Festival News

Photo Credit: Justin Rix

Celebrating the release of the deluxe edition of their latest studio album Schoonertown, as well as continuing to deepen their ongoing relationship with Australian fans, Canadian folk outfit The East Pointers have announced their return this summer.

The last time Australians were able to see The East Pointers touring our venues was in 2025, a warm and welcome return for the group who has long maintained a special connection with the music community Down Under. Their upcoming January run of shows will see The East Pointers perform in intimate rooms around the East Coast as well as at this year’s Woodford Folk Festival – providing audiences with multiple opportunities to reconnect and rediscover the chemistry that has brought the group so much enduring success.

The release of Schoonertown in 2025 proved another bright step forward for the JUNO Award winning act, as they continued their journey of evolution as an innovative and contemporary modern folk group. The record itself spoke to the band’s effortless blend of folk, alt and pop strands, while amplifying their strong songwriting dynamics and sense of lyricism. Capturing vignettes of youth: nights out, first love, growing up and the heady emotions young adults experience, Schoonertown proved an album that matched heartache with elation in equal measure.

Releasing the deluxe edition of the album on December 11, The East Pointers are excited to share new music as part of it, as well as an acoustic version of album track ‘Maritime Moonshine’. 

PRAISE

“They are remarkable for writing songs that rework their Scottish and Irish influences, and they specialise in instrumentals that sound like tuneful Celtic standards, with banjo and fiddle both taking the lead.”

THE GUARDIAN

“It’s refreshing to see an album smash genre boundaries so seamlessly.”

THE AUSTRALIAN

“Smashing genre boundaries.”

DOUBLE J 

“Pushing the limits of traditional folk sounds.”

TRIPLE J

Tickets for The East Pointers 2027 Australian tour are on sale via theeastpointers.com on Thursday October 22.

THE EAST POINTERS AUSTRALIAN TOUR 2027

TICKETS

Tuesday 29 December – Friday 1 January WOODFORD FOLK FESTIVAL Woodford

Saturday 2 January Imperial Hotel Eumundi

Supported by Eleea, Logan Richard (CAN)

Sunday 3 January Soundlounge Gold Coast

Supported by Eleea, Logan Richard (CAN)

Tuesday 5 January Geelong Arts Centre Geelong

Supported by Logan Richard (CAN)

Wednesday 6 January Corner Hotel Melbourne

Supported by Eleea, Logan Richard (CAN)

Thursday 7 January The Wheatsheaf Hotel Adelaide

Supported by Logan Richard (CAN)

Friday 8 January Vanguard Sydney

Supported by Eleea

Saturday 9 January TANKS Cairns

Sunday 10 January The Triffid Brisbane

Supported by Eleea

The East Pointers: Official Website | Facebook | Instagram | Twitter (X) | YouTube | Tik Tok 

Photography: Jake Harm Nam

Blending experimental new music with the anthems that propelled them into the mainstream, Portugal The Man returned to Sydney with a two-part set that reflected a band continuing to evolve beyond its biggest hits.

Portugal The Man have never been a band content to stay in one lane. Moving between psychedelic rock, experimental arrangements and infectious indie-pop, the American group has built a career on constantly reshaping its sound. At Sydney’s Metro Theatre, that evolution took centre stage, with a performance that balanced the unfamiliar territory of their latest album, SHISH, against the crowd-pleasing tracks that first introduced them to a wider audience.

Their return to Sydney also carried a sense of perspective. When the band last toured the city, they were riding the success of Woodstock, the album that delivered their breakout hit, “Feel It Still”. Years later, with a much broader catalogue to draw from, Portugal The Man arrived with more than nostalgia on the agenda. The two-part set offered an opportunity to revisit the music that made them festival favourites while introducing a newer, more experimental chapter of their career.

The opening set, dedicated to SHISH, established an experimental tone. Rather than immediately reaching for their biggest hits, the band explored tracks such as “Denali” and “Knik”, giving their newer material room to breathe. It was an ambitious approach that highlighted their willingness to push beyond familiar territory, setting the scene for a contrasting second half.

