Following overwhelming demand during presale, Frontier Touring is thrilled to announce second shows have been added in both Melbourne and Sydney for multiple Academy Award® and GRAMMY®-winning composer Hans Zimmer, who returns to Australia this October with his visionary new arena production, Hans Zimmer Live – The Next Level.
In Melbourne, a second and final show has been added at Rod Laver Arena on Sunday 25 October, following the previously announced concert on Saturday 24 October.
Meanwhile, Sydney fans will now have two opportunities to experience his spectacular production, with a second show added at Qudos Bank Arena on Thursday 29 October, following Zimmer’s already announced performance on Wednesday 28 October.
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Performing alongside his powerhouse 19-piece live band and featuring the acclaimed vocals of Australian musician Lisa Gerrard among a world-class ensemble, Hans Zimmer Live – The Next Level has already captivated audiences across Europe, completing a run of 50 sold-out shows in 17 countries and performing to more than 600,000 fans.
From Gladiator, Pirates of the Caribbean, The Dark Knight, Interstellar, Mission: Impossible, F1, The Lion King, Black Hawk Down, The Last Samurai and Dune, Zimmer’s extraordinary body of work has shaped some of cinema’s most iconic moments. Hans Zimmer’s extraordinary compositions have scored more than 500 projects across all mediums, which combined have grossed more than $28 billion at the worldwide box office. Zimmer has been honored with two Academy Awards®, three Golden Globes®, five Grammys®, an American Music Award, seven Emmy ® nominations and a Tony® nomination.
With demand already proving extraordinary, fans are encouraged to secure tickets early. Don’t miss Hans Zimmer Live – The Next Level this October.
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About Hans Zimmer
Hans Zimmer has scored more than 500 projects across all mediums, which combined grossed over $30 billion at the worldwide box office. He has been honored with two Academy Awards®, three Golden Globes®, five Grammys®, an American Music Award, seven Emmy ® nominations and a Tony® nomination.
Zimmer’s career highlights include Dune: Part One, Dune: Part Two, Interstellar, Top Gun: Maverick, No Time to Die, Gladiator, The Thin Red Line, As Good as It Gets, Rain Man, The Dark Knight trilogy, Inception, Thelma & Louise, The Last Samurai, 12 Years a Slave, Blade Runner 2049 (co-scored with Benjamin Wallfisch) and Dunkirk. He also scored David Attenborough’s Prehistoric Planet, the final season of HBO MAX’s hit series Euphoria, and Joseph Kosinski’s F1, the highest-grossing sports film of all time, which earned him a Golden Globe® nomination. Upcoming, Zimmer will score the third part in Denis Villeneuve’s Dune franchise, releasing December 18.
His concert film Hans Zimmer & Friends: Diamond in the Desert was released in cinemas worldwide in 2025. It features live performances of Zimmer’s most revered compositions, as well as conversations with his closest collaborators, including Billie Eilish, Sir Christopher Nolan, Denis Villeneuve, Finneas, Jerry Bruckheimer, Johnny Marr, Pharrell Williams, Tanya Lapointe, Timothée Chalamet and Zendaya.
Beyond his award-winning compositions, Zimmer is a remarkably successful touring artist. He recently concluded his first North American and European Hans Zimmer Live tours. He has also performed in the Middle East, including two consecutive nights at Dubai’s renowned Coca-Cola Arena, as well as at Formula 1’s Singapore Grand Prix.
HANS ZIMMER LIVE – THE NEXT LEVEL
AUSTRALIA
OCTOBER 2026
Presented by Frontier Touring, Semmel Concerts and RCI Global
TICKETS ON SALE
Begins: Wednesday 3 June, 2pm (local time)
ALL SHOWS LICENSED ALL AGES
Monday 12 October
RAC Arena | Perth, WA
ticketek.com.au
Thursday 15 October
AEC Arena | Adelaide, SA
ticketek.com.au
Tuesday 20 October
Brisbane Entertainment Centre | Brisbane, QLD
ticketek.com.au
Saturday 24 October
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
Sunday 25 October
NEW SHOW!
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
Wednesday 28 October
Qudos Bank Arena | Sydney, NSW
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Thursday 29 October
NEW SHOW!
Qudos Bank Arena | Sydney, NSW
ticketek.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.
