Photography: Jake Harm Nam
Your new album feels like a big evolution from Summer’s Coming — how did you approach writing Fake The Days Away differently this time around?
Summer’s Coming was a very singular, blunt, distorted, heavy record about global warming.
Not everything I write is that heavy. Maybe thematically it is. I don’t tend to write about happiness. But not everything needs a fuzz pedal.
I didn’t have an overarching theme going into the album; each song was its own island.
But once I was finishing most of the songs, I could see some thematic connections between all of them.
What sparked your interest in exploring the way the internet distorts reality and human connection?
I think, like most people, I hate social media.
But I have to use it as a musician.
And because of how it’s designed, I’m addicted to it.
I’d say that’s what sparked it.
And just knowing what its consequences have been.
I don’t have to go into them; everybody knows.
Silicon Valley has been allowed to take control of everyone’s 21st century without any regulation, seemingly to the detriment of everyone. When I was writing a lot of the songs, it was crypto, which seemed like a Ponzi scheme. Now it’s artificial intelligence, which is being sold as either a) a god or b) the devourer of all human jobs, and already has the environmental impact of, like, Germany.
I think some of the books I was reading as well, like Society of the Spectacle, Surveillance Capitalism, and Doppelgänger.
In short, fuck the techbros.
You’ve described the album as a reaction to “a death spiral of lies, paranoia, hate, and stupidity.” How do you process those feelings creatively without letting them consume the work?
I would slightly rephrase the question and say I process those feelings creatively to ensure I don’t let them consume me.
There’s a noticeable shift sonically — fewer walls of distortion, more space and warmth. What inspired that change in sound?
Ummmm, there was more variety in the types of songs, I think. And I wanted there to be more variety in the sonics and textures.
I’ve always kind of written 50/50 rock songs vs folk songs. ‘Summer’s Coming’ was very, like, straight-up rock. Whereas this record felt more like a return to how I usually write.
Basically, every song I write starts on an acoustic guitar, and some of them don’t need much more than that.
But because a lot of the songs focus on our digital world, I wanted more digital sounds. So there are drum machines and lots of synthesizers.
I also think there was a lot more unknown when I was going into the studio. Which is fun. Feels very exploratory.
I also think there was a lot more unknown when I was going into the studio. Which is fun. Feels very exploratory.
“There Is Much Wrong I Have Done” feels deeply personal. What was happening in your life when you wrote it?
My wife was away overseas and I missed her a lot.
The themes of loneliness, masculinity, and friendship weave through the record. How do those threads connect for you?
Umm, good question. At least in my experience, as you get older, friendships are harder to maintain. I know some people who are great at it, I do okay, but I know I’m not the best. I don’t have many friends’ birthdays memorised. I text more often than I call. Friendships take tending to and making time for. But they’re the most important thing in the world for saving you from loneliness, which we can all suffer from.
And at the moment, it feels like every minute of our waking lives is trying to be captured, bought, and sold by giant tech companies and is seemingly making us all more lonely. Even our sleeping lives as well, I guess, with all the sleep monitoring devices people now wear.
As for masculinity, the song ‘Rebel Without A Clue’ is about a pick-up artist, and the song’s kind of comedic, tongue-in-cheek, like “look at this dickhead”.
“I Decide” is about a guy at a party who sees his ex-girlfriend dancing with someone, and the guy throws a hissy fit and is kicked out of the party. But the song’s sung from his perspective.
“Wouldn’t Expect To See You Here” is about a guy, at the pub, too drunk, he’s been dumped, and it’s entirely his fault, but he’s taking it all out on his friends rather than taking accountability for his own actions.
I didn’t write any of these songs thinking about, like, the manosphere or from watching Adolescence.
But what it means to be a man, or be a decent man, and what does masculinity mean are things I think about. I don’t know to any degree more than other people.
But like it’s 2025, in a city as progressive as Naarm/Melbourne, and I still get messages like “oh, you’re on the same lineup as that band, just FYI, one of the guys in the band did X to a woman”.
