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Music News

WILDLANDS REVEALS SET TIMES

by the partae December 17, 2025

written by the partae

Wildlands festival has just revealed the official set times for its highly anticipated return to Brisbane and Perth this summer.

Presented by Untitled Group, Beyond The Valley and triple j, the festival will take over Brisbane Showgrounds on New Year’s Day, January 1, 2026, before heading to Arena Joondalup in Perth on Saturday, January 3, 2026.

New Year’s Day in Brisbane will see Dom Dolla close out the Sahara Main Stage following a huge run of performances from WALTA, Miss Kaninna, Fcukers, Balu Brigada, 070 Shake, Addison Rae, and Kid Cudi. Over on the Summit Stage, fans can expect peak-time sets from Jazzy, Channel Tres, Chris Stussy, KETTAMA, and NOTION, with a closing set from Luude, while The Wilds stage hosts a stacked program featuring RONA., Cassian, sim0ne, SOTA, and many more throughout the day.

In Perth, Dom Dolla will once again close out the Sahara Main Stage, with BRAT and Miss Kaninna kicking things off before Balu Brigada, Luude, 070 Shake, Addison Rae, and Kid Cudi lead into the evening. The Summit Stage will showcase heavy-hitters including Willo, Jazzy, Fcukers, Channel Tres, Chris Stussy, KETTAMA, NOTION, and SOTA, while The Wilds stage brings energy from Mincy, WAXX OFF, TEED, ZULAN, RONA., Cassian, with sim0ne set to take the closing slot.

Each city will feature a Welcome to Country ceremony acknowledging the Traditional Owners of the land.

For those looking to elevate their festival experience, Casamigos House Of Friends VIP Packages are available, offering exclusive perks such as express entry, dedicated viewing areas, VIP bars, VIP-only amenities, and special onsite activations – providing a premium way to experience Wildlands in style.

To make it easier for fans to join the Wildlands adventure, flexible payment plan options remain available, allowing attendees to secure their tickets now and pay later.

Fans can expect Wildlands to once again deliver the best in electronic, hip-hop and indie music, with a stacked lineup of global pop icons and rising talent set to define the sonic year ahead. Previous editions have featured the likes of Tyler, The Creator, RÜFÜS DU SOL, Peggy Gou, Central Cee, FISHER, Diplo, BICEP, A$AP Ferg, G Flip, Becky Hill, Chase & Status, Lola Young and more.

Start 2026 with unforgettable moments at Wildlands – tickets available HERE.

FULL LINEUP

Dom Dolla

Addison Rae

Kid Cudi

Chris Stussy

KETTAMA

Luude

070 Shake

NOTION

SOTA

Cassian

Channel Tres

Balu Brigada

Fcukers

Jazzy

ZULAN

sim0ne

TEED

RONA.

Miss Kaninna

WAX OFF

Willo

Mincy

Mowgli May

+MORE

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December 17, 2025 0 comments

SLEAFORD MODS release new single ‘No Touch ft. Sue Tompkins’ – 2026 AU + NZ tour on sale now

by the partae December 17, 2025

written by the partae

Sleaford Mods release their new single ‘No Touch‘, featuring guest vocals from Sue Tompkins, singer of the influential Life Without Buildings.

The song is the latest to be taken from Andrew Fearn and Jason Williamson’s forthcoming new album The Demise Of Planet X, which will be released in full on 16 January 2026 via Rough Trade Records / Remote Control Records.

Recorded at Invada Studios in Bristol, Jason and Sue traded lyrical ideas via voice note, which were then put to Andrew’s minimal beats and music box-like motif, revealing a charming and almost playful quality to the duo’s music.

“Sue sent me some crude voice notes with some ideas she’d done in her kitchen, which I thought were brilliant,” explains Williamson, who was introduced to the Life Without Buildings vocalist by Jeannette Lee and Geoff Travis at Rough Trade Records.

Now home to the Mods, in 2001, the label released the Glasgow band’s acclaimed debut album Any Other City, the home of The Leanover, a song that has subsequently enjoyed widespread organic success with users on TikTok after the singer-songwriter Beabadoobee filmed herself lip-syncing to the track in 2020.

“Sue came down to the studio in Bristol for two days to record with us. She had a cold at the time, but it added to the track,” continues Williamson. “She had all these little quirky one-liners we put at the start and end of the song. I wrote the chorus, but she expanded on that a little bit with some of her own lyrics, so she was an amazing collaborator. The song itself explores the murky exploits of drug use, the kind of exhibitionism that goes along with it.”

For Tompkins, who has staged a series of successful art shows since Life Without Buildings stopped in 2002, the opportunity to step into Sleaford Mods’ idiosyncratic world was too good to turn down.

“When I was asked to record with Sleaford Mods, I just had a sort of immediate, big urge/surge to say yes!” she declares. “Just listening to what Jason sent me initially, the feeling there was some sort of sadness or longing or intimacy or regret, just very emotive to me. So, I just responded in a way which hopefully emphasises that vulnerability.”

A video for the single was shot on location in Dartford, close to the childhood home of director Andrea Arnold. The Academy Award winner behind films including American Honey, Bird and Wuthering Heights, Arnold has brought her vision to No Touch, creating a unique performance video that blends together the band and Tompkins with a mix of extras and Kent locals.

“I had such a lovely day making the video with the Sleafords and Sue Tompkins,” explains Arnold. “The shoot reminded me of days out to Margate with my family. It was bonkers, chaotic and funny – and we got chips on the way home! I had such a good time working with them all. Although we all do different things, we were all somehow connected. Our work and lives all intermingled. Lovely.”

For the group, the video proves a perfect encapsulation of the feelings running through the song.

“No Touch couldn’t have been captured by anyone else, Andrea Arnold fits perfectly with its soft nightmare theme,” explains Williamson. “No Touch is colourful and full of heavy realism, a kitchen sink drama. It is a song about isolation, loneliness and crushing self-harm that we all try to navigate, I suppose, under the rigid structures of conformity. Andrea took us back to her old neighbourhood, which also felt very familiar to me. The video, like her films, doesn’t end in total black out, but it trails hope too.”

Picking up on Sleaford Mods’ trademark grit, yet fashioning from it a truly romantic pearl, ‘No Touch’ is indicative of new album The Demise of Planet X, which both harnesses the pair’s usual, laser-focused anger and electro antagonism while also revealing new depths and shades.

‘Megaton‘, released as a single in aid of Ward Child earlier this year, goes off like a banger while previous single ‘The Good Life‘ utilised vocals from the Big Special and Severance actress Gwendoline Christie – making her music debut – to conjure up an electronic psychodrama.

The brooding ‘Bad Santa‘ delves into Sleaford Mods’ hip hop roots to stick Donald Trump firmly on the ‘naughty list’, while there are still many more musical presents to be unwrapped in 2026, including collaborations with Liam Bailey, rapper Snowy and Aldous Harding, making The Demise Of Planet X Fearn and Williamson’s most ambitious yet searingly coherent album to date.

