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October 16, 2026
Category:

Music News

Music News

The Grogans Turn Up the Heat With Explosive New Single Reasons

by the partae August 23, 2026
written by the partae

The Grogans are back with Reasons, a full-throttle new single that kicks open the door on the next chapter for the Melbourne trio.

Released via Community Music, the track is the band’s first new music of 2026 and marks another step forward for a group that has built its reputation on raw energy, relentless touring and a refusal to sit still.

Reasons wastes no time getting moving. Gritty guitars, spacious drums and call-and-response vocals combine into a wall of sound that feels built for a sweaty room and a loud PA.

At the centre of the track is frustration. Reasons tackles the feeling of constantly being overlooked by someone who always seems to have another excuse, choosing you last and leaving you waiting for another chance.

Rather than turning that frustration into something defeated, The Grogans push it forward. The song becomes a defiant response to being treated as an afterthought, with its driving arrangement matching the sense of finally deciding to move on.

The track also represents an important change in the studio for The Grogans. After five studio albums built largely through their own chemistry and instincts, the trio worked with an outside producer for the first time, bringing in acclaimed producer and mixer Steven Schram, whose credits include Paul Kelly, Crowded House, TISM and Mildlife.

Joseph Carra handled mastering, while the band’s core lineup of Angus Vasic, Jordan Lewis and Quin Grunden remain responsible for the performances that give Reasons its unmistakable punch.

Since forming in Melbourne in 2016, The Grogans have steadily built one of the country’s most recognisable guitar-band identities, blending surf rock, garage, blues and indie without sounding like they’re following anyone else’s blueprint.

Their momentum has continued to build. Their 2025 album Stagger reached the ARIA Top 10, while Money Will Chase You achieved ARIA Gold certification and Lemon To My Lime became another fan favourite. They’ve also delivered a triple j Like A Version and a triple j Feature Album with Find Me A Cloud.

Their touring history has taken them well beyond Australia, with sold-out headline shows across Australia, North America, the UK, Europe and New Zealand, alongside appearances at festivals including Dauwpop, London Calling, Bangkok Music City, Yours & Owls, Wanderer Festival and St Kilda Festival.

With Reasons, The Grogans aren’t attempting to reinvent themselves. Instead, they’re taking everything that has made the band work and turning it up another notch.

It’s loud, direct and unapologetic — a strong introduction to whatever comes next.

Reasons is out now via Community Music

STREAM REASONS

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August 23, 2026 0 comments
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Festival NewsMusic News

Hypersonic Festival Sets Its Sights on 2026 With Armin van Buuren and a Global Electronic Lineup

by the partae August 23, 2026
written by the partae

PRE-SALE REGISTRATION HERE

Hypersonic Festival is returning in 2026 with a two-city edition bringing some of the biggest names in electronic music to Melbourne and Sydney across two massive days in November.

Following its debut, the festival is set to return to Melbourne Showground on Friday 20 November before heading to Sydney’s Royal Randwick Racecourse on Saturday 21 November.

The lineup is led by Dutch electronic music heavyweight Armin van Buuren, who will headline alongside W&W, Showtek, Australian festival favourite Timmy Trumpet and drum and bass duo Hybrid Minds.

The festival is being presented by Symbiotic and Hardware, with the 2026 edition expanding across multiple stages and a broad range of electronic styles including EDM, techno, drum and bass, dubstep, hardstyle, tech-house and dance-pop.

Rather than focusing on a single corner of electronic music, Hypersonic is positioning itself as a multi-genre festival bringing together established international acts, Australian artists and artists making their Australian debut.

Armin van Buuren arrives with a career spanning decades and a reputation built on euphoric productions and huge festival performances. W&W will bring their high-energy approach to the main stage, while Showtek add their blend of EDM and electro house.

Australian artist Timmy Trumpet will represent the homegrown contingent, bringing his signature trumpet-driven sound and energetic live show to the festival.

For drum and bass fans, Hybrid Minds will offer something more atmospheric. The British duo have built a reputation around melodic and emotional productions that sit at the more immersive end of the genre.

Adding to the festival atmosphere will be MC Stretch, known for his work at major events including Tomorrowland and Stereosonic.

With two cities, multiple stages and a lineup designed to move between festival EDM, techno, bass music and harder sounds, Hypersonic is aiming to build on the momentum of its first edition while establishing itself as a major fixture on Australia’s electronic festival calendar.

Presale registration is now open, with presale tickets going on sale at 12pm AEST on Tuesday 25 August.

General public tickets go on sale at 12pm AEST on Wednesday 26 August.

Hypersonic Festival 2026

Friday 20 November — Melbourne Showground, VIC
Saturday 21 November — Royal Randwick Racecourse, Sydney, NSW

Presented by Symbiotic and Hardware.

PRE-SALE REGISTRATION HERE

Hypersonic Festival

August 23, 2026 0 comments
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Festival NewsMusic News

Wishy Embrace the Madness on New Album Nature’s Pill

by the partae August 23, 2026
written by the partae

Indianapolis indie rockers Wishy are entering a new chapter with their second album, Nature’s Pill, arriving 2 October via Winspear.

The band have also shared Lovesick, the album’s first single, offering an early glimpse at a record that leans into romantic frustration, melodrama and the strange contradictions of being human.

Led by Nina Pitchkites, Lovesick is a bright, swooning piece of dream pop that balances sugary melodies with a little grit. There are clear echoes of classic pop-minded alternative music, with the track carrying the buoyancy of The Sundays and some of The Cure’s more melodic instincts.

Pitchkites describes the song as a deliberately over-the-top take on yearning, with the track embracing the kind of romantic melodrama that can be both ridiculous and completely sincere.

That balance between melancholy and humour runs throughout Nature’s Pill.

The album follows Wishy’s acclaimed 2024 debut Triple Seven, which helped establish the Indianapolis five-piece as one of the more exciting new names in indie rock. Their growing reputation has since been strengthened by the Planet Popstar EP, festival appearances and tours with artists including The Beths and Beach Bunny.

For Nature’s Pill, Wishy approached the writing process more collaboratively than before. Kevin Krauter, Pitchkites, Dimitri Morris, Mitch Collins and Conner Host reunited with producer Ben Lumsdaine in Los Angeles, recording half of the album live together in a small studio.

