 February.
Frontier Members can access the presale from 10am local time on Thursday 30th October, before tickets go on sale from 11am local time on Friday 31st October. Tickets and tour information via frontiertouring.com/hazlett.
After a whirlwind few years, releasing his debut album Bloom Mountain in 2023, to opening for Noah Kahan at BST Hyde Park just two years on, Hazlett’s fast-growing popularity lays testament to what is to come for indie-folk’s next biggest star.
Hazlett’s unique brand of “Indie Ballroom Folk” has gained global attention from his home in Stockholm, Sweden to his native Brisbane, Australia, which led to the highly-anticipated September release of the singer’s latest album last night you missed me, which has impressed both fans and critics alike.
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Hazlett’s propensity for figuring things out himself and turning chaos into some kind of nostalgic lesson hasn’t gone unnoticed either, with The Line of Best Fit noting “Hazlett is offering up a hazy, textured version of the classic singer-songwriter sound”.
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HAZLETT
COMING HOME TOUR
AUSTRALIA & NEW ZEALAND
JANUARY & FEBRUARY 2026
Presented by Frontier Touring
FRONTIER MEMBER PRESALE
via frontiertouring.com/hazlett
Runs 24 hours from: Thursday 30 October (10am local time)
or until presale allocation exhausted
TICKETS ON SALE
Begins: Friday 31 October (11am local time)
Tuesday 27 January
Astor Theatre | Perth, WA
Lic. All Ages
ticketek.com.au
Saturday 31 January
Princess Theatre | Brisbane, QLD
Lic. All Ages
ticketmaster.com.au
Tuesday 3 February
Metro Theatre | Sydney, NSW
Lic. All Ages
ticketek.com.au
Thursday 5 February
Corner Hotel | Melbourne, VIC
18+
oztix.com.au
Friday 6 February
Lion Arts Factory | Adelaide, SA
Lic. All Ages
moshtix.com.au
Sunday 8 February
The Tuning Fork | Auckland, NZ
Lic. All Ages
moshtix.co.nz
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 HAZLETT:
Website | Facebook | Instagram | TikTok | YouTube | Spotify | Apple Music
Up Until Now feels like a confident leap forward from your earlier work. How did making a full-length album change your approach to songwriting and sound?
It was really exciting to have the opportunity to release a full length album as supposed to releasing singles one at a time. It meant I had to think about which songs would work well together both sonically and thematically. These songs were all written in the past couple of years so it was really a matter of choosing which 8 I wanted out in the world.
There’s a real 90s indie energy running through these tracks — who or what shaped that direction most while you were recording?
Yes definitely, I love Britpop and British guitar music so I think that’s always been a heavy influence on my sound. I write all of my songs on acoustic guitar to start with and I think that traditional songwriting method is reflected in how they turn out.
You tracked the record in Notting Hill. What was special about that studio and the team that helped bring the songs to life?
I love Notting Hill, it’s such a fun and interesting place to be in London. Fun fact – my album photoshoot was done outside some of the coloured houses there. I recorded the whole album at AudioHaus where I really enjoy working. I had a lot of fun recording the three singles there last year and knew that’s where I wanted to finish the record.
Your lyrics move between new love, heartbreak and everything in between. Was there a particular moment or relationship that tied the record together emotionally?
I’m aware. I think the hopeful and optimistic themes of the first track ‘A Lucky Day’ are the ones I relate to most currently but I wanted to include the more tearful heartbreak tracks like ‘I Can’t Do It’ to show a wide range of feelings which people will relate to at different relationship stages.
You started gigging at just sixteen in Reading pubs. How did those early experiences shape the performer and writer you are today?
I think cultivating my sound through live pub gigs and open mic nights means I always put the actual bones of the song first as supposed to production sounds and effects. I’d like to learn more about music production and writing in alternative ways but I think I’ll always be guitar focused.
There are flashes of Oasis and The Cranberries in the sound, yet it still feels distinctly yours. How do you balance nostalgia with originality?
I think it’s probably to do with the range of music I listen to. I love classic gems from past decades but I like to stay on top of what’s trending whether that be on TikTok or the charts. I think modern pop music is really exciting at the moment and I hope that influences my own songs.
Which song from Up Until Now feels closest to who you are right now, and why?
I really love ‘Skeptical’. I wrote that song ages ago and to now be able to listen to it with a full band production is amazing. It’s the album track I’m probably pushing the most in my promotion. I think it’s a song most people can relate to as it discusses being wary of changes in your life/ relationship status.