The album is available in a limited, glow-in-the-dark edition, boasting a luminous LP and gatefold sleeve design, which can be purchased exclusively from the band and Rough Trade Records’ online shops, while independent record shops are selling a neon green marbled version. The Demise Of Planet X is available on black vinyl, CD and cassette, the latter coming in a fetching shade of toxic green.

Pre-order / Pre-save The Demise Of Planet X: https://sleafordmods.ffm.to/demise

Sleaford Mods – ‘No Touch (feat. Sue Tompkins)’ (Official Video)
Stream / Download: https://sleafordmods.ffm.to/notouch

Handsome Tours present…
Sleaford Mods 2026 Australian & New Zealand Tour

Saturday Apr 11, 2026 – Perth FAC Front Lawn [tickets]
Tuesday Apr 14, 2026 – Melbourne Forum [tickets]
Friday Apr 17, 2026 – Sydney Enmore Theatre [tickets]
Sunday Apr 19, 2026 – Adelaide Hindley St Music Hall [tickets]
Tuesday Apr 21, 2026 – Brisbane Tivoli [tickets]
Thursday Apr 23, 2026 – Wellington Meow Nui [tickets]
Saturday Apr 25, 2026 – Auckland Powerstation [tickets]

Tickets on sale now via: https://www.handsometours.com/tours/sleaford-mods-2026/

Sleaford Mods
Website | Facebook | T ikTok | Instagram

December 17, 2025 0 comments

Festival News Music News

The Rions announce Australian regional tour for Feb 2026

by the partae December 17, 2025

written by the partae

Having just wrapped their triumphant Spilt Milk national festival run over the weekend, The Rions today announce their Australian Regional Tour taking place from February through April 2026, presented by triple j. Pre-sale begins at 10am local time today, with general on-sale from Thursday 18 December at 9am local time. ALL INFO HERE.

After releasing their acclaimed debut album Everything Every Single Day in October, The Rions are riding the momentum of their national theatre tour, where they headlined some of the biggest venues of their career thus far – including sold-out shows at Melbourne’s Forum and Hobart’s Odeon Theatre. Their victory lap continued with a headline tour across the UK and Europe in November, before capping off the year back home, and the band are thrilled to continue their live run across 18 coast-to-coast regional dates. Across the tour, The Rions will also be joined by special guests Chloe Parché in NSW, Hey So Hungry in WA, Gordon’s Grandson in VIC, and bella amor in QLD.

Since their early beginnings as high school classmates, there’s been something special about The Rions from the jump. Winning triple j’s Unearthed High initiative in 2021, bandmates Noah Blockley, Harley Wilson, Asher McLean & Tom Partington swiftly catapulted to national recognition, releasing their first EP Minivan in 2023, and the #4 ARIA Australian Album-charting Happiness In A Place It Shouldn’t Be in 2024. The years spent honing their songwriting craft and building their identity as one of the country’s leading indie acts primed The Rions for a breakout 2025, with the release of their highly anticipated debut album in October.

Charting at #1 on the ARIA Australia Album Chart, #2 on the Vinyl Chart, and #5 overall, Everything Every Single Day showcases The Rions at their very best. Recorded over the course of a year with ARIA Award-winning producer Chris Collins (Ruby Fields, Pacific Avenue, Matt Corby), the album showcases a pensive, contemplative and emotionally-driven collection of pristine pop-rock – a major progression in the band’s’ sound, all while maintaining the charm and candour they’ve carried thus far.

Beyond the studio, The Rions bring equally as much passion into their live shows, earning their reputation as one of the country’s most prolific touring acts. No strangers to the Australian regional circuit, The Rions’ Happiness In Places tour last year encompassed 21 dates across the country, contributing to their massive 20,000 total headline tickets sold throughout 2024. Even now with their debut album out in the world, The Rions feel like they’re only just getting started, with plenty more action to come in the new year.

THE RIONS – AUS REGIONAL TOUR DATES
presented by triple j

Sat 28 Feb – The Mona – Mona Vale *
Thu 5 Mar – Dunsborough Tavern – Dunsborough ^
Fri 6 Mar – Froth Craft Bunbrewery – Bunbury ^
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 Uni Bar – Wollongong *
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 – The Station – Sunshine Coast >

* w/ Chloe Parché
^ w/ Hey So Hungry
# w/ Gordon’s Grandson
> w/ bella amor

Pre-sale: Wed 17 Dec @ 10am local time
General on-sale: Thu 18 Dec @ 9am local time

For all ticketing information, visit HERE.

Everything Every Single Day LP is out now, buy/stream it here

TRACKLIST
Maybe I’m Just a Freak
Tonight’s Entertainment
Welcome To The Conversation
Shut You Out
The Art My Mother Likes
Married To The Job
Oh How Hard It is To Be 20
Maybe It’s Everything
Scumbag
Lobby Calls
Wear Me Thin
Cry
Adelaide

December 17, 2025 0 comments

Festival News Music News

Wanstock 2026 Announced for Sydney & Melbourne with 1927, Dragon, Loverboy, Pseudo Echo and Bachelor Girl

by the partae December 17, 2025

written by the partae

Aussie rock festival Wanstock returns in 2026 with its biggest lineup yet, announcing Sydney and Melbourne events, with the rock gods set to descend on Shoppingtown Hotel in Doncaster (Melb) for two nights on Friday 20 March and Saturday 21 March, and Selina’s (Syd) on Friday 20 March. Canadian Hall of Famers LOVERBOY will play their first ever Australian shows, alongside New Zealand icons Dragon, Aussie heroes 1927, Pseudo Echo, Bachelor Girl, Taxiride featuring Jason Singh and more in Melbourne, and Sydney will see LOVERBOY, Choirboys, Taxiride featuring Jason Singh and Ventura bringing the rock to the eastern beaches of Sydney.

Born from organiser Geoff Wansbrough’s love of the legendary Aussie pub rock era in the 80s and 90s, Wanstock has evolved since 2018 into an annual showcase of world-class acts alongside talented up-and-comers; and the 2026 edition is no exception when it comes to homegrown and international artists from the rock realms. Tickets for Wanstock 2026 are on sale now from https://www.wanstock.com.au/.

Headlining the Wanstock stage on Saturday will be none other than influential Canadian rockers LOVERBOY playing their first ever Australian shows. With their trademark red leather pants, bandanas, big rock sound and high-energy live shows, LOVERBOY has sold more than 15 million albums, earning four multi-platinum plaques, including the four-million-selling Get Lucky, and a trio of double-platinum releases in their self-titled 1980 debut, 1983’s Keep It Up and 1985’s Lovin’ Every Minute of It.

“We are excited to be coming to Australia for the first time in the band’s history next year,” exclaims LOVERBOY! “It is a dream come true; we are honoured to join the fantastic lineup for Wanstock in Melbourne, and play in the beautiful city of Sydney! Get your tickets now and we’ll see you down under!”