The result is a record that expands the band’s existing palette. The dreamy, guitar-heavy world of Triple Seven remains intact, but Nature’s Pill draws further from ’80s college rock, ’90s dream pop, alternative rock and ’00s indie.

Thematically, the album isn’t simply a collection of breakup songs. Wishy explore romantic frustration, desire, loneliness and the melodrama that comes with relationships, often approaching those subjects through fictional or exaggerated perspectives rather than straightforward confession.

That gives the songs room to be emotional without becoming overly heavy.

The band’s second album also arrives with a sense of momentum. Triple Seven received widespread critical attention, while Wishy’s live schedule has continued to expand alongside their growing audience. Nature’s Pill feels like a natural progression rather than a reset, keeping the band’s melodic instincts intact while allowing them to become stranger, louder and more adventurous.

With Lovesick setting the tone, Wishy appear ready to embrace all of it — the heartbreak, the humour, the noise and the absurdity.

Sometimes the best response to everything being a mess is simply to make something beautiful out of it.

Nature’s Pill is out 2 October 2026 via Winspear.

Tracklist

All The Rage
Covergirl
Sensational
Shift
You’re Not Serious
Mona Lisa
Lovesick
Freak 99
Headscratcher
Blitz
Kiss Kiss Kiss
Party World

 

C**T is out now via Tabloid Recordings, buy/stream it here

SIDNEY PHILLIPS TOUR DATES
Oct 9 – C**T LP Launch @ Northcote Social Club – Naarm/Melbourne (TIX)
Nov 24 – The Rechabite – Boorloo/Perth w/ Buckshot (TIX)
Nov 26 – The Triffid – Meanjin/Brisbane w/ Buckshot (TIX)
Nov 27 – Prince Bandroom – Naarm/Melbourne w/ Buckshot (TIX)
Nov 29 – Manning Bar – Eora/Sydney w/ Buckshot (TIX)
Dec 2 – San Fran – Te Whanganui-a-Tara/Wellington w/ Buckshot (TIX)
Dec 3 – Tuning Fork (All Ages) – Tāmaki Makaurau/Auckland w/ Buckshot (TIX)

Stay connected with Sidney Phillips:
23 Profile | Instagram | YouTube

August 23, 2026 0 comments
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Music News

My New Band Believe Rework Numerology With Two New Remixes

by the partae August 23, 2026
written by the partae

My New Band Believe have returned to Numerology, the frantic standalone single that introduced Cameron Picton’s new project earlier this year, with two new remixes from 96 Back and Jennifer Walton, and Scottish producer Proc Fiskal.

The original Numerology arrived in February ahead of the band’s self-titled debut album. Although it didn’t make the standard album tracklist, the track became an important part of the record’s wider story, appearing across deluxe physical editions and showcasing a more electronic and unruly side of Picton’s new project.

Now the song has been pulled apart and rebuilt from two very different perspectives.

96 Back and Jennifer Walton take on the first remix, bringing their own electronic instincts to the track, while Proc Fiskal delivers a separate interpretation that pushes Numerology further into his distinctive production territory. Both versions retain the restless character of the original while opening up new possibilities within it.

For Picton, experimentation has been central to My New Band Believe from the beginning.

The project emerged following the end of black midi, where Picton was bassist and occasional frontman. Rather than simply continuing in the same direction, My New Band Believe has become a much more fluid musical world, bringing together an evolving cast of musicians and moving between acoustic instrumentation, chamber pop, art rock and electronic textures.

The self-titled debut album arrived in April and was met with strong critical attention, including a Best New Music designation from Pitchfork. The record is largely acoustic, but its arrangements remain expansive and constantly shifting, with songs forming, breaking apart and rebuilding themselves as they move forward.

Numerology sits slightly outside that framework. Its four-minute runtime is driven by a more immediate sense of movement, with Picton leaning into chance, risk and the possibility of things going slightly off the rails. That makes it an interesting track to hand over to remixers, particularly artists with such different approaches to electronic music.

The remixes will also receive a physical release, with both versions appearing on a limited-edition 12-inch vinyl available exclusively at My New Band Believe’s upcoming shows.

With the band continuing to tour through Europe, North America and beyond, Numerology is getting another life at exactly the right time.

For a project built around change, experimentation and keeping things deliberately unpredictable, these remixes feel less like an afterthought and more like another part of the experiment.

Numerology (96 Back & Jennifer Walton Remix) and Numerology (Proc Fiskal Remix) are out now.

Stream / Download My New Band Believe: https://mynewbandbelieve.ffm.to/mnbb

My New Band Believe – ‘In the Blink of an Eye’ (Official Video)
Stream / Download: https://mynewbandbelieve.ffm.to/mnbb
My New Band Believe – ‘Kick Me’ (Official Live Recording)
Stream / Download: https://mynewbandbelieve.ffm.to/mnbb
My New Band Believe – ‘Love Story’ (Official Video)
Stream / Download: https://mynewbandbelieve.ffm.to/lovestory
My New Band Believe – ‘Numerology’ (Official Video)
Stream / Download: https://mynewbandbelieve.ffm.to/numerology
My New Band Believe
YouTube | TikTok | Instagram
August 23, 2026 0 comments
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Festival NewsMusic News

Dijon Is Bringing His Shape-Shifting Sound to the Sydney Opera House

by the partae August 23, 2026
written by the partae

Dijon is heading to Australia for the first time, with the American singer, songwriter, producer and multi-instrumentalist set to make his Australian headline debut at the Sydney Opera House this December.

The Los Angeles-based artist will take over the Concert Hall on Saturday 12 December, bringing his intimate and unpredictable live show to one of Australia’s most iconic stages.

It has been a huge year for Dijon. Following the release of his acclaimed 2025 album Baby, the artist has continued to expand his creative world through collaborations with artists including Justin Bieber and Bon Iver, while also receiving two Grammy nominations for Album of the Year and Producer of the Year.

He has also stepped into acting, appearing in Paul Thomas Anderson’s One Battle After Another, adding another dimension to an already wide-ranging creative career.

Musically, Dijon has never been particularly interested in staying inside one lane. His work moves between experimental folk, Americana, R&B and neo-soul, with a rawness that has become central to his appeal.