Your singles So Sky Blue, Hard to Take and Movie Night all found strong support from BBC Introducing and Amazing Radio. How has that early recognition influenced your confidence as an artist?
I had support for the lead single from this album ‘So Sky Blue’ from BBC Introducing which was lovely. The chance to hear my music on radio never gets old. It definitely makes me feel confident in what I’m doing and that people still want to hear this style of music. I’ll keep going then.
You’ve played everywhere from Brighton to Glasgow — how does the live energy feed back into your writing?
Yes, I love to travel and perform. I was at the open mic at King Tuts in Glasgow earlier this year. I love feedback from the audience about which songs in my set stood out to them. It definitely influences my decision on what to record and release. Just seeing other artists perform at these sorts of shows inspires me to write and tell more stories.
Now that Up Until Now is out in the world, what do you want listeners to feel or take away after hearing it front to back?
I hope people enjoy listening to my album and feel the kaleidoscope of emotions on it. I think indie has a reputation for being under the radar but I hope it can reach people who may discover that they enjoy guitar music more than they originally thought.
FRANKIE BIRD: frankiebird.co.uk/
Spotify: open.spotify.com…7Kro0A
Apple Music: music.apple.com/…486321
YouTube: www.youtube.com/…UlFwHw
Instagram: www.instagram.co…mbird/
Facebook: www.facebook.com…embird
Twitter: twitter.com/fran…embird
TikTok: www.tiktok.com/@…embird
What inspired you to revisit such an iconic song like “Imagine” and present it through your own artistic lens?
It just happened organically. I was listening to an electronic track that my childhood friend and I had created over 20 years ago and noticed it would fit with the verses of John Lennon’s classic. I checked with my friend and he was game to use our old track for a new version of “Imagine,” so then I started figuring out what else was needed to make a complete version of the song.
How did you approach balancing faithfulness to John Lennon’s original with creating a version that feels uniquely yours?
This was done with the help of Adam Rossi, my co-producer on the song. We were recording my lead vocals and Adam had to coach me along to find my own truth with these lyrics. It took hours to find my voice. The lyrics seem simple but they go deep, and I needed to do them justice.
The track blends acoustic elements, electronic textures, and orchestral arrangements — how did that sonic vision come together?
It started with the electronic track that my friend and I had made. John Lennon’s original has been so beloved by millions around the world that it seemed like this version needed to acknowledge how epic the song is. So I started thinking about an orchestra, and how that would help bring some heft to the track.
What was it like working with the Budapest Symphony Orchestra and vocalist Hyunju Lee on this project?
I had never worked with an orchestra before and when I sat in on the 50-piece orchestra recording session for this, I couldn’t believe it was happening. It was over pretty fast—they were such pros. Hyunju Lee, I can’t say enough about her work on this. She took hours of precise, dedicated work to get this right, and her voice adds such beautiful textures to the song and really supports the lead vocals in such a gentle yet solid way.
Do you remember the first time you heard “Imagine”? How has your relationship with the song evolved since then?
I was 13 years old, living in the Himalayas in India. A friend had returned from England with some cassettes—including “Double Fantasy” by John Lennon and Yoko Ono, as well as the album “Imagine.” I listened to them on repeat for months. I remember at the time my mother telling me that the first time she’d heard “Imagine,” in 1971, she was driving and had to pull her car over because she was so moved by the song. So I knew it was an important song.
Over the years, I’ve considered the lyrics more and more, and during the process of creating this version, the lyrics hit home in a powerful way. The first line of the second verse—”Imagine there’s no countries”—reminds me that I was an illegal immigrant in India when I first heard the song, and now, living in the U.S., those words are especially meaningful. The line “Imagine all the people, living for today” makes me feel like we have such potential—that there’s real opportunity for humans to act from kindness and goodwill, which I experienced firsthand from the Indian people while living there illegally.
I’ve noticed that everywhere I go, most people have an innate response to help when they see others in need. One of the challenges is that we’re often in our own digital bubbles, but deep down, when not manipulated by division, people have a natural tendency toward compassion. That line, “living for today,” feels like an invitation to invest in our communities right here, right now.
Your version feels deeply emotional and hopeful — what message do you hope listeners take away from it today?
I was born in 1969, a time of change and hope, in spite of great difficulties. It’s difficult to feel hopeful when I look at comment sections online, but when I’m face to face with people—no matter our differences—I feel hope again. When I first started creating this version of “Imagine,” I wasn’t thinking about what I wanted to achieve with it, and now it just feels like the spirit of the original wanted to remind people of the possibilities for fellowship and brotherhood, and just used me as an instrument to make that happen. I hope people can take heart in this song and remember our potential.
