The electronic duo AIGEL reveals the release of their sixth studio album, Killer Qız,,marking a key milestone in their creative journey. The album’s focus track will be Barsı Da Bezdä.

This is the second album by the group recorded entirely in Tatar, exploring themes of loss and rediscovery, death and rebirth, the complexity of human nature, and trust in faith.

At the heart of Killer Qız is a bold narrative: a DJ killer dances until the death of a high-ranking official, then escapes the country with her boyfriend. Figures from Russian society—ranging from “couch troops” to “Rospotrebnadzor employees”—watch their departure, while the “major, the doorman, and the war correspondent” desperately try to cling to the wing of their departing plane. But, as the lyrics declare, “no matter what they do, no one will take them along.” With the speed increasing, the pilot at the controls “plays hardcore.”

Despite the audacious and vibrant energy of some tracks, the album remains deeply personal and introspective. One particularly haunting moment comes in a track where vocalist Aigel Gaisina’s voice is absent; instead, a child’s voice slowly transitions from speaking Tatar to German in real time, capturing the poignant experience of linguistic assimilation. The album concludes with Aigel herself reciting in German, reflecting on the meaning of home—whether it is where one is born or where one is laid to rest.

A surprise addition to the album is a dance track in English, originally written for a short film by renowned clown Vyacheslav Polunin. This nearly wordless song carries the refrain that “life is a comedy,” offering a moment of lightness amidst the album’s weighty themes.

“Since February 2022, we faced a long creative pause—nothing was written, and all words seemed to lose their meaning,” says Aigel. “For three years, we slowly finished pre-war demos and pieced ourselves back together. Emigration intensified the metaphor of searching for new words. Now, Ilya and I live in different countries—Berlin, with its harsh, stylish, and free atmosphere, and rural Montenegro, with its sunny and gentle calm. This contrast has seeped into our music. After a long stagnation, the first language that emerged for me was Tatar—it was like a system reset, returning to my default language.”

One of the last-minute additions to the album, Assimilation, is a near-documentary-style track in which children gradually shift from resisting emigration to fully integrating into a new culture, replacing their native Tatar words with German. The track opens with sounds from the Berlin subway, and only after completion did Aigel realize that the announcer’s voice declares, “the train is heading towards Ruhleben”—a district in Berlin that translates to “peaceful life.” This unintended coincidence perfectly encapsulates the song’s theme.

Ilya Baramiya shares his perspective on the album’s production: “I liked how Baauer described his album Planet’s Mad—drawing from ’90s dance music, inspired by Fatboy Slim, Daft Punk, and The Chemical Brothers. These artists didn’t stick to strict genres but focused on creating a unique atmosphere. We’ve taken a similar approach here, incorporating a broader range of influences—from K-pop to hard bass. There’s almost no hip-hop in this album.”

AIGEL, the duo of Tatar poetess and vocalist Aigel Gaisina and St. Petersburg electronic musician Ilya Baramiya, is known for their sharp lyrics and innovative sound in Russian, Tatar, and English. Their hit song Tatarin has amassed over 140 million views on YouTube, while their track You Born won a Silver Lion at the Cannes Lions festival. In 2023, their Tatar-language song Pıyala made history by topping the charts in over 10 countries and reaching the Billboard TikTok chart.

Since 2022, AIGEL has openly spoken against Russia’s invasion of Ukraine. Their performances in Russia were banned, leading them to leave the country—Aigel now resides in Berlin, while Ilya lives in Montenegro.

Upcoming Concert Tour

To celebrate the release of “Killer Qız,” AIGEL will embark on a concert tour. Tour dates and ticket information can be found on their official website: aigel.band.

Zurich | KANZLEI CLUB | 28.03.2025

Prague | FUTURUM MUSIC BAR | 09.04.2025

Berlin | BI NUU | 11.04.2025

Belgrade | DOM OMLADINE | 13.04.2025

Vienna | SZENE | 14.04.2025

Köln | YUCA | 16.04.2025

London | EARTH HALL | 22.04.2025

Amsterdam | P60 | 23.04.2025

Barcelona | SALA BIKINI | 24.04.2025

Valencia | MADISSON | 25.04.2025

Lisbon | LISBOA AO VIVO | 27.04.2025

PLAY/LISTEN

Words: Ken Magno

Photography: Aaron Leslie

Kehlani, one of the world’s most well renowned R&B acts, returns to Sydney with an electric ensemble to close out her biggest tour run yet. Gracing the stage of the ICC in Sydney, Kehlani brings the hype with her most recent album “Crash” released back in June 2024. Setting an electrifying tone, the pop singer / dancer was backed by a dynamic ensemble of dancers and backing musicians, bringing her songs to life while also creating one of the most 