That shift arrived with “Feel It Still”, whose infectious groove brought the band’s mainstream appeal back into focus. “Modern Jesus” followed with a sharper alternative-rock edge, while “Purple Yellow Red and Blue” revisited the psychedelic foundations that helped define their earlier work. Together, these songs demonstrated Portugal. The Man’s ability to balance unconventional arrangements with melodies that remain instantly accessible.

Frontman John Gourley remains central to that identity, with his vocals anchoring a sound that moves between contrasting styles. The band’s collective musicianship helps connect these shifts, creating a performance that draws on both experimental rock and polished pop sensibilities. The lighting and visual atmosphere further offered an opportunity to complement the music’s psychedelic character, reinforcing the contrast between the exploratory opening set and the more familiar anthems that followed.

The setlist also embraced the band’s genre-crossing collaborations. “Phoenix”, their track with Marshmello, highlighted their willingness to venture beyond conventional indie rock, while “Glide”, their collaboration with NEIKED, added another pop-oriented dimension to the performance. These selections reflected a group comfortable moving between styles without losing its distinctive identity.

Ultimately, the contrast between the two sets defined the evening. The SHISH material showcased a band still willing to experiment, while the second half demonstrated why its established anthems continue to resonate. Compared with their previous Sydney visit, the performance reflected a group that has moved beyond the expectations created by its mainstream success without abandoning the melodies that made it popular.

At Metro Theatre, Portugal The Man offered a reminder that longevity in alternative music is not about repeating a winning formula. It is about allowing a sound to evolve while retaining its essential character and that is where Portugal The Man remain at their most compelling not in recreating the moment that made them famous, but in continuing to discover what their music can become.

Photography & Words: Jake Harm Nam

Across six weeks in November and December, Sydney’s Seymour Centre Courtyard will be turned into the best of playgrounds for some of the city’s best names in nu-jazz, neo-soul and R&B to demonstrate exactly how strong and beautiful this brand of artistry is.

As an evolution of the venue’s former, and beloved, Seymour Nights program, SEYMOUR SOUNDS makes its debut with a free program that spotlights compelling and innovative sounds, delivered by performers whose music talent is only matched by their charisma and unique style.

Featuring the talents of artists including SETWUN, ELLA HABER, ANIESZKA, YASMINA SADIKI, RIAH, FLUX STATE and more, the live music series is set to become a surefire staple of Sydney’s Spring/Summer calendar.

“This reimagining of our courtyard series celebrates those who live, work, play and create in our neighbourhood. Find new sounds, hang out with local artists, fans, friends, situational peeps, or just come as you are, and enjoy the music, as we build an exciting new space in our city. All whilst celebrating the simple joy of music. In my first year, I’m thrilled to be placing music at the heart of Seymour. Through Seymour Sounds, under the curation of John Troughton, we’re creating space for artists and audiences to explore and to gather and to fall in love with Seymour’s Sydney sounds” Joanne Kee, Artistic Director

SEYMOUR SOUNDS NOVEMBER/DECEMBER 2026

Seymour Centre Courtyard

City Road & Cleveland Street, Chippendale

LINEUP

Thursday 5 November SETWUN

Saturday 7 November ELLA HABER

Thursday 12 November AGUM

Saturday 14 November FLUX STATE

Thursday 19 November TAHKOE

Saturday 21 November ANIESZKA

Thursday 26 November RUBY JACKSON

Saturday 28 November MANFREDO LAMENT

Thursday 3 December YASMINA SADIKI

Saturday 5 December RIAH

Thursday 10 December HEY, LOVE

Saturday 12 December JEROME BLAZÉ

WEBSITE

The energy of this unique music series is inviting and accessible, styled as an “outdoor living room” to maximise on intimate vibes, bringing the artist close with their audience each night. With Sydney’s Seymour Centre having a long-standing reputation as a haven for live performance and new work, as the University of Sydney’s multi-venue performing arts space, the evolution of a live music series in its Courtyard plays perfectly into the wider ethos of the area: community-first and community-driven.

SEYMOUR SOUNDS is just the first element of a wider push to welcome more artists and audiences to the venue, building upon a strong foundation of shows this year.