This is your first-ever cover release. What made “Imagine” the song you wanted to reinterpret?
It really wasn’t an intentional effort. I just noticed that it would work well with the old electronica track that my friend and I had never released. I then noticed that John Lennon’s birthday, October 9th, was just a few months away, and I wanted to release it on his birthday—so I went to work with that deadline, something I never do!
How has your background as a songwriter shaped the way you approach reimagining a legendary track?
The songwriting part of this was done, so I didn’t really use my songwriting tools. Instead, this was about being a producer—figuring out the sound that was called for, the elements that would fit well together.
Who or what influenced the creative direction of this arrangement, both musically and thematically?
My initial ideas for it probably had something to do with listening to The Moody Blues and The Beatles when I was a kid, because both groups had orchestras in some of their songs. I’m forever influenced by Pink Floyd, who were doing such incredible things 60 years ago. The electronica of the ’90s, which often had lush melodies while also being great to dance to, really left a mark on me. Adam Rossi, who co-produced this with me, recognized what I was going for and made the all-important choice to have Hyunju Lee’s background vocals play a crucial part in the song.
With this release now out in the world, how do you see it fitting into the larger story of your music and where you’re headed next?
This is the second release of mine that veers into the world of electronica (“Commercial Break” is the other). I think a lot of my music will continue to have some element of electronica. I’ll continue to aim to write meaningful lyrics. Many of my songs—like “You’ll Do Fine,” “A Beautiful Life,” and an upcoming track, “Orion”—are about taking heart and keeping going.
Sydney’s electro-pop prodigy KYARA returns with “Bloodshot” — a spellbinding, slow-burning anthem that turns heartbreak into empowerment. Self-written, recorded, and produced entirely in her bedroom studio, it’s the sound of an artist in full control — vulnerable, defiant, and magnetic all at once.
Built around shimmering synths and sultry rhythms, “Bloodshot” feels like a midnight confession — equal parts desire and release. KYARA’s ethereal vocals weave through layers of glossy production, carrying both the ache of sleepless nights and the quiet triumph of moving on.
“‘Bloodshot’ tells the story of a woman who once lay awake, waiting for a lover who had left her for someone else. With time, she finds her strength, discovers her worth, and ultimately chooses herself when that lover tries to return. The song carries sass, attitude, and empowerment—speaking directly to the man once placed on a pedestal, telling him it’s too late now. I’ve outgrown waiting for someone like him.” — KYARA
There’s something timeless about KYARA’s sound — echoes of classic synth-pop filtered through the sleek pulse of modern electronic production. It’s emotional without being fragile, cinematic without losing intimacy.
Already earning nods from triple j and carving her place in Australia’s evolving alt-pop landscape, KYARA continues to prove that true power lies in self-definition. With “Bloodshot”, she steps out of the shadows — not to forget the past, but to own it.
Monster Machine–‘Hopeless’ Out Now. Over the past few months, Australian DJ/producerMonster Machine has been setting the tone for her highly anticipated debut EP ‘EXALTED’ dropping two powerful singles that showcased both her versatility and bold sonic direction. This week, she turns up the intensity once again with her latest release,“Hopeless”which is a blistering, high-energy track that cements her place as one to watch in the electronic scene.
“I hope you enjoy Hopeless, my take on a gnarly drum and bass tune about heartbreak and longing, never fulfilled. Inspired heavily by Bass tripper and his punchy sound, whilst embodying the heavy neuro funk essence of a Noisia classic.” ~ Monster Machine
“Hopeless” sees Monster Machine dive deep into the darker edges of electronic music, merging the emotional weight of heartbreak with razor-sharp production and hard-hitting rhythms. Influenced by the likes ofRL Grime, Nitepunk, and Knock2, her style sits at the intersection of trap, drum & bass, and 140, pulling from heavy-hitting underground energy while pushing her own forward-thinking vision. With EXALTED just around the corner, “Hopeless” is another striking preview of what Monster Machine has in store..
With EXALTED just around the corner, “Hopeless” is another striking preview of what Monster Machine has in store…
Stream:
https://msdistro.lnk.to/Hopeless
Socials:
https://linktr.ee/monstermachine
Recent Mixes:
Credits:
Co-Written & Co-produced by Penny Yang & Thomson Phan
Mixing by Monster Machine & Arky Waters
Mastering by APR Studios
Visuals by Monster Machine
Artwork by Monster Machine & Terry Truong
Los Angeles’ rock mainstays Allah-Las are heading back to Australia in March 2026 for a run of headline shows in Melbourne, Adelaide, Sydney, Byron Bay and Perth.
