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Music News

Festival NewsMusic News

RYAN OAKES ANNOUNCES JUNE AUSTRALIAN TOUR

by the partae February 5, 2026
written by the partae

It’s been a long time coming for fans and the artist alike but this coming June, RYAN OAKES will be unleashing his hyper-charged shows in Australian venues nationwide. 

For the Virginia-born, Los Angeles-raised rapper, multi-instrumentalist and songwriter, this trip is an opportunity to connect with some of his biggest supporters, while also debuting a stacked catalogue of material in this area of the world for the first time.

The talented multi-hyphenate has crafted a unique style of performance that matches an expert blend of hip-hop and alternative music – a signature sound that a community of music fans quickly fell for, and have become extremely loyal to. Oakes’ steadfast dedication to creating art that speaks to his individuality, bolstered by a DIY and independent approach, has garnered over 47 million streams: a figure that continues to blow up with each release.

Collaborating with a varied range of artists including MOD SUN, State Champs and Hollywood Undead, Oakes has earned a reputation for himself as being a versatile artist and one unafraid to be spurred on by the spirit of his peers – and vice versa.

In 2025, Oakes released his latest studio album, OPUS, a project that demonstrated the fiery ambition that remains threaded through the DNA of his work. It also reminds the listener that Oakes is far from done with pushing the boundaries of where he wants his music to go.

In coming to Australia, he is excited to share the new music with fans, as well as finally putting on a show his Australian community fans have long been hanging out to witness.

“Australia has been some of my biggest supporters  for years now and a tour has been long overdue. We are going to make sure this is a truly special experience for everybody by including free meet and greets at every single show. At the end of my set I’m going to head to the merch booth and shake as many hands and take as many pictures as I can. This is a one time thing to show the fans how much I truly appreciate them holding me down down undah for so many years. Can’t wait to finally meet everyone and give them a show that makes up for the ten year wait!” RYAN OAKES

PRAISE

“The album is a decade in the making, seeing Oakes alternate between hip-hop, pop-punk, and seemingly everything in between. It’s resulted in a versatile collection appealing to fans across the scene’s spectrum.”
NEW NOISE MAGAZINE

“As the night progressed, the crowd’s enthusiasm grew with each successive song, leading up to a spectacular finale. Ryan Oakes had set the bar high, leaving the crowd ready for more.”

MELODIC MAGAZINE

RYAN OAKES AUSTRALIAN TOUR DATES

Tickets via destroyalllines.com 

Pre-sale from 11am local time Monday 9 February

General sales from 11am local time Tuesday 10 February

Friday 19 June Crowbar Brisbane

Saturday 20 June Corner Hotel Melbourne

Sunday 21 June Oxford Art Factory Sydney

Tuesday 23 June Zhivago Adelaide

Thursday 25 June Magnet House Perth

RYAN OAKES: Official Website | Facebook | Instagram | X | TikTok | YouTube

February 5, 2026 0 comments
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Festival NewsMusic News

Playlunch extend Sex Ed Regional Tour + Announce LUNCH FEST

by the partae February 5, 2026
written by the partae

Playlunch extend Sex Ed Regional Tour due to overwhelming demand with additional QLD dates plus venue upgrade

Announce LUNCH FEST in association with Great Southern Nights

Follows triple j Hottest 100 debut with Keith (#4) and It’s Raining Men [Like A Version] (#73)

Regional Queensland, it’s time to pack your lunchboxes! Beloved Aussie bogan-funk outfit Playlunch today announce an extension to their now 30+ date Sex Ed regional tour, treating lunchers in Cairns, Townsville and Mackay to the band’s exuberant live show, plus venue upgrades for their Canberra, Wollongong, and Frankston shows due to overwhelming demand. Playlunch are also proud to announce LUNCH FEST – a minifest curated by Playlunch, DoubleU Artists, and Destroy All Lines in association with Great Southern Nights, set to take place at Sydney’s Liberty Hall on May 15.

LUNCH FEST is set to bring an incredible lineup of talent from across the country together for the school assembly of the century. Joining Playlunch will be multi-award winning innovator DEVAURA, electrifying Minang Noongar artist Ricky Neil Jr., and alt-pop rising star Shannen James, plus a local opener yet to be announced.

Earlier this week the band also announced their first tour across the ditch, playing to New Zealand fans in Dunedin, Christchurch, Wellington, and Auckland in May. Tickets are on sale now.

The announcements follow Playlunch’s triple j Hottest 100 double-debut, where the group landed the #4 spot for their now iconic track ‘Keith’, and #73 for their Like A Version cover of The Weather Girls’ ‘It’s Raining Men’. As voted by the nation, Playlunch have cemented themselves as one of Australia’s favourite new acts, and tickets are flying for their mammoth regional run and last Australian shows for the foreseeable future.

“Touring regionally has always been such a big priority for our band since the very start, and getting around to all the people who continue to support us,” says the band. “To be able to keep the Sex Ed train rolling is so special! These will be the last Australian shows for quite a while as we are looking to see what the rest of the world has in store for us; so we hope you are able to grab a ticket and make it a night to remember. Everyone is in for an absolute treat, with a show of nonstop dancing and singing across the whole lineups!”

Multiple dates remain for Victorian fans, with the tour continuing in Frankston this Saturday, plus St Kilda, South Morang, Traralgon, and Barwon Heads shows in the coming months. In March, Playlunch are scheduled to return to Tasmania for Good Gumnuts Festival, plus a headline show in Hobart, before playing sold out shows in Queensland’s Gold Coast and Sunshine Coast in April, and Cairns, Townsville and Mackay in May. New South Wales lunchers can catch Playlunch throughout April and May in Byron Bay, Albury, Gosford, Sydney, Newcastle, Avalon Beach, Wollongong, and Archies Creek, and Canberra will be treated to a one-off show in April. Tickets are on sale now via destroyalllines.com.