The ICC is by no means a small venue, yet Kehlani powered through the set with a hint of intimacy as she shifted the dynamics between her songs. Soaring from her up-tempo Crash hits such as “What I Want” and “8”, before serenading the crowd with hit single “Honey” and even playing covers of other well known songs such as “Marry You” by Bruno Mars, though her track “Nights Like This” takes the cake for the highlight of the night, with Kehlani performing the club anthem to a sea of lights and adoring fans singing as if the singer had come to watch a concert of her own song sang back to her.

Amidst all this, Kehlani’s stage presence is wonderfully backed by her band that mixes hard rock guitar riffs with gospel drums, creating a sound that strays far from her usual electronic R&B sounds yet still sounds familiar – transforming her songs into a dynamic wall of sound that could felt at the very heights of the iconic venue. The instrumentation of each song and the way the band came together felt very natural, working not to overpower Kehlani’s vocals but to help guide the audience along sonic journey through her journey as a musician was a work of art.

Closing out Kehlani’s Crash World Tour, her Sydney show at the ICC was definitely a night to remember. Her ability to create make her shows personal clearly evident, even talking about hoping to see the majority of the crowd at her afterparty (hosted by Sydney’s very own Soulmate), while still proving to be the R&B powerhouse that she is. The show wraps up with a few more regional shows in Australia and before heading to Hawaii for her final solo performance of the tour.

Photography: Charlyn Cameron

TICKETS

WA rock’n’roll saviours The Southern River Band have released their towering new single and rally cry, “F**k You, Pay Me”, out now via Civilians. The band will take the single out on a headline tour around the country in May.

A song of the people from the band who has your back, the single is a middle finger to all the dirtbags who refuse to cough up what’s owed. It’s a tale as old as capitalism – living week to week, watching your hard earned cash flow up into the ivory tower when the rent is due and the bills need to be paid. With its charged-up riff and galvanizing chorus, when the debt starts piling up chuck on the song and shout it with your whole chest.

“This song is for everyone who has ever been stiffed, ripped off, bullshitted or flat out not received what they were promised. To the guilty parties (see; thief) – F**k You, Pay Me.” – Cal Kramer (vocals)

Exploding into the spotlight at the end of 2023 after being featured on every music lover’s favourite YouTube series, Justin Hawkins Rides Again, the rest of the world is starting to see what Australia has known for quite some time – The Southern River Band are the real deal.

Hailing from Thornlie in Western Australia (Where? Exactly), SRB has spent a decade putting in the hard yards and earning their reputation the old-fashioned way: by taking their full-throttle live show anywhere with a stage and a bar. One of those ‘you-just-have-to-see-them-live’ kinda bands, SRB’s relentless touring schedule has seen them sell out multiple national runs, play with Aussie legends Cold Chisel and Rose Tattoo, as well as support modern-day rock icons like The Darkness and Eagles Of Death Metal.

In 2024, SRB kicked it up a gear with the release of their high-octane fourth record, D.I.Y, that not only landed at #6 on the Aus ARIA Chart, but the vinyl needed to be repressed before it was even released. The record’s breakout six-minute epic “Stan Qualen” thrust the band on the global stage, charting in 23 countries and taking them on their first international tour. The demand for SRB was so insatiable their first UK show sold out in just four days, leading to a venue upgrade more than double the size which, you guessed it, sold out – as did most of the tour. The band has also found a home on the European festival stages, leaving thousands gobsmacked at The Great Escape, Vestrock, Sweden Rock Festival, Rock Wrechter and Down The Rabbit Hole, and they will return in 2025 to dominate Download, Hellfest and Resurrection festivals.

Before the band duck off back to Europe, they’ll take their new single out for a spin on an Australian headline tour – hitting capital cities in May. Tickets on sale March 13 via thesouthernriverband.com.

As Justin Hawkins of The Darkness said, “Now this is a proper f***ing rock band”. But hey, don’t take our word for it, find out for yourself.