Following a busy run of international shows across the globe, the band will bring their sun-baked sound back to Australian shores for the first time since releasing Zuma 85 full-length LP and latest instrumental singles “Countryman ‘82” b/w “Dume Room.”
For more than a decade, Allah-Las have distilled the atmosphere of California’s coastlines and cityscapes into a sound that drifts between surf, folk and rock. Across albums including Allah-Las, Worship The Sun, Calico Review, LAHS and Zuma 85, they’ve developed a rich catalogue steeped in warm analog tones and timeless melodies. Having toured the world, the band’s live show has become a transportive journey through the band’s ever-evolving catalogue.
Tickets are expected to move quickly, with past Australian tours selling out in advance. Don’t snooze.
Presale opens: Thursday 23 October at 9am local
Sign up for presale here.
General On Sale: Friday 24 October at 9am local
Tickets on sale here.
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Sleaford Mods will release their new album, The Demise Of Planet X, on 16 January 2026 via Rough Trade Records / Remote Control Records. The record is available to pre-order and pre-save now.
Sleaford Mods will return to Australian and New Zealand shores in April 2026, playing shows in Perth, Melbourne, Sydney, Adelaide, Brisbane, Wellington and Auckland. Tickets are on sale now via https://www.handsometours.
Andrew Fearn and Jason Williamson’s most expansive and ambitious release to date, the album features a rare guest appearance from former Life Without Buildings frontwoman Sue Tompkins, plus collaborations with Aldous Harding, soul singer Liam Bailey and grime MC Snowy, the latter two both hailing from band’s hometown Nottingham.
In her first foray into music, actress Gwendoline Christie (Wednesday/Severance/Game Of Thrones) also joins Midlands band Big Special on Sleaford Mods new single ‘The Good Life‘, which is released today accompanied by a video directed by Ben Wheatley (The Kill List/A Field In England/Bulk).
Boasting the duo’s most varied and expressive musical approach so far, The Demise Of Planet X charts, critiques and satirises our times, while offering a universal cry of anger and release of energy that pushes against the encroaching cultural darkness.
Contemplating the world coming to an end not with a big bang but in slowly rising tide of irritating mundanity, The Demise Of Planet X strikes back with vivid sonics, acerbic words, enveloping atmospheres and a engaging wit across 13 tracks that will move hearts, minds and feet.
“The Demise Of Planet X represents a life lived under immense uncertainty, shaped by mass trauma,” declares frontman Jason Williamson. “When we wrote the last album, it was about stagnation, a country that felt like a lifeless corpse. Three years later, that corpse has been split open by war, genocide, and the lingering psychological fallout of Covid whilst social media has mutated into a grotesque, twisted form of digital engineering. It feels like we’re living among the ruins. A multi-layered abomination etched into our collective psyche.”
He adds: “I don’t want to pat myself on the back while the rest of the world falls to shit, but we’re really happy with The Demise Of Planet X. The music and ideas are really fresh and it’s in your face, but it pays to put your glasses on to look at the ingredients.”
First single, the aforementioned ‘The Good Life’, captures this mix of public and personal apocalypse, as Andrew Fearn’s urgent beats and enticing melodies combine with Williamson’s machine gun diction to chart the impact of some of the Sleaford Mods’ frontman’s more infamous comments on the current music scene. Big Special and Gwendoline Christie give voice to his conflicted and tormented inner voices mopping up the fallout his outburst cause.
“’The Good Life’ talks about slagging bands off and the joy and misery that causes me. I’m asking myself why am I slagging bands off. Why is it a continuing thing with me? My inner voices are brought to life by Gwendoline and Big Special, debating that internal tension between me enjoying a good life or submitting to the mayhem,” explains Williamson.
The track’s video, available to watch now via the band’s YouTube channel, brings these voices together in the flesh under Ben Wheatley’s charismatic direction.
“It’s brilliant to be working with Andrew and Jason again on a Mods promo, this time teaming up with the amazing Gwendoline Christie and Big Special,” declares the British director who was previously responsible for Sleaford Mods’ Mork n Mindy video. “I’m a long-time fan so it’s always exciting to get the call to come out to play.”
Alongside ‘The Good Life’, the album features cliche-bursting 2025 single ‘Megaton’, ‘Elitest G.O.A.T.’ with its light-as-cloud guest vocals from Aldous Harding, the reflective, toxic masculinity pricking ‘Bad Santa’ and the Magic Roundabout-infused bouncy rap of the title track.