His debut album Absolutely, released in 2021, established that approach, pairing soulful songwriting with an intentionally unpolished sense of intimacy. Baby pushed the sound further, creating something that feels both deeply personal and difficult to categorise.

That unpredictability also carries across to his live performances. Dijon’s shows are known for improvisation, emotional intensity and moments where the distance between performer and audience seems to disappear.

Following years of growing international attention, the Sydney Opera House appearance gives Australian audiences their first opportunity to see Dijon headline on home soil.

The performance forms part of the Opera House’s year-round contemporary music program, which continues to bring established and emerging artists from across the world to the Concert Hall and Forecourt.

For Dijon, however, this one is particularly significant.

“Playing Australia for the very first time!” he said of the upcoming performance.

With his profile continuing to rise and his music refusing to settle into a single definition, Dijon’s first Australian headline show arrives at an interesting point in his career.

Dijon

Saturday 12 December 2026
Concert Hall, Sydney Opera House
9pm

Tickets from $129.90 plus booking fee.

General public tickets go on sale Friday 28 August at 9am AEST.

Tickets are available through the Sydney Opera House.

https://www.sydneyoperahouse.com/whats-on

August 23, 2026 0 comments
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Festival NewsMusic News

FCUKERS Are Bringing Their Chaotic Dancefloor Energy Back to Australia

by the partae August 23, 2026
written by the partae

New York duo FCUKERS are heading back to Australia this December, bringing their high-energy blend of dance, rock and electronic music to Sydney, Brisbane and Melbourne, with a stop at Meredith Music Festival along the way.

The Australian run kicks off at Sydney’s Metro Theatre on 9 December before moving to Brisbane’s Princess Theatre the following night. After their Meredith appearance on 12 December, the duo will finish the tour at Melbourne’s Timber Yard on 13 December.

It comes at a particularly busy time for FCUKERS, who have quickly moved from New York’s underground club scene into some of the world’s biggest festivals and stages.

Their debut album, Ö, arrived in March, produced by Kenneth Blume and spanning 11 tracks that refuse to sit comfortably in one genre. House, breakbeats, dancehall influences, pop and dance rock all find their way into the record, giving it the kind of restless energy that makes sense both in a club and outside it.

The album has already picked up strong international attention, with praise from NME, DIY, DORK and Vogue, alongside support from The New York Times and Australian radio including triple j, Double J and community stations.

Live is where FCUKERS have really built their reputation, however. The duo have appeared at major festivals including Glastonbury, Coachella, Primavera and Lollapalooza, while also taking their sound into some of Europe’s most respected clubs.

They have shared stages with RÜFÜS DU SOL and Tame Impala, supported Harry Styles during his Brazil shows and performed on The Tonight Show with Jimmy Fallon. Their growing list of high-profile appearances also includes DJ sets connected to Charli XCX and Madonna in New York.

There is a sense of controlled chaos running through everything FCUKERS do. Their music is designed for movement, but there’s enough unpredictability in the production to keep things interesting. Ö moves quickly between sounds without losing its central focus: make something infectious, make it loud and get people moving.

That approach has helped the duo carve out a space somewhere between underground club culture and a much larger festival audience.

Their return to Australia gives local audiences the chance to experience that energy in a series of intimate headline shows, alongside their Meredith Music Festival appearance.

With FCUKERS continuing to build momentum internationally, December looks set to be another loud chapter in the duo’s rapidly expanding story.

FCUKERS Australian Tour

9 December — Metro Theatre, Sydney
10 December — Princess Theatre, Brisbane
12 December — Meredith Music Festival, Victoria
13 December — The Timber Yard, Melbourne

Presale tickets open Tuesday 25 August at 11am local time, with general sale commencing Wednesday 26 August at 11am.

SIGN UP FOR PRESALE HERE
PRESENTED BY HANDSOME TOURS

TOUR DATES

Wednesday 9 December – Metro Theatre, Sydney NSW
Thursday 10 December – Princess Theatre, Brisbane QLD
Saturday 12 December – Meredith Music Festival, VIC
Sunday 13 December – The Timber Yard, Melbourne VIC

Presale: Tue 25 Aug 11am local
General Onsale: Wed 26 Aug 11am local

SIGN UP FOR PRESALE HERE

FCUKERS
WEBSITE | INSTAGRAM | TIKTOK | YOUTUBE

 

August 23, 2026 0 comments
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Music News

Tiga Turns HOT WIFE Into a Dancefloor Affair With New Remix EP

by the partae August 23, 2026
written by the partae

Tiga is keeping the energy around his latest album HOTLIFE moving, following up the record with a new remix project that puts some of its standout tracks back into the hands of artists from across the electronic spectrum.

The first release from the project is the HOT WIFE Remixes EP, which sees Tiga’s collaboration with longtime creative partner Boys Noize reworked by FCUKERS and London producer Ben Sterling.

Originally released as part of HOTLIFE, HOT WIFE is one of the album’s more unexpected moments. Built around Tiga and Boys Noize’s shared love of electronic music, the track leans into a deliberately catchy pop sensibility while keeping plenty of attitude intact.

The new remixes push the track in a more club-focused direction.

FCUKERS return to the world of HOTLIFE after appearing on the album’s SILK SCARF, bringing their own unpredictable take on HOT WIFE. Their remix continues the duo’s knack for blurring the lines between electro, indie dance and the more chaotic edges of contemporary club music.

Ben Sterling takes things somewhere different, delivering an acid-driven version that builds tension through a huge breakdown before bringing the energy back into the mix. It also marks another connection between Sterling and Tiga, following Sterling’s remix of Tiga’s classic Mind Dimension in 2022.

The HOT WIFE Remixes EP is the opening chapter of a much larger remix project surrounding HOTLIFE. Further reworks of IAMWHATIAM, SILK SCARF and ECSTASY SURROUNDS ME are scheduled to arrive between now and the end of October, bringing together established collaborators with a newer generation of artists.

Released earlier this year, HOTLIFE marked Tiga’s first full-length studio album in more than a decade. The 12-track record brought together a wide range of collaborators including Boys Noize, Fcukers, MRD, Maara, Priori and Patrick Holland, while continuing Tiga’s long-running ability to move between underground club music and sharper pop instincts.