I remember when there was this ad that came out which did a gender flip of a woman going into music stores.
It was very comical but was highlighting the serious point that even now, women still feel shut out of or unsafe in musical spaces.
I remember at a band practice asking Miranda and Phoebe in my band whether things were actually as egregious as that – and they just had story after fucking story.
I’m not trying to win an award or anything. I didn’t do gender studies at uni. I haven’t read any feminist books.
But it’s stuff I think about.
As to how loneliness, friendship, and masculinity all relate and connect to the themes of the album, I would say there are a lot of loud voices offering easy answers and snake oil to a lot of men, especially young ones.
Working honestly on yourself is hard work. I know I generally feel like I fail at it most of the time. As most people do, I guess. We’re all our own worst critics.
Unless you’re a narcissist.
“When The War Is Over” takes on the Ben Roberts-Smith story head-on. What made you want to write about that, and how did you find the right tone to tackle such heavy subject matter?
I don’t know if I can say I did find the right tone.
The Ben Roberts Smith story, Australia’s most decorated soldier, father of the year, turned disgraced war criminal, having his defamation case funded by some of Australia’s richest people (Kerry Stokes, maybe Gina Rinehart), the fact that he’s obsessed with the movie 300. There’s a lot to it.
You’ve drawn inspiration from poets like Alejandra Pizarnik and artists like The Stooges and The Replacements. How do literature and rock history feed into your songwriting?
I like words and I like riffs \m/-_-\m/
There’s a tension between cynicism and compassion throughout the record — between disgust at the world and tenderness toward people. Is that something you consciously balance?
Yeah, it’s a sick, sad world, but most people I meet are lovely. Even and especially the ones with whom I disagree on things. I can’t say I meet too many people keen to kick immigrants out of the country, though. I’m not sure how tender I’d feel towards them.
When listeners reach the final track, “Song For A Ghost,” what do you hope lingers with them after the album ends?
A feeling of pride at their efforts in managing the herculean task of sitting through an entire album in 2025.
AL MATCOTT AND THE FOREVER BAND
ALBUM LAUNCH
Friday November 14 @ Stay Gold, Brunswick VIC
w/ Alex Hamilton And His Band + Tambourine Jesus
|
|
|
|
|
|
|
AL MATCOTT AND THE FOREVER BAND
ALBUM LAUNCH
Friday November 14 @ Stay Gold, Brunswick VIC
w/ Alex Hamilton And His Band + Tambourine Jesus
|
|
|
Oasis made their monumental return to Australia, delivering an explosive first Aussie show of their history-making and universally celebrated global tour, OASIS LIVE ’25 at Melbourne’s Marvel Stadium.
Playing to a capacity crowd of 58,000 fans, the band showed Melbourne exactly why this tour has become the most defining live music moment of the year, as they gave fans a taste of what’s to come on their five-date, sold-out stadium run of Australia.
Liam and Noel strode onto the stage with their customary swagger, hands clasped and raised high, as Liam fired up the crowd with a question: “G’day Australia. Did you miss us? Because we missed you.” The packed stadium roared its answer, a thunderous yes.
Just before launching into the emotive “Live Forever” the third single from Oasis’ 1994 debut album Definitely Maybe, he announced, “This next song’s dedicated to all the people who can’t be here. You know who they are, we know who they are. Live forever!” prompting a huge, heartfelt singalong.
OASIS LIVE ’25 has ignited a worldwide frenzy, with anticipation for the shows spanning countries and generations. Demand for the tour has been staggering with 18 million people applying for tickets when dates were first announced and 2.6 million fans securing their spot to witness what has become one of the biggest and most in-demand tours in history.
The Australian leg of the OASIS LIVE ’25 tour kicks off as Oasis celebrates 30 years since the release of “Wonderwall” on 30 October 1995. Three decades on, it’s still one of the most enduring songs in modern music. Before they played the track Liam asked the crowd to “Wish this baby happy birthday, 30 years Wonderwall.” For many in the crowd, it was a full-circle moment. Fans who grew up with Oasis now singing alongside their kids as “Wonderwall” rang out across the packed stadium, showing just how deeply the music continues to resonate.