Headlining Friday’s stage will be 1927, formed in 1987, the band made a devastating entry into the ears of its listeners with the release of their debut album …iSH in 1988. Three months after the release, 1927 was catapulted to meteoric fame, with …iSH going on become the highest selling debut album release by an Australian artist. The quintuple Platinum selling album contained a staggering six charted singles, and for 46 weeks, …iSH remained in the TOP 50 of the Australian Music Charts. 1927 again found enormous success with the release of their multi-Platinum second album The Otherside. The band’s second album unleashed yet more charted singles, and for an astounding 19 weeks The Otherside remained in the TOP 50 of the Australian Music Charts. With 7x Platinum Records from multiple albums, a third self titled album, which also charted, and their best work to date…the most recent studio album ‘Generation-i’, 1927 has firmly established their status as an iconic Australian band.

Returning to the Wanstock stage, Dragon formed in New Zealand in the 1970s before relocating to Australia, the long-time rock purveyors have never been ones to play it safe throughout their colourful and ongoing creative journey. Leaning into a heavy progressive rock sound that garnered a cult-like following and early success, the group have remained a stalwart fixture in the rock world, with hit tracks Are You Old Enough, April Sun in Cuba and Rain solidifying Dragon’s staying power and widespread appeal.

“We are so excited to be part of Wanstock once again, it’s been too long,” says Dragon. It’s always a pleasure to have a spot on such a great line-up with so much Australian talent, and the legendary LOVERBOY from Canada!”

An event run by a music lover and for music lovers, the spark for Wanstock festival first ignited when organiser Geoff Wansbrough approached some of his favourite bands to play for his birthday a few years back. Spurred by his love of classic Australian rock and the spirit of the original Woodstock Music Festival, Wanstock was soon born, holding its inaugural event in 2018 at the Burvale Hotel before growing into the event’s current home, the Shoppingtown Hotel, in 2019. And, as Geoff Wansbrough explains, each year is designed to be bigger and better than ever before, with 2026 set to simultaneously offer two nights of amazing acts as well as the chance to catch LOVERBOY in Aus for the first time, “I grew up in that awesome Aussie pub rock era of the 1980s and 90s. Every pub had bands and the cream rose to the top and we gave the world some great acts. As such, I used to see a lot of bands back in the day, and I still do. Wanstock came about when I was having a birthday a few years ago. I thought I would have a favourite band play. Then I thought: why not have a few of my favorite bands. That, plus the fact that I was a big admirer of the original Woodstock Music Festival, is really how it came about. Each year, I try and make it bigger and better. Now, it consists of a few components: to have two or three of the classic acts from back in the day, to give a some of the emerging talent a chance to play, and to have a cover band playing all our favorites to get everyone partying and dancing. Basically, I put it on to support our local music talent and so we can have a bit of fun while we still can. I really look forward to putting on Wanstock each year. It gives us all a chance to forget about our worries and enjoy some of that great music of our youth. For this next event, I am particularly proud to be bringing Loverboy to Australian shores for the first time. The line up for both nights is stacked with talent, including hall of famers 1927, Dragon and Pseudo Echo – it is bound to have you rocking out all night!”

Tickets for Wanstock Melbourne are on sale now from www.wanstock.com.au/ and Sydney from https://selinas.com.au/.

WANSTOCK 2026

FRI 20 MARCH | SELINA’S, COOGEE NSW | 18+
Tickets available from https://selinas.com.au/

LOVERBOY (CAN)
CHOIRBOYS

TAXIRIDE FEAT. JASON SINGH
VENTURA

FRI 20 MARCH | SHOPPINGTOWN HOTEL, DONCASTER VIC | 18+
Tickets available from www.wanstock.com.au/

1927
DRAGON
BACHELOR GIRL
STONETRIP
STRAIT SHOOTERS

SAT 21 MARCH | SHOPPINGTOWN HOTEL, DONCASTER VIC | 18+
Tickets available from https://www.wanstock.com.au/

LOVERBOY (CAN)
PSEUDO ECHO
TAXIRIDE FEAT. JASON SINGH
STANDING ROOM ONLY
DAYDREAMERS

December 17, 2025 0 comments

Music Interviews Music News

Interview: Minh on Heartbreak, Growth, and the Freedom of Moving On With Grace

by the partae December 17, 2025

written by the partae

What did releasing this EP unlock for you personally, especially now that you’ve had distance from the heartbreak that inspired it?

First of all thank you for having me!

This EP is special in so many ways for me because I have many firsts on it. It’s my first ever EP [so that’s exciting], first time writing in Australia and also it documents my first ever heartbreak.

I’m really happy that I can now look back on this EP as like a time capsule for myself. I was in a lot of pain and hurt at the beginning of the year. It was a very dark and confusing time for me and there were moments where I thought it would never get better and I’ll forever rot in my bed grieving. I’m really proud of myself for getting back on both feet and how I, no pun intended, moved on with grace. I can proudly say the crashouts were done in private and in song!

I’m happy that I was able to create this body of work from that heartbreak. Writing with Cody Jon, Glenn Hopper and Maribelle in Australia really made me feel safe to share what I was going through. It was a perfect storm of events.

How did the moment that sparked Damaged reshape the way you write about vulnerability and emotional honesty?

I’ve always written from a place of vulnerability and honesty. But what made writing “Damaged” so different was that I had 2 collaborators with me, Cody Jon and Glenn Hopper. It was such a fun session and one I will never forget. It was the first session with the three of us and I think we made something really beautiful.

It all started with me catching Cody up with my breakup. It was so crazy because when I saw Cody last December I was telling him about my relationship and how happy I was. So the contrast between that and me telling him we’ve broken up and that I feel like I’ve lost the ability to love was quite the difference.

Glenn, Cody and I had really great writing chemistry and we created a very safe environment for all of us to share. So I thank Concord Australia and InQ International for putting these sessions together. I really felt like I was just venting to my friends about my breakup and how I was feeling at the time. “I woke up this morning with an alarm I set for you, with another stranger in my room” was the first lyric we wrote for this song and it came from just a simple conversation. So this whole process was extremely cathartic and freeflowing. I feel like these sessions were meant to happen for me as well as these songs because initially I was planning on releasing a completely different set of songs and EP before this australia trip.

Across the EP there’s a shift from pain to a kind of quiet clarity. Where did you feel that turning point creatively?

My goal with music is always to tell a story and with this EP I was able to tell a longer one and really bring my audience into a world that centered around the story of my breakup. I wanted each song to really feel different to each other and really show how turbulent the breakup felt for me. Healing wasn’t every linear and straight forward, one day I’d be fine, the next I’m at the club with my friends and then I’m back in square one again crying in bed. So I wanted it all to be captured in song.

Like I said before, Australia was definitely a turning point for me. I remember coming back to Vietnam post trip and telling my manager how much I enjoyed that creative process and how much I loved the songs. I had the demos on repeat for, I’m not even kidding, everyday.