That balance has always been central to Tiga’s work. From his early influence on Montreal’s rave scene and the creation of Turbo Recordings through to his own productions and celebrated remix work, he has consistently occupied a space somewhere between the underground and the mainstream.

HOTLIFE feels like another extension of that approach, and the remix project gives the album another life on the dancefloor.

With HOT WIFE now reimagined from two very different perspectives, the next stage of the project should offer an interesting look at how other producers interpret Tiga’s latest material.

The HOT WIFE Remixes EP is out now via Turbo Recordings / Secret City Records.

STREAM

Tiga
Website | Instagram | Facebook | Spotify | SoundCloud | TikTok | YouTube

August 23, 2026 0 comments
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Music News

HARLEY GIRL Taps Into Kenyan Vocal Magic On Slick New Single ‘Friction’

by the partae August 20, 2026
written by the partae

Out now via bfan.link/harley-girl-friction

Melbourne-via-the-underground producer and DJ HARLEY GIRL is back with ‘Friction’, a woozy, off-kilter cut that fuses garage swing with UK-bass weight and it might be his most confident single yet.

Where a lot of dance-adjacent producers chase polish, HARLEY GIRL leans into tension: shimmering, slightly dissonant synths rub up against a vocal hook that’s tight, rhythmic and hits like it means it. The push-and-pull between the two is the whole point, hence the title.

The track had a long gestation. HARLEY GIRL started sketching ‘Friction’ back in January, but it didn’t fully click until he stumbled across a vocal sample on Tracklib from Kenyan group Team Pyscho. That sample recorded some 20 BPM slower than the eventual track brought a phrasing and energy he couldn’t shake. Chopped, sped up and rebuilt around his own production, it became the anchor the rest of the record was built to orbit.

As HARLEY GIRL tells it, the appeal was in the contrast: the vocal’s on-grid precision against synths that deliberately slide out of step with the beat – a friction, in other words, between control and looseness that gives the track its pulse.

The result sits somewhere between hypnotic and propulsive a track built for a room that’s already moving.

‘Friction’ also marks a bit of a reset for HARLEY GIRL, setting the tone for a new run of music from one of Australia’s most interesting electronic exports. Catch him live if you’re at BIGSOUND in the coming weeks  showcase details here

Stream ‘Friction’: bfan.link/harley-girl-friction

Follow HARLEY GIRL: linktr.ee/harleygirl.vroom

Credits

Written & produced by Connor Grant (aka HARLEY GIRL)

Mixed by Connor Grant & Doug Wright

Mastered by Suture Mastering

Visuals by HARLEY GIRL

August 20, 2026 0 comments
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Festival NewsMusic News

Sounds Like Community Radio Returns to Brisbane for BIGSOUND 2026

by the partae August 18, 2026
written by the partae

Milly Strange, Djarraway, Public Figures, Say True God?, Superhotel and Joey Leigh Wagtail will perform at 4ZZZ on September 2, with the AMRAP BIGSOUND Listening Sessions following on September 3.

Community radio is getting another big moment during BIGSOUND, with Sounds Like Community Radio returning to Meanjin, Brisbane, for a free afternoon of live music, broadcasting and connection at 4ZZZ.

Taking place from 1pm to 6pm on Wednesday 2 September, the event will bring together artists, presenters and stations from around the country at 4ZZZ, 264 Barry Parade, Fortitude Valley.

Presented by the Community Broadcasting Association of Australia’s Australian Music Radio Airplay Project (AMRAP), the event celebrates the people, stations and volunteers who continue to support Australian music every week.

Sounds Like Community Radio will be broadcast live, with performances coming from both the 4ZZZ studio and the station’s iconic Zed Carpark. Guest presenters from community stations around Australia will also join the broadcast, introducing artists, sharing stories and crossing live to performances.

Participating stations include 4ZZZFM, Triple R, PBS 106.7FM, Three D Radio, Edge Radio, SYN 90.7FM and fbi.radio, with the event also being broadcast nationally through the Community Radio Network.

The lineup brings together artists working across very different corners of the Australian music landscape.

Djarraway combines roots, reggae and First Nations storytelling, incorporating traditional language and culture into his performances.

Naarm/Melbourne songwriter Milly Strange brings intimate, folk-inspired songwriting together with alt-rock grit and raw emotion.

Joey Leigh Wagtail, a Dunghutti artist, draws on folk, blues and country traditions while exploring identity and belonging through his music.

Brisbane favourites Superhotel bring alternative country rock with melodic indie influences, while punk outfit Public Figures add an uncompromising, high-energy sound and social commentary.

Rounding out the lineup is Mandandanji and Waanyi hip-hop artist Say True God?, whose lyricism and soulful production have established him as one of the exciting voices emerging from Australia’s contemporary hip-hop scene.

There is also some serious weight behind the community radio network itself.

The sector reaches more than 5.4 million listeners every week through a network of more than 450 licensed stations, providing an important platform for local artists, diverse voices and music that might otherwise struggle to find an audience.

Research led by Monash University and Griffith University found that community radio contributes more than $153 million each year to Australia’s music economy.

Its influence can also be seen in what listeners do after discovering an artist. Approximately 1.3 million Australians purchase tickets, merchandise or music after discovering artists through community radio, while more than 390,960 hours of Australian music are broadcast across the sector annually.

For emerging artists, that makes community radio more than just another promotional outlet. It remains one of the places where programmers actively seek out new Australian music and where listeners can discover artists before they reach a much wider audience.

The following day is for the artists

The community radio focus continues on Thursday 3 September with the return of the AMRAP BIGSOUND Listening Sessions.

Running from 10am to 2pm at The Warrar Room, The Precinct, Level 2, 315 Brunswick Street, Fortitude Valley, the sessions give artists the opportunity to sit down with the music programmers and presenters behind some of Australia’s leading community stations.

The idea is pretty straightforward: get new music in front of the people responsible for deciding what makes it onto community radio playlists.

Artists preparing a new single, planning a release campaign or looking to build momentum around their music can receive direct feedback and practical advice about what can help a track stand out for community radio airplay.

Representatives from 4ZZZFM, Triple R, PBS 106.7FM, Three D Radio, Edge Radio, SYN 90.7FM and fbi.radio will be available throughout the sessions.