Julia Jacklin, trials
King Gizzard and The Lizard Wizard
Confirmed for Artist in Conversations at BIGSOUND
NEW WAVE OF INTERNATIONAL INDUSTRY GUESTS INCLUDE
BONNAROO, MOM+POP, PARTISAN RECORDS, PITCHFORK AND SOHO HOUSE
International guests confirmed for BIGSOUND 2026 – Partisan Records, Pitchfork, Bonnaroo, Soho House, MOM+POP (US), ROAM Artists (UK), Reeperbahn (GER), DMT Law Firm (US), Carpark Records (US), The Great Escape (UK), True Panther (US) and SXSW (US)
Artists In Conversations confirmed – Stu Mackenzie and Lucas Harwood (King Gizzard and the Lizard Wizard), Julia Jacklin, and trials
Early Bird Tickets On Sale Now, Delegate Tickets from $699 – visit bigsound.org.au to take advantage, early bird offer ends Monday, 30 June 2026
Magandjin (Brisbane), Queensland – BIGSOUND is excited to announce esteemed international industry guests, as well as its first wave of Artist In Conversation for their 25th anniversary edition this September 1-4, 2026.
This year, BIGSOUND is focused on delivering more opportunities for delegates to connect directly with the global market, with an expanded focus on facilitated networking, conversations and meetings throughout the week. With more networking events than ever before, this year’s BIGSOUND aims to nurture meaningful connections, with the return of our roundtables, conversation corners, curated meetings, and bigger-better mixers. BIGSOUND is excited to bring an expertly curated and diverse program of networking events, panels and discussions to connect Australian artists and industry with international delegates; ranging from festivals, labels, sync, media, agents and more.
Bringing over a decade of experience from a massive career as part of one of Australia’s most prolific rock groups, King Gizzard and the Lizard Wizard, delegates will have the chance to hear from Stu Mackenzie and Lucas Harwood as they reflect on their career. Taking the BIGSOUND stage in 2013, this Melbourne band caught the attention of punters and music industry alike, building momentum before catapulting into a career filled with a ton of music, massive wins and everything in between. With over 25 albums to their name, this globally known collective has remained steadfast in their creative vision and approach to art, leading them into the overseas market and becoming one of the most important bands of their generation.
Acclaimed songwriter and musician, Julia Jacklin also joins the BIGSOUND Artist in Conversation lineup; the multi ARIA Award nominee whose catalogue of striking alt-pop and indie music has won her a global audience made her first appearance at BIGSOUND in 2016 – just ahead of the release of her seminal debut album Don’t Let The Kids Win. Jacklin has become one of Australia’s finest songwriters and performers, known as a master of emotional storytelling – most recently evidenced on her ARIA-nominated album PRE PLEASURE. Jacklin has proven time and again her enduring talent, and has taken it to the world. In 2026, Jacklin returns to international stages, having signed her first-ever global record deal with 4AD, marking an exciting new chapter for the artist.
Award-winning Ngarrindjeri hip hop producer, composer and innovator, trials has been a driving force behind some of Australia’s most important projects. With funkoars, one of Australian hip hop’s most respected groups, and then with A.B. ORIGINAL, his powerful project with Yorta Yorta artist Briggs, trials is one of the country’s most important creatives. In 2026, trials has stepped out into the solo spotlight, releasing his long-awaited debut album hendle to widespread acclaim.
Included in today’s international guest announcement:
- Partisan Records – Chris Fraser (Head of A&R): joined Partisan in May 2025, working closely with label founder Tim Putnam in overseeing the current and future roster, helping to bring their creative vision to life. With offices in New York, London and Los Angeles, Partisan has signed Geese/Cameron Winter as well as Blondshell, and works with artists including IDLES, Cigarettes After Sex, PJ Harvey, Ezra Collective and Laura Marling; as well as launching the career of Fontaines D.C.
- Pitchfork – Nina Corcoran (Associate Staff Writer): Chicago-based, joined the staff team in 2021 after contributing to the website since 2015. She’s also written for Rolling Stone, Wired, NPR and Stereogum, and was previously the music editor of alt-weekly newspaper, DigBoston.
- Bonnaroo – Bryan Benson (Music Exec, Talent Buyer): Bryan Benson is a live music executive and talent buyer helping book and curate lineups for major festivals including Bonnaroo, Boston Calling, Railbird and High Water. Benson is also the Lead Buyer for Live Nation in Nashville, where he oversees bookings for venues across the city, including Bridgestone Arena, Ryman Auditorium, FirstBank Amphitheatre, Ascend Amphitheatre, and Live Nation’s new iconic room, The Truth.