The regional run follows Playlunch’s completely sold out headline tour in September in celebration of their second album Sex Ed, where they played their biggest headline shows to date across the country.  Released in August via ABC Music, Sex Ed was immediately adored, debuting at #7 on the ARIA Australian Artist Charts and cracking the Top 5 for physical sales. The release was followed up by an instant classic triple j Like A Version, with the group covering The Weather Girls’ ‘It’s Raining Men’. Playlunch were nominated for two J Awards for the record, including Unearthed Artist of the Year and Australian Music Video of the Year for their viral single ‘Keith’. The iconic track also made its way into bbno$’s setlist at his most recent Melbourne show.

With an infectious catalogue of genre-blending, tongue-in-cheek tracks covering nostalgic and distinctly Aussie themes like school athletics days, rental inspections, grumpy neighbours, and the peculiar world of daytime TV on a sick day, Playlunch’s  live shows promise audiences a sense of euphoric escapism and unabashed joy. Pack your schoolbags and grab your Yu-Gi-Oh! cards for childhood nostalgia’s night of nights, coming to a city near you!

All Lines presents

PLAYLUNCH

THE SEX ED REGIONAL ALBUM TOUR

with special guests

Friday 5th December – Sooki Lounge – Belgrave, VIC SOLD OUT

Wednesday 31st December – Indian Ocean Hotel (NYE) – Scarborough, WA

Saturday 3rd January – Lorne Theatre – Lorne, VIC

Friday 9th January – The Whalers – Warrnambool, VIC

Saturday 10th January – Ocean Sounds Festival – Phillip Island, VIC

Friday 16th January – The Deck – Bendigo, VIC

Saturday 17th January – Volta – Ballarat, VIC SOLD OUT

Thursday 29th January – Prince of Wales – Bunbury, WA SOLD OUT

Friday 30th January – The River – Margaret River, WA SOLD OUT

Saturday 31st January – Albany Town Hall – Albany, WA SOLD OUT

Saturday 7th February – Pier Bandroom – Frankston, VIC SOLD OUT

Saturday 21st February – Commercial Hotel – South Morang, VIC SOLD OUT

Saturday 7th March – Republic Bar – Hobart, TAS SOLD OUT

Sunday 8th March – Good Gumnuts Festival – Burnie, TAS
Friday 13th March – The Deck – Traralgon, VIC

Saturday 14th March – Barwon Heads Club – Barwon Heads, VIC SOLD OUT

Saturday 28th – Archies Creek Hotel – Archies Creek, VIC SOLD OUT

Thursday 9th April – Solbar – Sunshine Coast, QLD SOLD OUT

Friday 10th April – The Northern – Byron Bay, NSW

Saturday 11th April – Miami Marketta – Gold Coast, QLD SOLD OUT

Sunday 12th April – Finnians Tavern – Port Macquarie, NSW

Thursday 20th April – UC Refectory – Canberra, ACT  *VENUE UPGRADE*

Friday 24th April – The Espy Gershwin Room – St Kilda, VIC SOLD OUT

Saturday 25th April – Beer Deluxe – Albury, NSW

Friday 1st May – Drifters Wharf – Gosford, NSW

Saturday 2nd May – UTS Underground – Sydney, NSW SOLD OUT

Friday 8th May – King Street Bandroom – Newcastle, NSW SOLD OUT

Saturday 9th May – Avalon Beach RSL Club – Avalon Beach, NSW SOLD OUT

Sunday 10th May – UOW – Wollongong, NSW *VENUE UPGRADE*

Friday 15th May – LUNCH FEST @ Liberty Hall – Sydney, NSW

Friday 22nd May – Tanks Arts Centre – Cairns, QLD

Saturday 23rd May – The Warehouse – Townsville, QLD

Sunday 24th May – The Met – Mackay, QLD

Thursday 28th May – Erricks – Dunedin, NZ

Friday 29th May – The Loons – Christchurch, NZ

Saturday 30th May – Meow – Wellington, NZ

Sunday 31st May – Whammy Bar – Auckland, NZ

For tickets & more information visit destroyalllines.com

About Playlunch

Forged in the depths of lockdown in a share house home-studio somewhere in Melbourne’s eastern suburbs, Playlunch is the chaotic, genre-bending brainchild of producer and multi-instrumentalist Liam Bell. A wild blend of retro dance music, late ‘90s/early 2000s Aussie nostalgia and unapologetic suburban swagger, Playlunch aren’t just riding a wave—they’re creating their own: a loud, proud, and irresistibly fun genre they call Bogan Funk.

Since bursting onto the scene in April 2022, Playlunch have gone from a cult curiosity to one of Australia’s most exciting and talked-about new acts. Their 2023 debut album, Who’s Ready For A Good Time?, laid the foundations with viral TikTok moments, triple j High Rotation, and a sold-out 500-person shows across Australia – but Playlunch aren’t just a viral moment.

In an industry facing tough economic headwinds, Playlunch have defied the odds, powered by a fiercely loyal and ever-growing fanbase. Their 2024 showcase at BIGSOUND cemented their reputation as one of Australia’s most exciting emerging acts, with eyes now firmly set on their next era.