Artists will have the chance to discuss their music, learn more about how community radio programming works and find out how AMRAP connects Australian musicians with broadcasters across the country.

The sessions are open to BIGSOUND delegates, artists and music industry professionals, with spaces limited and bookings essential.

Across the two days, the program offers a look at both sides of the community radio relationship — the artists making the music and the people working behind the microphones to get it heard.

For a sector built around local voices, independent music and people who genuinely care about what they’re playing, that’s still a pretty important connection.

Sounds Like Community Radio

Wednesday 2 September 2026
1pm–6pm
4ZZZ
264 Barry Parade, Fortitude Valley
Free entry

Featuring: Milly Strange, Djarraway, Public Figures, Say True God?, Superhotel and Joey Leigh Wagtail.

AMRAP BIGSOUND Listening Sessions

Thursday 3 September 2026
10am–2pm
The Warrar Room, The Precinct
Level 2, 315 Brunswick Street, Fortitude Valley

Open to: BIGSOUND delegates, artists and music industry professionals.

Bookings are essential

August 18, 2026 0 comments
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Festival NewsMusic News

Parkway Drive – The Fortitude Music Hall, Brisbane | 15 August 2026

by the partae August 16, 2026
written by the partae

This was my first experience at a Parkway Drive gig and I can whole heartedly say it’ll be an experience I’ll never forget. The anticipation from the crowd was ground shaking at the Fortitude Musical Hall. The venue was sold out with diehard and newcomers alike, standing shoulder to shoulder in gleeful hysterical joy. The security told me in abundance be ready for this crowd because they won’t stop moshing until the band takes their final bows. When the lights went down the crowd erupted and kept that energy throughout the entire setlist, truely a one of a kind spectacle. Kudos Parkway Drive.

SETLIST
  1. Gimmie a D
  2. Anasasis
  3. Pandora
  4. Romance Is Dead
  5. Guns for Show, Knives for a Pro
  6. Blackout
  7. Picture Perfect, Pathetic
  8. It’s Hard to Speak Without a Tongue
  9. Mutiny
  10. Smoke ’Em If Ya Got ’Em
  11. A Cold Day in Hell
  12. Prey
  13. Sleepwalker
  14. Vice Grip
  15. Dedicated
  16. Carrion
  17. Bottom Feeder
  18. Wild Eyes

Photography + Words: Zane Taprell

INSTAGRAM

August 16, 2026 0 comments
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Festival NewsMusic News

Babyshambles Announce Live At Koko Album and Share New Live EP

by the partae August 16, 2026
written by the partae

The band’s December 2025 Koko performance arrives as a new live album this October

Babyshambles are celebrating their return with a new live album, Live At Koko, set for release 9 October via Strap Originals.

Recorded during the band’s sold-out show at London’s legendary Koko in December 2025, the album captures Babyshambles in full flight — loose, loud and unpredictable, with a set built around some of the band’s most recognisable songs.

The release follows the band’s return to the stage last year after an 11-year absence. Their comeback UK tour sold out, with the shows met by an enthusiastic response from fans and marking a new chapter for the band.

Ahead of the album, Babyshambles have released a four-track live EP, featuring the opening songs from the Koko set: ‘Killamangiro’, ‘Delivery’, ‘I Wish’ and ‘Sedative’.

A live video for ‘Delivery’, edited by Roger Sargent, has also been released, giving fans a glimpse of the energy captured across the full Koko recording.

Live At Koko will be released digitally, on CD and across limited-edition Sky Blue, Tangerine and black vinyl. The vinyl and CD editions will follow digitally on 16 October.

The physical and digital editions will also include four bonus tracks omitted from the vinyl release due to running-time restrictions: ‘La Belle et la Bête’, ‘What Katie Did’ featuring Carl Barat, ‘Lost Art Of Murder’ and ‘Wolfman’ featuring original drummer Gemma Clarke.

Live At Koko Tracklist

Introduction by Bill Bailey / Killamangiro

Delivery

I Wish

Sedative

Beg Steal Or Borrow

There She Goes

Unstookie Titled

8 Dead Boys

Baddie’s Boogie

Pipedown

Fuck Forever

Formed in London in 2003 by Peter Doherty after his first departure from The Libertines, Babyshambles became known for a combination of indie rock, punk and folk, underpinned by Doherty’s distinctive songwriting and the band’s deliberately unpolished live energy.

Alongside Doherty, the current line-up features Mick Whitnall, Drew McConnell and Adam Ficek. The band has released three studio albums — Down in Albion (2005), Shotter’s Nation (2007) and Sequel to the Prequel (2013) — and scored UK Top 10 singles including ‘Killamangiro’, ‘Fuck Forever’, ‘Albion’ and ‘Delivery’.

The band have continued their return to the live circuit throughout 2026, with festival appearances and headline shows across Europe.

Their upcoming schedule includes appearances at Open Flair Festival, Poolbar Festival, Open Air Arena Wien, Rock N Roll Circus with The Streets, Nox Orae Festival and Dreamland in Margate, alongside shows in Cork, Dublin and Belfast.

Babyshambles will headline Dreamland in Margate on 30 August, before returning to Europe in October for shows in Rome, Milan, Düsseldorf and Le Havre.

The band will also play a headline show in Luxembourg in December.

Doherty is separately set to perform three October shows in France with his new band, featuring Mike Joyce on drums.

With the Koko recording now making its way to fans, Live At Koko offers a snapshot of Babyshambles at a particularly significant point in their story — a band once again on stage, revisiting the songs that helped define their place in British indie rock while continuing to build a new chapter.

Babyshambles — Live At Koko
Digital: 9 October 2026
CD & Vinyl: 16 October 2026
Strap Originals

Babyshambles — Official Website

Babyshambles play the following shows in 2026:

AUGUST

8th SAT Eschwege DE Open Flair Festival

14th FRI Feldkirch AT Poolbar Festival

15th SAT Vienna AT Open Air Arena Wien

21st FRI Norwich R n R Circus (with The Streets)

22nd SATCork IECyprus Avenue

23rd SUNDublin IEVicar Street

24th MONBelfast IEThe Limelight

27th THU  Vexey CH  Nox Orae festival

28th FRI Sheffield  R n R Circus (with The Streets)

30th SUN Margate Dreamland

OCTOBER

7thWEDRome ITOrion Live Club

8th THUMilan ITAlcatraz

9th FRI Dusseldorf DE New Fall Festival

16th FRI Le Havre FR Ouest Park Festival

DECEMBER

5th SAT Luxembourg BE Den Atelier

Peter Doherty will also be playing three shows with his new band (featuring Mike Joyce on drums) during October in France.