- Mom+Pop Music – Thaddeus Rudd (Co-Owner): Thaddeus Rudd co-owns New York-based independent Mom+Pop Music alongside Michael Goldstone. With a roster spanning Magdalena Bay, Porter Robinson, Courtney Barnett, MGMT and Underscores, and a back catalogue including Flume and Tash Sultana to name a few, Mom+Pop is an independent label force to be reckoned with.
- Soho House London – Jessica Moss (Music Programming): Jessica Moss leads music programming at Soho House London, with over 100 events a month across the UK and Europe, working with a huge range of artists and genres from Skepta and the Wu-Tang Clan, to Honey Dijon, KAYTRANADA and Nubya Garcia.
Also included on today’s announcement, are representatives from some of the world’s most recognisable music festivals such as Director of SXSW Music, Dev Sherlock; Marie Robinson from The Great Escape; artist booker for MOJO in the Netherlands, Puck Stoelinga; Yuta Nomura, founder and organiser of CUEW Showcase & Conference in Shibuya, Tokyo, as well as the ONE MUSIC CAMP and ARIUFUJI Weekenders in Japan.
International label delegates announced for BIGSOUND today also include TBA Agency festivals agent Kyle Kernohan; BBC Radio 1 presenter and DJ Tara Kumar, and two representatives from India: Rafael Pereira from India International Music Week and Roydon Bangera from Skillbox.
“BIGSOUND has always been a place where real connections happen, and this year we’re focused on creating even more opportunities for Australian and New Zealand artists and industry to connect with each other and the global market. The program focuses on the conversations the industry is having right now — how the business is changing, how we stay ahead, and how Australian and New Zealand artists continue to grow on the global stage.” — Kristy Ellis, Interim CEO, QMusic
BIGSOUND 2026 will again feature the popular Roundtables, Conversation Corners, Artist Hub, Content House, Delegate Hub, and Goolwal Goolwal, (Yagara language for BIGSOUND) – BIGSOUND’s First Nations-led program bringing free cultural experiences by day and deadly tunes by night. Alongside these crowd favourites an expanded technology and partner showcase program will be launched in the coming months.
The full BIGSOUND program will launch in July, with early bird tickets on sale now – make sure you are subscribed and staying tuned to all official updates via the BIGSOUND website: www.bigsound.org.au/subscribe
QMusic is supported by the Queensland Government through Arts Queensland and the Australian Government through Creative Australia, its principal arts funding and advisory body.
About BIGSOUND
The biggest week in Australian music and largest music industry event in the Southern Hemisphere, BIGSOUND has been where the music industry does business for 25 years. Held annually in the sacred home and beating heart of Australia’s Live music scene – Fortitude Valley, Magandjin (Brisbane), BIGSOUND is four days and three nights of showcases, development, conversations and connections.
BIGSOUND is the place where managers find their next act, agents close touring deals, labels discover the artists that define the next generation, and where introductions made over a drink at the Artist Hub become the partnerships that shape careers. Part showcase, part conference, part pilgrimage for the Australian music industry and its global peers – BIGSOUND is a cultural moment that has helped launched and propelled the careers of artists including Flume, Tash Sultana, Tones and I, and Courtney Barnettt, and continues to attract the international music industry to Brisbane each September.
BIGSOUND 2026 | 1–4 September, Fortitude Valley, Brisbane. Early bird tickets on sale now.
About QMusic
QMusic is the not-for-profit music industry peak body and development association for Queensland. The work of QMusic is critical to the success and development of Queensland’s music economy. It is the only significant and established not-for-profit organisation in Queensland dedicated to delivering sector and talent development, and recognition and capacity building initiatives including Industry Connect, the QMAs, and BIGSOUND.