2025 has seen Playlunch cement their place in the national spotlight with the release of their sophomore album Sex Ed — a bold, cheeky, and sonically irresistible evolution of their Bogan Funk manifesto. The standout single “Keith” became a breakout hit, racking up over 3 million streams across DSP’s, 10 million+ views across TikTok and Instagram Reels, and earning triple j Feature Track alongside high rotation and community radio saturation across the country. Thanks to its hilarious yet heartfelt tribute to every middle-aged Aussie bloke you’ve ever known, “Keith” struck a chord far beyond their core fanbase—spawning thousands of memes, fan videos, drag performances and even unofficial pub karaoke nights. The track reached #1 on the Spotify Viral 50 (AU) and helped propel Sex Ed into national charts and end-of-year “Best Of” lists.

Playlunch’s insane live show has made them a must-see act across the country. Across NYE on the Hill, Party in the Paddock, Hyper Festival (to name a few), and a headline tour of packed-out 1200 CAP venues, they’ve built a reputation for turning any crowd into a sweaty, laughing, dancing mess. Wherever they go, Playlunch take nostalgic school disco and amp it up to full-blown festival euphoria.

Connect with Playlunch

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February 5, 2026 0 comments
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Music News

Vinyl Floor – Balancing Act (Album Review)

by the partae February 4, 2026
written by the partae

Most albums invite you to follow along. Balancing Act does the opposite. Vinyl Floor seem less interested in guiding the listener than in establishing a space and letting it hold. The record doesn’t hinge on standout moments or dramatic turns — it relies on consistency, repetition, and a quiet confidence that never asks to be applauded.

What’s immediately noticeable is how little the album tries to impress. Songs arrive without urgency, often circling a single idea rather than developing it in obvious ways. Tracks like “All This and More” and “Back of My Hand” aren’t built around hooks or climaxes so much as feel and persistence. They sit comfortably in their own patterns, trusting that familiarity will do the work.

Production plays a major role in that effect. Guitars are restrained, sometimes almost understated, used to shape atmosphere rather than drive momentum. The rhythm section keeps things grounded and predictable, not out of habit, but intention. Even when tension appears — as it does on “Tell the World It Happened” — it’s controlled, never pushed to the point of release.

Lyrically, Balancing Act avoids clear declarations. The writing tends to hover around ideas of steadiness, uncertainty, and endurance without landing on firm conclusions. Songs like “Swan of Eileen Lake” and “Puppet Laureate” feel more observational than confessional, leaving space for interpretation rather than spelling out meaning. Vocals follow the same approach, warm and measured, rarely stepping forward unless absolutely necessary.

There’s an argument to be made that the album’s discipline comes at a cost. Its emotional range stays deliberately narrow, and listeners looking for sharp contrasts or immediate highlights may find the experience understated to the point of blending. But that restraint is also the album’s defining feature. Nothing feels accidental, rushed, or included for effect.

Balancing Act isn’t concerned with reinvention or relevance. It sounds like the product of long familiarity — two artists who understand their working relationship well enough to trust subtlety over statement. Vinyl Floor don’t push this record toward the listener. They let it exist on its own terms, and for those willing to meet it there, that quiet assurance carries its own weight.

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February 4, 2026 0 comments
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Festival NewsMusic News

The Midnight @ The Forum Melbourne, 31 January 2026

by the partae February 4, 2026
written by the partae

Photography: Darren Chan

February 4, 2026 0 comments
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Music News

Hooper Finds Meaning in the Everyday on ‘My Favourite Mug’

by the partae February 3, 2026
written by the partae

On his new single “My Favourite Mug,” Hooper turns his attention to something modest, familiar, and deeply human: the quiet comfort of everyday ritual. The track serves as a gentle entry point into his debut full-length album Super Duper, set for release this Spring, and introduces a songwriter whose relationship with music has been shaped from the very beginning.

Raised on a small island off Canada’s west coast, Shane Hooper grew up steeped in song. His father played in the platinum-selling band The Grapes of Wrath, while his mother was one half of beloved indie-folk duo Lava Hay. Music wasn’t just present—it was foundational. That early immersion led Hooper to the CBC Searchlight Finals while still in high school and instilled an intuitive, lifelong approach to songwriting.

“My Favourite Mug,” which Hooper describes as “an anthem for homebodies,” distills that background into something deceptively simple. On the surface, it’s a love song to an inanimate object. Beneath that, it’s a meditation on the small, grounding habits that provide steadiness amid change. The song’s charm lies in its restraint, finding emotional weight not in grand gestures but in familiarity and repetition.

Musically, the track nods to the melodic storytelling of 1960s singer-songwriters, filtered through a rough-edged ’90s sensibility. Recorded mostly live off the floor at Montreal’s Mixart Studios—a space that feels frozen in the ’60s and ’70s—the song captures the loose, unpolished chemistry of a band playing together in real time.

Now based in Montreal after stints in British Columbia and Toronto, Hooper has become embedded in the city’s indie scene, collaborating with members of Fleece, the Nora Kelly Band, and Pastel Blank. “My Favourite Mug” carries what Hooper calls “a nostalgia for a past you never lived,” while pointing forward to what’s next: an artist settling into his voice, balancing grit with tenderness, and creating music that feels lived-in, welcoming, and unmistakably like home.

 

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February 3, 2026 0 comments
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Festival NewsMusic News

Ocean Alley Photos @ The Domain – 31/01/26

by the partae February 2, 2026
written by the partae

Photography: Jake Harm Nam

February 2, 2026 0 comments
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Festival NewsMusic News

Monsieur Mellow – ‘Paris Strut’ (Single + Video Out Now)

by the partae January 29, 2026
written by the partae

Australian songwriter and producer Callum MacDonald, best known as a core member of R&B/soul project daste., steps into a new creative chapter this week with the launch of his solo project Monsieur Mellow. While daste. continue work on new material slated for 2026, MacDonald has taken the opportunity to explore a sound that’s been quietly forming for years.