I think personally for me the most ah-ha moment was when I wrote “Thank God!”. When Glenn came back to Vietnam in October to help me write a few more songs for the project. I was starting to see someone new and honestly I felt the sparks again. I felt alive and it felt very sweet. “Thank God!” The song just flowed out of me and it felt like such a relief to write and sing. I never planned to write a song like this for the project because I had no idea if I was going to even fall in love again or not. Strangely I did, and it caught me off guard. Writing this EP really was just me finding out as I went on and going with the flow and the puzzle pieces just clicked. The EP tells a story beginning to end: the devastation, to the rebellion into new love. I think it’s a cycle, and “I Don’t Know” is the perfect end to the project because after every high we come down again and then the cycle restarts.

You’ve talked about waking up next to someone new and realising you weren’t healed yet. How did that moment change your understanding of yourself?

It was a crazy feeling. I weirdly felt so gross and disgusted with myself to be honest. I felt like I was cheating even though we were broken up and I had every right to do so. It was this feeling of an invisible string that kept me tied to my ex that in hindsight I felt was hope and me keeping that door slightly open just in case they were to come back.

That moment really forced me to reflect. It was almost like a hard wake up call like: “Hey! Let’s focus on ourselves first before we get into anything again.”. I learnt a lot about attachment styles and how I navigate relationships. It shows me where I could improve but also where I need to set clearer boundaries next time.

The waking up to a new person moment isn’t necessarily any bad will against the new person but it was more about myself and how I felt about me.

There’s a cinematic quality to Damaged, like the world tilts with every emotional hit. How intentional was that visual sense in the production?

When I went into the session with Cody and Glenn one of the things I told them was I wanted this song we wrote to sound like it could be played in a stadium, I wanted something big, something that builds and builds. And so, the production was just a result of that initial conversation. I am a pretty dramatic person as is, so there is always going to be a little bit of drama in the music but I wanted it times 10 for this record.

I also think the reason why the track feels the way it is is because I wrote it during a time where the wounds were so fresh. I was writing as I was going through it so every lyric was fresh off my mind and how I was feeling in that exact moment. I hadn’t had time to really process any of it before I put thought to paper, or in this case our shared Google Doc.

You worked between Vietnam and Australia with collaborators like Maribelle, Glenn Hopper, Cody Jon, and Michael Choi. How did those different environments and creative energies feed into the EP’s identity?

I’m so lucky and grateful to have worked with such great and talented individuals on this project. I think the biggest thing all these collaborators have brought into this project for me was their perspective and they brought to the table energetically. I think what this EP and my other projects have in common is my songwriting. That’s the throughline, it’s always written from my heart and experiences. However, there came a point where I needed to break outside of my comfort zone a little bit, I needed to reinvent myself. So Glenn, Cody, Maribelle and Michael really helped facilitate this discovery with new sounds and ways to look at a situation.

The writing rooms were always so much fun. It truly felt like summer camp. I never wanted to leave. I loved Melbourne so much. I’m gonna be back to write my next project very soon.

This project feels like a reintroduction. In your own words, who is MINH at this stage of your life and artistry?

It really is. I think for me, I’ve always tried to be the most authentic version of myself in my music and pride myself on it. 18 year old me writing and releasing his first single “Blame” was so serious and meant every lyric he wrote. However, I believe that at that point in my life there was a ceiling. I was not letting myself discover whether it be in my love life or just experiences in general. And the crazy thing was, I thought I knew everything. So between the years 2021-2025 I really made it my top priority to just experience life to the max. That meant not dropping music and just focus on developing myself as a person and artist. Perfecting my craft because I know the goals I want to achieve and it can only be executed and done right if I truly prepare and am at the top of my game.

So for me taking time off to rediscover and develop myself was critical because it’s made me more wise and honestly more confident. I used to feel like I was putting on an act or playing a role of this confident kid with all these experiences on his belt but now I can say I’ve experienced enough to share a fresher perspective. So now when it comes to liveshows or the music I’m dropping, I am confident that I am not just representing myself well but also my community and country!

Your songs often sit at the intersection of intimacy and pop ambition. What did you want listeners to feel in the space between those two worlds?

I’m such a pop music and pop culture fanatic and my inspirations are artists such as Julia Michaels, Taylor Swift, Ryan Tedda..etc. So I’ve always looked up to them when it comes to lyrics and melodies. I’ve always been drawn to story telling lyricism, saying in a different way because everything’s been said before. I want audiences to enjoy my music the way I enjoy my favourite artists’ music. I want them to feel like they’re being understood and like their problems don’t exist for a good 4 minutes or if you’re listening to my EP, 17 minutes.

Liveshows have also impacted the way I write my music. I love when a crowd is high energy and when I’m able to do that with music. There’s no better feeling than the energy of a crowd dancing and jumping to a song of yours so I definitely always have that thought in the back of my head when writing. Always trying to imagine how this song would translate live and where people would connect. It’s all very interconnected and I think that’s what makes it so fun. It’s like world building!

Tracks like Out With Grace and What I Never Had carry a sense of release, almost gratitude. How did acceptance shape your approach to writing them?

These tracks were the ones I wrote with Maribelle. They are so different to what I’ve made before and honestly I’m so happy they exist. This pop dance sound has always been something I’ve wanted to create and its a genre I love listening to. ‘What I Never Had’ was the first track I wrote at the writing camp and it was an instant favorite of mine. I was still a little bitter about my breakup and told Maribelle: “I just want to dance and not really care” and that was just the energy that we sustained for our sessions. I wanted to create songs that at first glance wasn’t serious and just made me feel like I was on cloud 9 but if you really dived into the writing it was layered and super emotional. I joked to Maribelle that if these songs were reproduced into ballads they would be so sad.

“Out With Grace” was written after a night out I had with Cody Jon in Melbourne. I still had one last writing session the day after but just had these reckless thoughts that I wanted to black out and go crazy. That night was cut very short when my manager called me back to the AirBnb. But I think it was meant to happen because “Out With Grace” was born in that very next session. The irresponsible thoughts inspired the lyrics “If it’s more than I can take then I’mma go out with grace. I’ll take it to the extreme, You’ll see it all on my face”. I think I was in a very dark place mentally during that time but I was acting like everything was okay. But I think that tension and conflict really created something interesting in the music and I’m really proud of both songs! It’s my favorite to perform live.

You’ve stepped onto global stages and pushed Vietnamese pop into new spaces. How does this EP reflect where you hope to take your sound next?

I think my goal is to constantly elevate my music to a global scale. I’ve had such incredible opportunities that are unheard of and never been done by a Vietnamese artist before so I take it very seriously and try my best to represent not only myself, my team but also my community and country. This EP is a sneak peak into what everyone can expect from me moving forward. Definitely more trips to Australia for sure and also international collaborations will be something I will be doing more in the future. I’ve made so many friends from around the world over these couple of years and it truly feels like a big family of global friends.