The first iteration of SEYMOUR SOUNDS is swinging big, welcoming a talented blend of names and musicianship to the fold…

SETWUN has curated a following in Australia and beyond across years spent developing a deep and rich sonic tapestry. His work as a musician, producer and performer has built a catalogue of music that blends contemporary jazz, soulful beats, deep house, groove, neo-soul and hip-hop. A dynamic solo performer and leader, with his live band The Soulstranauts, SETWUN is one of Australia’s hardest working and well-respected curators of sound.

Singer, songwriter and multi-instrumentalist ELLA HABER has built a reputation for pairing rich alternative soul and jazz arrangements with a powerful stage presence and voice. Her albums and projects speak to a deep love of the sonic traditions of jazz, soul and R&B, while her vision very much remains on innovation and stepping into creative territory all her own.

Sydney-based Ugandan pop-soul artist AGUM has a timeless voice and a stage presence that is instantly arresting. Toeing a line between vulnerability and raw strength, her sound evokes the spirit of genre legends like Nina Simone and Erykah Badu, while her performances are effortless and immersive. Carving out a space all her own within Sydney’s neo-soul scene, AGUM strides confidently into new territory with each release and each new stage she steps onto.

FLUX STATE are a hybrid electronic/acoustic group who have developed for themselves a strong local following, thanks to their expert approach to creating experimental and forward-thinking dance music. Emerging from the Inner West’s DIY underground scene, the group harnesses a unique and chemistry-fuelled sound that brings sheer musicality together with controlled electronic chaos – capping it off with their own signature flair.

Western Sydney’s TAHKOE has been making waves with his own blend of hip-hop, soul and R&B. The musician and producer, nominated in the “Next Best Thing” category at the 2024 FBi Radio SMAC Awards, has been a popular collaborator and member of the creative community; working with the likes of Sollyy, Cherry Rype and emjaysoul, to name a few. Layering soulful vocals over beats and arrangements that speak to his versatile sonic palette and bed of influences, TAHKOE is more than just an artist to watch: he is one of Sydney’s best emerging forces.

ANIESZKA brings her rich catalogue of R&B and soul music home, with the Australian/Mauritian artist having spent much of the last year continuing to grow her realm of impact not just in Australia, but abroad. With over 10 million streams to her name, not to mention widespread support for her music on triple j, BBC Radio, Capital XTRA, Colors and more, ANIESZKA has captivated audiences with ease. Her music is made to soothe, provide solace and love to those seeking it.

Quickly establishing herself as one of Australia’s most exciting voices, RUBY JACKSON has continued to elevate in 2026. The artist, songwriter and producer matches sonic sophistication with a vibrant stage charm. Her blend of soul and R&B feels effortless, while performances as a headliner and supporting the likes of Ngaiire, Morcheeba and more have further cemented RUBY JACKSON’s status as one of Sydney’s best.

Improvised jazz group MANFREDO LAMENT have cemented their place within Sydney’s underground scene as leaders of a new generation of innovative jazz players. Led by Kurt Lam and Gabriel Haslam, the collective boasts 30+ members on a rotating lineup, with each of their shows featuring a mix of local and interstate musicians from around the country, coming together with a shared love of collaboration and community.

Rising star YASMINA SADIKI has been capturing attention within Sydney’s underground for her beautiful blend of alt-jazz and neo-soul. Her music, capturing stories of womanhood, love and philosophies, is driven by a natural curiosity and contemplative nature. Drawing from her own life, YASMINA SADIKI has emerged as a true visionary, her shows are cinematic and moving experiences that are one-of-a-kind.

Hailing from Sydney’s southwest, R&B singer-songwriter RIAH has shaped her sound from her multi-cultural heritage and deep love for ‘90s R&B. Of Tongan, Fijian, Italian and Aboriginal (Kamilaroi) descent, RIAH made waves early off the back of winning Triple J Unearthed’s Indigenous High Initiative in 2024. Since then, she has supported the likes of The Kid LAROI, Electric Fields, BARKAA and more, while continuing to release music that is engaging and soulful, in the same vein as SZA, H.E.R and Aaliyah.