The first taste of Monsieur Mellow arrives via ‘Paris Strut’; a groove-led, jazz-house debut that introduces the sonic world of MacDonald’s forthcoming ep, which is already completed and waiting in the wings. Drawing from funk, disco, reggae, and Caribbean influences, the track is rich in warmth and movement, built to feel lived-in, loose, and instinctive.

Written in the in the wake of touring UK/EU with daste., ‘Paris Strut’ emerged from a period of renewed inspiration on the road. “After returning home from touring Europe with my band daste., the time on the road left me deeply inspired by Caribbean, reggae, disco, and funk. For the first time I felt a clear sense of direction for music that existed outside of the band.” MacDonald explains.

At the heart of the track is a raw, emotive acappella sample from Parbleu’s ‘Pas de Saints Au Paradis’, which MacDonald chops and weaves through understated drums, soft pads, guitar, and bass, allowing each element to bounce off the next and create the feeling of a real band playing together in a room. “This project is about following instinct, world influences, and creating groove-setting music that feels raw and rough around the edges,” he says.

The title ‘Paris Strut’ captures the track’s essence perfectly: a confident, effortless swagger inspired by wandering the streets of Paris, spring in step. It’s that same feeling that sparked the sonic identity of Monsieur Mellow, an outlet for movement, mood, and musical freedom.

With ‘Paris Strut’, Callum MacDonald sets the tone for a solo project driven by feel over perfection, groove over gloss, and instinct over expectation, marking an exciting new direction for one of Australia’s most versatile songwriters/producers.

INSTAGRAM

Stream:

https://bfan.link/paris-strut

Socials:
https://linktr.ee/monsieurmellow 

Credits:

Written by Callum MacDonald & Parbleu

Produced by Callum MacDonald

Mixed by Callum MacDonald

Mastered by Paul Blakey

Artwork by Callum MacDonald

Visuals by Callum MacDonald & Lauren Whitehill

Photos by Lauren Whitehill

January 29, 2026 0 comments
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Music InterviewsMusic News

Interview: WILL K on Engineered Chaos, Club Momentum, and Letting Instinct Lead the Drop

by the partae January 28, 2026
written by the partae

Loose Pt. 3 feels engineered for peak-time chaos rather than careful planning — when you started building the track at 140 BPM, did you sense straight away that this one was going to live in the club rather than anywhere else?

Well firstly, thank you, that is exactly what I was going for with this one! It was one of those songs I knew would be perfect for the club as the original tempo was 140bpm. The moment I added drums to the vocal I knew exactly where to take this song. At the same time, it’s important to me that it’s not just a club tool. I always try to make it feel like a proper song as well, something that could work beyond a moment in my set. That’s why I focused a lot on the arrangement, finding the balance between energy and musicality so it could live in a few different worlds at the same time.

You’ve talked about letting the vocals lead the direction of the record — what was it about JAY1 and Ms Banks’ energy that unlocked the sound so quickly for you?

I instantly felt inspired from the flow from both JAY1 and Ms Banks. There’s so much energy and attitude in the vocals that made it really easy for me to build a drop and keep that same energy. JAY1’s tone naturally brought that darker vibe which really shaped the drops, and the way Ms Banks leads into the drop was a perfect way to introduce the listener and keep them waiting for that moment.

There’s a real sense of weight in the bass but bounce in the percussion — how intentional is that balance when you’re designing a track meant to hit big rooms?

The balance is really important for this record… I wanted the weight to come from the rhythm of the bass hitting on the 1’s/kicks, this gave me a lot of room to add the percussion and toms flowing in-between the kicks and with some slight swing on those parts I think it brings a lot of energy and translates really nicely in the club.

You referenced drawing inspiration from Fred again.. and Skrillex live sets — what did those performances teach you about momentum and restraint in modern club music?

Skrillex and Fred again.. play a huge role for me when making club music, and honestly just music in general. Their taste is immaculate from their sound selection and especially how they arrange their songs. I spend a lot of time listening closely to their sets and paying attention to the structure, from the breakdowns to the buildups and drops. They’re really intentional in the sense that they don’t give too much away, letting their songs breathe early on so when the drop comes then you’re ready for it. That sense of momentum and restraint is something I try to bring to my own records. I also think it’s important to reference artists you genuinely love, because it gives you a perspective on what’s actually working.

You’ve been releasing at a relentless pace — how do you avoid repeating yourself while still keeping a signature sound people recognise instantly?

Everyday I am always inspired by something new, and it can come from anywhere, any genre, any era, even outside of club music. I listen to a wide range of music and that constant input keeps things fresh and stops me from feeling boxed into making the same type of song. Usually when I start to overthink what I’m doing I can get lost and feel like it’s forced, so keeping the process organic and honest is really important to me, so just working on things that excite me is a lot more sustainable for my creativity. While doing that I think your signature sound starts to evolve, when you’re not forcing anything and doing things naturally people will start to recognise your sound.

Having started producing so young, do you still feel that same curiosity when you open a session, or has discipline overtaken experimentation?

I still feel that same curiosity every time I open a session, and that comes from how I approach each song mentally. Being in the right headspace is what leads me to creating something real and exciting. I listen to my instincts and really trust my own taste, that’s what keeps me motivated every day. I feel like it’s very easy to get caught up with what’s hot, what’s new and trending, and when I focus too much on that personally it leads me to getting burnt out creatively and you could hear it in the music that I would make.

