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The Jungle Giants are back!
The energetic 4 piece return to stages down under with with their 5th studio album, ‘Experiencing Feelings of Joy’. Supported by up and comers The Tullamarines and Tear Drive (AU only) these shows are for tastemakers and dancefloor demons alike.
With close to half a billion streams under their belt and a reputation for lighting up festival stages this tour unveils a bold new evolution of The Jungle Giants’ signature sound.
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SHOW DATES Fri 5 June 2026 — Theatre Royal — Castlemaine, VIC Sat 6 June 2026 — Forum — Melbourne, VIC Fri 12 June 2026 — Enmore Theatre — Sydney, NSW Sat 13 June 2026 — Fortitude Music Hall — Brisbane, QLD Fri 19 June 2026 — UC Refectory — Canberra, ACT Sat 20 June 2026 — Hindley Street Music Hall — Adelaide, SA Fri 3 July 2026 — Forth Pub — Forth, TAS Sat 4 July 2026 — Odeon Theatre — Hobart, TAS Fri 10 July 2026 — Meow Nui — Wellington Sat 11 July 2026 — Powerstation — Auckland Sun 12 July 2026 — James Hay Theatre — Christchurch Sat 18 July 2026 — Astor Theatre — Perth PRESALE Thu 5 Mar – 10:00am local time Presale tickets are available to purchase from a presale link from 10:00am local time on Thu 5 Mar. Subject to further availability, the remaining ticket allocation shall be available for sale to the general public from 10:00am local time on Tue 10 Mar. ON SALE Tue 10 Mar – 10:00am local time.
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Photo by Pat O’Hara
Kicking off their Australian regional tour just last week, today The Rions announce the deluxe edition of their debut album Everything Every Single Day out May 8 with new single ‘Idol’. LISTEN HERE + PRE-SAVE THE DELUXE HERE
Driven by a catchy guitar riff, ‘Idol’ carries a sense of nostalgia for the band, who recall repeatedly playing its opening riff at soundcheck simply because they loved it so much. While the initial outlines first came to life years ago, it wasn’t until recently that the song’s deeper narrative revealed itself. The Rions share, “Idol explores how truly powerful love is, even if it’s just for a fleeting moment.” This theme of love and self-discovery that permeates throughout their debut album continues to evolve with ‘Idol’, cementing it as a defining feature in their narrative.
Also out today is the official music video for ‘Idol‘, directed by Vanilla Tupu. “My parents have been together 40 years, and being able to immortalize their love in this music video is one of the true honours of my life,” Tupu shares. “The emotion, joy, love and heartbreak you see on screen is completely real, and I’m so grateful to The Rions for entrusting me to bring this little story to life, for one of the most beautiful tracks I’ve heard in the Aussie music industry for a long time.”
Recorded across a year with ARIA Award-winning producer Chris Collins (Ruby Fields, Pacific Avenue, Matt Corby), their first full-length project delivered a thoughtful, introspective, and emotionally charged collection of polished pop-rock. Charting at #1 on the ARIA Australia Album Chart, #2 on the Vinyl Chart, and #5 overall, the album was the triple j Feature Album upon release with two singles cracking the 2025 Hottest 100 countdown, and saw wider support across Rolling Stone AU, 10 Magazine, ELLE Australia, Frankie Magazine, The Music, fbi.radio and more. Inspired by artists such as Sam Fender, The Japanese House, and the ever-influential Beatles, the album represents a significant evolution in The Rions’ sound, while preserving the sincerity and warmth that have defined them from the start.
The deluxe version of Everything Every Single Day builds upon their breakthrough debut with the addition of 6 new songs and a piano rendition of a fan favourites. Speaking on the deluxe project, Harley Wilson reveals, “A lot has happened since we finished writing our debut album “Everything Every Single Day”. Relationships that inspired songs that made it onto that album naturally evolved, more songs were written, and eventually we had more to say. The deluxe is a continuation of some of those songs, the second part of the narrative, which as a band, is important to us to tell. We wanted to write about the experience of finally letting love in, and how it feels to shed the fear of loss. We wanted to write about the evolution of overcoming loss, and the unique feelings of each stage, eventually becoming part of something bigger than yourself. I think ultimately, Everything Every Single Day (The Deluxe Edition) is about the perseverance of love.”