Five-piece live instrumental collective HEY, LOVE blends jazz, soul and hip-hop together with warm melodies and enticing grooves. Drawing from shared creative inspiration and the dedication to unique sonic expression, HEY, LOVE has thrived on offering the room to experiment and reshape music in real time, making each live show completely unique.

JEROME BLAZÉ generates soundscapes that feel completely unique and expansive, with the artist and producer leaning into elements of electronic, trip-hop, soul and neo-classical music to bring his signature palette to life. With comparisons to Moby, Air and Rotary Connection, his music is finely-crafted and meticulously curated; offering his audiences a one of a kind experience.

WEBSITE

I Ya Toyah has released “White Walls”, a deeply personal track exploring the distance between how people appear on the outside and what they may be experiencing privately. Released independently through her own label, Femme Fatale Records.

For I Ya Toyah, “White Walls” began during a particularly difficult day, when writing became a way to process what she was experiencing. The song grew from that personal need into a broader reflection on the people who struggle silently, often appearing fine to those around them while carrying difficulties that remain unseen.

Its central idea is the gap between outward appearances and private struggles. I Ya Toyah describes the experience of feeling isolated even when surrounded by other people, alongside the desire to be genuinely seen and understood rather than rescued or fixed.

Mental health advocacy is an important part of I Ya Toyah’s work, and the release of “White Walls” provides an opportunity to encourage conversations about experiences that can be difficult to communicate. Her intention is to create space for people to acknowledge what they are going through and to recognise that outward appearances do not always reflect someone’s reality.

The release also includes a fundraising initiative supporting Backline Care. All proceeds from “White Walls” during its October 10 release weekend, together with proceeds from new Patreon sign-ups throughout October, are being donated to the organisation. Listeners can also donate through the button on the song’s official YouTube video.

Written and composed by I Ya Toyah, “White Walls” was produced by I Ya Toyah and Johnny K, mixed by Johnny K and mastered by Howie Weinberg. The cover artwork was created by Angelica Dulany, while Alex Zarek directed, filmed and edited the music video, which also features documentary clips by Allison Ciletti.

Based in the Chicago area, I Ya Toyah works across industrial, pop, electro, darkwave and alternative rock. Her independent approach extends across songwriting, recording, production and live performance, reflecting a hands-on commitment to her creative work.

She has also collaborated with artists including Raymond Watts, Julian Beeston, Rhys Fulber and Tim Sköld, and is a member of The Joy Thieves, a large collective of musicians with connections to a range of industrial, alternative and electronic acts.

With “White Walls”, I Ya Toyah turns a personal experience into an invitation to look beyond appearances, acknowledge invisible struggles and make room for conversations that might otherwise remain unspoken.

TOUR DATES

I Ya Toyah joins the performance art collective Little Miss Nasty for a UK tour this December. See below for dates. Find tickets here.•

December 9, 2026: Newcastle Upon Tyne – The Cluny
• December 10, 2026: Glasgow – Ivory Blacks
• December 11, 2026: Birmingham – Asylum
• December 15, 2026: Brighton – Patterns
• December 16, 2026: Bristol – The Fleece
• December 17, 2026: Manchester – Rebellion
• December 18, 2026: Swansea – The Bunkhouse Bar and Music Venue
• December 19, 2026: London – Underworld (Camden)

Find tickets here.

CREDITS :

Title: White Walls

Release day: October 9th

Release: Independent – via I Ya Toyah’s owned label Femme Fatale Records

Cover Artwork by Angelica Dulany

Written and composed by I Ya Toyah

Produced by I Ya Toyah and Johnny K

Mixed by Johnny K

Mastered by Howie Weinberg

Video directed, filmed and edited by Alex Zarek

Documentary clips by Allison Ciletti

Makeup by Janet Debris

LINKTREE

Pitch Music & Arts will celebrate a landmark milestone from 5-9 MARCH 2027, returning to the foothills of Gariwerd (The Grampians) for its 10th edition, an anniversary chapter honouring a decade of music, community, art and shared experiences.