You’ve played everything from Wildlands to Tomorrowland — how does testing tracks live feed back into the way you finish records in the studio?

Testing records live is a huge part of my process. It gives me instant feedback not just in terms of how people react, but how it sounds on a big system. I make all of my music in the box (on my laptop speakers most of the time) so when I can hear it on a big system I’ll know if anything needs to change in the mixdown. It’s great for arrangement purposes too and to know if it mixes well with other songs, or if any sections are lacking energy and need to be reworked.

Looking ahead to 2026, do you see your next chapter being about pushing tempo and intensity even further, or pulling things back and surprising people in a different way?

Looking ahead to 2026 I think the next chapter is really about showing people who I am as an artist and proving that I don’t feel limited creatively. I don’t want to be boxed into one lane or one sound, I want to surprise people but in a way that still feels true to me. Personally for me it’s not about pushing tempo or intensity just for the sake of it. It’s about following what excites me in the moment and trusting my taste. That could be releasing some club focused music, or songs that I would love to listen to in the day, but the goal is always the same. To keep the art as pure as possible, and make people feel a certain way while doing that.

INSTAGRAM | TIKTOK | YOUTUBE | SOUNDCLOUD | FACEBOOK

January 28, 2026 0 comments
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Festival NewsMusic News

HELLBOUND HEAVY METAL CRUISE RETURNS JANUARY 2027

by the partae January 27, 2026
written by the partae

HELLBOUND HEAVY METAL CRUISE RETURNS JANUARY 2027

Due to set sail 17-21 January, 2027

Choose Your Cruise is pleased to announce Hellbound will return in January 2027, following the immediate sell out of its maiden voyage in 2026. The next chapter of Australia’s dedicated heavy metal cruise experience will sail 17-21 January 2027 aboard Carnival Splendor, delivering four nights of heavy metal mayhem.

Hellbound brings together world-class artists, passionate fans and an immersive onboard environment that celebrates heavy music culture at sea. More than a festival on a ship, Hellbound is a floating metal community.

Hellbound II is a direct response to demand for the first cruise, announced for October 2026, which sold out in less than ten minutes, the fastest sell out in Choose Your Cruise’s fifteen year history.

Highlights for Hellbound 2027 include a huge metal lineup (to be revealed 2 February), multiple stages, immersive events, themed nights and curated activities built for metal fans. Cruisers can also recover from the chaos onboard  with a port call in Tangalooma, offering an island escape with experiences such as dolphin feeding, sand tobogganing and snorkelling shipwrecks.

Lineup Announce – Monday 2nd February (register interest)
Pre Sale Live – Wednesday 4th February (sign up for presale access)
General Sale Live – Thursday 5th February

About Choose Your Cruise

Choose Your Cruise is Australia’s leading music cruise operator, known for delivering high-quality, genre-specific cruise experiences with loyal repeat audiences. Since their inception in 2009 and first cruise in 2010, they have curated over 40 themed cruises in Australia and Europe, welcoming over 100,000 guests onboard over the years.

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January 27, 2026 0 comments
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Music News

Nameless Friends Kick Off 2026 With Raucous New Single ‘I’m Afraid Of Failure’

by the partae January 26, 2026
written by the partae

Toronto-based rock collective Nameless Friends are tearing into 2026 with their latest single, “I’m Afraid Of Failure”, now out everywhere. The track follows their explosive 2025 double single comeback—“Mary” and *“There’s a Rapist in the White House”—*and previews their highly anticipated sophomore album, The Quiet Part, Loudly, arriving April 15th. With its raucous energy, glitter-soaked chaos, and fearless heart, the song proves once again why Nameless Friends are one of Canada’s most electrifying and genre-defying bands.

Described by the band as “Great Big Sea on speed,” “I’m Afraid Of Failure” is a Celtic punk-fueled celebration of perseverance. It rips through self-doubt with the ferocity of Dropkick Murphys and the irreverent, jump-in-the-air joy of ’90s pop-punk and ska. Lead vocalist and producer Number One explains, “It’s about that feeling when you give enough of a shit that it actually hurts—but you do it anyway. We wanted to capture the raucous, bloody energy of the crowds we’ve played for in Prince Edward Island and Scotland—places where people know how to celebrate and mourn in the same breath.” The result is pure musical adrenaline: a Maritime kitchen party colliding head-on with a punk basement show, all glitter, grit, and unrelenting heart.

Building on the bold foundation of their 2023 debut Blasphemy, The Quiet Part, Loudly promises to take the band even further. Produced with the acclaimed engineer Nyles Spencer (The Tragically Hip, Broken Social Scene, Alvvays), the album draws on cross-Canada touring experiences and delivers a fearless exploration of identity, injustice, and resilience. As Number One puts it, “This album is a love letter with constructive criticism to our home country… choosing to be who you are anyway, even in the middle of a culture war or real, literal violence.”

Hailing from London, Ontario, Nameless Friends feature Number One on vocals and production, Number Three on guitar, Number Five on bass, and Number Seven on drums, with touring keyboardist Number Six rounding out the live lineup. On stage, they’re unforgettable—glitter-soaked, bleach-stained, and radiating a rare mix of righteous anger and pure joy. After selling out iconic venues like Toronto’s Horseshoe Tavern, taking bold public stances on issues like transgender rights and climate justice, and touring across Canada, the UK, and Ireland, Nameless Friends remain a band that combines fearless politics with dangerously fun music.