Having played their first show of their Australian regional run close to home at The Mona, The Rions are officially back on the road, bringing their memorable live show to every corner of the country with support from Chloe Parché, Hey So Hungry, Gordon’s Grandson and Bella Amor. In May, The Rions will be heading to New Zealand for three just-announced headline shows in Wellington, Christchurch and Auckland, before making their return to the UK and Europe for a 6 show tour across Rotterdam, Hamburg, Cologne, London, then Bristol and Nottingham for Dot To Dot Festival. For all dates and details, see BELOW.
‘Idol‘ is out now, buy/stream it here.
THE RIONS – EVERYTHING EVERY SINGLE DAY TOUR DATES
AUS REGIONAL
presented by triple j
Sat 28 Feb – The Mona – Mona Vale * [SOLD OUT]
Thu 5 Mar – Dunsborough Tavern – Dunsborough ^
Fri 6 Mar – Froth Craft Bunbrewery – Bunbury ^ [SOLD OUT]
Sat 7 Mar – Astor Theatre – Perth ^
Thu 12 Mar – Barwon Heads Hotel – Barwon Heads #
Fri 13 Mar – The Pier – Frankston #
Sat 14 Mar – Bass In The Domain – Hobart
Thu 19 Mar – King Street Bandroom – Newcastle *
Fri 20 Mar – UOW Main Hall – Wollongong * [VENUE UPGRADE]
Sat 21 Mar – UC Refectory – Canberra *
Fri 27 Mar – Hoey Moey – Coffs Harbour *
Sat 28 Mar – Finnians Tavern – Port Macquarie *
Thu 9 Apr – Brothers – Cairns >
Fri 10 Apr – JCU Uni Bar – Townsville >
Sat 11 Apr – Mcguires Hotel – Mackay >
Sun 12 Apr – Leichhardt Hotel – Rockhampton >
Thu 16 Apr – Hotel Brunswick – Brunswick Heads >
Fri 17 Apr – Miami Marketta [Laneway] – Gold Coast >
Sat 18 Apr – Blackflag Brewing – Coolum >
* w/ Chloe Parché
^ w/ Hey So Hungry
# w/ Gordon’s Grandson
> w/ bella amor
NEW ZEALAND
Thu 7 May – San Fran – Wellington
Fri 8 May – Loons – Christchurch
Sat 9 May – Double Whammy – Auckland
EUROPE + UK
Sun 17 May – Rotown – Rotterdam (TIX)
Tue 19 May – Molotow TopTen Bar – Hamburg (TIX)
Wed 20 May – Garagen – Cologne (TIX)
Fri 22 May – Islington Assembly Hall – London (TIX)
Sat 23 May – Dot To Dot Festival – Bristol
Sun 24 May – Dot To Dot Festival – Nottingham
For all ticketing information, visit HERE.
Stay connected with The Rions:
23 Profile | Website | Instagram | Facebook | X | Unearthed | YouTube
BECK ANNOUNCES FIRST EVER AUSTRALIAN ORCHESTRAL SHOWSTICKETS ON SALE THURS 5 MARCHHaving dazzled crowds at landmark venues from London’s Royal Albert Hall to New York’s Carnegie Hall to the Hollywood Bowl, Beck has confirmed that Australian audiences will soon have their first chance to experience the magic of his live orchestral performances. This May, Beck will be accompanied by native orchestras for a very special limited run of five shows – three at the Sydney Opera House and two at the Palais Theatre in Melbourne – reimagining a body of work including hits and deep cuts from classic Beck works including the multi-platinum Odelay, world-tripping Mutations, somber and reflective Sea Change, and GRAMMY Album of the Year winner Morning Phase, plus a share of surprises.
