Your new album Electric Transport feels like a heartfelt return to form. What was the turning point that made you decide to get back into music after losing your mentors?
Spencer P. Jones & Brian Henry Hooper had always been there with me on my musical journey, so after they died, I had to reframe what my music would look like without them. Whilst my grief overshadowed everything for a while, I worked hard to reach a point where the reminder of their memory didn’t trigger sadness but instead made me want to go on and do what they loved doing.
This process took nearly two years, but once I started writing again amid the COVID lockdowns, I never looked back.
You were mentored by Spencer P. Jones early in your career. What’s something he taught you that still guides your songwriting today?
He taught me early on that I hate tequila that’s for sure haha.
When you saw Spencer play as much as I did, it’s obvious to anyone how great he was at working a room and getting the audience along for the ride. I have absolutely tried to do that in my own way as a performer, and one of the best pieces of advice he ever gave me regarding that was: “play to the people listening”.
However, it was more the life lessons that Spencer taught me, which guide me as a musician.
The man badly wanted to live, and he had a lot to live for, but it was years of alcohol and drug abuse which took its toll in the end and finally caught up to him.
All he wanted during his final years was to be able to play a gig and do what he loved.
We’re both the kinds of people who were put on Earth to do this and only this, so seeing that taken away from him, galvanised in me that I cannot let addictions, illness, or anything stop me from playing music.
Whilst I’ve had my own bumps in the road, I feel that I am truly turning that into actions these days. I just hope wherever he is, he’s proud.
How did forming The Boundary Riders change the way you approached writing and recording this record?
Joe and James showed me all the beautiful possibilities within my songs.
The songs all started life as solo country songs, but the way that the guys rocked them up (and in some cases quietened them down) meant I was always surprised and energised by their takes on them.
It’s made what we do live and, in the studio, much more of a team effort.
You’ve mentioned that the album captures the raw energy of your live set — what were some key moments in the studio that made that happen?
It was less about moments, and more about an atmosphere of comfort where we could relax into the recording of each song.
Our drummer James’s studio in Coburg was the perfect place for this to happen as we could all tune out if we needed to. For example, we could have a beer and watch the footy if a song wasn’t working, or simply just hang out for a while if we were all a bit tired after work and needed to wind down.
“Tramways In My Mind” has been with you for a decade. What made you feel like now was the right time to finally release it?
‘Tramways’ was a song which always needed a band to make it work, so when I got The Boundary Riders together, I immediately knew that the three of us could make that song absolutely rock. After a few rehearsals it was a no-brainer that it would be on the next album.
There’s a strong sense of nostalgia and place in your lyrics. How important is Melbourne — and its trams — to your identity as an artist?
Melbourne raised me along with my Mum, Dad, and Granny.
This city is amazing, fun, poetic, and has influenced every aspect of who I am.
Whilst yes, Melbourne is a big part of my artistic identity, there is a pragmatism to my references, as I have lived here and only here for my entire life.
It’s my only backdrop, and if I tried to reference anywhere else with the same sense of nostalgia, it would be fake and forced.
The trams and nostalgia attached to them are a funny one, as it’s all to do with comfort and happiness.
I have ADHD and (pending an expensive screening test) am probably autistic too.
When your brain is wired as mine is, your favourite subjects tend to be things which represent when you felt true comfort and safety as a kid.
My moment of safety, and its associated subject, is Trams.
School hadn’t started yet, so there was nothing and no one to tell me my brain was differently put together in how it saw the world.
Riding on the old green and yellow MET livery W class trams with my family and dreaming of being a Tram conductor, are moments I return to as an adult when I’m feeling lost, as they are truly beautiful and comforting memories.
“The Uncles” is a touching tribute to Spencer P. Jones and Brian Henry Hooper. What emotions did you experience while writing and recording it?
A sense of release in all honesty.
Songwriting is a catharsis for me, so it was deeply therapeutic writing and recording it.
Immortalising them in a song also just seemed like the right thing to do. If someone listens to that song and then delves into their back catalogues, then I truly feel like I have helped keep their memories alive.
You explore everything from heartbreak to writer’s block to growing old. Was there a particular message or emotion you wanted listeners to take away from the album as a whole?
This album is incredibly eclectic, so when it comes to the themes in particular songs, there is no real continuity.