The festival today launches its 2027 campaign with a new video, soundtracked by Sam Girling’s ‘Look What U Done’, transporting viewers through archival footage and moments captured across previous editions of Pitch Music & Arts through the concept of a time capsule.

The film follows a snippet released last week, teasing the time capsule from beneath the soil to Yanamaste’s track ‘Evil’, offering the first hint of what is to come when the 2027 music programme is revealed.

Untitled Group Co-Founder and Managing Partner, Filippo Palermo, said – “Reaching our tenth edition is an incredibly meaningful milestone for us. Pitch began with a clear vision for bringing music, art and community together and has grown and evolved year after year, shaped just as much by the people who return as the festival itself.

“For 2027, we want to honour everything that has made Pitch what it is today. We have some boundary-pushing surprises in store, alongside subtle nods to the festival’s earlier years, including elements that reference Pitch’s very first edition. We can’t wait to welcome everyone back for this landmark edition.”

For its tenth edition, Pitch’s music programme will once again unfold across three custom-built stages, bringing together state-of-the-art sound systems and world-class production against the festival’s picturesque Grampians backdrop.

Pitch One will continue the brutalist-inspired design language that has defined the stage across the festival’s history. The Resident Advisor Stage will evolve once more for the tenth edition, complete with Funktion-One sound, while Pitch Black returns with its dual-level structure, influenced by Berlin’s underground and historic amphitheatres.

Beyond the dancefloor, The Rock Pool returns after last year’s debut as Pitch’s hidden oasis beneath the mountains, offering a space to cool off, slow down and reconnect throughout the weekend. The Pitch Pavilion will also return as a space to pause between sets, with ambient DJ sets, wellbeing workshops, talks and mindful activities throughout the weekend.

Anna Nalpantidis returns for a second consecutive year as Pitch Music & Arts’ Arts Curator for 2027, following a 2026 programme that included crowd favourite Chocolate Goblin. She will bring her distinctive approach back to Pitch, creating space for the strange, the ambitious, the playful and the unexpected across the festival landscape.

Festival entry will be available across two, three and four-day pass options, with General Camping included with all Festival Entry Tickets. For those looking for a different camping experience, Premium Camp, Pre-Pitched and Glamping options will also be available.

Festival and Vehicle Pass packages will also return to encourage carpooling, alongside Pitch transport options connecting Melbourne and Ararat with the festival site.

Afterpay, Zip Pay and Laybuy will be available from presale, giving attendees a range of payment options when securing their 2027 tickets.

Register for Presale

Further information available at pitchfestival.com.au.

PITCH MUSIC & ARTS

5 – 9 MARCH 2027

THE GRAMPIANS (GARIWERD), DJAB WURRUNG AND EASTERN MAAR COUNTRY, VIC

Pitch Music & Arts is brought to you by Untitled Group, Australia’s largest independent music and events company and the team behind Beyond The Valley, Wildlands and Ability Fest.

After 23 editions, NYE on the Hill is coming to an end, with this year’s event set to be the final chance to gather on the Hill.

What began in 2009 as a small invite-only party for Melbourne bands and their friends grew into an annual celebration bringing together around 3,000 music lovers for a weekend of live music, friendships and good times.

Across the journey, more than 600 bands and over 2,500 musicians and performers have appeared at the event, with the Hill also providing a first festival stage for many artists.

The final NYE on the Hill will be a chance for the community that has grown around the event to come together one last time and celebrate the people, music and memories that have shaped it over the years.

The organisers are encouraging everyone who has been part of The Hills Are Alive and NYE on the Hill journey to return for one final gathering.

One final Shindig. One final Hill.

TICKETS

For Sick Visor, the story behind ‘06 Camry’ starts with a beat up car, a stack of clothes and guitars, and an 1,800 kilometre drive from Brisbane to Melbourne.

The new single, released on 7 October 2026, looks back on the decision that ultimately helped set the Melbourne duo on the path towards forming the band. Alex Moses had been feeling lost and looking for a change when he packed his belongings into his car and drove south, eventually moving into a cheap sharehouse in Melbourne.