Praise for Beck’s previous orchestral dates has been uniformly effusive, including:
Melbourne: Performing with Beck at the Palais Theatre will be Philharmonia Australia (Orchestra Director Leah Zweck), with Orchestra Supervisor Chong Lim AM. Philharmonia Australia is one of the country’s leading session orchestras and has been the orchestra of choice for numerous national tours with Josh Groban, John Farnham & Olivia Newton-John, Hans Zimmer, Michael Bolton, Harry Connick Jnr and Ministry Of Sound. Frontier Members can get early access to tickets for the iconic Palais Theatre performances via the Members Presale, which starts today at 11am (AEDT). Tickets will then go sale Thursday 5 March (11am AEDT) – head to frontiertouring.com/beck for all full tour information. BECK FRONTIER MEMBERS PRE-SALE GENERAL PUBLIC ON SALE Thursday 12 May Wednesday 13 May Also playing Sydney Opera House, May 7-9 Patrons are advised to purchase tickets only through authorised ticket sellers. We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website. FOLLOW BECK: Website | Facebook | Instagram | X | YouTube | Spotify | Apple Music
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“Pushing Punishment” feels like a turning point. When you say this is you “becoming you,” what does that actually look like day-to-day?
I think it’s about rebuilding myself over the past two or three years and rediscovering the parts of me that maybe got lost along the way. Music has always been how I process everything — whether that’s writing or just listening — but writing “Pushing Punishment” felt different. It felt like a release. Like I was reconnecting with something essential in myself.
For most of the past two years, this album has shaped my day-to-day life. The songs have been my soundtrack while I’ve been navigating change — learning to accept what I can control and what I can’t. I’ve tried to embrace growth instead of resisting it.
In many ways, I’ve always wanted to create a song like “Pushing Punishment” — in its sound, its energy, its intensity. It feels like a version of me I’ve been working toward for a long time. And I’m just really proud and happy about what it became.
There’s a real tension-and-release dynamic in the track. Did that come from the production first, or was it already sitting in the way you were feeling at the time?
What you hear is pretty much how it was written. The tension and release were already there — it all came together really quickly, in about a day. I wrote and self-produced a demo before taking it into the studio with Gareth Hudson, and when he heard it, he loved it straight away. From there, we just built on what was already there.
We rerecorded certain parts and really elevated the structure with some solid instrumentation. My favourite elements are probably the live strings and the acoustic drums — they add so much depth and movement to the track.
I’m super proud of the arrangement and the musicianship on this one. In a lot of ways, I felt more like a composer than just a songwriter, which was really exciting for me. And I feel incredibly lucky to have so many amazing musicians playing on this track and across the album — it sounds the way it does because of them.
You talk about learning to fill your own cup first. Was that a hard lesson for you, or something that came after hitting a wall?
It’s definitely been a mix of experiences and just learning to trust the process of life. I’ve hit burnout before. I’ve had setbacks with both my mental and physical health, and I’ve had to navigate two pretty debilitating diseases — Endometriosis and an autoimmune disease. Those experiences alone teach you very quickly that you only have so much capacity. I’ve explored these experiences through previous releases like my single ‘Firework Night’.
I’ve had to learn how to be resourceful for myself in difficult moments — to pause, to practise mindfulness, diaphragmatic breathing, and nervous system regulation. To actually stop and reframe with what I do have, instead of pushing through.
I’ve always believed in timing. I really do think everything happens for a reason, and that there’s something to learn from every experience — whether you see it in the moment or only in hindsight. I’ve tried to really own the changes that have come my way, and to recognise that the people who come into your life are often there to teach you something about yourself.
But I also know I don’t get very far when I give my power away or focus on other people more than I focus on myself. That’s when I end up exhausted, emotional, and stressed — and that’s just not a sustainable way to be. Filling my own cup first wasn’t a single lesson; it was something I had to learn the hard way, over time, but I am proud to have learnt so much about my life at 22, with so much more to learn.