Nottingham singer-songwriter Liam Bailey adds a soulful lament to world-weary MAGA takedown ‘Flood The Zone’; grime rapper Snowy drops decisive bars on ‘Kill List’s’ horror hip hop (its central imagery inspired by Ben Wheatley’s film of the same), while for ‘No Touch’ Sleaford Mods managed to lure Sue Tompkins from the much-missed Life Without Buildings back into the studio. Duetting with Williamson, the pair’s distinctly human voices intertwine over a slinky bass and music box keyboard motif.
Several limited-edition versions of The Demise Of Planet X will be available on release, which can be pre-ordered now.
For the next 48 hours only, an exclusive ‘black label’ starlight sparkle vinyl version of the album will be available via the band’s mailing list. A glow in the dark edition, boasting a luminous LP and glow in the dark gatefold sleeve design is available from the band and Rough Trade Records’ webstores, while independent record shops are selling an exclusive, neon green marbled edition. The album will also be available on black vinyl, CD and cassette, the latter coming in a fetching shade of toxic green.
Additionally, in a salute to their hometown, the ‘Nottz picture-disc’ edition will be exclusively on sale only from shops within Nottingham.
The Demise Of Planet X follows Sleaford Mods’ 2023 state-of-the-nation album, UK GRIM, the duo’s most successful record to date which earned them their highest UK chart position, going straight in at Number 3. As previously announced, Sleaford Mods will hit the road following its release.
Pre-order / Pre-save The Demise Of Planet X: https://sleafordmods.ffm.
Buy tickets: https://www.
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Photo Credit: Michelle G Hunter
Acclaimed Melbourne-based songwriters Paris Wells & Finley François are gearing up to debut their new project – set to play through their album ‘Lounge Of The Flamingo’ for the very first time on the 27th of November at George Lane in Melbourne.
Released in August this year, ‘Lounge Of The Flami ngo’ is a lush, Latin-inspired lounge masterpiece. Drawing subtle influences from Nouvelle Vague, Astrud Gilberto, and Cesária Évora, the project highlights Wells’ & Francois’ versatility, refined artistry and a 20-year working partnership.
Paris Wells has had a career full of achievements and milestones over the last two decades. She’s supported the likes of Rod Stewart, Justin Timberlake, Robyn & Plan B on tour and played at festivals such as Falls Festival, Big Day Out, Meredith, Sydney Music Festival and the 2010 AFL Grand Final. She has collaborated with international DJs such as Kaz James, and made TV appearances on Spicks & Specks, Adam Hills In Gordon Street, Good News Week & Rockwiz. She toplined for Bliss N’ Eso’s ‘Field of Dreams’, taken from the ARIA Award winning album ‘Flying Colours’ (2012) and shot to worldwide fame with her single ‘Overbite’ which was used by Elie SaaB for their Cannes Film Festival campaign in 2014. To this day she has over 1 millions streams to her name, across her catalogue.
Finley “pHinioUS” François, originally from the picturesque shores of Mauritius and now based in the vibrant hub of Naarm, is a multifaceted artist in music. His journey, marked by curiosity and creativity, began with spinning vinyl at parties and has evolved into crafting a rich tapestry of sounds as a DJ, producer, and musician. His early career included airplay on Kiss FM and being part of Fizard, one of Australia’s pioneering live hip hop groups that won Triple J’s Unearthed competition in 2003. Over the years he has been commissioned to write music for various shows and installations, including projects for NICA and Arts Access; has performed at iconic festivals such as Mona Foma, the Adelaide Fringe Festival, the Cabaret Festival, St Kilda Festival, and Womadelaide; & has shared the stage and collaborated with artists such as GrandMaster Flash, Chris Brown, Rod Stewart, Kelly Rowland and most recently Snoop Dogg at the 2025 AFL Grandfinal along with the likes of Jessica Mauboy, Tash Sulatana and Baker Boy.
‘Lounge Of The Flamingo’ sees the pair hitting new heights collaboratively – with a sexy-stillness and persistent groove throughout the LP that doesn’t force the big moments, but reels you in with a confident calmness and attention to detail. Wells and François were a well-oiled machine at the time of recording, with Wells’ explaining “The team in this project was so solid and the happy musical partnership with Finley really shines through, we are a the point of finishing each others sentences, that shit takes time, this is my/our best body of work yet.”