It was there, in 2022, that Moses and drummer and vocalist Katie Lovelock started Sick Visor. What began with the pair writing songs in a sharehouse as a creative outlet developed into a band that has since toured around Australia and built a growing catalogue of fast, melodic punk songs.

‘06 Camry’ also marks a change in the way Sick Visor approached recording. The track is the first song they have released from sessions with Frenzal Rhomb’s Jason Whalley, who engineered and produced the recording at The Pet Food Factory in Marrickville, Sydney. Jarred Nettle handled the mixing and mastering.

For Moses, working with Whalley helped the band move away from the perfectionism that had accompanied their earlier self produced recordings.

“With ‘06 Camry I think we’ve really found our sound,” says Moses. “We’ve always wanted to make fun and fast punk music, but when producing songs ourselves it was so easy to be caught up in trying to make things ‘perfect’ which can mask some of the soul within a song.”

The result brings together Moses’ vocals and guitar with Lovelock’s drums and vocals, built around bright pop punk riffs and a melodic hook. The title comes directly from the car that carried Moses from Brisbane to Melbourne, turning a very specific moment from his past into the centrepiece of the new song.

Since forming, Sick Visor have picked up triple j spins, Unearthed reviews, DSP playlist support and music video playlisting on Rage. Their collaboration with Adelaide duo TOWNS, ‘Feeling Alright Forever’, was among the five most playlisted songs in Australia during its week of release.

The band have also shared stages with Beddy Rays, The Terrys and Sly Withers, and joined Frenzal Rhomb and WAAX on tour in late 2025. Earlier this year, they sold out their Melbourne headline show supporting the release of their Chuck A Sickie EP.

Now ‘06 Camry’ gives Sick Visor a chance to revisit where it all started while moving forward with a recording that they feel better represents the band they have become.

The single also arrives ahead of a run of Australian dates across October and November. Sick Visor begin at Greaser in Brisbane on 17 October, followed by The Workers Club in Melbourne on 6 November, The Ed Castle in Adelaide on 14 November, Junk Bar in Brisbane on 21 November and Waywards in Sydney on 29 November.

For Sick Visor, ‘06 Camry’ is more than the name of a car. It is the story of a move, a fresh start and the circumstances that eventually led to two musicians forming a band in a Melbourne sharehouse.

PLAY/LISTEN

The Grogans return with a wild tale of missing drum kits, questionable country hospitality and one hell of a ‘Country Mile’, the second single of the year, arriving Thursday 1 October via Community Music, alongside a brand new music video directed and shot by Sam Brumby.

‘Reasons’ was the first warning shot; ‘Country Mile’ is the point where things get properly weird.
The story behind the track begins with a lost drum kit….

While road-tripping through rural NSW on their way to a Sydney show, The Grogans somehow dropped half a drum kit off the back of their trailer. Hunting down the lost gear led them straight to a pair of local oddballs who’d scooped the pieces off the roadside and weren’t about to hand them back without getting something out of it.

“We somehow lost half a drum kit off the back of our trailer while driving through rural New South Wales on the way to Sydney,” the band shared. “The search for our missing gear led us to two very strange, deeply uncomfortable, and somewhat hostile men who had collected pieces of it from the side of the road. The encounter was so bizarre and unsettling that it inspired “Country Mile”.

What kicked off as an unfortunate tour mishap turned into pure Grogans gold: a classic tale of a simple road trip taking a few wild, unexpected turns.

Built around The Grogans’ signature gritty guitar sounds, driving drums and a creeping sense of menace, ‘Country Mile’ turns a strange night in the bush into a full-throttle rock’n’roll yarn. It’s part road movie, part fever dream; the video takes that same journey from the city into the country, starring the band’s buddy Nath and capturing the band’s knack for finding the absurd in the everyday.

Brisbane alternative metal outfit The Local Romance are back with their claustrophobic new single, “Ecdysis“, out today, and they’ll celebrate the release with a hometown show at Tomcat Brisbane’s Halloween Party Night on Saturday 31 October. Tickets are on sale now.