But from the get-go, I wanted to make an album which evokes the records I adore.
There are bits of Hi-Fi Way by You Am I, John Prine’s first album, Paul Westerberg’s solo stuff, Robyn Hitchcock’s esoteric strangeness, and Spencer’s work floating around in ‘Electric Transport’, that I wanted included as a loving tribute to these seminal artists.
Your music blends alt-country, punk, and rock in a very natural way. How do you balance those influences without overthinking the sound?
It’s something which shouldn’t even come to mind when you’re writing or recording music. For it to sound honest, spontaneous, and like you, then you need to throw caution to the wind, and just let a song happen and speak for itself.
You’ve been part of the Australian indie scene since you were 15. Looking back now, what keeps you inspired to keep creating and performing?
I can safely say that at 33 years of age I love writing songs, singing, and performing more than I ever have before.
I am incredibly grateful to music as it’s given me purpose, identity, community, and belonging.
The only place on this planet, where a neurodivergent wreck like me feels normal, is on stage singing my songs, and I am very lucky to have a wife, family, and friends who all understand that completely.
There is a necessity to what I do, and that’s why I want to be on tour all the time and make a living off this. The world is quite hostile to differently wired folks like me and we are generally forced to adapt and mask, instead of being ourselves.
This is a survival mode tactic.
In music, I can thrive on my terms alone and eschew every mask I have.
ALBUM LAUNCH TOUR
JULES SHELDON – SOLO AND WITH THE BOUNDARY RIDERS
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ALBUM LAUNCH TOUR
JULES SHELDON – SOLO AND WITH THE BOUNDARY RIDERS
+ Release parties down the East Coast this weekend including instores, a Thrift Store party pop up with Clutch Glue & Vinnies and a hometown headline show +
+ Playing Laneway Festival 2026 and touring nationally in May +
Stream focus track ‘WONDERFUL’ | Watch the video
Stream / order GLORY
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Photo by Tara Palmer (L-R: Daniel Burling, Marcus Wynwood, Shannon Astbo)
New band Runyamouth has quickly made a name for themselves with their big sound and energetic live shows… and with a pedigree like theirs, it’s no wonder. The band comprises members from Aussie punk legends Captives, Without Fail, and Slow Down Sonic.
They are excited to announce the release of their debut single, “Head on a Stick”. This hard-hitting, guitar riff driven track is a no-BS alt-rock masterpiece for fans of Grinspoon, Silverchair, Muse, and Audioslave. If you enjoy big riffs and can’t resist yelling along, this is for you.
Runyamouth are releasing their debut single right off the back of performing at The Unconformity festival (headlined by Spiderbait) and completing a run of shows around their home state of lutuwita/Tasmania. Mastered by Tyson Fish (Vance Joy, The Living End, Mammal).
“Head on a Stick is a double entendre, it reflects both the corruption of world leaders in power and the inner turmoil of trying to understand why, in a so-called modern world, we continue to repeat the same cycles of war and suffering” says drummer Daniel Burling.
STREAM NOW: https://gyro.to/HeadonaStick
Website | triple j Unearthed | Facebook | Instagram | YouTube
The acclaimed Modern Wisdom host delivers an evening of sharp insights, raw honesty, and unexpected lessons, challenging audiences to get curious, think deeper, and discover new perspectives.
Following the success of his sold-out North American live tour, British podcaster, writer, and host of Modern Wisdom – one of the world’s biggest podcasts – CHRIS WILLIAMSON brings his signature blend of storytelling, philosophy, and insight to Australia, New Zealand, and Bali in 2026 with the MOSTLY WISE live tour, hitting theatres across each territory in March and April.
Through a dynamic mix of storytelling, sharp insights, and practical takeaways, Williamson explores the tension between what we think we know and what we’re still figuring out. From the traps of hustle culture to the truths uncovered in silence, Mostly Wise offers an evening of insights, face-palm clarity, and unexpected discoveries. Audiences can expect a show that is deeply reflective, gut-punchingly honest, and unapologetically points the finger at the lessons you need to hear but have been ignoring. Whether you’re a long-time listener or just stepping into the world of personal growth, this tour invites you to get curious, challenge your assumptions, and walk away with a fresh perspective.