Thematically, the album is less social commentary, and more of a reflection of Wells’ life right at this moment; “this time I was determined to capture not only humor, but calm and passion and family. I refuse to make any more ‘sad vagina’ music, I’m a happily married mum, shit can be hard but I want to give people the calm we all strive for. The Lounge of the Flamingo cares not about your social pages, Kardashian cages and your friends with strangers. It cares not about keeping up with the Joneses, or running away with the crowd. The Lounge only asks for your calm, so sit back, relax and enjoy the journey.”
Recorded live at the Frying Pan Studios housed within the iconic MONA gallery in Tasmania, Wells was pregnant throughout the session – described by the pair as ‘sitting down like a ripe queen’ throughout the process. The album also features vocals from Kylie Audist (the Bamboos, Cookin’ on 3 Burners) on ‘Down In Mexico’, as well as a string composition from renowned Tasmanian composer Dean Stevenson & his orchestra for ‘Strange Days’.
Talking on that time writing and recording at MONA, François comments;“What’s not to love about Afro Latin music! Paris and I spent many years backstage & on the road speaking about a jazz base album as a side project, but that didn’t stick for me. When the opportunity to record at the newly built Frying Pan Studio, Paris mentioned she’d been diggin’ some lounge vibe tunes. I said “yes” let’s do that! Flamingo was born! My journey on piano started with Afro Latin jazz music so it was a beautiful place to return too, our reinterpretations of the covers was a dope process- rock to lounge! There’s always a positive energy in this genre, a celebration of all that is life!
Tickets for their launch show in Melbourne on the 27th of November are available now. On what fans can expect from the special performance, the duo say; “Think Peggy Lee meets Karen Meets Astrid Gilburto. Lounge of the flamingo could easily be Bad Bunnies Aussie warm up band without wanting to speak to the manager after”
ALBUM LAUNCH
Thursday November 27 George Lane Melbourne VIC
TICKETS
Paris Wells: Facebook | Instagram | YouTube
Finley François: Facebook | Instagram | YouTube
Lounge Of The Flamingo: Official Website | Facebook | Instagram
The 6000-capacity space promises a full spectrum experience with game changing light and sound
A nightlife revolution is coming to central Bangkok with the opening of FVTURE, a new global nightlife landmark built to hold a staggering 6,000 people. FVTURE is the first Asian Hyperclub to be built on this vast scale and is the most technologically adventurous venue in the region. It has been built from scratch with a unique vision and unwavering passion that will set a new benchmark in entertainment, sound and immersive design. FVTURE is set to launch this December.
Designed to rival the most iconic venues across Ibiza, Las Vegas and Berlin, FVTURE is a leap into tomorrow; a purpose-built, next-generation hyper club where cutting-edge audio-visual technology and world-class electronic music converge in one multi-sensory explosion.
FVTURE arrives at a pivotal time for Thailand’s creative economy as the government opens the doors to global events like Tomorrowland, EDC, Creamfields and Circoloco. Until now, Bangkok has lacked a singular venue capable of hosting artists and audiences on an international scale. FVTURE fills that void and then some.
With state-of-the-art production, VIP lounges, modular side stages and a calendar open to global touring shows, label takeovers and live performances, FVTURE is poised to position Bangkok firmly at the heart of the Asian electronic music scene.
Say Co-founders Victor and Michele Wang, “FVTURE is a statement of intent. Bangkok has long deserved a venue that stands alongside the global greats and that’s exactly what we’ve built. From sound to visuals to community, we’ve designed FVTURE from the ground up to really break into new frontiers and give Asia the truly mind-blowing club it’s long deserved. The team we build is key to this – we put big importance on personality when hiring staff and only bring onboard people that are excited about FVTURE. This helps us set exactly the right and define the special character of the whole project.”
FVTURE’s main room is powered by the first ever L2 & L2D L-Acoustic system in Asia, boasting over 40 subwoofers and a multi-array configuration for unparalleled sound clarity and punch. Visuals are equally mind-blowing with 500sqm of LED wall at the front and another 500sqm of modular LED throughout the venue creating a 360° visual playground. .
FVTURE is the brainchild of a team with deep roots in nightlife, music and international hospitality: Victor Wang brings expertise in cross-border nightlife operations. COO Michele Wang is a seasoned operations leader driving long-term sustainability and execution and Pablo Vas is an acclaimed music director and DJ behind concepts like Down Temple and Tucan Bangkok who will lead FVTURE’s sound and programming.
FVTURE is built to welcome Bangkok locals, regional tastemakers and international ravers. With a huge capacity, sound and visuals designed to stun, and a team dedicated to elevating the scene, FVTURE is here to reshape the future of clubbing in the region.