The song sounds big — almost anthemic — but it’s rooted in something very internal. How do you balance that scale when you’re writing?
When I’m writing, I’m not really thinking about the final outcome or the expectation of how it should sound. I don’t go in with expectations about what it’s “supposed” to be. I just trust the process of entering ‘flow state’ and following whatever feels honest in the moment.
Creativity is so special to me — I genuinely love it. Writing is one of the few times I completely lose track of everything else. I am just planting this garden of flowers and vines of songs, with every word of every song being part of who I am. Each song carries pieces of who I am, whether they’re loud and expansive or quiet and internal.
The scale kind of takes care of itself. If the emotion feels big, the song grows big. If it feels intimate, it stays close. I don’t force that balance — I just let the feeling lead. And then suddenly… poof. There’s a finished song. It still feels like magic to me.
You’ve mentioned accepting your neurodivergence and personality more fully. Did that acceptance change the way you approach songwriting or performance?
Not really — I’m just me. If anything, it’s just made me prouder to be who I am. I feel really lucky that I get to share that with people, and that it resonates and lands how I hope it lands. What you see is what you get, on stage and off. I have never felt like I have had to mask or ‘perform’ a certain version of myself.
In terms of songwriting, it’s probably made me more honest. Accepting my neurodivergence has helped me understand how my mind works and how I process emotions. I think I’m better at articulating what I’m actually feeling now, instead of filtering it, being confused by it, or second-guessing it.
So the core of how I write hasn’t changed — but my relationship with myself has. And that’s made everything around my artistry feel way clearer and more grounded.
Working with Gareth Hudson, was there a moment in the studio where you felt the track really clicked into place?
He’s marvellous, so incredibly talented — we’ve worked together on so many amazing projects over the years. When I brought him the demo, I also came in with this long, excitement-filled list of goals for what the song could become. He just got it straight away.
We really do share a wavelength when it comes to communication. Sometimes it’s barely even verbal — it’s just a look or a noise made, a melody hummed, a rush to an instrument, or a small comment and we both know where it needs to go next. That’s such a special thing in a studio environment.
I think the moment it really clicked was when we started layering in the live elements — especially the drums, vocals and strings. Then everything began to breathe. You could feel the energy shift from a “great demo” to something alive. From that point on, it felt like we were just bringing the vision into focus rather than searching for it.
You reference Go Farther In Lightness and that sweeping, emotional build. Were you chasing that same kind of lift in the final chorus?
Dave’s work is unmatched. Gang of Youths — David Le’aupepe — create music that feels architectural. There’s such endurance in it. He writes with this sweeping emotional scale, exploring the human condition, faith, inner battles, mental health, love and loss, and that latent strength we all carry. It’s like a roaring call to action wrapped in vulnerability, and I am so inspired by it. Hearing their music is peak enjoyment for me.
I definitely draw inspiration from their sound and writing style. They’ve carved out something that feels like its own genre, and that’s so inspiring to me — the idea that you can build a world sonically and emotionally and fully inhabit it. So yes, I think there’s always a part of me that’s chasing that kind of lift — that feeling where the final chorus doesn’t just arrive, it erupts.
With the drums and strings toward the end, that cyclical feeling was intentional. I was also inspired by Bon Iver and the way Justin’s instrumentation moves. I wanted it to feel almost relentless — like running in circles inside your own mind — before that sense of breaking through. The arrangement tells the story just as much as the lyrics do. It’s tension, momentum, and release. The song is big, but the core of it is personal.
And with my debut album, I Have A Habit of Dreaming, just around the corner… it feels like both exposure and empowerment. There’s vulnerability in letting people hear the full body of work — these songs have been my world for the past two years. But there’s also so much pride in it. This album shaped my days, carried me through change, and helped me understand myself better.
Releasing it feels like saying, “This is me.” And that’s terrifying — but it’s also incredibly freeing, and I am excited to open doors with my music.