THE SOUTHERN RIVER BAND AUSTRALIAN TOUR Tickets On sale Thursday March 13 via thesouthernriverband.com Friday May 9 Crowbar, Brisbane Saturday May 10 Crowbar, Sydney Thursday May 15 Altar, Hobart Friday May 16 Max Watts, Melbourne Saturday May 17 Lion Arts Factory, Adelaide Friday May 23 Rosemount, Perth

THE SOUTHERN RIVER BAND – “F**K YOU, PAY ME” Out Now Via Civilians STREAM | SAVE

FOLLOW SOUTHERN RIVER BAND

Facebook Instagram Spotify YouTube Website

March 12, 2025 0 comments

0 FacebookTwitterPinterestEmail

Words: Charlotte Najjar – Photography: Ian Laidlaw

Despite the blistering heat of the first day, Sunday’s run of the Yours & Owls festival (or “Gong Christmas”) brought howling winds and dropped temperatures to the stunning beach side venue. Yet patrons refused to let the sudden change spoil the day. Afterall, it only takes jumping in the pit to get warmed up. 

San Cisco was the first stop of the day, their defining indie sound able to be heard from the gates, so of course, I made a beeline for the Harbour stage. Fan favourites like “About You” and “Too Much Time Together” had the crowds up and about throughout the entirety of their very windy 40 minute set.

Then it was time to head off to catch MAY-A’s anticipated return to the stage, which left even those who didn’t know her music rocking out by the time she played her final song of the afternoon. Also debuting a new unreleased track, her catchy tune had all of the crowd chanting lyrics previously unknown to them. With no release date revealed, this will be one to look out for when it drops.

Of course The Veronicas were not to be missed, their set bringing forth a mixed crowd all united by what could be described as the sound of the 2010s. Their newer songs were not to be discounted, “Detox” and “Here to Dance” from their 2024 album “Gothic Summer” cemented themselves as certified dance hits. Much to the screaming fans delight, they wrapped up with everyone’s favourites “4ever” and “Untouched”, leaving the crowd exhausted and out of breath from such an energetic performance by the iconic Aussie sisters.

After some refuelling thanks to the many wonderful food truck options on sight, it was a non-negotiable to catch some of CYRIL’s DJ set. Crowds were thrilled by his well known mix of “Stumblin’ In”, and were absolutely blown away by the mashup of two classic rock songs, “Thunderstruck” and “Black Betty”. With incredible mixes blaring out to the dancing audience, it was almost impossible to drag yourself away, but alas The Kooks are too much of a household name to miss.

Of course, there was nothing more iconic than seeing the English band perform their song “Seaside” on the breathtaking seaside festival site of Flagstaff Hill. It would seem I was not the only one who was enamoured by the views and accompanying soundtrack, multiple crowd members commenting on the perfect choice of song to watch the sun begin to set to. Before I knew it, it was suddenly time to dash across the grounds to catch Slowly Slowly’s performance, but that wasn’t before leaving with a new favourite Kooks song. “Bad Habit” had everyone jumping around to the catchy tune, and it’s safe to say it has found a comfortable place in my daily song rotation.

Never one to miss the chance to mosh, Slowly Slowly’s turn on the Mountain stage was exactly where I needed to be. The Melbourne band brought even more energy than usual, the centre of the crowd not staying still for a single minute, taking every chance to collide into each other. After everyone got in the day’s cardio dancing along to multiple hits from the bands newest album “Forgiving Spree”, we all made a run for the Harbour stage, determined to not miss our favourite Irish band taking the stage.

Fontaines D.C. have been making waves recently with the release of their album “Romance”, however I’ve been sour ever since I missed them at Laneway 2023, so this was not one I was going to miss. Sure enough, they did not disappoint. I know I myself was thrilled to hear my favourite (pun most certainly intended) song off the new album “Favourite”. However, they couldn’t have ended with a better song than “Starburster”, the whole crowd searching to get up onto the shoulders of friends in order to fully immerse themselves in the experience.

As the night came to a close, Honey Dijon and Hockey Dads were the final stop of the evening. It comes as no surprise that Dijon rocked the crowds, even people such as myself who listened from afar, enjoying the electronic hits whilst resting up for the closing act. Her high energy tracks would’ve been a great end to the day, the only thing which could’ve topped it being Hockey Dad closing up the Mountain stage right after, which lucky for all us festival goers, is exactly what happened.