The biggest reunion in rock has become a unifying celebration of a band whose influence has never faded. Oasis continue their Australian run this week with two more sold-out nights in Melbourne, before heading to Sydney for back-to-back shows on Friday 7 and Saturday 8 November.
Alongside the tour, and to celebrate the 30th anniversary of “Wonderwall”, Oasis have announced a limited edition (What’s The Story) Morning Glory? 7” Singles Box Set – a replica of the highly collectible 1996 CD cigarette-style box. The Box Set includes four 7” singles, featuring the 2014 remastered versions of “Wonderwall”, “Some Might Say”, “Roll With It”, and “Don’t Look Back In Anger”, along with their original B-sides. Released 12th December, it’s available for pre-order HERE.
Content Credit: Big Brother Recordings
|
|
Apples & Honey, the debut album from Montreal singer-songwriter and multi-instrumentalist Vincent Yelle, is an intimate, haunting meditation on loss, family, and memory. Written, recorded, and produced entirely by Yelle, the album traces the emotional landscape that followed the passing of his father—capturing grief not as an endpoint, but as a living thread that binds generations together.
The record is steeped in personal history: field recordings of birds captured by Yelle’s late father, snippets of family conversations, and the voices of his mother and sister all blur into the music’s textured layers. Each song feels like a memory preserved in amber—delicate, luminous, and deeply human. What emerges is a tender strain of memory-folk, where emotion takes precedence over perfection, and vulnerability becomes an act of quiet resilience.
After more than a decade shaping the sound of Quebec’s indie scene as a bassist for artists including Pelch, Jeffrey Piton, Pataugeoire, and Simon Daniel, Yelle steps confidently into his own creative space. His solo work expands the language of modern folk, marrying intimacy with sonic experimentation. Apples & Honey is less a collection of songs than an emotional document—one that captures the ache and beauty of remembering.
The album features contributions from Claire Morrison, Florence Lefebvre-Gagnon, Josée Desranleau, Paul Émile Yelle, Antoine Loiselle, and Olivier Guertin, with mixing by Christian-Adam Gilbert and mastering by Jean-Philippe Villemure.
With just one month to go until the gates of Queenscliff Music Festival are flung open across the weekend of 28–30 November on Wadawurrung Country in the historic seaside town of Queenscliff, Victoria, the festival continues to grow bigger and better as it today releases festival set times and adds special event ferry sessions..
The festival has unveiled two brand-new Special Event Ferry Sessions aboard the Peninsula Princess, with intimate live performances that take audiences on a 40-minute cruise across Port Phillip Bay, pairing live music with coastal views and a complimentary beverage.
While the already announced six regular ferry sessions are open to all festival ticketholders, those wanting to secure this unique experience can do so through these two new special sessions as they are separately ticketed.
On Saturday 29 November at 1:30pm, the Peninsula Princess will set sail with Skyscraper Stan, one of Australia’s most captivating lyricists and performers, known for his razor-sharp storytelling and magnetic live energy.
On Sunday 30 November at 1:30pm, audiences will be treated to Minor Gold, the award-winning folk-rock duo of Dan Parsons and Tracy McNeil, whose effortless harmonies and heartfelt songs have won fans across Australia and the world.
Tickets to both Special Event Sessions are $25 bf and include a complimentary beverage on board.
And if that isn’t enough to get excited over, the festival set times for the three-day festival are now live so everyone can start planning their Queenscliff Music Festival experience.
Start planning your adventure HERE
Queenscliff Music Festival Director Claire Stickland, said that the new Ferry sessions were added due to overwhelming response for the first, festival-based sessions:
“We’ve been overwhelmed by the response to the Ferry as a floating venue. If you absolutely don’t want to miss out, these special ferry sessions are for you and guarantee you a spot on this unique experience.”