CHLOE GILL AUSTRALIAN TOUR DATES
Friday 17 April Stag & Hunter MAYFIELD NSW
Thursday 21 May The Wesley Anne MELBOURNE VIC
Friday 22 May The Taproom CASTLEMAINE VIC
Saturday 23 May Peninsula Hot Springs MORNINGTON PENINSULA VIC
Sunday 24 May Shiraz Republic CORNELLA VIC
Saturday 30 May Knappstein CLARE VALLEY SA
Sunday 31 May The Wheatsheaf Hotel ADELAIDE SA
Saturday 27 June Fusebox MARRICKVILLE NSW
CHLOE GILL: Official Website | Instagram | Facebook | YouTube | Triple J Unearthed | TikTok
Photography: Jake Harm Nam
Photography: Jake Harm Nam
The Southern Hemisphere’s largest music showcase, BIGSOUND is celebrating 25 years this September and as always, the team are looking for the next BIG thing.
With some of Australia’s most coveted showcase spots, BIGSOUND is the place to be. Applications are open now. The team encourages artists to apply now for their chance to be included on our stacked line up. Applications close Wednesday, 1 April 2026 – there will be NO EXTENSIONS.
Otherwise known as Music Industry Christmas, BIGSOUND brings Australian and New Zealand artists together with the big wigs of the global music industry. From labels, promoters and managers to media, festival bookers and venues – the who’s who of Music descend on Brisbane’s Fortitude Valley for what is the biggest week in Australian music annually.
BIGSOUND has a strong track record of platforming artists who go on to achieve significant national and international success, with alumni including Flume, Confidence Man, Rufus du Sol, G Flip, Gang of Youths, Thelma Plum, and Lime Cordiale.
The nitty gritty – BIGSOUND is all about BIG impact
Programmers are seeking export market-ready acts regardless of their career stage (be it unsigned, emerging or established legend) – who can capitalise on momentum and will benefit from the opportunities provided at BIGSOUND.
If selected, you will be playing front of a curated audience of domestic and international industry guests, including A&R representatives, bookers, and delegates from global export events such as The Great Escape and Reeperbahn Festival.
Preparing your applicants in integral – you will need to submit band member details, social media profiles, notable career achievements, streaming and ticketing stats, a short biography, two representative tracks, a high-quality artist image, and a video. Plus you’ll need to talk about what you’re seeking to get out of BIGSOUND, who your dream team would be and what you’re looking to achieve as an act in the future.
Applications close Wednesday 1 April 2026 at 11:59PM, with no extensions. Artists are encouraged to apply early, as programmers assess applications on a rolling basis.
But what’s in it for me?
There is a reason why we call our past showcase artist alumni – BIGSOUND isn’t just a festival, it’s an industry showcase and a global marketplace for Australian talent.
If selected, by night you’ll play in multiple venues across Fortitude Valley in front of tastemakers, trendsetters and industry decision makers; by day, you’ll meet one-on-one with curated industry guests and delegates who we think can help you take the next step in your music career.
You’ll also have access to the full BIGSOUND festival including after parties and the Artist Hub which features artist-focused professional development and networking opportunities across three days of the festival. Your team will receive ONE delegate pass granting access to the full BIGSOUND Program and Delegate Portal (valued at $899), as well as a discounted price to purchase other delegate passes should you wish.
There are limited paid performance spots at BIGSOUND presented as part of our partner event series. We’ll put you forward for these opportunities but there are no promises.
These performance spots are programmed in conjunction with our partners with a focus on aligning to their commercial outcomes.
Photo Credit: PISCO SOUR performs at BIGSOUND 2025 (Darcy Goss)
Bad Bunny brings the fiesta down under this weekend, with his ‘DeBI TiRAR MaS FOToS’ tour bringing his highly anticipated debut to Sydney’s Engie Stadium.