The indie rock group, who funnily enough hail from just a few suburbs over from the festival site, ended the night with everyone’s favourites, “I Wanna Be Everybody”, “Homely Feeling” (a personal favourite) as well as “Join The Club” and of course “Seaweed”. A perfect song to end a perfect festival weekend along the beautiful beach front. The only regret we all have is that we’ll have to wait another year for it to come around again. 

After an 8-year hiatus from Australian stages, ILL NIÑO, the trailblazing Latin-influenced metal band that redefined heavy music, is set to return for a blistering  run of shows across Australia. This long-awaited tour will feature special guests ADEMA.

ILL NIÑO, known for their explosive live performances and genre-defining fusion of heavy metal and Latin influences, will bring their unique sound to Australian venues in September 2025. The band’s return is highly anticipated, as they prepare to deliver a high-octane setlist filled with fan-favourite hits and new tracks. ILL NIÑO released their ground-breaking debut album Revolution Revolución in 2001. Whilst their  sophomore album Confession boasting the U.S. smash hit single ‘How Can I Live’, hit the Billboard Top 40 and has gone on to sell over 600,000 copies.

Joining ILL NIÑO on their Australian journey,  for the first time ever are U.S. Post-Grunge, Alternate Metal band Adema, who will bring their signature sound of hard-hitting electronic rock and nu-metal to the stage.

The two bands are set to deliver an evening of hyped-up intensity, bringing a mix of heavy riffs, Latin infused percussion, emotionally engaging lyrics, and powerful performances that will make this an unmissable experience.

ILL NIÑO and ADEMA September 2025 Australian Tour Dates

Friday 12^th September SYDNEY, Liberty Hall

Saturday 13^th September MELBOURNE, Max Watts

Sunday 14^th September BRISBANE, The Trifid

General Public on sale: Monday 3rd March 9:00am AEDT: https://www.octoberpresents.com/illnino2025

Photo Credit: Ewan Ogden

Set to make their long-awaited Australian return in March, Blossoms are bringing with them their latest chart-topping album, GARY. Ahead of their national tour supporting British indie icons Kasabian, the Stockport five-piece share focus track ‘I Like Your Look’ – a key entry in GARY’s sprawling tapestry of fun and dynamic sounds.

Co-written with breakthrough Irish musician and performer CMAT, ‘I Like Your Look’ is a homage to the aesthetic and sounds of the ‘80s, with vocalist Tom Ogden noting, “‘I Like Your Look’ is a tipping of the hat to Blondie’s ‘Rapture’ and a wink to Joan Baez ‘Time Rag’, and lyrically it explores a tongue-in-cheek approach to high fashion. ’Mothers’ is an ode to my and Joe’s friendship and it references the fact that our mothers were friends back in the 80s.’”

Their fifth studio album, GARY sees Blossoms engage with some of their most dynamic music to date. Having consistently released music that has remained in line with the energy of their earlier releases, the five-piece have also kept their focus very much trained on new sounds and directions that keeps the chemistry within the band fresh and tight.

GARY is a perfect example of such chemistry. Their first studio record as independent artists, there is a spirit of rejuvenation that threads its way through the record; from its singles in ‘Gary’, ‘Perfect Me’ and ‘What Can I Say After I’m Sorry?’, the album captures a unique turning point in Blossoms’ journey. The music is fun without losing poignancy in songwriting; dynamic without sacrificing precision in execution.

The impact of GARY only speaks to Blossoms’ continued staying power – debuting at #1 on the UK Albums Chart, the album has become the band’s fourth #1 record and has gone on to spark two special additional editions: a deluxe edition, and a covers edition featuring reworks of songs by artists including Radiohead, Whitney Houston, Caroline Polachek and Lady Gaga.

Selling over 100,000 tickets in the last year alone, as well as logging excellent sets at festivals including Glastonbury, Blossoms are set to have another busy and fruitful year with the release of GARY putting them back on the map as a band not to be missed. 

Since forming in 2013, Blossoms have enjoyed widespread success and acclaim. Their 2016 debut Blossoms topped the album charts for two consecutive weeks and went on to earn the band BRIT Award and Mercury Prize nominations, while 2018’s Cool Like You charted at Number 4 in the UK album chart, spawning the anthemic singles I Can’t Stand It, There’s A Reason Why (I Never Returned Your Calls) and How Long Will This Last? Their third studio album, 2020’s Foolish Loving Spaces was the band’s second UK Number 1 album, while their fourth studio LP Ribbon Around The Bomb gave the band their third UK Number 1 album, with the record’s standout tracks Ode To NYC, The Sulking Poet and Care For well established as fan favourites. Blossoms have had five top 5 albums in the UK, including their In Isolation/Live From The Plaza Theatre, Stockport release.