OCTOBER

13th TUE Strasbourg FR La Laiterie PD BAND

14th WED Nancy FR Jazz Pulsation Festival PD BAND

15th THUOrleans FRAstrolabe PD BAND

For further BABYSHAMBLES information:

SPOTIFY APPLE MUSIC INSTAGRAM FACEBOOK

YOU TUBE TikTok SMART LINK X

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Festival NewsMusic News

Australian Music Touring Network Launches to Connect Artists and Venues Across the Country

by the partae August 16, 2026
written by the partae

Venue registrations are now open for a new national platform designed to make touring connections easier across Australia’s live music scene.

Register: Australian Music Touring Network

Australia’s live music industry is getting a new piece of touring infrastructure, with the Australian Music Touring Network (AMTN) opening venue registrations ahead of its national launch later this year.

Developed by the Australian Music Industry Network (AMIN), the free platform is being built to connect original live music venues with artists, tour managers, booking teams and other industry professionals through a national, map-based directory.

The idea is straightforward: make it easier to find where original music is being presented across Australia, and make it easier for artists and their teams to connect with those venues.

The network is designed to cover the full breadth of Australia’s live music landscape, from established city venues to regional pubs, community halls, arts centres, cafés and other spaces presenting original contemporary music.

For touring artists, venue profiles will include practical information such as performance spaces, technical specifications, accessibility, facilities, programming preferences and booking contacts. The aim is to give artists and their teams a clearer starting point when planning tours and looking beyond the usual venues and major cities.

“Touring is the lifeblood of our industry, and knowing where to take your music and who to connect with is essential to every artist,” says Emily Tulloch, Acting General Manager of the Australian Music Industry Network.

“The Australian Music Touring Network connects artists to venues, and promotes touring and industry relationships across the country. I’m really proud to be working on a project that addresses equity of access to information, and provides the tools needed to form the relationships that underpin successful touring.”

AMIN represents Australia’s eight state and territory contemporary music peak bodies: MusicACT, MusicNT, MusicNSW, Music Victoria, MusicSA, Music Tasmania, QMusic and WAM.

The network has been in development for the past two years and is built around AMIN’s belief that “music is local before it is national.”

That local focus is important in a country where touring routes can vary dramatically between states and territories. A small regional venue can be just as important to an artist’s touring network as a major metropolitan room, particularly for artists looking to build audiences outside the capital cities.

“AMIN is thrilled to announce the stage one launch of the Australian Music Touring Network,” the organisation says. “AMIN’s deep acknowledgment of the inherently local nature of Australian musicmaking underpins this project, which seeks to connect the right artists to the right venues across the country.”

For venues, joining the network will provide another way to be discovered by artists, managers, booking agents, festivals, presenters, councils and other industry stakeholders.

Registration is open to physical venues that regularly present original contemporary live music, whether that is daily, weekly, monthly or at another regular interval. Dry-hire spaces and multi-purpose venues can also register.

Participating venues must support fair pay for artists, provide a safe and welcoming environment, maintain an online presence and have a public booking contact.

The launch of venue registrations is the first stage of AMTN’s rollout. The full public platform is scheduled to launch in October 2026, when artists, tour managers and the wider music community will be able to access the national directory.

For Australia’s touring sector, the value of the platform will ultimately come down to the connections it creates — putting more venues on the radar, making information easier to find and potentially opening up new routes for artists moving between cities and regional communities.

Original live music venues across Australia can now register for free and become part of the network.

Register: Australian Music Touring Network

Full website launches October 2026.

The Australian Music Touring Network has been assisted by the Australian Government through Music Australia and Creative Australia, its principal arts investment and advisory body.

August 16, 2026 0 comments
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Music News

Haruomi Hosono Shares New Single ‘Sincerely’ Ahead of New Album Yours Sincerely

by the partae August 16, 2026
written by the partae

Legendary Japanese musician returns with his first new album in seven years, arriving September 11 via Ghostly International

Legendary Japanese musician, producer and composer Haruomi Hosono has shared his new single ‘Sincerely’, offering another glimpse into his forthcoming studio album Yours Sincerely, due September 11 via Ghostly International.

The new track follows the previously released ‘Note of Mothership’ and introduces another side of an album that finds Hosono reflecting on compassion, care and the emotional connections that exist between people.

At the heart of Yours Sincerely is an exploration of ideas that are difficult to translate directly between languages. Hosono began the album by considering the Japanese concepts of omoiyari (思い遣り), jihi (慈悲) and boseiai (母性愛), searching for an English word that could capture their combined emotional weight.

Rather than settling on “compassion”, Hosono chose the more familiar language of correspondence: “sincerely”.

The title track takes that idea one step further. Originally a 1954 doo-wop hit by The Moonglows, written by Harvey Fuqua, ‘Sincerely’ was later recorded by The McGuire Sisters, whose version became a major mainstream success. For his interpretation, Hosono has retained the spirit of the original while writing new Japanese lyrics centred on the phrase’s deeper meaning — “from the heart”.

“Since the theme of this album itself is the spirit of sincerely—a closing salutation—I could hardly leave this song uncovered,” Hosono explains.

That sense of tenderness runs throughout Yours Sincerely. Recorded over two years, the album moves between exploratory folk, understated arrangements and bubbling avant-pop, while Hosono considers a maternal force that he describes as enveloping the Earth.

The musician describes the record as an attempt to reconnect with instincts that are often buried beneath everyday life — particularly maternal compassion, mercy and the capacity to care for others.

It is a fitting subject for an artist whose influence has stretched across generations and genres for more than five decades.

Hosono first emerged as a key figure in Japanese popular music through his work with Happy End, helping establish Japanese-language rock in the 1970s. He later became a founding member of Yellow Magic Orchestra, whose pioneering approach to electronic music would have a profound influence on synth-pop, techno, hip-hop and countless artists that followed.