I have plans to release 2 new EPs next year so expect that. The sound will only get more dramatic and grand and knowing myself, my life will only get more chaotic so expect more stories told! I hope to do lots of festivals next year and really bring this EP onto the global stage and perform the way I imagined when I was writing them.

INSTAGRAM

December 17, 2025 0 comments

Music Interviews Music News

Interview: Cait Lin – Finding Clarity in the In-Between on GRADIENTS

by the partae December 17, 2025

written by the partae

GRADIENTS feels like a world built from colour and emotion. What made you want to map your inner landscape this way, and when did you realise colour was the right language for this EP?

I’ve never felt emotions in a straight line. Growing up between Taiwan, Australia, and several other places, my inner world has always been a blend — of cultures, tones, moods, and identities. Words like “happy” or “sad” felt too flat, but “warm,” “dim,” “hazy,” or “glowing” felt closer to how I actually experience things.

In many ways, I’ve always been a gradient myself: mixed in culture, mixed in genre, mixed in the roles I carry on a day to day basis. So even though I’m not a visual artist or naturally drawn to think visually, colour became the clearest way to capture the emotional layers of this project. When Make Time arrived with a very specific orange-red feeling, I realised the whole EP needed to live in that kind of blended space — where emotions shift, overlap, and don’t need to be one thing.

You’ve lived between cultures, languages, and continents your whole life. How did those in-between spaces shape the way these songs formed?

Living in-between places teaches you to read the atmosphere more than words. You learn to hold multiple identities at once, and that naturally spills into the music. These songs weren’t written from one cultural lens — they carry Taiwanese sensitivity, Australian openness, and pieces of everywhere I’ve lived or found community.

Instead of choosing one version of myself to write from, I let all those layers coexist. The EP reflects that same blended identity: not fixed, not singular, always shifting.

PEACE & LOVE opens the record with a softness that still feels incredibly powerful. What part of your own story were you reclaiming when you wrote it?

I was reconnecting with the gentler, more forgiving part of myself — the version of me that existed before I felt the constant need to be capable, endlessly adaptable and at times a people pleaser. Living and working across countries for years made me hold myself very tightly and let relationships with people drag on longer than it needed to be, and PEACE & LOVE became a moment where I could finally exhale.

It reminded me that softness doesn’t mean defeat; it means choosing peace even when life doesn’t go the way you want it to. Writing it felt like stepping back into a lighter version of myself, one who can still recognise beauty and gratitude even when things are imperfect.

It was a reclaiming of softness as strength.

This EP carries a sense of artistic clarity, as if you finally allowed all sides of your identity to speak at once. What did embracing that full spectrum unlock for you musically?

It unlocked a sense of relief. For years, I felt like I had to tidy myself up into one identity — jazz vocalist, R&B singer-songwriter, Taiwanese artist, Australian artist — when the truth is that my life has never existed in neat categories.

The moment I stopped trying to make the music “fit,” it started sounding more like me. Allowing all the parts of my identity to sit at the same table — culturally, musically, emotionally — created a freedom I didn’t expect. The songs became more fluid, more intuitive, and more honest. I think that’s the clarity people hear: not perfection, just alignment.

Your jazz background meets soul, R&B, and pop in such a fluid way here. How did your training guide the emotional weight of these arrangements?

Jazz taught me how to feel before it taught me how to sing. It gave me a deep respect for space, tension, surprise and the way one note can shift the emotional temperature of an entire song. That sensitivity carried into GRADIENTS.

Even in the more pop-leaning tracks, I’m always listening for the emotional arc — where the song needs to breathe, where it needs to crack open a little, where it needs to sit still. Jazz training made me comfortable sitting inside vulnerability, and that guided a lot of the production choices. The arrangements weren’t about being clever; they were about serving the feeling.

Each track is tied to a specific colour. Which shade challenged you the most while you were making it, and what did you learn about yourself in the process?

Colours in the Sky challenged me the most, not because of the sound at first, but because of why I wrote it. I originally wrote it for a friend who was feeling stuck and didn’t want to keep going — she felt like she didn’t fit anywhere, like life had no space for her. I wanted to offer her a vision of something bigger and softer, something that says: life is about embracing things fully, about painting your own colours in the sky even when you feel dull or invisible.

But after finishing the song, I realised I had unknowingly written it for a younger version of myself too — the Cait Lin who often felt left out, who moved countries and didn’t quite belong, who needed someone to tell her that her world could be brighter than what she could see at the time. Now when I sing it live, I feel like I’m speaking to the parts of me that still need that encouragement.

The live performance was another challenge. The rhythmic stops, the sudden shifts, the multiple sections — it felt like trying to hit something just out of reach. But once I learned to move through the pauses and bumps with trust instead of fear, it became the song I look forward to singing the most.

That whole journey taught me something important: optimism isn’t simple or effortless — it’s vulnerable. It requires the same level of honesty as sadness, maybe even more. You can’t fake hope; you have to open yourself to it. And for me, that was the real lesson behind this colour.

fragile love feels like the emotional centre of the EP — quiet, piercing, deeply human. What memories or truths were you holding when you wrote it?

fragile love came from a place of accepting responsibility, and also accepting that sometimes love doesn’t survive even when both people care deeply. The lyrics came out almost like a confession — acknowledging the mistakes, the weight, the emotional immaturity, and the parts of myself I was still learning how to face.

The song is about knowing you’ve caused harm, knowing you’ve held someone back, and choosing to let them go so they can become the version of themselves they deserve to be. It’s not a breakup song in the dramatic sense — it’s more like an admission that love can be beautiful and still not be strong enough, and that clinging onto it can hurt both people more.

Lines like “Wish I had a stronger soul, but I’m a child” came from a very honest place — recognising that I wasn’t the person I wanted to be yet. And “I would give up everything I had hoped for to see you shine instead” is a moment of selfless clarity: the kind of love that chooses someone’s wellbeing even if it breaks your own heart.

Writing it taught me that accountability is its own form of love, and that letting go isn’t always abandoning someone — sometimes it’s the most loving thing you can do. That quiet acceptance is what makes the song sit at the emotional centre of the EP for me.

You’ve travelled widely and built communities across Asia and Australia. How did performing in so many cultural contexts inform the way you approached storytelling on this project?

Performing in different countries taught me very quickly that people connect to sincerity before anything else. Some audiences lean into subtlety and intimacy, others love rawness and directness — but the emotional core is what carries across every room.

That understanding made me write more honestly, without worrying whether a feeling or story would “translate.” If the emotion is real, it travels.

And honestly, music is one of the very few things that truly connects everyone — regardless of age, language, culture, upbringing, or background. I’ve felt that again and again on stage. The details might shift, but the heartbeat underneath is universal.

You’re known for performances that cut through language barriers. What internal compass do you follow to make sure your songs resonate no matter where they land?

Presence has always been my compass. If I’m actually feeling what I’m singing — not performing the idea of the feeling, but genuinely in it — people understand, no matter what language it’s in.