With “I’m Afraid Of Failure”, they’ve crafted a song that doesn’t just speak to fear—it transforms it. It’s a defiant, joyous anthem for anyone who dares to care, to try, and to keep going, no matter what.

Website | Facebook | Instagram | Tiktok | Youtube | Twitter

January 26, 2026 0 comments
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Music News

Julian Hunt Returns With Dreamy New Single ‘Marine Drive’

by the partae January 26, 2026
written by the partae

Toronto-born singer-songwriter Julian Hunt is back with his latest single, “Marine Drive”, a dreamy, nostalgic track that explores the delicate tension between memory and moving forward. Written during a move to Vancouver, the song draws on vivid personal snapshots—“my red eye flight,” “high like kites,” and “time for our biggest mistakes”—painting a picture of moments that linger long after they’ve passed. Julian says the track’s looping structure mirrors the way certain memories resurface again and again, with Vancouver’s Marine Drive serving as a touchstone for reflection and possibility.

Musically, “Marine Drive” blends lush dream-pop textures with 80s-inspired synths, airy keyboards, and sparkling electric guitars, all anchored by gentle programmed drums. Julian’s layered vocal stacks add warmth and intimacy, highlighting his self-taught piano skills and flair for storytelling. Following the buzz of his debut single “Sharks In The Pool”, featured in Zillions Magazine and on Radio One Vancouver, “Marine Drive” solidifies Hunt’s reputation as a bold, reflective voice in contemporary pop—melding cinematic nostalgia with modern production in a way that feels both personal and universal.

 

January 26, 2026 0 comments
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Music News

Awolk Embraces Vulnerability and Forward Motion on Intimate New EP Wild Rose

by the partae January 26, 2026
written by the partae

Nova Scotia-born Awolk, the project helmed by singer-songwriter Jesse Thomas, is back with Wild Rose, a six-track EP that marks a turning point in both sound and storytelling. Crafted with Toronto-based producer and engineer Eli Browning, the record captures a stripped-back, studio-band energy that feels natural and unforced — intimate, yet expansive. It nods to the atmospheric folk and indie roots that first defined Awolk while signaling a readiness to explore new emotional terrain. As Jesse puts it, the EP runs “from the first track to the last” with a sound that complements what came before while boldly “looking to the future.”

From the opening notes of the title track, listeners are drawn into a perspective often overlooked in adventure-driven music: the person waiting for a loved one to return. “Wild Rose” isn’t about chasing thrills; it’s about longing, patience, and the quiet power of anticipation. This theme continues on standout track “Someone,” which Jesse describes as an exploration of “life’s ultimate risk”: the courage to love and be loved even when the outcome is uncertain. Both tracks showcase a careful attention to detail — delicate guitar lines, layered harmonies, and lyrical storytelling that lingers long after the music ends.

The heart of Wild Rose, however, lies in its deeply personal moments. “Into the Void” stands out as the EP’s most raw and intimate track, born from Jesse’s experience navigating his mother’s sudden, life-altering illness in 2021. With lines like, “See the road, there it goes. Where it runs, you got no place to lay your head,” and “Everything a family falls back on, every oath and every memory,” the song captures the weight of uncertainty and the strength found in shared familial bonds. It’s a reminder that Awolk’s music is never abstract — it’s rooted in lived experience, processed through melody and memory.

Since the project’s 2018 self-titled debut, Jesse Thomas has seen Awolk grow into a beloved fixture of the Canadian indie scene, amassing millions of streams, touring extensively across the country, and developing a reputation for performances that resonate deeply with audiences. Wild Rose is both a reflection and a declaration: a set of songs that matter to him, a bridge between past and future, and a glimpse of what’s to come in 2026. With its intimate storytelling, emotive arrangements, and quiet power, Wild Rose reaffirms Awolk’s place as a project unafraid to explore life’s complexities while still offering moments of beauty and hope.

SOCIALS
https://linktr.ee/awolkmusic
January 26, 2026 0 comments
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Music News

Arky Waters Finds Pure Adrenaline on ‘UGETME?’

by the partae January 23, 2026
written by the partae

There’s a moment in every DJ’s evolution where tracks stop being written as standalone songs and start being built as weapons — tools designed to bend energy, shift rooms, and push a set somewhere unexpected. For Australian producer Arky Waters, ‘UGETME?’ feels like that moment.

Out now via Mammal Sounds Records, ‘UGETME?’ is a ferocious collision of jungle and modern drum & bass, engineered for maximum momentum. It doesn’t ease in or flirt with restraint. Instead, it throws you straight into the chaos — rapid-fire breaks snapping against dark bass pressure, every element locked into forward motion. The track moves with the urgency of something designed to be played loud, late, and without hesitation

Arky has been steadily carving out his space across recent releases ‘Holdin On’ and ‘Ay Papi,’ but ‘UGETME?’ marks a noticeable shift. Where earlier tracks hinted at club energy, this one commits fully to the dance floor. It draws from the raw spirit of classic jungle — those unruly, old-school breaks — while hitting with the precision and intensity expected from contemporary DnB.

What makes ‘UGETME?’ stand out isn’t just its aggression, but its intent. Arky wasn’t chasing nostalgia or genre revivalism. The goal was practical and very DJ-minded: bridge the gap between jungle’s chaotic soul and the relentless drive of hard DnB without sacrificing energy in a live set. Jungle, as much as it’s loved, can sometimes pull momentum down when mixed alongside heavier modern tracks. ‘UGETME?’ solves that problem by refusing to let the intensity drop for a second

That mindset speaks to a broader shift in how Arky is approaching his music. He’s thinking less about singles and more about storytelling inside a DJ set — how tracks function as chapters rather than isolated moments. ‘UGETME?’ feels like a peak-hour statement, a track designed to spike adrenaline and hold tension rather than release it too early.