For more information on BIGSOUND 2026 visit
BIGSOUND 2026 | 1 – 4 September Fortitude Valley Brisbane, QLD
INTERNATIONAL INDUSTRY GUESTS – JUST ANNOUNCED
Bonnaroo (C3 Presents) – Bryan Benson (US)
CUEW / One Music Camp / Arifuji Weekenders – Yuta Nomura (JP)
India International Music Week – Rafael Pereira (IN)**
Mojo – Puck Stoelinga (NL)
Mom+Pop Music – Thaddeus Rudd (US)
Pitchfork – Nina Corcoran (US)
Partisan Records – Chris Fraser (UK)
Skillbox – Roydon Bangera (IN)
Soho House – Jessica Moss (UK)
TBA Agency – Kyle Kernohan (US)
** delivered in partnership with Sounds Australia and Consul General to Mumbai
INTERNATIONAL INDUSTRY GUESTS – ALREADY ANNOUNCED
Bandcamp – Mariana Timony (US)
Carpark Records – Steph Salas (US)
DMT Law Firm – David Telfer (US)
Hellfest – Christie Medina-Gonzalez (FR)
Low Profile – Carole Ann Vetter (US)
Reeperbahn – Patrick Daniel (GER)
ROAM Artists – Lucy Atkinson (UK)
Rough Trade Retail – Nigel House (UK)
Sziget – Márk Bónal (Hungary)
SXSW – Dev Sherlock (US)
The Great Escape – Marie Robinson (UK)
True Panther – Kelley Lin (US)
TICKET PRICING
EARLY BIRD DELEGATE TICKETS ON SALE NOW
FULL DELEGATE EXPERIENCE – Full Price $899
Early Bird Offer (ends 30 June)
$699 / QMusic Subscribers & Reciprocal Members $649
Join the waitlist for festival tickets.
*Concession and youth pricing is available by request. Prices are subject to change and platform booking/processing fees
LUUDE TOUR KICKS OFF THIS WEEKEND
This is it. Luude’s Australian return lands this Saturday, and tickets are nearly gone across all cities.
SET TIMES
Here’s how the nights look:
Sat 6 June, 2026 | Eora/Sydney
7:00pm – Doors and Foura
9:00pm – Charlie Shell B2B Prizefight
11:00pm – Luude
Sat 13 June, 2026 | Boorloo/Perth
7:00pm – Doors and Charlie Shell B2B Prizefight
9:00pm – Foura
11:00pm – Luude
Fri 26 June, 2026 | Tarntanya/Adelaide
7:00pm – Doors and Charlie Shell B2B Prizefight
9:00pm – Foura
11:00pm – Luude
Fri 26 June, 2026 | Meanjin/Brisbane
7:00pm – Doors and Foura
9:00pm – Charlie Shell B2B Prizefight
11:00pm – Luude
Sat 4 July, 2026 | Naarm/Melbourne
7:00pm – Doors and Foura
9:00pm – Charlie Shell B2B Prizefight
11:00pm – Luude
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With the release of their long-awaited debut album Are You Falling In Love? (out July 10) on the horizon, rising Naarm indie rockers The Velvet Club are today proud to announce a national tour in support of the record, taking place in August. The four-date run will see the band bring their magnetic, nostalgia-rich live performances to stages in Sydney, Brisbane, Perth, and Melbourne. Tickets are on sale now and available HERE.
“We can’t wait to tour our debut album,” says frontman AJ Tilyard. “It feels like this is what we have been building up to for the 8 years we have been a band. We have always been a live band first and have always put all of our energy and focus into our live shows.”
Over the past year or so while writing and recording the album, and around single releases, The Velvet Club opted to play a handful of secret shows, small rooms, and parties both in Melbourne and interstate. The upcoming album tour marks the band’s first official headline tour since their Space Between EP run in 2024, and will see emerging Adelaide favourites Pureé support the east coast dates, and WA indie darlings Ghost Care join in for Perth.
“This headline tour around Australia is so exciting for us, we have so much planned for these shows to bring all of these new songs to life for you. I have no doubt these will be the best shows we’ve ever put on, especially having two of our favourite Australian bands Pureé and Ghost Care on support duties at the shows!”
The tour announcement follows the recent release of fan-favourite track ‘We Don’t Talk’, which debuted on triple j Drive with Abby and Tyrone. Stream HERE, and watch the music video HERE. It’s the latest of three singles released so far from the band’s upcoming debut album, Are You Falling In Love?, due for release on July 10. Pre-save the album HERE and pre-order merch and vinyl HERE.
The Velvet Club
Are You Falling In Love? Album Tour
With special guests Pureé & Ghost Care *
7th August – Marrickville Bowlo, Sydney
8th August – Black Bear Lodge, Brisbane
14th August – Rosemount Hotel, Perth *
21st August – Howler, Melbourne
Tickets HERE
Are You Falling In Love? is a triumphant return to creative joy for The Velvet Club, as the product of a burnout-induced hiatus in the wake of their 2024 EP Space Between. The band’s decision to take a break from writing, recording, and touring instead found AJ in his most prolific songwriting period yet. The unravelling of a long term relationship, and the rise of anxiety and other mental health struggles during that time saw AJ turn to songwriting and nostalgia as a salve, revisiting live videos of the bands he had decorated his bedroom walls with in high school – the likes of The Strokes, The Vaccines, The Drums and The Smiths.