All ferry sessions run throughout the weekend, offering an unforgettable perspective of Queenscliff, from the water, with live music, salty air and spectacular bay views.
Throughout the weekend you’ll also be able to experience the beautiful Bellarine right within the festival – with craft beers, boutique wines, cocktails, gourmet produce, including pastries from Ket Baker and oysters and cheese platters from TARRA Queenscliff. Or take the time to stroll the historic streetscape or sparkling harbour of Queenscliff and drop into one of the local cafes for your morning fix.
The region’s creative community will bring interactive and engaging experiences to the Festival, with a pub choir experience from Chorus Club, cool projections of local flora & fauna from Cosmic Wilderness or a mass jam session from Imaginary Millions.
|
2025 Queenscliff Music Festival Lineup (Alphabetical Order):
Ally Row – Alex Kosenko – The Badloves – Bones & Jones – Chris Cavill – The Cat Empire – Cool Out Sun – Cosmic Psychos – Dom Turner & The Rural Blues Project – Didirri Rowena Wise – Donavon Frankenreiter – Ella Hooper – Emilia Fol – Fenn Wilson & The Weather – Get Behind The Mule – Grace Robinson – Hendrix Frankenreiter – King Stingray – Kit Genesis – Kook Joey | Lewis Love – Little Birdy – Madeline Cope – Mama Kin Spender – Matt Davis – Minor Gold | The Mojo Corner – Munroe – Norwood – Opelousas – Otis Namrell Band – Pierce Brothers – The Preatures – Public Figures – Riley Catherall – Romanie – The Routine – Ruby Mae – Ruby McKenna – Sex On Toast – Skyscraper Stan & the Commission Flats – The Smith & Western Jury – Squid Nebula – SUNEDEN – Sweethearts – Tex Perkins & Matt Walker – Thelma Plum – Tides of Welcome – Velvet Trip – Victoriana Gaye Trio – The Waifs
DJs: Cool Out Sun (DJ) – Dangerboots (DJ) – Fee B Squared (DJ) – Miss Goldie (DJ) – Mz Rizk (DJ) – Rob Major (DJ)
Comedy: Claire Hooper – Lizzy Hoo – Ben Searle – Nick Capper – Nick Schuller – Tess Birch
Kids: Teeny Tiny Stevies – Peter Coombe – Bebop Circus – Giant Seagulls – Guru Dudu Silent Disco – Krazy Koala Puppet Show – Marimba Taters – Nicholas Ridiculous High Wire – Woody’s World Ukulele
Arts: Chorus Club – Cosmic Wilderness – Imaginary Millions – Playable Streets – Slow Art Collective – Yoga & Live Music
2025 SECOND RELEASE TICKETS ON SALE NOW – PRICE INCREASE NOVEMBER 1 |
|||||||
|
The Belair Lip Bombs today share their new record Again, the first Australian album release on Jack White’s Third Man Records. Tickets are on sale now for their Australian headline tour in Feb – Mar 2026. LISTEN ON SPOTIFY + APPLE MUSIC + AMAZON MUSIC + YOUTUBE MUSIC + MORE HERE + BUY TICKETS HERE.
Again is an undeniably polished effort from The Belair Lip Bombs, who boldly present an elevation of their humble beginnings, to a band on a trajectory long beyond the DIY venue foundations. The group’s upcoming Australian tour sees the group performing across revered rooms as the Corner Hotel, Oxford Art Factory, Crowbar, Freo.Social, Lion Arts Factory and Altar. See all tour routing dates BELOW.
Backed by a gut-instinct approach, each track across Again has its own mood, built on a bed of each Lip Bombs’ members individuality – an amalgam of influence that makes the group sonically diverse in practice. Their taste as a collective is guided by the pursuit of sinking their teeth into a project unlike before. Whether you have the words, or it’s a song lyric that does for you – reflective of the group’s own reserved personalities, at odds with their power-pop range – they continue “This is an album for real lovers and feelers around the world.”