PRAISE

“At the top of their game…”

ROLLING STONE UK

“A band who gets better with each release…”

SUNDAY EXPRESS

“A cohesive, well-crafted and captivating album which is testament to their artistry.”

CLASH MAGAZINE

“Gary is Blossoms’ most accessible, cohesive record to date.”

LOUDER THAN WAR

“Gary is the most fun you’ll have with any band in 2024.”

DORK UK

BLOSSOMS AUSTRALIAN TOUR DATES

SUPPORTING KASABIAN

Tickets via destroyalllines.com

Tuesday 11 March Forum Melbourne

Wednesday 12 March Forum Melbourne SOLD OUT

Saturday 15 March Enmore Theatre Sydney SOLD OUT

Sunday 16 March Enmore Theatre Sydney

Tuesday 18 March Fortitude Music Hall Brisbane

GARY is out now.

BLOSSOMS: OFFICIAL WEBSITE | FACEBOOK | X | INSTAGRAM | YOUTUBE 

Bringing the party to Australia, New Zealand and Bali  

Ultimate party starter Hot Dub Time Machine is back for 2025 and he just can’t stop bringing the  energy with a new headline tour around Australia, New Zealand and Bali. Across 8 nights in 3  countries, Hot Dub’s brand new show will be celebrating some of the best in dance music from  1962-2025, delivering on his promise of the BEST. PARTY. EVER. 

TICKETS

Kicking off in March, the Can’t Stop Tour will bring the good times to Adelaide, Bali, Melbourne,  Auckland, Christchurch, Hobart, Brisbane and Sydney. Grab your best friends and get ready for a  dancefloor that just won’t quit, in what will be an epic tour you won’t want to miss. 

Since first launching his time-travelling, ‘dance-through-the-decades’ audio-visual party concept in  2011, Sydney’s Tom Lowndes has taken Hot Dub Time Machine from humble beginnings to global  acclaim. A regular on festival main stages, Hot Dub has brought his one-of-a-kind experience to some  of the world’s biggest festivals, including Coachella, Tomorrowland and Splendour in the Grass.  

Hot Dub headline tours continue to thrill fans across Australia, playing to sold-out crowds at the iconic  show Hot Dub on the Harbour, 100% Bangers Tour around the country, and now the much  anticipated Can’t Stop tour. Internationally, Hot Dub has wowed fans with headline performances at  London’s Printworks for Hot Dub Rave Machine and a sold out 5,000-pax Hot Dub Boogie show in  Glasgow. 

Beyond festivals, Hot Dub’s epic party energy has taken over major sporting events like the Australian  Open, Formula One, Hong Kong Sevens and Summernats. Hot Dub Time Machine is a constantly  evolving high-energy experience that unites crowds, electrifies dancefloors, and keeps the good times  rolling.  

Showcasing songs from every decade and genre of music, weaving it into one expansive, electrifying,  music history lesson, Hot Dub has become a worldwide sensation, winning over audiences with his  iconic, celebratory shows. 

Get ready for the BEST. PARTY. EVER! 

HOT DUB TIME MACHINE CAN’T STOP TOUR DATES  

Saturday 8 March 2025  

Gluttony @ Fringe  

Adelaide, SA 

Friday 21 March 2025  

Ulu Ciffhouse  

Uluwatu, Bali  

Saturday 29 March 2025  

Hot Dub on the Bay  

Melbourne, VIC 

Friday 4 April 2025  

Town Hall  

Auckland, NZ  

Saturday 5 April 2025  

Ngaio Marsh Theatre  

Christchurch, NZ  

Saturday 26 April 2025  

The Goods Shed  

Hobart, TAS  

Friday 2 May 2025 

The Tivoli  

Brisbane, QLD  

Saturday 24 May 2025  

The Hordern Pavilion  

Sydney, NSW

TICKETS

INSTAGRAM

Words + Photography: Louie Mosscrop

Knotfest Australia kicked it off in Melbourne, this wasn’t just a concert; it was a pilgrimage, a day where the city’s metal faithful gathered under the blazing Australian sun to partake in a sonic ritual. From the early afternoon’s first crushing chords to the final, echoing roar from Slipknot, the day unfolded as a meticulously crafted tapestry of metal, each thread contributing to the festival’s overwhelming power. The anticipation was palpable, a collective hum of excitement that vibrated through the crowd, a testament to the enduring and evolving power of metal in the Australian music scene.