“After thousands of hours speaking with some of the world’s sharpest minds, the biggest lesson I’ve learned is that no one really has it all figured out, least of all me,” said Williamson. “Mostly Wise is about embracing that reality, exploring the questions that actually matter, and laughing at the ways we get it wrong. It’s not self-help, it’s self-honesty. I can’t wait to bring that to life with everyone across Australia, New Zealand, and Bali. This stuff absolutely rules. Hopefully, everyone leaves feeling called out, seen, reassured, and a bit more wise.”
With over 1 billion streams, Williamson’s Modern Wisdom has become one of today’s most influential self-development platforms, helping millions live better, think deeper, and perform at their best. Covering topics from modern masculinity and relationships to philosophy and mental wellness, Williamson distills complex ideas into practical, relatable takeaways for his global audience of more than 7 million followers.
On Modern Wisdom, Williamson sits down with some of the world’s most influential thinkers and cultural icons, from David Goggins and Andrew Huberman to Senator Bernie Sanders, Scott Galloway, and Matthew McConaughey.
The Mostly Wise live tour builds on that legacy, bringing Williamson’s most thought-provoking conversations to the stage. Audiences can expect an evening that’s as entertaining as it is enlightening — blending humor, honesty, and reflection into a transformative live experience.
CHRIS WILLIAMSON MOSTLY WISE LIVE TOUR DATES
Pre-sale Tuesday 18th Nov 9am Local
GP on sale Thursday 20th Nov 9am Local
Tickets HERE
Thursday 19th March Darling Harbour Theatre, Sydney
Friday 20th March Palais Theatre, Melbourne
Sunday 22nd March AEC Theatre, Adelaide
Monday 23rd March Astor Theatre, Perth
Wednesday 25th March Fortitude Music Hall, Brisbane
Saturday 28th March Isaac Theatre Royal, Christchurch
Sunday 29th March Bruce Mason Centre, Auckland
Wednesday 1st April Atlas Super Club, Bali
About Chris Williamson:
Chris Williamson is a British podcaster and writer based in Austin, TX, best known as the host of Modern Wisdom, where he dives into everything from self-improvement and philosophy to human behavior and the weird corners of the internet. Since 2018, he’s sat down with world-leading psychologists, neuroscientists, comedians, and cultural commentators, distilling complex ideas into accessible insights. Modern Wisdom has surpassed 1 billion downloads across more than 1,000 episodes.
PRAISE
“Chris Williamson is now a podcast star”
BBC
“Chris Williamson is a modern-day polymath with a fitting podcast”
Practical Ecommerce
“You’re a very good listener, you are one of the best listeners – really good at knowing when to talk and when not to talk”
Joe Rogan
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Sydney’s most iconic shoreline will take centre stage next year with the arrival of GOLDEN HOUR, a new live music series produced by Fuzzy. Launching in February 2026, the event will turn Bondi Beach into a sunset celebration of live music. Headlining the inaugural edition are Crowded House, supported by acclaimed singer-songwriter Thelma Plum, for a landmark evening honouring Australian music in a setting unlike any other.
GOLDEN HOUR is designed as a new end-of-summer ritual and marks the first major concert on Bondi Beach in more than a decade. The main stage sits directly on the sand, while guests are encouraged to bring picnic rugs and settle on the hill above the foreshore for sunset views.
“Golden Hour was created to celebrate the magic of outdoor live music in a way that feels grounded in place and community,” said Adelle Robinson, Managing Director of Fuzzy. “It’s about uplifting the voices that define who we are, including First Nations artists whose stories and creativity continue to shape Australia’s cultural landscape.”
Crowded House are among Australia and New Zealand’s most acclaimed and enduring bands, with more than 15 million albums sold worldwide and a legacy defined by eight APRA Awards, 13 ARIA Awards, a BRIT Award and induction into the ARIA Hall of Fame. Their 2024 album Gravity Stairs marked a bold new chapter for the group, reaffirming their creative evolution and leading into an extensive global tour that has continued through 2025. Their headline performance at GOLDEN HOUR will give fans the rare chance to experience the band as the sun sets over Bondi, with a setlist spanning decades of songs that have shaped the soundtrack of Australian life.