“Ecdysis” digs into the uglier side of heartbreak; resentment, obsession, withdrawal and the emptiness that comes with finally accepting that someone you wanted to keep is no longer yours to hold onto. Dark, heavy and tense, the track mirrors the feeling of being unable to escape your own head, crafted around grinding guitars, punishing drums and an oppressive low end. It’s a song about knowing you need to move on, while being completely unwilling to let go.

“The title Ecdysis comes from the process of shedding an old layer of skin,” explains the band. “For us, that became the perfect metaphor for leaving someone behind. You don’t simply walk away from a relationship and become a new person. You rip yourself out of something that has become part of you. It hurts and leaves you exposed with no guarantee that what comes out the other side is better.”

The band leaned into a sense of discomfort with the track, using repetitive guitar lines and an unremitting rhythm to reflect the way memories, conversations and moments can replay long after a relationship has ended. “We didn’t want Ecdysis to sound like a sad song dressed up as metal. We wanted the instrumentals themselves to feel like the process of letting go. Abrasive, repetitive, exhausting and eventually destructive.”

“Ecdysis” follows on from The Local Romance’s debut EP The Darkest Parts of Me, released earlier this year exploring fear, internal battles and the parts of ourselves we usually keep hidden. The record established the band’s mix of heavy alt-metal, soaring melodies and cinematic atmosphere, while “Ecdysis” pushes that sound into darker territory.

The Local Romance is Kyle Jake Byrne (guitar), Kaleb Peleti (guitar), Zeph Chambers (vocals) and Caelan Sprott (drums), and the four-piece have already made their mark on the Brisbane heavy scene, sharing stages with I See Stars, Elijah, Hands Like Houses, Dream on Dreamer and Nevertel, as well as appearing at Good Things Festival in Brisbane alongside Fall Out Boy, Limp Bizkit, Corey Taylor, Behemoth, I Prevail and Make Them Suffer in 2023.

Brand new single “Ecdysis” is available and streaming everywhere now.

TICKETS

Killswitch Engage are heading back to Australia this November, with the band’s upcoming run now set to feature UK metal outfit Sylosis alongside Australian metalcore band Heists.

Sylosis were previously announced as special guests for the Australia and New Zealand tour, while Heists have now been confirmed for the Australian dates, joining Killswitch Engage and Sylosis from Brisbane through to Perth.

The Australian leg begins at Fortitude Music Hall in Brisbane on Tuesday 3 November before continuing through Newcastle, Sydney, Wollongong, Melbourne, Adelaide and Perth.

For Killswitch Engage, the shows mark their first Australian headline dates since 2018. The band were last in Australia in 2024 when they joined Iron Maiden for their arena shows.

The tour arrives following the release of This Consequence, Killswitch Engage’s ninth studio album, which was released in February 2025. The record features “I Believe”, which reached No. 4 on the US Mainstream Rock chart.

Formed in Massachusetts in 1999, Killswitch Engage have spent more than two decades building a catalogue that includes Alive or Just Breathing, The End of Heartache, As Daylight Dies, Disarm the Descent, Incarnate, Atonement and This Consequence.

The Australian dates will give audiences the opportunity to hear material from the band’s latest album alongside songs from across their catalogue, with Sylosis and Heists completing the three band lineup.

Killswitch Engage Australian Tour 2026

Tuesday 3 November
Fortitude Music Hall, Brisbane, QLD
with Sylosis and Heists

Thursday 5 November
Bar On The Hill, Newcastle, NSW
with Sylosis and Heists

Friday 6 November
Enmore Theatre, Sydney, NSW
with Sylosis and Heists

Saturday 7 November
Waves, Wollongong, NSW
with Sylosis and Heists

Monday 9 November
The Forum, Melbourne, VIC
with Sylosis and Heists

Tuesday 10 November
The Forum, Melbourne, VIC
with Sylosis and Heists

Thursday 12 November
Hindley Street Music Hall, Adelaide, SA
with Sylosis and Heists

Saturday 14 November
Metro Fremantle, Perth, WA
with Sylosis and Heists

Tickets are currently on sale, with availability varying across the Australian dates

TICKETS

WEBSITE