“The theme of the album basically encapsulates this year and a half period of my life between 2024-2026 where everything seemed to come to a head,” AJ reflects. “While writing, I started therapy, and after we began tracking for the album I started medication to help manage depression, anxiety and OCD. Finally addressing these as issues I had been ignoring definitely changed the trajectory of this album, and helped shape the overall tone and feeling of the record.”
Throughout the record’s 10 tracks, The Velvet Club navigate mental health struggles, relationship breakdowns, friendship, and solitude, fuelled by jangly guitars and hooks that move from bright to melancholic and back again. The Velvet Club’s return to the hazy immediacy and raw, unpolished charm of 2000s indie is what made the title track ‘Are You Falling In Love?’ the perfect album opener. At just over two minutes, the track captures the punchy energy of a TVC live show with its catchy, repetitive melodies – an intentional choice that AJ says “really sets the scene for the rest of the album.” Songs like ‘Blue’ and ‘We Don’t Talk’ dive into AJ’s experience with heartbreak and healing, while ‘Wasted Space’ and ‘I Need Something Too’ touch on mental health, particularly his experience with OCD and his journey in accepting its impact on his life.
From their intimate DIY release parties and secret shows, to tearing up the stage alongside the likes of Hockey Dad, DICE, The Rions, and Rum Jungle, The Velvet Club’s passion for honouring and reimagining a beloved genre has led the band to a tight-knit community of music lovers, musicians, and fans alike. As well as their influences abroad, The Velvet Club also look to their peers – the likes of sleepazoid, The Belair Lip Bombs, and Highschool – for motivation. “Aside from the personal cathartic experience of writing and creating it, my favourite thing about making music is the community you build around it,” says AJ. “All the friends we’ve made through it and the bands we’ve grown close to along the way have been by far the most rewarding part about making music.”
That sense of community is what led them to working with friend, producer, and fellow musician Luke Thomas (Fan Girl, Harris, World’s Best Neighbours) on Are You Falling In Love?. “We literally could not have made the record without Luke. He co-produced and engineered the entire thing from his own studio, Taste Police, in Brunswick. It’s also why I believe this album sounds so true to us and what we are about as a band. We made this record completely on our own with our friends.” The album was mixed by Scott Hoorscroft (DMA’s, Middle Kids, DZ Deathrays) and mastered by George Georgiadis (The Rions, The Buoys, Teenage Dads).
Prolific multi-platinum Australian artist Crooked Colours today announces his fourth studio album Dirt Road Gold, set for release Friday August 21st 2026. Alongside the announcement an upcoming multi-date Australian tour and drop of his latest single from the LP, ‘Oxford’. Once a trio now solely led by lead singer Philip Slabber, this is a deeply personal and career defining moment for Crooked Colours, his vulnerability on display as he steps through to the dawn of a new era. Pushing the boundaries of his own musical scope and in turn flawlessly delivering. Slabber effortlessly genre-hops through Dirt Road Gold, from alternative euphoric builds to upbeat melodies to electronic stabs alongside his instantly recognisable heartbreaking vocals; stacked to perfection. Available to pre-save here.
Speaking of the overall process, creativity and what to expect from Dirt Road Gold Slabber shares, “The inspiration for the album wasn’t one single thing, it was movement. Change. The push and pull between holding onto what’s familiar and letting it go. There were moments of isolation, but also a lot of clarity in that space. Sonically, I wanted it to feel expansive but intimate at the same time, something that could live in a club but still hit you when you’re alone driving at night. I want you to be able to hear the moments.”
An industry heavyweight both locally and abroad with nods from Billboard, NME and Dancing Astronaut, Crooked Colours continually craft a distinctive soundscape with over a decade of multifaceted experience. Known for bridging the gap between indie and electronic music, ‘Oxford’ succeeds the Rolling Stone AUNZ featured-single ‘Pink Limo’ followed by ‘Come Thru’, all calling Dirt Road Gold home. Showcasing the calibre and hinting at the dynamic of the overall album. Effortlessly navigating sonic moments of light and shade, a true stand-out in the current global dance scene, and highlighting Slabber’s unparalleled storytelling ability.