Growing up bilingual taught me early that tone, intention, and emotion often communicate more clearly than vocabulary. And honestly, I love engaging with the crowd — a little stage banter, a shared laugh, getting everyone to clap along, or having them sing “PEACE & LOVE, PEACE & LOVE” with me. Those moments remind me that connection doesn’t require a shared language, just a shared moment.

So I always check in with myself: Am I being honest right now? Am I here? If yes, the audience feels it.

This EP introduces a new chapter for you — visually, sonically, emotionally. What horizon are you moving toward next, and how do you hope listeners grow with you?

I’m moving into a chapter that feels both more grounded and more expansive — a space where I can experiment visually and sonically while staying anchored in the emotional clarity that GRADIENTS gave me. I want to build worlds around the music: fuller live shows, richer visuals, and collaborations that reflect the cultures and communities that have shaped me.

What I hope most is that listeners feel permission to embrace their own transitions — the messy, shifting, in-between parts of their identities and emotions. If this EP helps anyone recognise the beauty in their own gradients, in the parts of themselves that don’t fit neatly into one place, then that means more to me than anything.

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December 17, 2025 0 comments

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Spilt Milk Photography – Sun 14 Dec, 2025 – Gold Coast

by the partae December 17, 2025

written by the partae

December 17, 2025 0 comments

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Interview: Augie March – Looking Into a 20 Year Old Mirror with Moo, You Bloody Choir

by the partae December 17, 2025

written by the partae

How does it feel to return to Moo, You Bloody Choir two decades on — not just as musicians, but as people who’ve lived a lot of life since that era?
The prospect of these anniversary concerts mainly makes me feel old and scared of looking in a 20-year-old mirror. It can be hard and confronting to try and relive or recreate something from so long ago. But once we get started, it will quickly become fine and even enjoyable.

When the album first came out, did you have any sense it would become such a defining moment in Australian music, or has its legacy only become clear with time?
Absolutely not. Is it really a defining moment in Australian music? That’s very nice of you to say. The album had actually been completed almost a year earlier and shelved indefinitely by the label. We were mainly just relieved to have it released at all, which meant we could start playing live again to promote it. When your label puts your finished record in mothballs, your thoughts go more towards survival, not so much about creating musical history.

One Crowded Hour changed everything for the band almost overnight. How do you remember that sudden shift into the mainstream and the impact it had internally?
It was the middle of summer when the song came out. It was quickly added to high rotation on JJJ, which was a big deal for us, but that didn’t result in any drastic, immediate overnight change. By the middle of the year it was starting to get played on commercial radio, and that’s when the queues at the shows started to get longer, the venues started to get bigger, and we were adding extra nights. It was like a big cushion of warm air pushing up from underneath. After many years of struggle, I thought that felt great. Not everyone in the band enjoyed it though — the spotlight and the pressure maybe weren’t a positive thing for the band overall.

The album moves between poetry, tension, softness, and ambition in a way that still feels unique. What creative risks or instincts shaped that sound during the recording process?
That range of dynamics came pretty naturally to us, and of course a lot of it is in the songwriting. The unique sound of the band had evolved over the previous ten years. I don’t think there was much deliberate intent or instinct to shape the album’s sound. Occasionally we did try to create a jarring sonic effect, like recording the piano via a guitar amp on Mother Greer. We attempted a slow, moody version of Frownland by Captain Beefheart, which is a very fast, jerky, and discordant freak-out song. That was creatively risky, but it didn’t get very far.

Parts of the album were recorded in the Tenderloin during a pretty intense period. How did that environment influence the atmosphere or emotional weight of the record?
Interesting. Yes, it was a very rough and sketchy neighbourhood. Historically, police who worked the beat there were paid an under-the-counter bonus of the choicest steak cuts, hence the name (this was in San Francisco, not Chicago). There was a gun murder close to where we were staying. However, the only three finished tracks from those sessions were arguably the poppiest songs on the album — One Crowded Hour, The Cold Acre, and Just Passing Through. In fact, we re-recorded The Cold Acre later in Melbourne; the Tenderloin version was actually faster and more upbeat. Maybe the environment didn’t have a big, direct influence on the music. One of the band members did fall in love, which might have added to the positive vibes.

There were label changes, personal challenges, and moments where the project felt like it might never come together. What kept the band anchored during that chaos?
Hmm. I’m not sure how “anchored” we were. Is it possible to be anchored by alcohol? Anchored in alcohol, perhaps. We were all very committed to the band, and there was definitely a lurking sense that this album was our last chance with our record label and our last chance to make a big splash with a mainstream audience. We had just done a seven-week tour of the US, which was by far the longest tour we’d ever done. We were getting road-hardened and match-fit, playing consistently good shows. That probably did give us some sense of confidence. In the past, our live shows had sometimes been erratic or unpredictable.

Fans often say the album “stays with them.” Which songs have stayed with you the most over the years — and why?
Not One Crowded Hour. I got very sick of that eventually, which is fair enough — that song has been played to death. I always liked Clockwork, the long, slow, heavy song at the end of the album. Stranger Strange is great too; that maybe could have been a hit single as well.

Performing the album front-to-back for the first time is a huge moment. What excites you most about presenting it as one complete, intentional body of work on stage?
The most interesting part is that we’re all very different people than we were twenty years ago, so there’s a good chance it will be a very different album of songs when we re-interpret it. It’s unlikely to be a musical carbon copy of the way we played it in 2006.

Revisiting this era must naturally stir new ideas. How does looking back at this album shape where you want to take Augie March next?
It probably doesn’t. The band has maintained quite a productive output, releasing four albums in the last ten years. Glenn has made a solo album as well and is in the middle of another one now — he still has a lot of songs. Doing an anniversary tour feels like something separate. When we revisited the band’s first album Sunset Studies five years ago, it overlapped with making a new album (Bloodsport and Porn). For a while Glenn was toying with the idea of that being Sunset Studies Vol. 2, but it didn’t eventuate. I can’t see us making Moo You Bloody Choir Vol. 2.

You’ve described the upcoming shows as a balance of respect and irreverence toward the songs. What does that actually look like when you’re all on stage together?
It could look like everyone treating the songs with great respect, whilst personally taunting and abusing each other with mild contempt — both on and off stage.

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December 17, 2025 0 comments

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Megadeth release trailer for Megadeth: Behind The Mask

by the partae December 12, 2025

written by the partae

Tickets On Sale Now For The Global Cinematic Event

In Cinemas Worldwide January 22 For A Limited Time Only

Film Will Be Showing On More Than 1,000 Screens Worldwide

Legendary metal titans MEGADETH and Trafalgar Releasing have revealed the trailer for MEGADETH: BEHIND THE MASK, a cinematic legacy event that will debut on screens worldwide Thursday, January 22.

Tickets are now on sale for the film that will screen in over 1,000 cinemas across 35+ countries on the eve of the release of the band’s final studio album out January 23. To get tickets, and for more information and to sign up for updates, fans can visit megadethfilm.com.