Award-winning Gamilaraay artist Thelma Plum will also take the stage. Known for her honest lyricism and unmistakable voice, Thelma has become one of Australia’s most compelling storytellers. Her 2023 album I’m Sorry, Now Say It Back reaffirmed her standing as a singular talent in Australian music, weaving personal reflection with emotional depth. The record built on the success of her acclaimed debut and years of touring across the country, marking Thelma as a vital, enduring voice in the nation’s contemporary soundscape.
Waverley Mayor Will Nemesh welcomed the announcement, saying the event would add a new cultural dimension to the area. “An iconic band deserves an iconic location, and what better combination than Crowded House and Bondi Beach,” he said. “I’m proud that another major event is making its home in Waverley, strengthening Council’s commitment to the cultural life of this special part of Sydney. Golden Hour not only brings a world-class concert to our doorstep but also creates opportunities for local creatives, businesses and service providers, delivering lasting benefits for the community.”
At its core, GOLDEN HOUR is a community-first music experience that celebrates local talent and creative collaboration. From the lineup to its visual identity, created by Warumungu/Wombaya artist Jessica Johnson of Nungala Creative, every element of the event reflects a commitment to Australian art and storytelling, especially highlighting the contribution of First Nations creatives. The 2026 edition runs from 5 pm to 10 pm, marking the beginning of an annual series that will return each summer with new artists and experiences still to be announced.
GOLDEN HOUR LIVE ON BONDI BEACH
Friday 20 February 2026
Presale: Wednesday 12 November, 12pm AEDT (Bondi Locals will have early access from 10am AEDT)
Artist Pre Sale: Wednesday 12 November, 12pm AEDT
General On Sale: Thursday 13 November, 12pm AEDT
CROWDED HOUSE
THELMA PLUM
& MORE TO BE ANNOUNCED
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American post hardcore / emo outfit Rain City Drive are set to make their headline debut in Australia next year, with a run of shows in March 2026. Proudly presented by TEG MJR, the band will bring their formidable live show to audiences in Melbourne, Sydney, Brisbane, Adelaide, and Perth.
Rain City Drive will be joined on all dates by viral alternative act TX2, as well as rising Sydney metalcore band Melrose Avenue. Kicking off at Melbourne’s 170 Russell on Friday 6th March, the tour continues at Sydney’s Metro Theatre on Saturday 7th March and Brisbane’s Triffid on Sunday 8th March, before the final leg at The Gov in Adelaide on Wednesday 11th March and Perth’s Magnet House on Friday 13th March. Tickets are on sale next Wednesday 12th November at 12.00pm local time via www.teglive.com.au
Rain City Drive makes vibrant and dynamic alternative rock n’ roll, with strong roots in the post-hardcore subculture and unapologetically ambitious swings into contemporary pop. Their music is streamed by over 1,000,000 fans on Spotify each month, with their hit songs ‘Talk to a Friend’ and ‘Heavier’ from their 2020 album To Better Days accounting for 100 million streams between them alone. In 2024, the band released acclaimed album Things Are Different Now – a record that catapulted the band to new heights with full-throttle singles like ‘Medicate Me’ and ‘Frozen’.
Armed with arena-ready anthems ready-made for long drives, workouts, intimate clubs, and massive festivals alike, the Florida-based group have built a reputation as a powerhouse live act – don’t miss their explosive performances as they head to Australian venues for the very first time.
TEG MJR presents
RAIN CITY DRIVE
with special guests TX2 & Melrose Avenue
Friday 6th March – 170 Russell – Melbourne
Saturday 7th March – Metro Theatre – Sydney
Sunday 8th March – Triffid – Brisbane
Wednesday 11th March – The Gov – Adelaide
Friday 13th March – Magnet House – Perth
Local Presales: Tuesday 11th November 11:00am local time
General On Sale: Wednesday 12th November 12:00pm local time
Presale Sign Up HERE
Tickets On Sale HERE
CONNECT WITH RAIN CITY DRIVE
OFFICIAL WEBSITE | INSTAGRAM | FACEBOOK | TIKTOK | YOUTUBE | SPOTIFY | APPLE MUSIC
Photography: Jake Harm Nam
I also think there was a lot more unknown when I was going into the studio. Which is fun. Feels very exploratory.
When listeners reach the final track, “Song For A Ghost,” what do you hope lingers with them after the album ends?