YMO’s 1979 album Solid State Survivor topped the Japanese Album Chart and went on to sell more than two million copies, becoming one of the defining records in the development of electronic pop.

Hosono’s influence has continued to expand well beyond Japan. His work has been cited by artists including Mac DeMarco, Harry Styles, Vampire Weekend, Ginger Root and Cameron Winter, while Styles famously named his 2022 album Harry’s House after Hosono’s 1973 solo album HOSONO HOUSE. Vampire Weekend’s Ezra Koenig also sampled Hosono’s work on the Grammy-winning Father of the Bride.

For an artist whose music was deeply shaped by mid-century American sounds, the influence has now come full circle, with Hosono’s work continuing to find new audiences among contemporary Western artists.

At 79, Hosono enters another chapter with Yours Sincerely, his 23rd studio album and his first new album in seven years.

The album arrives as Hosono prepares to return to North America for The Yours Sincerely Tour this September. The run includes headline performances at Radio City Music Hall in New York on September 16 and The Greek Theatre in Los Angeles on September 20, with Toro y Moi supporting both shows.

Yours Sincerely Tracklist

Note of Mothership

Sincerely

Ayurveda

M for Mandala

Rojiura

Happy Holidays

To a Wild Rose

Humming “Dream of Love”

Figlio Perduto

Anemo Wheel

Haruomi Hosono — Yours Sincerely
Out September 11, 2026 via Ghostly International

‘Sincerely’ is out now, with Yours Sincerely available to pre-save ahead of its September release.

PRE-SAVE THE LP

 

Stay connected with Haruomi Hosono:
23 Profile | Instagram | YouTube | Spotify

August 16, 2026 0 comments
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Festival NewsMusic News

Dom Dolla Reveals Line-Up for His Marvel Stadium Homecoming

by the partae August 16, 2026
written by the partae

Green Velvet, Torren Foot and RONA. b2b DJ JNETT join Dom Dolla this September

Dom Dolla is bringing his biggest hometown show to date to Marvel Stadium this September, with the Australian dance music heavyweight revealing the full line-up joining him for his highly anticipated Melbourne homecoming.

Taking place on Thursday 24 September, the Australian-exclusive stadium show will see Dom joined by Chicago house pioneer Green Velvet, Australian favourite Torren Foot, and electronic duo RONA. b2b DJ JNETT.

For Melbourne, the return of Green Velvet is a particularly significant addition. One of Chicago house’s most influential figures, the producer and DJ will return to Australia for the first time since 2019, bringing his distinctive sound and decades of influence to a city with a deep connection to underground electronic music.

The stadium show will also mark the world premiere of Dom Dolla’s brand-new stadium production, following his record-breaking, sold-out Allianz Stadium debut in Sydney in December 2025.

That Sydney performance cemented Dom’s ability to take his club-focused sound into some of Australia’s biggest spaces. His Melbourne return now takes that vision even further, with Marvel Stadium set to become the backdrop for a new production built specifically for the scale of the venue.

The hometown show arrives during another major year for Dom Dolla. Internationally, he has continued to expand his presence with a sold-out headline performance at London’s Old Royal Naval College, alongside newly announced North American headline dates in New York, Chicago, San Francisco and Nashville.

He is also holding down residencies at Hï Ibiza and LIV Las Vegas, continuing a run that has positioned him among the most in-demand Australian electronic artists on the global stage.

Musically, 2026 has seen Dom continue to explore new territory. His recent releases and collaborations include the Dom Dolla Relapse remix of Puretone’s “Addicted to Bass”, a collaboration with Tiga on “Don’t Worry Baby”, and an official remix of KETTAMA’s “Comes & Goes”.

But before the international calendar continues, Dom Dolla is heading home.

With Green Velvet, Torren Foot and RONA. b2b DJ JNETT joining the bill, the Marvel Stadium show is shaping up as one of Melbourne’s major electronic music events of the year — and a rare opportunity to see one of Australia’s biggest dance exports deliver a brand-new stadium production in his hometown.

Dom Dolla
Thursday 24 September 2026
Marvel Stadium, Melbourne
18+

Tickets and further information are available via Dom Dolla’s official website.

Dom Dolla — Follow

August 16, 2026 0 comments
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Festival NewsMusic News

BIGSOUND 2026 Is Bringing Paul Kelly, Global Music Power Players and the Future of the Industry to Brisbane

by the partae August 16, 2026
written by the partae

As BIGSOUND heads into its 25th year, the Australian music industry’s biggest annual meeting point is taking shape as one of its most ambitious editions yet.

From 1–4 September, Fortitude Valley will become a collision point for artists, labels, promoters, managers, publishers, journalists, educators, technology companies and international music executives, with the full professional development and hubs program now confirmed. More than 100 additional industry guests have joined the 2026 lineup, adding another layer to a week built around discovery, conversation and the business of music.

At the centre of the latest announcement is Paul Kelly, who will appear in conversation with ABC journalist Sarah Kanowski in a special session examining songwriting and its place in Australian culture.

Presented in conjunction with APRA AMCOS as part of its 100-year celebration of Australian songwriting, the conversation gives BIGSOUND delegates the chance to hear directly from one of the country’s most enduring songwriters about the craft behind the songs and the role music can play in shaping a national identity.

“As APRA celebrates 100 years of supporting Australian songwriters, composers and music publishers, and BIGSOUND clocks up 25 years of showcasing the best of our music industry, it seemed only fitting that we bring out one of Australia’s most beloved songwriters, Paul Kelly,” said Karen Don, Head of Membership at APRA AMCOS.

Kelly is joined by a substantial cross-section of the music business, including Annabelle Herd, CEO of ARIA; Hans Schafer, SVP Global Touring at Live Nation; artist Pete Murray; Kimberley Galceran, Music Director of Dark Mofo; and Van Picken, Global Head of Music Strategy at TEG.

The lineup stretches well beyond the traditional record-company conference. Representatives from touring, festivals, venues, publishing, sync, education, technology, media and artist management are all represented, making BIGSOUND 2026 as much about understanding where the industry is going as it is about celebrating where it has been.

‘Building Like Bad Bunny’ will examine the Puerto Rican superstar’s extraordinary rise and what Australian artists and music companies can learn from the way culture, language and identity can become powerful drivers of international growth.