Motivated by the pursuit of sharpening their pen and cultivating sonic diversity, Again is the reward of getting deep in the weeds. The longest time the group have spent in the studio in their tenure to date also marked the first time The Belair Lip Bombs collaborated with producers Nao Anzai (The Teskey Brothers, Missy Higgins, Mildlife), and Joe White (Rolling Blackouts Coastal Fever) who together have delivered a timeless, holistic album.
“With Again, we wanted to create a body of work that reflected our maturity as people and as songwriters,” The Belair Lip Bombs explain. “I think an album is the most significant demonstration of all of our hard work as a band. Touring the world and playing iconic venues or supporting big bands is all incredible but at the end of the day none of that would be happening if it wasn’t for making a record.”
Maisie‘s staunch leadership backed by the powerhouse combination of Mike, Jimmy and Dev, paint a surface happy-go-lucky, limerence rock sound. A combination of quick-footed rhythms, warm and fuzzy guitar melodies with catharsis at its core. The Belair Lip Bombs are always listening, studying and tinkering away at their form, piecing Again together along the road, between soundchecks and meagre time back home.
Springboarding Kings Of Leon to Yeah Yeah Yeahs with a hint of influence pulled from their local surroundings like jangle heroes Cool Sounds and Way Dynamic, theirs is an earnestness with ultra sticky power-pop song structures that crash through – no skips. From the fiddle that features on opener ‘Again and Again’ or the angsty ‘Another World’, to the shared vocals by Maisie and Mike on ‘If You’ve Got The Time’.
Elsewhere ‘Smiling’ captures the intoxicating, new relationship jitters while ‘Burning Up’ is the group’s clearest throughline to the undeniable hits of New Radicals, Sugar Ray or Matchbox Twenty – and the credibly they give those influences – indelibly felt on the groove laden ‘Cinema’s addictive funk piano chords. ‘Price Of A Man’, is most indicative of the power of the Lip Bombs bond, born from an accidental strum in soundcheck that spawned a story of two fellas and toxic behaviours.
A performance with pummelling instrumentation bound for endless toe-tapping, with biting words to unabashed joy. The band’s unshakable connection as four close friends shines throughout Again.
Again LP is out now via Third Man Records, buy/stream it here.
TRACKLIST
Again and Again
Don’t Let Them Tell You (It’s Fair)
Another World
Cinema
Back Of My Hand
Hey You
If You’ve Got The Time
Smiling
Burning Up
Price Of A Man
AUSTRALIAN ALBUM TOUR
Fri 27 Feb – Corner Hotel – Naarm / Melbourne
Fri 6 Mar – Altar – nipaluna / Hobart
Fri 13 – Lion Arts Factory – tarntanya / Adelaide
Sat 14 Mar – Freo.Social – Boorloo / Perth
Fri 20 Mar – Oxford Art Factory – Eora / Sydney
Sat 21 Mar – Crowbar – Meanjin / Brisbane
2025 TOUR DATES
Sat 1 Nov – Ideal Bar – Copenhagen, DK
Mon 10 Nov – Maschinehaus – Berlin, DE
Tue 11 Nov – Ekko – Utrecht, NL
Wed 12 Nov – Charlatan – Ghent, BE
Thu 13 Nov – Point Ephemere – Paris, FR
Mon 17 Nov – Dabadaba – San Sebastian, ES
Tue 18 Nov – El Sótano – Madrid, ES
Wed 19 Nov – Laut – Barcelona, ES
Fri 21 Nov – Rock School Barbey – Bordeaux, FR
Mon 24 Nov – Volks – Brighton, UK
Tue 25 Nov – Clwb Ifor Bach – Caerdyf / Cardiff, UK
Wed 26 Nov – Exchange – Bristol, UK
Fri 28 Nov – Scala – London, UK