Sonically, it lands somewhere between the atmospheric lift of Bicep, the club-forward experimentation of Skrillex, and the gritty UK edge associated with acts like Overmono — but it never feels derivative. Instead, it reflects an artist confidently blending influences into something functional, physical, and unapologetically high-energy

Importantly, ‘UGETME?’ also acts as a window into what’s coming next. As the latest taste of Arky Waters’ forthcoming debut album, it hints at a project that’s likely to lean heavily into immersion and movement — music built for rooms, systems, and shared experience rather than passive listening.

There’s no wasted space here, no ornamental excess. ‘UGETME?’ does exactly what it sets out to do: hit hard, stay intense, and keep the story moving. For Arky Waters, it feels less like a single and more like a declaration — a clear signal that his focus is locked firmly on the dance floor, and he’s not planning to let the energy dip anytime soon.

‘UGETME?’ is out now via Mammal Sounds Records

Stream:
https://bfan.link/arkwaters-ugetme

Socials:

https://linktr.ee/arkywaters

Credits:

Written & Produced by Arky Waters

Mixed by Doug Wright

Mastered by Suture Mastering

Artwork & Photos by Arky Waters

Visuals by Version Khan

January 23, 2026 0 comments
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Festival NewsMusic News

HOWLIN’ COUNTRY REVEAL SET TIMES FOR 2026 EVENT EXTRA ARTISTS ADDED TO THIS YEARS LINEUP INCLUDING KASHUS CULPEPPER, PAUL DEMPSEY & MORE

by the partae January 22, 2026
written by the partae

Returning for a brand new year of country music goodness out on the gorgeous Newcastle Foreshore, HOWLIN’ COUNTRY is prepared to usher in a whole new wave of memories for music fans and the local community alike on Saturday 14 February.

Headlined by US country superstar LAINEY WILSON and featuring Newcastle’s own global country icon MORGAN EVANS, on a lineup stacked with talent including US performers KAITLIN BUTTS and FLATLAND CAVALRY; and Australian favourites ADAM NEWLING and TYLA RODRIGUES, this year’s edition of HOWLIN’ COUNTRY was positioned early as one of the most anticipated large-scale music events this side of 2026.

With the lineup now complete with the addition of more stellar talent including Alabama Country-Soul artist KASHUS CULPEPPER, PAUL DEMPSEY – who will be bringing SHOTGUN KARAOKE to the event, Melbourne’s SWEET TALK, Brisbane’s THE WET WHISTLES, Ballarat’s LEWIS LOVE and local Novocastrians, GRAND PRICKS and SHARNEE FENWICK; Attendees can now start planning their day at HOWLIN’ COUNTRY, with set times now released.

There’ll be no shortage of action at Howlin’ this year, with a stacked lineup of on-site activations making it a true all-day experience for music lovers, families, and festival roamers alike.

With the festival landing on Valentine’s Day, love is well and truly in the air with the Love Truck selling roses for those who forgot, along with our Lil’ Howlers stalls with handmade friendship and love bracelets, alongside a speed-dating tent hosted by popular podcast Ladies Love Country.

Official beer partner Tooheys will fire things up with a crowd-favourite bungee run and plenty of prizes, while Traveller Whiskey will be bringing their sampler truck to the festival for those who want to taste some of Chris Stapleton’s finest.

Bundy Rum takes over the sold-out Howlin’ Hotel VIP tent with secret DJ sets popping up throughout the day, and Country Trucker Hats will be on site serving up the sharpest country lids going around.

Howlin’ have the Little Tackers covered this year with the Lil Howlers kids zone, featuring free face painting, yard games, ride-on pony cycles and a classic jumping castle.

Last but not least, Howlin’s revamped second stage The Bale House will be showcasing top local Australian acts by day before transforming into a late-night honky-tonk beer garden. Cheap Whiskey DJs will be bringing the house down in the evening, and if you fancy a bull ride after a boogie, they’ll have a mechanical bull running all night at The Bale House.

Tickets for HOWLIN’ COUNTRY are selling fast, with the music festival expected to bring a boost in tourism and community strength to Newcastle across the February weekend. Proudly 100% owned and operated, HOWLIN’ COUNTRY has remained steadfast in its commitment to supporting local producers and business owners in Newcastle.

Not only is HOWLIN’ COUNTRY giving local artists the opportunity to share the stage with globally recognised and renowned artists, but the festival has opened its arms in embracing local vendors, staff and community business right across the event, from the ground up.

This has been key to the development of HOWLIN’ COUNTRY, as festival promoter MOE MATTHEW explains, “We are excited to be bringing Howlin’ back for a second year in Newcastle. Being promoters who live in Newcastle, it’s important for us to support as many local businesses as we possibly can when putting Howlin’ on. This year we are spending around 80% of our event costs with local suppliers, and also have five artists from Newcastle on our line-up!”.

HOWLIN’ COUNTRY remains dedicated to offering music fans the best experience possible, with a number of ticket packages available to ensure inclusivity and accessibility for all ages. But don’t wait around! HOWLIN’ COUNTRY is on track to match its debut year, and sell fast for 2026.

HOWLIN’ PREMIUM: Best seats in the house alongside your own bar & toilets + selected pastries from CRUMB Bakery. Howlin’ Premium has a few surprises up for grabs for the ticket holders. Make sure you get your raffle ticket on the way in, because you could be standing on the side of the stage watching your favourite artists.