The session brings together Australian and international perspectives on the expanding relationship between Australia and Latin America, with Hans Schafer offering insight from the global touring side of the business.

For an industry increasingly looking beyond traditional Western markets, it is a timely conversation about how artists can build international audiences without stripping away the cultural identity that makes them distinctive in the first place.

That idea of artists building their own infrastructure also runs through another session featuring Carla Fowler, founder of Create Mate, and Will Cuming of UNIFIED Music Group.

Hosted by Meg Williams, the discussion looks at the growing musician-entrepreneur pipeline and how people working inside music are identifying problems, creating their own solutions and building businesses around the gaps they find.

It is a useful snapshot of where the modern music industry is heading: artists are no longer simply navigating an existing system. Increasingly, they’re building parts of the system themselves.

BIGSOUND will also look backwards, with a celebration of 50 years of Central Station Records

The label has been an important part of Australian electronic and dance music history, and BIGSOUND’s anniversary session brings together founder Jo Palumbo, Managing Director Jamie Raeburn, COO Matt Nugent and former A&R executive Ashley Gay, now Managing Director of Xelon Digital.

Hosted by Jennifer Sullivan, CMO of KiTbetter, the conversation will trace Central Station Records’ history while looking at what its story can tell us about the future of the Australian music business.

The anniversary will continue at Content House with a birthday party mixer presented by KiTbetter.

But perhaps the most interesting part of BIGSOUND’s expanded program is what happens away from the main conference stages.

The festival’s dedicated hubs return in 2026, creating spaces where artists and delegates can step away from the constant movement of showcases and meetings and actually spend time talking, learning and making connections.

The BIGSOUND Ideas & Innovation Hub, presented through streams from Amplify Music Education and the Centre for Arts, Sport and Technology, will explore the increasingly blurred relationship between music, education and technology.

Among the guests are Powderfinger and The Church’s Ian Haug, Professor Glenn Savage of the University of Melbourne, Dr James Humberstone of the Sydney Conservatorium, Ball Park Music’s Sam Cromack, SYCCO’s Sasha McLeod, Pete Murray and British India’s Matt O’Gorman.

The idea is less about predicting exactly what the future of music will look like and more about bringing together the people already building it.

The BIGSOUND Artist Hub, presented by Spotify, returns for a second year with a more practical focus

Alongside the daily Turn It Up Aus breakfast, artists can access sessions including a Spotify for Artists Masterclass, a US Visa Workshop and an opportunity to meet Live Nation’s Next On booking team.

APRA100 Trivia with Not on Your Rider also returns, while Marshall will host a Thursday afternoon Happy Hour.

Spotify’s Artist and Label Partnerships Lead Leah Harris says the company is returning to support artists and the infrastructure surrounding them.

The Delegate Hub, presented by Oztix, takes a different approach, concentrating on the business of making connections.

The space will host Connect With BIGSOUND networking sessions presented by Luma and QSIC, bringing together delegates with international buyers, media and brands. Roundtables return with Xelon Digital, while an encore mixer following the BIGSOUND Decides debate will bring together figures including Annabelle Herd, Jamison Kehl, Jaddan Comerford, Viv Mellish and artist Harper Kodicek.

And then there’s Content House. Now in its second year, the space is designed specifically around the increasingly important relationship between music, media, content and audience development.

Across Tuesday to Thursday, Content House will host panels, workshops, broadcasts, mixers and live sessions examining everything from artist identity and visual culture to social media and release strategy.

GYRO.Group takes over Wednesday with programming across its brands, including a morning reset from Soothe Sounds, a release-strategy workshop from G.Y.R.O., The New Music Playbook from GROUP SPEED and an Independent Labels Happy Hour presented by DistroDirect and AIR.

Thursday continues with sessions including Artist & The Art of Being Chronically Online, featuring Poppy Reid and Birdland, and Image & Identity: Your Vision Is Your Value, featuring Creative Director and Artist Manager Summer King.

Content House will also host the Life Without Andy x American Apparel Portrait Studio, with selected BIGSOUND 100 artists appearing across the channels in the festival’s new 2026 merchandise.

The live side of BIGSOUND remains, of course, the other half of the equation.

Across three nights, the BIGSOUND 100 will perform throughout Fortitude Valley, continuing the festival’s long-running role as a launchpad for artists who may be unfamiliar today but impossible to ignore tomorrow. BIGSOUND’s conference program describes the 2026 edition as operating under the theme Creativity in Conversation, with the event once again combining industry discussions and networking with live performances across the city’s venues.

The official Oztix party returns, while Live Nation’s Ones To Watch discovery series is also back, with its lineup still being kept under wraps.

That combination is ultimately what has kept BIGSOUND relevant for a quarter of a century.

The event has helped introduce artists including Flume, Tash Sultana, Tones And I and Courtney Barnett to wider audiences, while creating a meeting point between Australian artists and the international industry capable of helping take their careers further.

And that remains the appeal.

BIGSOUND isn’t simply a conference about the music industry. For four days, it turns Fortitude Valley into the music industry’s temporary headquarters — somewhere artists can meet the people behind the business, executives can discover what’s coming next, and ideas that might otherwise remain conversations can turn into careers, tours, partnerships and records.

With Paul Kelly reflecting on a century of Australian songwriting, Central Station Records looking back across five decades, and a new generation of artists and industry figures trying to work out what comes next, BIGSOUND’s 25th anniversary arrives with a suitably broad question at its centre:

BIGSOUND 2026

1–4 September 2026
Fortitude Valley, Brisbane

Delegate Pass: $899
QMusic Subscriber & Reciprocal Members: $849
Student and concession pricing available.

Festival Pass:
3-Night Festival — $100 Early Bird / $119 Full Price
1-Night Festival — $69
Youth (25 and under) & Concession — $30

Prices exclude platform fees. Terms and conditions apply. Afterpay is available.

BIGSOUND 2026 — Full Program & Tickets

*BIGSOUND 2026 runs from 1–4 September in Fortitude Valley, Brisbane. The conference schedule and Paul Kelly session are currently listed on the official BIGSOUND program. *

BIGSOUND: Official Website | Facebook | Instagram | Linkedin | YouTube | X

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