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
Are you ready for more YUNGBLUD? Due to phenomenal demand during the presale, YUNGBLUD has added an additional show in Brisbane and upgraded the Sydney venue to Qudos Bank Arena for his IDOLS world tour in Australia.
The British performer and industry disruptor will now play 6 hotly anticipated shows as part of his biggest Australian tour to date in January 2026. General sale tickets for all shows, including the new and upgraded shows go on sale today at 3pm local time. Tickets and tour information via frontiertouring.com/yungblud.
IDOLS World Tour Australian dates:
Sat 10 Jan – Qudos Bank Arena, Sydney – VENUE UPGRADE
Tues 13 Jan – Sidney Myer Music Bowl, Melbourne
Thurs 15 Jan – AEC, Adelaide
Sat 17 Jan – Riverstage, Brisbane*
Sun 18 Jan – Riverstage, Brisbane – NEW SHOW
Tues 20 Jan – Ice Cream Factory | Perth*
*Presale Allocation Exhausted
His fourth full length release, IDOLS, landed YUNGBLUD his third number one debut in the UK and is his most personal and ambitious work yet. The multi-instrumentalist, songwriter, and performer is known for his electrifying stage presence, blending elements of rock and punk to monumental effect. Rapidly becoming one of the most influential musical voices of his generation, the IDOLS world tour looks set to cement YUNGBLUD his place in music history, with his 24-date North American tour selling out in one minute and new dates, including an arena show added in Australia to meet fan demand.
Australia, don’t miss your chance to kick off the new year with the star that’s redefining rock. Tickets on sale at 3pm local time today!
YUNGBLUD
IDOLS THE WORLD TOUR
AUSTRALIAN TOUR
JANUARY 2026
Presented by Frontier Touring
TICKETS ON SALE
Begins: Tuesday 21 October (3pm local time)
via frontiertouring.com/yungblud
Saturday 10 January
Qudos Bank Arena | Sydney, NSW
VENUE UPGRADE
Lic. All Ages
ticketek.com.au
Tuesday 13 January
Sidney Myer Music Bowl | Melbourne, VIC
Lic. All Ages
ticketek.com.au
Thursday 15 January
Adelaide Entertainment Centre | Adelaide, SA
Lic. All Ages
ticketek.com.au
Saturday 17 January
Riverstage | Brisbane, QLD
Lic. All Ages
ticketmaster.com.au
Sunday 18 January
Riverstage | Brisbane, QLD
NEW SHOW
Lic. All Ages
ticketmaster.com.au
Tuesday 20 January
Ice Cream Factory | Perth, WA
18+
eventbrite.com.au
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.
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Pitch Music & Arts returns for its ninth edition on the Grampian Plains beneath Gariwerd (Grampians) from 6-10 March 2026, unveiling its most anticipated lineup yet.
Leading the charge is Belgian techno powerhouse Charlotte de Witte, whose track ‘Overdrive’ featured in the latest Pitch Music & Arts campaign video [YT/IG]. Eris Drew & Octo Octa, known for embracing their Motherbeat philosophy, arrive with a rhythmic sound that fuses spirituality and dancefloor community. Amsterdam favourite MARRØN, and boundary-pushing UK trio Girls Don’t Sync, are both set to make their Pitch Music & Arts debut. Dutch mainstay Job Jobse returns once again following a standout 2025 closing set, alongside UK selector Yung Singh, who continues to cement himself as one of dance music’s most compelling new names.
International heavyweights set to join the 2026 lineup include fan favourite Ewan McVicar, alongside UK-born, Berlin-based selector Palms Trax, and Palestinian techno force Sama’ Abdulhadi, who will bring her signature intensity to the dance floor. Japan’s DJ Nobu will deliver the hypnotic precision that has defined his global reputation, while South Africa’s DESIREE adds their bold, soulful energy to the lineup’s incredible mix.
From home soil, melodic innovator Aquenta, house favourite Sam Alfred, Melbourne’s own STÜM, CC:DISCO! b2b DJ JNETT, bass visionary C.FRIM, Sleep D b2b Jennifer Loveless, and dynamic selector WOLTERS, lead the generation of Australian artists shaping the globe’s electronic landscape.