Fresh off the tail of his historic Grammy’s (with his recent Debi Tirar Mas Fotos album earning him Album of the Year) and Super Bowl (or as many have dubbed it, the “Benito Bowl”), Bad Bunny is steadily becoming the biggest international act of our time. The Puerto Rican rapper and singer held nothing back, and where Spanglish translations could only go so far in an English dominated environment, the infectious rhythms and joyful energy paid the balance.
Stepping into the venue, production felt minimal. A simple stage setup with an LED screen backdrop, and on the other end of the stadium the infamous “La Casita” (the house setup that turned the Superbowl into a party in real time) remained dimly lit, serving as the performers B-Stage. Within moments of the show kicking off, it was clear that the set was anything but, with fireworks and strobe lights (Knockout anyone?) lighting up the stadium. Concert-goers became part of the show, with seated patrons donning prop Cameras that served as flashing LEDs as the show went on.
Personally, what stole the show was the cinematic essence of the displays. As someone who has an appreciation for colour grading and well-crafted camera angles, the backdrop transformed the concert from your average screen for the people in the back to still see the show to having “last night was a movie” comments happen in real time – a massive hats off to the camera crew.
The energy throughout the night was next level. At no point did the stadium stand still, with the floor and stands both exploding with different flavours of Latin dancing throughout the night. ‘NUEVAYoL’ captured this essence perfectly, combing his classic Latin Trap sound with more traditional Latin roots.
Following a hilarious skit from Concho the frog (who surprisingly likes Vegemite, despite his species intolerance to salt and sodium – science people please don’t fact check me), the B-Stage party that many had been anticipating exploded into view, ‘VeLDA’ & ‘Titi Me Pregunto’ sending the crowd into a frenzy that felt less like a large scale concert and more like a street party. Crowd favourite ‘MONACO’ surged through the speakers, with Bad Bunny saluting the audience from the roof while the house party raged on below.
The night felt like it could last a lifetime, through the numerous “BE-NI-TO!” chants and a many heartfelt moments of gratitude from Bad Bunny (Muchos Gracias! I understood that one!), the heartwarming feeling of warmth and community came to a nostalgic high with his much-anticipated title-track from his album, ‘DtMF’. Waves of people clutching onto their loved ones, screaming every word they recognised but connecting with every feeling that the rapper conveyed through the song, putting truth behind the uniting power of music and rhythm.
With the year only just beginning, there are no limits for how much Bad Bunny can accomplish with his already stacked accomplishments only 2 months in. Gaining traction as one of the biggest superstars not only in the international music scene, but the music and entertainment world as a whole, it is clear that Bad Bunny is showing no signs of slowing down. Gracias por la increíble noche, Benito.
The party continues – Bad Bunny’s ‘DeBI TiRAR MaS FOToS’ tour continues tonight for his final show at the Engie Stadium at Sydney Showgrounds.
Photography: Maira Troncoso
Words: Ken Magno
Delighting Australian music lovers with the news of its return, Groovin The Moo is excited to share the incredible crop of local and international artists who are set to make its special one-off show in Lismore an unforgettable event.
BAKER BOY proudly stepped into a new creative era with the release of his sophomore album DJANDJAY in 2025 – a powerful fusion of culture, nuance and unbridled pride in his art and self. The charismatic performer is one of Australia’s most commanding and with DJANDJAY propelling Baker Boy forward, Australian music fans get to see one of our best rappers excelling in a new, bold spotlight.
Fierce hip hop multi-talent DENZEL CURRY makes his long awaited return to Australia for Groovin The Moo, having headlined the regional tour in 2023. A wildly entertaining performer with a range of influences that speak to a love of music that varies from hip hop to jazz; alternative to punk, and more, Curry has pioneered his own lane of excellence that a whole generation of artists have found their own similar identity within.
DOPE LEMON brings his tight nocturnal grooves to Lismore, the solo project of ANGUS STONE set to hypnotise and charm at Groovin The Moo in 2026. Touring the world off the back of his 2025 record GOLDEN WOLF, the return of Dope Lemon to Australian fans is one that cannot be missed.