AL MATCOTT AND THE FOREVER BAND
ALBUM LAUNCH
Friday November 14 @ Stay Gold, Brunswick VIC
w/ Alex Hamilton And His Band + Tambourine Jesus
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AL MATCOTT AND THE FOREVER BAND
ALBUM LAUNCH
Friday November 14 @ Stay Gold, Brunswick VIC
w/ Alex Hamilton And His Band + Tambourine Jesus
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Oasis made their monumental return to Australia, delivering an explosive first Aussie show of their history-making and universally celebrated global tour, OASIS LIVE ’25 at Melbourne’s Marvel Stadium.
Playing to a capacity crowd of 58,000 fans, the band showed Melbourne exactly why this tour has become the most defining live music moment of the year, as they gave fans a taste of what’s to come on their five-date, sold-out stadium run of Australia.
Liam and Noel strode onto the stage with their customary swagger, hands clasped and raised high, as Liam fired up the crowd with a question: “G’day Australia. Did you miss us? Because we missed you.” The packed stadium roared its answer, a thunderous yes.
Just before launching into the emotive “Live Forever” the third single from Oasis’ 1994 debut album Definitely Maybe, he announced, “This next song’s dedicated to all the people who can’t be here. You know who they are, we know who they are. Live forever!” prompting a huge, heartfelt singalong.
OASIS LIVE ’25 has ignited a worldwide frenzy, with anticipation for the shows spanning countries and generations. Demand for the tour has been staggering with 18 million people applying for tickets when dates were first announced and 2.6 million fans securing their spot to witness what has become one of the biggest and most in-demand tours in history.
The Australian leg of the OASIS LIVE ’25 tour kicks off as Oasis celebrates 30 years since the release of “Wonderwall” on 30 October 1995. Three decades on, it’s still one of the most enduring songs in modern music. Before they played the track Liam asked the crowd to “Wish this baby happy birthday, 30 years Wonderwall.” For many in the crowd, it was a full-circle moment. Fans who grew up with Oasis now singing alongside their kids as “Wonderwall” rang out across the packed stadium, showing just how deeply the music continues to resonate.
The biggest reunion in rock has become a unifying celebration of a band whose influence has never faded. Oasis continue their Australian run this week with two more sold-out nights in Melbourne, before heading to Sydney for back-to-back shows on Friday 7 and Saturday 8 November.
Alongside the tour, and to celebrate the 30th anniversary of “Wonderwall”, Oasis have announced a limited edition (What’s The Story) Morning Glory? 7” Singles Box Set – a replica of the highly collectible 1996 CD cigarette-style box. The Box Set includes four 7” singles, featuring the 2014 remastered versions of “Wonderwall”, “Some Might Say”, “Roll With It”, and “Don’t Look Back In Anger”, along with their original B-sides. Released 12th December, it’s available for pre-order HERE.
Content Credit: Big Brother Recordings
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Apples & Honey, the debut album from Montreal singer-songwriter and multi-instrumentalist Vincent Yelle, is an intimate, haunting meditation on loss, family, and memory. Written, recorded, and produced entirely by Yelle, the album traces the emotional landscape that followed the passing of his father—capturing grief not as an endpoint, but as a living thread that binds generations together.
The record is steeped in personal history: field recordings of birds captured by Yelle’s late father, snippets of family conversations, and the voices of his mother and sister all blur into the music’s textured layers. Each song feels like a memory preserved in amber—delicate, luminous, and deeply human. What emerges is a tender strain of memory-folk, where emotion takes precedence over perfection, and vulnerability becomes an act of quiet resilience.
After more than a decade shaping the sound of Quebec’s indie scene as a bassist for artists including Pelch, Jeffrey Piton, Pataugeoire, and Simon Daniel, Yelle steps confidently into his own creative space. His solo work expands the language of modern folk, marrying intimacy with sonic experimentation. Apples & Honey is less a collection of songs than an emotional document—one that captures the ache and beauty of remembering.
The album features contributions from Claire Morrison, Florence Lefebvre-Gagnon, Josée Desranleau, Paul Émile Yelle, Antoine Loiselle, and Olivier Guertin, with mixing by Christian-Adam Gilbert and mastering by Jean-Philippe Villemure.