In MEGADETH: BEHIND THE MASK, Dave Mustaine pulls back the curtain on 40 years of MEGADETH, sharing untold stories of the band’s past and the creative fire that drives them. Interwoven throughout, audiences will get to experience the world premiere of MEGADETH’S new self-titled album in full, brought to life with a 40-year retrospective career-spanning interview and Mustaine’s own track-by-track reflections about the band’s final studio album. This one-night-only listening event will provide a first-listen to this landmark project. MEGADETH: BEHIND THE MASK is an immersive celebration of one of the most influential bands in metal history, capturing their legacy while heralding a powerful new chapter.

Leading up to the album and film’s debut, MEGADETH—Dave Mustaine, Teemu Mäntysaari (Lead, Rhythm, and Acoustic Guitars), James LoMenzo (Bass Guitar) and Dirk Verbeuren (Drums)—have released two tracks: “I Don’t Care” (watch the video HERE and listen to the song HERE) and “Tipping Point,” the album’s first single (watch the video HERE and listen to the song HERE). MEGADETH have also announced a very special bonus track from the album: a reimagined version of “Ride The Lightning,” which MUSTAINE co-wrote with Metallica’s James Hetfield, Cliff Burton, and Lars Ulrich and was the title track from the group’s 1984 album. Pre-order the album, via DAVE MUSTAINE’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label, HERE. Read more about the album’s full track listing HERE.

Megadeath: Official Website | Facebook | Instagram | Tik Tok | YouTube

December 12, 2025 0 comments

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Spilt Milk – Ballarat 2025

by the partae December 12, 2025

written by the partae

December 12, 2025 0 comments

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YUNGBLUD: announces DUNE RATS as special guests for January tour

by the partae December 12, 2025

written by the partae

+ THE WORLD EXCLUSIVE DEBUT OF YUNGBLUD: IDOLS PHOTOGRAPHY EXHIBITION

Three-time GRAMMY® nominee YUNGBLUD is psyched to announce that Brisbane punks Dune Rats will join him as special guests on his IDOLS world tour in Australia.

Following the release of One More Time—his collaborative EP with Aerosmith, which debuted at No. 1 on four Billboard album charts and No. 1 in the UK, and features a reimagining of ‘Wild Women’ with country star Lainey Wilson—YUNGBLUD will head to Australia in 2026 for his biggest run of shows to date. With Perth and Brisbane dates already sold out, an additional Brisbane show has been added, and Sydney has been upgraded to Qudos Bank Arena to meet overwhelming demand. Tickets and tour information via frontiertouring.com/yungblud.

Watch: Aerosmith, YUNGBLUD, Lainey Wilson – Wild Woman

Joining him for all dates is local band Dune Rats. Dune Rats have long embodied the do-it-yourself ethos of punk rock and their self-titled debut album in 2014 introduced the world to their riotous charm. But it was their 2017 album The Kids Will Know It’s Bullshit that exploded them onto the national stage — debuting at #1 on the ARIA Albums Chart, main-stage billing at festivals like Splendour in the Grass, Laneway, and Groovin’ The Moo, and cementing their reputation as one of Australia’s leading punk rock bands.

Building on that momentum, Dune Rats continued to expand their reach with the ARIA-nominated Real Rare Whale in 2022 and extensive international touring across North America, Europe, South Africa, and the UK. While back home their Triple J Like A Version cover of The Angels’ ‘Am I Ever Gonna See Your Face Again’ went viral. In 2024, the band returned with If It Sucks, Turn It Up, a sharper and hookier evolution of their signature sound, supported by a sold-out national co-headline tour with U.S. punk icons FIDLAR.

Watch: Dune Rats – Am I Ever Gonna See Your Face Again (Like A Version)

2025 marks a new chapter for the band — and a celebration of how far they’ve come. With over 15 years together, multiple ARIA nominations, and hundreds of shows around the world, Dune Rats continue to fly the flag for Australian punk rock with the same energy that fuelled their first gig.

The news comes hot off the heels of the announce of the Australian debut of ‘YUNGBLUD: IDOLS’, an exclusive photography exhibition by acclaimed British photographer Tom Pallant, at Behind The Gallery in Newtown from the 7th -11th January 2026.

This world-exclusive exhibition will feature an array of both personal and pivotal moments never before seen, celebrating the evolution of one of the most influential alt-rock figures of a generation. From candid backstage interactions to high-voltage live performances that capture the artist’s raw humanity, the collection offers an intimate look at his journey. Pallant, YUNGBLUD’s long-time trusted photographer and creative collaborator, brings fans closer than ever to the energy, vulnerability, and rebellion that define the star’s artistic identity. For more information visit Yungblud Idols – behindthegallery.

YUNGBLUD
IDOLS THE WORLD TOUR
AUSTRALIAN TOUR
WITH SPECIAL GUESTS DUNE RATS
JANUARY 2026
Presented by Frontier Touring

TICKETS ON SALE NOW
via frontiertouring.com/yungblud

Saturday 10 January
Qudos Bank Arena | Sydney, NSW
VENUE UPGRADE
Lic. All Ages
ticketek.com.au

Tuesday 13 January
Sidney Myer Music Bowl | Melbourne, VIC
Lic. All Ages
ticketek.com.au

Thursday 15 January
Adelaide Entertainment Centre | Adelaide, SA
Lic. All Ages
ticketek.com.au

Saturday 17 January
Riverstage | Brisbane, QLD
SOLD OUT

Sunday 18 January
Riverstage | Brisbane, QLD
NEW SHOW
Lic. All Ages
ticketmaster.com.au

Tuesday 20 January
Ice Cream Factory | Perth, WA
SOLD OUT

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.

December 12, 2025 0 comments

Festival News Music News

SEPULTURA ANNOUNCE AUSTRALIAN DATES FOR GLOBAL FAREWELL TOUR

by the partae December 12, 2025

written by the partae

Sepultura has reached the end of the road and has chosen to depart via a conscious and planned death. The band are marking 40 years together and have been saying goodbye at the same time with a farewell tour spanning the globe, which has included a slew of venue upgrades and sold out shows across Latin America, Europe, and the US. Now it’s Australia’s turn, with a run of capital city shows this March.

After four decades, 14 gold records, journeys through 80 countries and countless cultural exchanges, Sepultura stands as one of the most influential metal bands of their generation. Across 15 studio albums, they have sold more than 20million records worldwide, earning gold and platinum status in Australia and beyond. Their landmark record Roots has surpassed 150 million Spotify streams.

For this final journey, the band is joined by 21-year-old American drummer Greyson Nekrutman as they undertake a worldwide run that spans multiple continents and revisits every era of their catalogue. During the tour, the band will be recording 40 live tracks across 40 cities, forming an epic compilation that captures their strongest moments on stage.