For those who love a bit of line dancing or are keen to get involved, Groovin The Moo welcomes KATH EBBS, presenting the popular queer line dancing phenomenon, COWBOY COUNTRY.
Breakthrough artist MAPLE’S PET DINOSAUR has become one of Australia’s most exciting new artists to watch. Going viral on TikTok with songs like ‘LEGO’ and ‘CHORUS’, the teenager from Newcastle has blown up in the last year thanks to spots on festival bills alongside TOOL, GARBAGE and more.
One of the Northern Rivers’ best, MATT CORBY, joins the GTM lineup fresh off the release of his long-awaited fourth studio album, TRAGIC MAGIC (scheduled to drop in March 2026). Corby’s voice has captivated Australian audiences for many years, his music becoming a staple on the life soundtrack for many Australian music fans. The six time Platinum selling artist brings the soul and seasoning to each record he touches and as a live performer, Corby is one of one.
Hailing from the Central Coast, NINAJIRACHI’s ascent in becoming one of the country’s most recognisable names in EDM was marked by the release of her critically acclaimed debut album, I LOVE MY COMPUTER in 2025. Earning the most ARIA nominations of any artist that year (winning three), the record dominated in many fields, nabbing the producer the Australian Music Prize, Australian Album of the Year at the 2025 J Awards, and more.
Blistering rock comes through courtesy of Gerringong’s finest, THE TERRYS; Sunshine Coast heroes THE CHATS; firebrand acts who have been leading the charge in creating new waves of chaos on stages around the country and overseas.
Another globally renowned and beloved Australian artist, TONES AND I brings her unmistakable sound and relentlessly uplifting live energy to Groovin The Moo this May. Having spent most of the last 18 months touring her BEAUTIFULLY ORDINARY album, performing in arenas and releasing chart climbing hits with the likes of David Guetta and Teddy Swims, Tones is spending the beginning of 2026 pouring back into audiences at home – we can’t wait.
Along with Byron Bay-based Corby, local talent from the Northern Rivers region is celebrated on this year’s Groovin The Moo lineup, with Lismore’s homegrown heroes THE COLLIFLOWERS and the talented ANGEL WHITE – a 17 year old Indigenous singer-songwriter currently making waves from her home in Murwillumbah – completing the lineup.
Along with the official artist announcement, Groovin The Moo have teamed up with local music retailer PLANET MUSIC to run the PLANET MUSIC HOMEGROWN HERO competition, where local artists are encouraged to enter and submit their music for a chance to perform. For more details, visit the Groovin The Moo website.
Information regarding camping and shuttle transportation will be provided online, with Groovin The Moo fans now able to register their interest in both camping and shuttles via the official festival sign-up form.
Groovin The Moo Lismore will take place at Oakes Oval, Widjabul/Wia-bal Country, from 11am to 10pm and will be an all-ages event.
EVENT DETAILS
Groovin The Moo Lismore
Oakes Oval, Widjabul/Wia-bal Country
9 May 2026
11am to 10pm
All ages
TICKET INFO
General Admission from $125 + BF
Cream Of The Crop VIP $190 + BF
Mini Moo’s (Under 12) free when accompanied by a ticket-holding parent or guardian
Ages 12–17 $90 + BF when accompanied by a ticket-holding parent or guardian
MobTix for Aboriginal and Torres Strait Islander and Affordability tickets for select Concession Card holders available to request $90 + BF
Lismore Locals will have exclusive access to the ‘Homegrown Groovers’ presale, simply check ‘I’m a Lismore Local’ in the presale sign up form.
LINEUP
(A-Z)
BAKER BOY
DENZEL CURRY (US)
DOPE LEMON
MAPLE’S PET DINOSAUR
MATT CORBY
NINAJIRACHI
THE CHATS
THE TERRYS
TONES AND I
(A-Z)
ANGEL WHITE
THE COLLIFLOWERS
HOMEGROWN HERO SLOT
KATH EBBS PRESENTS COWBOY COUNTRY
It’s the news fans have been waiting for: following the release of his acclaimed fifth studio album, Deadbeat, Tame Impala – the visionary project of Kevin Parker – is returning to Australia, today announcing four huge arena shows in Brisbane, Melbourne, Sydney and Perth this October.