Further international names join the bill, including Âme DJ, Alarico, Bailey Ibbs, Benwal, Bitter Babe (LIVE), Dee Diggs, DJ Hyperdrive, Djrum, Estella Boersma, Faster Horses, Hadone (LIVE), Jen Cardini b2b Pablo Bozzi, Jyoty, Kyle Starkey, LB aka LABAT (LIVE A/V), LOVEFOXY, Manuka Honey, Odymel, OK Williams, Pangaea, Sally C, Saoirse, Sedef Adasï, Soul Mass Transit System, Special Request, Spray pres. Spriitzz (LIVE), The Trip, Vladimir Dubyshkin (HYBRID), Yasmin Gardezi, and Yu Su who together cement Pitch’s reputation for uniting influential artists from across the world’s club scenes.
Rounding out the homegrown lineup are Andy Garvey b2b DJ Scorpion, Brown Suga Princess, Ciara, Hannah D b2b Moopie, Mikalah Watego, Myles Mac b2b DJ Possum, Rakhi, RAMSEY, Rita Bass, Tina Disco, WVCHWY, and Yikes, alongside many more shaping Australia’s electronic movement.
All three of Pitch’s architecturally designed stages return in 2025, with Pitch Black unveiling a reimagined design inspired by its multi-level lineage. The festival will debut the Pitch Rock Pool, a new swimming and wellness space, while welcoming Tom Supple, whose curatorial work spans Dark Mofo, Rising and Vivid Sydney as Arts Curator, with the 2026 Arts Programme to be unveiled at a later date. The Pitch Pavilion also returns, offering space for reflection, performance and connection throughout the weekend.
Following several years operating under a ballot, Pitch has introduced a refreshed Register or Reserve system, offering greater flexibility ahead of General On Sale. Attendees can reserve a ticket immediately or register to secure access when presale begins.
Festival passes are available for two, three or four days with general camping included, alongside Premium Camp, Eco Camp and Glamping upgrades. Vehicle Pass packages encourage carpooling, with Pitch Charter Buses departing from Melbourne’s Carlton Gardens.
As Pitch Music & Arts enters its ninth chapter, the festival continues to define Australia’s electronic landscape, uniting sound, design and community beneath the Grampian Plains. Further information and registration are available at pitchfestival.com.au.
FULL LINEUP (A-Z):
Alarico [IT]
Âme DJ [DE]
Andy Garvey b2b DJ Scorpion [AU]
Aquenta [AU]
Bailey Ibbs [UK]
Benwal [NL]
Bitter Babe LIVE [CO]
Brown Suga Princess [AU]
C.FRIM [AU]
CC:DISCO! [AU] b2b DJ JNETT [AU]
Charlotte de Witte [BE]
Ciara [AU]
Dee Diggs [US]
DESIREE [ZA]
DJ Hyperdrive [DE]
DJ Nobu [JP]
Djrum [UK]
Eris Drew & Octo Octa [US]
Estella Boersma [NL]
Ewan McVicar [UK]
Faster Horses [UK]
Girls Don’t Sync [UK]
Hadone LIVE [FR]
Hannah D b2b Moopie [AU]
Jen Cardini [FR] b2b Pablo Bozzi [FR]
Job Jobse [NL]
Jyoty [NL]
Kyle Starkey [UK]
LB aka LABAT LIVE A/V [FR]
LOVEFOXY [DE]
Manuka Honey [UK]
MARRØN [NL]
Mikalah Watego [AU]
Myles Mac b2b DJ Possum [AU]
Odymel [CH]
OK Williams [UK]
Palms Trax [DE]
Pangaea [UK]
Rakhi [AU]
RAMSEY [AU]
Rita Bass [AU]
Sally C [IE]
Sam Alfred [AU]
Sama’ Abdulhadi [PS]
Saoirse [UK]
Sedef Adasï [TR]
Sleep D b2b Jennifer Loveless [AU]
Soul Mass Transit System [UK]
Special Request [UK]
Spray pres. Spriitzz LIVE [IE]
STÜM [AU]
The Trip [UK]
Tina Disco [AU]
Vladimir Dubyshkin HYBRID [RU]
WOLTERS [AU]
WVCHWY [AU]
Yasmin Gardezi [IE]
Yikes [AU]
Yu Su [CA]
Yung Singh [UK]
Pitch Music & Arts
6-10 March 2026
Moyston, VIC
Ticket Reservation is now open HERE with reservations closing on Tuesday 28th October 12PM AEDT
Presale Registration closes Wednesday 29th October 10AM AEDT
Pitch Presale begins Wednesday 29th October 6PM AEDT
General On Sale begins Thursday 30th October 12PM AEDT
Get Connected:
https://www.pitchfestival.com.
https://www.instagram.com/
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