As this chapter unfolds, Sepultura reflects on this milestone with gratitude. Throughout their career, they created acclaimed records, forged enduring friendships, experienced artistic growth, met their heroes and helped place Brazilian metal firmly on the world map. With that legacy secured, the band steps away with a sense of purpose fulfilled.

“We’ve always had the best fans in the world, who supported us with praise and criticism, who were demanding and intelligent, who grew together with the band and have always been loyal,” the band says. “Without you, none of this would have been possible. This album and this tour are for you. Dear SepulNation, we love you and always will.”

This tour is the final opportunity to witness Sepultura live in Australia.

Presale begins Friday 12 December at 9am local time.
Tickets are on sale Monday 15 December at 9am local time.

“Euthanasia, the right to a dignified death. The right to choose to live free and to choose when you die.”

DESTROY ALL LINES PRESENTS

Sepultura: Celebrating Life Through Death…
The Farewell

Friday March 20
Metro City, Perth

Monday March 23
The Gov, Adelaide

Wednesday March 25
Northcote Theatre, Melbourne

Friday March 27
Liberty Hall, Sydney

Sunday March 29
The Tivoli, Brisbane

FOLLOW SEPULTURA

December 12, 2025 0 comments

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Jacob Collier + Nai Palm – Sydney, 11 December, 2025

by the partae December 12, 2025

written by the partae

December 12, 2025 0 comments

Music Interviews Music News

Interview: Inside the Spiral – Tanya George on Betrayal, Busking, and Finding Power in ‘Piece of Mess’

by the partae December 12, 2025

written by the partae

‘Piece of Mess’ feels raw and open, almost like you’re inviting listeners inside the emotional spiral you were living through. What moment or realisation first pushed this song into existence?

The moment of betrayal. There are few things more difficult to experience; I would say grief is also up there. I tried repeatedly to show up with love, only to be taken advantage of. No matter what I did, I was always going to lose, but through that experience, I created some of the best songs I’ve ever written.

You’ve said the track came from the same creative burst as ‘Serious,’ written in your Elwood apartment. What was happening in your life at that time that made writing feel so urgent?

It was an outlet for me to express what I couldn’t in conversation. I was young, struggling, and not always surrounded by supportive people, which certainly had an impact.

Originally, this song was directed at someone else, calling them a “Piece of Mess,” but I chose to redirect it toward myself, recognising how messy I also felt in love at the time. I’m strong in many ways, but matters of the heart have always been my vulnerability.

Three songs on the album — Piece of Mess, Serious, and an unreleased track, I Can’t Love Anymore — were all written around the same day, inspired by the pain of giving someone many chances, only to be hurt by someone I trusted and loved.

There’s a real tension-and-release feeling in the production, like the music breathes with the story. How did you and Lewis Pidutti shape that emotional push-and-pull in the studio?

When I originally wrote this song, I wanted it to convey a strong sense of drama, especially through dynamics. There are subtle musical nuances in the verses designed to create an unpredictable, almost suspenseful feeling.

I had been developing this track long before meeting Lewis, and I always knew how impactful it would be live with the band — something that is often difficult to fully capture in a studio setting. I revisited many of my old recordings to refine the sound, focusing on keeping ample breathing space in the verses to allow for explosive moments, and creating a striking contrast in the chorus with powerful, chunky guitars and a surge of intensity.

He listened and nailed it. I recorded this song in one take vocally through a drum microphone, and we never changed it. There is an entire range of emotions in this tune.

You built your reputation on the streets of Bourke Street, looping in front of strangers. How does that raw, unpredictable environment still influence the way you write and perform?

The streets have been my greatest teachers, and I believe that’s why I am such a strong performer on stage. Busking requires vulnerability, creativity, and authenticity. You must find ways to capture attention and keep people engaged. If your energy is off, the audience will feel it too.

Performing in this environment has taught me to recognise impactful moments in a song — where I can connect with the audience or elevate the set to the next level. My favourite part is creating those moments where the entire crowd joins in and sings with me.

You’ve just come off shows in Italy, Germany and the Netherlands. Did sharing these songs across Europe shift the way you hear or feel them?

It was genuinely exciting to hear my songs being sung by people outside of my hometown. Experiencing this brought new life to the album and filled me with a renewed sense of joy.

My time in Europe allowed me to fully reset from a burnout I had been experiencing. Now, I connect with the music from a healed and refreshed place, feeling completely ready to share it and fully immerse myself in everything album-related. Perfect timing.

The song digs into the messy, uncomfortable side of love — insecurity, frustration, the yearning underneath it all. Was there a lyric that felt confronting to write or admit out loud?

My writing is extremely honest and pretty direct. I think, “I want a solid apology, not this look you’ll demolish me, swallow me, I want equality” — ain’t that the truth.

Just wanting someone to be sincere, gentle, kind, and admit being wrong instead of being blamed as a woman.

Your sound moves effortlessly between soul, pop, jazz and vocal looping. When you’re writing something vulnerable like this, do you lead with emotion first or with vocal experimentation?

I would say it’s a combination. My voice conveys my emotions, and my emotions guide me in finding the words to express through that voice.

I embrace influences from a variety of genres, as I believe this is when the most interesting, unique and authentic creative moments emerge — then you get Tanya George.

You’ve played everything from the Roma Busking Festival to WOMADelaide and Airlie Beach Music Festival. Do songs like ‘Piece of Mess’ land differently on a big festival stage compared to an intimate room?

Absolutely. It’s a great song in an intimate environment, but it goes HARD at a festival.

It’s got some very intense parts, such as the bridge all the way to the end of the song, and live, the band just throw themselves in.

With your debut album Contrast on the way, where does this track sit in the wider emotional arc of the record?

“Piece of Mess” is the fifth track on the album, placing it right in the middle at peak angst. It comes just after “The Devil” (track four) and is followed by “Can’t Love Anymore” (track six) — all intense track titles.

My Oma (grandmother) features on the intro (track one) and the interlude (track seven). By the time we reach the interlude, the album transitions from a place of anger back into one of love and growth.

Track eight, “Have You,” is the only love song I’ve ever written. I often hear “Piece of Mess” in relation to “Serious” (track two), as I feel the two songs are connected thematically.

You’ve got momentum in Europe, festival dates at home, and a debut album coming. What part of this next chapter feels the most exciting for you right now?

I think the most rewarding part of releasing these songs is finally sharing them with the world and allowing people to connect with them.

For me, the highlight has always been performing live — seeing my dreams come to life on stage. I always had this vision to begin my set solo, using only my voice and looper, and then the band joins me, taking the performance to the next level.

We had an incredible show over the weekend. People were crying and singing along with the lyrics. It was exhilarating to see my ideas, long imagined in my mind, come alive in real time.

See Tanya perform over the summer at the following festivals:

Tanglewood Festival — 30 Dec 2025 – 2 Jan 2026
Rising Sun Festival — 9–12 Jan 2026
Falls Creek Festival — 14 Feb 2026

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December 12, 2025 0 comments