With a dedicated following as a cornerstone of the Australian music scene, the upcoming Dirt Road Gold tour kicking off in October will see Crooked Colours perform at Freo. Social in Fremantle, Metro Theatre in Sydney, Northcote Theatre in Melbourne, Lion Arts Factory in Adelaide, Brisbane’s The Triffid and Byron Bay’s The Northern.
Of-late, 2025 saw Crooked Colours take on a national tour before making his way across Europe hitting London, Paris, Berlin and more. Having notably performed at Laneway Festival, Falls Festival, Beyond The Valley, Red Rocks, Bonnaroo, Grooving The Moo, Spilt Milk and Splendour In The Grass, Slabber has continually earnt a dedicated following as an institution in the dance realm.
As one of the globe’s most reliable and energetic Australian exports, previous albums Vera (2017), Langata (2019) and triple j Feature Album Tomorrows (2022), all encompassing the brooding, sun-kissed euphoria of Crooked Colours. Collectively delivering standout tracks including ARIA Platinum accredited records ‘Flow’ and ‘Do It Like You’, alongside Gold singles ‘I Hope You Get It’, ‘I’ll Be There’, ‘Hold On’ and ‘Love Language’; quickly surpassing one billion streams worldwide across all platforms and counting.
Highlighted collaborations with Don Toliver, Masked Wolf and Ladyhawke alongside official remixes from Claptone, HOSH, Kyle Watson, SNBRN, Alison Wonderland, Hermitude and Bag Raiders all adding to the culture and escape that is Crooked Colours. Dirt Road Gold and all that it embodies, will no doubt add to the act’s long and growing list of accolades.
Crooked Colours’ Dirt Road Gold LP is set for release on Friday August 21st 2026.
Pre-save/pre-order here
BUY/STREAM: CROOKED COLOURS – OXFORD
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Dom Dolla | Thursday 24th September | Marvel Stadium, Melbourne (SOLD OUT)
Melbourne’s own Dom Dolla has sold out his Marvel Stadium show and is set to deliver one of the most significant moments in Australian electronic music history this September.
Presale allocations were exhausted within hours, with all remaining tickets selling out instantly from general on sale.
Presented by Untitled Group and Frontier Touring, the show is an Australian-exclusive and the world premiere of his brand new stadium production in front of his home crowd.
The sellout cements a remarkable trajectory for the GRAMMY Award-nominated DJ and producer. Following his record-breaking, sold-out debut at Allianz Stadium in Sydney in December 2025, he now brings the experience to Melbourne on a scale that puts Australian electronic music on a new footing globally.
Nicholas Greco, Co-Founder and Managing Partner of Untitled Group said, “Untitled Group has been part of Dom’s journey from the very start of his career, and to watch him sell out Marvel Stadium in his hometown is a moment we’ll never forget. This puts electronic music in Australia firmly on the global map and is a historic moment for Dom, for Melbourne, and for electronic music fans across the country.”
Dom’s catalogue has surpassed 1.5 billion streams, earning him four ARIA Awards for Best Dance/Electronic Release and the inaugural ARIA Global Impact Award presented by Spotify.
In 2025, he headlined two sold-out nights at New York’s Madison Square Garden to over 30,000 fans, completed a 10-week residency at the world’s #1 club Hi Ibiza, and made his film soundtrack debut with “No Room For A Saint” ft. Nathan Nicholson for the movie “F1” and has collaborated with Kid Cudi, Tove Lo & Nelly Furtado.
This is an 18+ event.
Get connected:
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Frontier Touring are thrilled to announce Massive Attack will perform three exclusive headline shows in Brisbane, Sydney and Melbourne this August. This will be the band’s first live dates in Australia in 16 years.
Tickets go on Friday 5 June (3pm local time) via frontiertouring.com/massiveattack. Frontier Members can get early access via the presale, which starts Thursday 4 June (2pm local time) – see website for further details.