The lineup was a masterclass in metal diversity, a carefully curated selection that showcased the metal’s breadth and depth.

Vended, with their raw, youthful energy, brought a fresh and ferocious sound, proving that the next generation of metal is ready to take the stage. Their performance was a jolt of adrenaline, a reminder of metal’s ever-evolving spirit.

Slaughter To Prevail, emerging with a visceral intensity, owned the stage with unrelenting heaviness. Alex Terrible’s guttural vocals and their crushing breakdowns resonated with a primal force, leaving the crowd stunned and invigorated, unfortunately having to stop mid set to get medics to assist with what we hope is a now fully healed festival goer. Despite their brutal nature Alex and the band made sure they were out of further harms way before continuing their set.

Knotfest’s atmosphere was a living, breathing entity, a testament to the power of shared passion. The mosh pits, far from being mere displays of aggression, were expressions of communal release, a physical manifestation of the music’s emotional intensity. The crowd, a diverse tapestry of metalheads, was united by a shared sense of belonging, a feeling of being part of something larger than themselves. The festival grounds buzzed with a sense of camaraderie, with fans exchanging stories, sharing their favorite bands, and celebrating the unifying power of heavy music. Beyond the music, the festival offered a vibrant marketplace, with merchandise stalls, food vendors, and interactive displays, creating a holistic festival experience. The sense of community was palpable, making Knotfest more than just a concert, but a genuine cultural event, even under the intense Australian sun.

Polaris, delivered a performance that was both technically precise and emotionally charged. Their blend of metalcore and progressive elements was met with thunderous applause, solidifying their position as a leading force in the Australian metal scene.

Within Temptation, bringing a touch of symphonic grandeur, offered a captivating contrast. Their soaring vocals and intricate arrangements created a mesmerizing atmosphere, proving that metal can be both heavy and beautiful. This being their first visit down under, lets hope not the last.

BABYMETAL, the enigmatic Japanese trio, injected a dose of theatricality and infectious energy into the festival. Their fusion of kawaii aesthetics and heavy metal riffs was a captivating spectacle, a testament to the genre’s capacity for innovation and cross-cultural appeal.

The intense heat of the Australian summer day, coupled with the physical demands of the mosh pits, underscored the importance of hydration and sun protection. Despite these minor considerations, the overall festival experience remained overwhelmingly positive. The festival’s meticulous organisation, and well-maintained facilities contributed to a smooth and enjoyable experience for attendees, some more shade wouldn’t have gone unnoticed however.

Hatebreed, with their signature brand of hardcore intensity, delivered a set that was pure, unadulterated aggression. Their relentless energy and empowering lyrics ignited the crowd, creating a swirling vortex of moshing bodies.

A Day To Remember, with their sing-along anthems and infectious stage presence, provided a welcome moment of collective catharsis. Their blend of pop-punk sensibilities and metalcore aggression created a singalong atmosphere, uniting the crowd in a shared moment of passionate release.

Finally, Slipknot, the architects of modern metal mayhem, delivered a performance that was nothing short of a sonic and visual assault. Their iconic masks, frenetic stage presence, and timeless anthems ignited the crowd, transforming the festival grounds into a swirling vortex of energy. Delivering an all new show it was a spectacle to witness and a show no one will forget any time soon.

Knotfest Melbourne was a resounding success, a testament to the enduring power of heavy music and the passionate community that surrounds it. The festival’s meticulously curated lineup, electric atmosphere, and dedicated fanbase combined to create an unforgettable experience. It was a day of sonic immersion, a tribal gathering where metalheads from all walks of life came together to celebrate their shared passion under the Southern Cross. Knotfest’s Melbourne has undoubtedly left an indelible mark on the city’s music scene, forging a legacy of metal mayhem and communal celebration. For those who were there, the memories of Knotfest Melbourne will resonate long after the final notes have faded, a testament to the power of live music to unite and inspire, even under the harsh Australian sun.

…So when does the 2026 line up drop?