HOWLIN’ HOTEL / VIP TICKETS: SOLD OUT

YOUTH TICKET: Available for 16 & 17 year olds wishing to attend without parents/guardians.

KIDS UNDER 16: Allowed to attend with a parent/guardian.

KIDS UNDER 3: Free!

HOWLIN’ COUNTRY 2026
TICKETS

Saturday 14 February Newcastle Foreshore NSW

HOWLIN’ COUNTRY ARTIST ANNOUNCEMENT

LAINEY WILSON
MORGAN EVANS

FLATLAND CAVALRY
KAITLIN BUTTS
KASHUS CULPEPPER
PAUL DEMPSEY’S SHOTGUN KARAOKE
ADAM NEWLING
GRAND PRICKS
LEWIS LOVE
SWEET TALK
THE WET WHISTLES
TYLA RODRIGUES
SHARNEE FENWICK
CHEAP WHISKEY DJs

HOWLIN’ COUNTRY: Official Website | Facebook | Instagram | Youtube | Tik Tok

January 22, 2026 0 comments
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Festival NewsMusic News

Terminal V returns to Croatia for summer 2026 with a huge phase one lineup featuring over 80 acts

by the partae January 21, 2026
written by the partae

Scotland’s No.1 electronic music festival returns to Tisno’s The Garden Resort from 16 – 20 July 2026 for 5 days and 5 nights of unmissable music featuring 999999999, AZYR, Ben Klock, Ewan McVicar, Restricted, Mall Grab, Hannah Laing, Trym, Yanamaste and more

Following the sold out success of its previous and fast becoming legendary Croatian outings, the next edition promises even more high-impact production, world-class sound and forward-thinking programming across the techno and wider electronic spectrum on the idyllic shores of the Adriatic Sea.

Set across four open-air stages, Terminal V Croatia is a seamless blend of music, travel and culture with a like minded community from all over Europe and beyond. The sun kissed days and starry nights combine beachside dance floors, secluded woodland spaces and immersive production in one of Europe’s most iconic festival locations. From sunrise sets by the water to late-night and moon lit sessions, Terminal V Croatia offers a complete electronic experience for serious music lovers.

The 2026 lineup features a powerful mix of global heavyweights, legends, underground icons and cutting-edge new talent. Among them are long time Berghain mainstay Ben Klock, breakout Scottish trailblazer Hannah Laing, hard dance brilliance from the revered Restricted, the electrifying Scottish house artist Ewan McVicar plus uncompromisingly hard grooves from 999999999 and real eclectic rawness from Aussie star Mall Grab, euphoric and hybrid sounds from Héctor Oaks, Ellen Allien and Biianco who will explore every shade of sound plus many more.

 

Each year, indelible memories are made across the various settings including the legendary and open-air Barbarella’s Discotheque, regularly voted one of the best clubs in the world by DJ Mag, the atmospheric Olive Grove, the high-energy Main Stage, and the ever-popular Beach Stage. Each offers its own distinct sound and visual identity as you plot your own adventure through day and night.

Beyond the dancefloor, Terminal V Croatia delivers non stop action from daily boat parties, sunrise afterparties and a range of daytime activities such as water sports, exploring local Croatian culture and cuisine.

With its carefully curated lineup, world-class production and breathtaking setting, Terminal V Croatia 2026 cements itself as an essential summer odyssey for techno fans worldwide.

Presale tickets go live on Thursday 29th January at 9AM GMT / 10AM CET / 8PM AEDT  followed by general sale on Friday 30th January at 9AM GMT / 10AM CET / 8PM AEDT


Sign up now:

https://terminalvcroatia.com/


PHASE ONE LINEUP (A–Z)

2HOT2PLAY

999999999

ACOR

ALARICO

ALARICO X BEN KLOCK

ALYCIA BEZGO

ARMAN JOHN

ANETHA

AZYR

BAD BOOMBOX

BASSWELL

BELLA CLAXTON

BENNETT

BEN KLOCK
BEN TECHY

BIIANCO

CERA KHIN

CHARLIE SPARKS

CLAIRE O’BRIEN

CLOUDS

CLUB ANGEL

CRUSH3D

DART

DAVID LÖHLEIN

DEXPHASE X SKRYPTION

DJ HYPERDRIVE

DR G

EFFY

ELLI ACULA

ELLEN ALLIEN
EMILIJA

EWAN MCVICAR

FASTER HORSES

FRANCK x JOKESONYOU

FUKHED

FUMI

GUMJA

HANNAH LAING

HÉCTOR OAKS

HELENA LAUWAERT

JAZZY X JOWI

JOKESONYOU

KIM SWIM

KiNK

KLOUD

KYLE STARKEY

LAMMER

LORCAN KELLY

MAC DECLOS

MALL GRAB

MORAITOV

MISCHLUFT x PEGASSI

MIJA

MISS BASHFUL

NATTE VISSTICK

NIKOLINA

NICOLAS JULIAN

NOVAH

ODYMEL

OLLIE LISHMAN

ONLYNUMBERS

ØTTA

PATRICK MASON

PEGASSI

PETERBLUE

PUSMUS

RESTRICTED

SAM ALFRED

SIM0NE

SHDW

STEF MENDESIDIS (live)

STÜM

SUPERGLOSS

TJADE

TOMMY HOLOHAN

TOXIC MACHINERY
TRYM

TWOFACED

VENDEX

WOLTERS

YANAMASTE

YASMIN GARDEZI

YASMIN REGISFORD

PLUS MUCH MORE TBA

January 21, 2026 0 comments
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