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Watch: Massive Attack / Tom Waits – ‘Boots on the Ground’
MASSIVE ATTACK LIVE 2026
AUSTRALIAN TOUR
AUGUST 2026
Presented by Frontier Touring
FRONTIER MEMBER PRESALE
via frontiertouring.com/massiveattack
Runs 24 hours from: Thursday 4 June (2pm local time)
or until presale allocation exhausted
TICKETS ON SALE
Begins: Friday 5 June (3pm local time)
Thursday 6 August
Brisbane Entertainment Centre | Brisbane, QLD
Lic. All Ages
ticketek.com.au
Sunday 9 August
Qudos Bank Arena | Sydney, NSW
Lic. All Ages
ticketek.com.au
Tuesday 11 August
Rod Laver Arena | Melbourne, VIC
Lic. All Ages
ticketek.com.au
FOLLOW MASSIVE ATTACK:
Godskitchen returns to Australia, reigniting the country’s love affair with uplifting trance and thunderous main room energy. A name synonymous with epic production, iconic visuals and spine-tingling, hands-in-the-air moments. This is more than a comeback — it’s a revival of the spirit that defined a generation of dance culture. Australia prepare for ‘The Resurrection.’
GODSKITCHEN ARTIST LINE-UP
ALY & FILA . GABRIEL & DRESDEN . SOLARSTONE
Plus
(Melbourne Only)
ANTHONY PAPPA . BINARY FINARY
A-Z
Ahmet Atasever
Ben Evans
David Chouman x Clara Yates
Dark Sin
Mark James
Mike Nichol
Scott Alert
Steve Bleas
Steve Strangis
Photography & Words: Jake Harm Nam
Sydney Opera House has hosted some of music’s most celebrated performers, but few arrive with the kind of anticipation surrounding Mitski’s return. Last night the acclaimed singer songwriter stepped onto the Concert Hall stage for the first of four sold out performances, bringing her latest tour to one of Australia’s most iconic venues and reaffirming her reputation as one of contemporary music’s most captivating live artists.
The excitement inside the venue is evident long before the show begins. Fans fill every level and every seat of the concert hall, many having waited years for the opportunity to see Mitski perform again in Australia. The stage resembles an intimate living room, a chaise lounge sits beside a desk and carefully placed lamps, creating a striking contrast against the scale of the Opera House. Above, large suspended screens hang from the ceiling, displaying projected imagery that shifts and evolves throughout the evening. Together, these visual elements transform the Concert Hall into a dreamlike theatrical space, perfectly complementing the emotional weight and cinematic quality of Mitski’s music.
Throughout the evening, Mitski moves with a deliberate theatricality, every gesture appearing carefully considered. Rather than relying on elaborate spectacle, she builds an atmosphere through presence alone, transforming the Concert Hall into something that feels unexpectedly intimate.
The setlist draws heavily from her recent work while weaving together material from across her catalogue. “Working for the Knife” arrives early, its themes of artistic exhaustion and expectation resonating deeply within the grand surroundings of the Opera House. “Buffalo Replaced” and “Dead Women” showcase the richness of her newer material, while “Heaven” and “Rules” demonstrate the emotional depth that has defined her songwriting for more than a decade.
Part of Mitski’s enduring appeal lies in her ability to articulate feelings that often seem impossible to explain. Her songs rarely provide resolution. Instead, they exist within uncertainty, loneliness, desire and self-reflection, inviting listeners to find their own meaning. That connection is evident throughout the night as the audience hangs on every word.
The loudest reactions are reserved for several fan favourites. “I Bet on Losing Dogs” transforms the Concert Hall into a communal choir, while her songs “Washing Machine Heart,” “I Want You” and “Francis Forever” are greeted with thunderous applause. Yet even during these familiar moments, Mitski avoids nostalgia. Each song feels newly interpreted, shaped by the confidence and perspective of an artist continuing to evolve.
A standout moment arrives with a reworked rock version of “Stay Soft.” The heavier arrangement injects fresh energy into the latter half of the set and provides one of the evening’s most exhilarating performances. Elsewhere, the delicate beauty of “A Horse Named Cold Air,” “Two Slow Dancers” and “Lightning” demonstrates her remarkable ability to hold an audience’s attention through restraint rather than volume.
As the show moves towards its conclusion, the emotional intensity only deepens. “My Love Mine All Mine” is met with near reverent silence before thousands join together for its final lines. In a venue known for hosting unforgettable performances, it feels like one of those rare moments destined to linger long after the lights come up.
For the encore, Mitski returns with “Pearl Diver” offering a quiet and reflective ending to an evening defined by emotional honesty and artistic precision.
As the first of four sold out nights at the Sydney Opera House, the performance sets an exceptionally high benchmark for the residency to come. Seven years after her last Australian visit, Mitski’s connection with local audiences appears stronger than ever. In an era increasingly dominated by spectacle, she continues to prove that vulnerability, craftsmanship and genuine artistry remain just as powerful.