Kevin Parker has emerged as one of the most influential voices of the last decade. Marking a bold new musical chapter, Deadbeat (listen here) arrived in late 2025 led by three killer singles: ‘Loser’, ‘End of Summer’ and ‘Dracula’ – the latter earning Parker his biggest debuts yet at US radio, and landing in at number three on this year’s triple j’s Hottest 100, almost 20 years since Tame Impala’s first appearance in the poll. As a newly six-piece touring band, Tame Impala kicked off the Deadbeat tour with 12 sold-out shows across North America last October and November, with a UK/European tour set to begin this April. From July, Tame Impala will return to the USA and Canada, kicking off a huge area run featuring guests Djo and Dominic Fike.
Conceived across multiple locations over several years, Deadbeat was largely created between Fremantle and Parker’s studio, Wave House, in Injidup, WA. Deadbeat sounds like the work of an artist with a levelled-up mastery, crafted with a newfound embrace of spontaneity for the renowned perfectionist. How that manifests is a distinct minimalism and crunch, with timbres and textures that add an ineffably new dimension to the sound, as well as a richer, more playful vocal range than ever.
With a ‘Dracula’ remix featuring Jennie of BLACKPINK out now, February saw Parker awarded a GRAMMY for Best Dance/Electronic Recording for ‘End of Summer’ – his first solo win, following his 2025 trophy in the same category for ‘Neverender’, his collaboration with French dance pioneers Justice.
Joining Tame Impala on all dates is one of the most exciting names in Australian music right now: fast-rising electronic artist, songwriter and producer Ninajirachi. Raised on NSW’s Central Coast, Nina had a massive 2025 following the release of her debut album I Love My Computer, which took out top honours at the Australian Music Prize, NSW Music’s Breakthrough Artist Prize, two J Awards (including Album of the Year), and three ARIA Awards.
Frontier Members can get early access to tickets via the Frontier presale, which starts Wednesday 25 February (9am local time) – see website for full information. Tickets go onsale to the public from Friday 27 February (11am local time).
Across four previous albums – InnerSpeaker (2010), Lonerism (2012), Currents (2015) and The Slow Rush (2020) – Tame Impala has headlined multiple festivals and arenas around the globe. The Slow Rush debuted at #1 in multiple territories and became Tame Impala’s highest-charting album to date in the US, UK, and Canada, landing in the top 10 in 14 countries. As a writer and producer, Parker has collaborated with Dua Lipa, The Weeknd, SZA, Lady Gaga, Travis Scott, Mark Ronson, Gorillaz, Thundercat, Kali Uchis, 070 Shake, Rihanna, Miguel, A$AP Rocky, and many more. Tame Impala’s ‘The Less I Know The Better’ is part of the Billionaires Club with over 2 billion streams and the project has racked up numerous gold and platinum certifications globally.
Sure to be one of the most exciting tours of the year, don’t miss Tame Impala’s triumphant return to Australia this October!
TAME IMPALA
+ special guest Ninajirachi
DEADBEAT TOUR
AUSTRALIA – OCTOBER 2026
Presented by Frontier Touring, Chugg Entertainment and Laneway Presents
FRONTIER MEMBER PRESALE
via frontiertouring.com/tameimpala
Runs 24 hours from: Wednesday 25 February (9am local time)
or until presale allocation exhausted
TICKETS ON SALE
Begins: Friday 27 February (11am local time)
ALL SHOWS LICENSED ALL AGES
Saturday 10 October
Brisbane Entertainment Centre | Brisbane, QLD
ticketek.com.au
Wednesday 14 October
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
Monday 19 October
Qudos Bank Arena | Sydney, NSW
ticketek.com.au
Saturday 24 October
RAC Arena | Perth, WA
ticketek.com.au