Photographer : Jordan Munns
Words: Jarm Harm Nam
Khamari made his Australian debut at Sydney Opera House last night, bringing his deeply intimate blend of neo-soul and alternative R&B to one of the country’s most iconic music venues. Performing as part of Vivid LIVE, the Boston born artist transformed the Joan Sutherland Theatre into a space that felt remarkably close and intimate, drawing the audience into the quiet intensity and warmth that defines his music.
Opening the set with He Said, She Said, Khamari eased the audience into his world with quiet emotional precision rather than immediate spectacle. It was a fitting introduction, the song’s delicate tension and restrained delivery immediately set the tone for a performance built more on feeling than theatrics.
The setlist moved fluidly through highlights from across his catalogue. Doctor, My Eyes landed with a hypnotic groove, while I Love Lucy and Head in a Jar drew some of the loudest reactions of the night, their hazy melodies filling the theatre with a kind of collective sway. Later in the set, nearing the final stretch of the night, Apollo Eighteen arrived with a heavier emotional weight live than it does on record, feeling like one of the performance’s emotional turning points.
One of the evening’s most memorable moments came during Euphoria, when Khamari slipped in the lyric “Sydney makes me feel,” catching the crowd off guard and earning an immediate roar of approval.
Another standout arrived after ending his song Sycamore Tree, when Khamari picked up his guitar and launched into an extended solo alongside the band. Up until that point the performance had been remarkably restrained, so the moment felt like a sudden emotional release, a loose, soulful, and slightly psychedelic while still holding onto the intimacy that defined the rest of the set. The chemistry between Khamari and the band gave the performance a sense of spontaneity that made it feel alive in the room.
Throughout the night, Khamari’s voice remained controlled and intimate for one moment then suddenly soaring with raw ache the next. By the time he closed with These Four Walls, the crowd seemed fully suspended in his world. The final chorus echoed through the Opera House like a release of everything the set had been quietly building toward. For an artist making his Australian debut on one of the country’s most iconic stages, Khamari delivered a performance that felt both intimate and commanding, proving that even on one of the country’s most prestigious stages, his music has the power to make a room entirely his own.
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PURITY RING AUSTRALIAN TOUR DATES
Spotify Pre-Sale commences 10am AEST, Monday 13 April
Artist Pre-Sale commences 10am AEST, Tuesday 14 April
General on-sale commences 10am AEST, Wednesday 15 April
WEDNESDAY 10 JUNE THE TIVOLI (OPEN SEASON) BRISBANE TICKETS
THURSDAY 11 JUNE NORTHCOTE THEATRE MELBOURNE TICKETS
SATURDAY 13 JUNE METRO THEATRE SYDNEY TICKETS
Also appearing at DARK MOFO in Hobart, Tasmania.
ABOUT PURITY RING
Purity Ring released their first three albums on the legendary label 4AD, beginning with Shrines, which earned Pitchfork’s Best New Music honours and was shortlisted for the Polaris Prize. Their breakout track ‘Fineshrine’ is certified gold in the US, and ‘Grandloves’ was sampled by Playboi Carti on his Die Lit track ‘Fell In Love’. In recent years, they remixed ‘Knife Party’ as the lead single for the 20th anniversary reissue of Deftones’ classic album White Pony and collaborated with industrial pop duo Black Dresses on the track ‘Shines’. Since emerging in the early 2010s, Corin and mj have made a lasting impact on the electronic pop landscape, building a world all their own with immersive self-produced albums and designing groundbreaking visual live show experiences. Their latest era of self-released music is a step fully into a vision they’ve been circling for years – one that feels vast, unrestrained, and true to who they’ve become manifested on their self-titled fourth album.
purity ring LP marks the beginning of a bold new chapter as the band’s most immersive release to date. Long known for their fusion of body horror imagery and ethereal electronics, the duo now shift their focus from the physical to the fantastical, crafting a concept album that serves as the soundtrack to an imagined RPG. Inspired by games like Nier Automata and Final Fantasy X, the record tells the story of two hapless characters — embodiments of mj and Corin — on a journey to build a kinder world amid the ruins of a broken one. But this is no escapist fantasy: it is the first step of forbidden dreaming, of imagining a place where the vulnerable are heeded, where grief is spoken aloud and held collectively, where family is a verb rather than a noun, where hope and home can bloom together.
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