Sat 29 Nov – YES – Manchester, UK
Sun 30 Nov – Stereo – Glaschu / Glasgow, UK
Mon 1 Dec – The Grand Social – Baile Átha Cliath / Dublin, IE
2026 TOUR DATES
Sat 7 Feb – Laneway Festival – Kombumerri Jagun Land / Gold Coast
Sun 8 Feb – Laneway Festival – Gadigal & Bidjigal Land / Sydney
Fri 13 Feb – Laneway Festival – Wurundjeri Biik Land / Melbourne
Tue 24 Mar – Brick & Mortar – Ohlone Land / San Francisco, CA*
Thu 26 Mar – Polaris Hall – Chinookan Land / Portland, OR*
Fri 27 Mar – Baba Yaga – Si’ahl / Seattle, WA*
Sun 29 Mar – Treefort Music Festival – Shoshone Land / Boise, ID
Mon 30 Mar – Kilby Court – Pi’a-pa / Salt Lake City, UT*
Tue 31 Mar – Hi-Dive – Apache Land / Denver, CO*
Thu 2 Apr – White School House – Kansa Land / Lawrence, KS / Kansas City, MO*
Fri 3 Apr – Turf Club – Dakhóta Land / Minneapolis, MN*
Sat 4 Apr – Empty Bottle – shikaakwa / Chicago, IL*
Mon 6 Apr – The Garrison – Tkaronto / Toronto, ON*
Thu 9 Apr – Night Club 101 – Lenape Land / New York, NY*
Fri 10 Apr – Baby’s All Right – Lenape Land / New York, NY*
Sat 11 Apr – PhilaMOCA – Coaquannock / Philadelphia, PA*
Sun 12 Apr – Songbyrd – Nacotchtank Land / Washington, DC*
Mon 13 Apr – Kings – Algonquian Land / Raleigh, NC*
Wed 15 Apr – Blue Room @ Third Man Records – Cherokee, Chickasaw Land / Nashville, TN*
Thu 16 Apr – The Earl – Muscogee, Cherokee Land / Atlanta, GA*
Sat 18 Apr – Sons of Hermann Hall – Nermernuh Land / Dallas, TX*
Sun 19 Apr – 29th Street Ballroom – Tonkawa Land / Austin, TX*
Wed 22 Apr – Rebel Lounge – Hohokam Land / Phoenix, AZ*
Thu 23 Apr – The Casbah – Kumeyaay / San Diego, CA*
Fri 24 Apr – Zebulon – Tongva Land / Los Angeles, CA*
*co-headline with dust
Tickets available HERE.
Stay connected with The Belair Lip Bombs:
23 Profile | Website | Instagram | YouTube
Australian producer Arky Waters makes a powerful return this week with his brand-new single “Holdin’ On”, which has him teaming up with Australian-bred/London-based artist MAMI for her impeccable voice – and it’s also the lead and title-track from his upcoming debut album.
“This release has been a long time coming. I originally sent the instrumental to MAMI, and what she wrote over it was absolute magic. The song itself came together quickly, but I spent what felt like forever fine-tuning every detail because it deserved that level of care. It’s not every day you strike gold with a collaboration like this. We’re absolutely stoked!” ~ Arky Waters
Drawing inspiration from Bicep, Jamie xx, and Fred again.., Arky Waters continues to blur the lines between breaks, jungle, and bass, showcasing his knack for emotional yet club-ready productions.
Following on from last year’s acclaimed “Johera EP”, this latest release sets the tone for a massive new chapter in his career.
“Holdin’ On” is out now via Mammal Sounds Records.
Stream:
https://bfan.link/holdin-on
Socials:
Credits:
Co-Written by Arky Waters & MAMI
Produced by Arky Waters
Mixed by Doug Wright
Mastered by Suture Mastering
Artwork & Photos by Arky Waters
Visuals by Version Khan
As Oasis return to Australia for their long-awaited stadium tour, fans will be able to step inside the band’s story like never before. Behind The Gallery is proud to announce an exclusive exhibition of Oasis photography by three of the UK’s most celebrated music photographers: Chris Floyd, Kevin Cummins, and Scarlet Page.
“Oasis aren’t just a band – they’re a cultural phenomenon. Through the eyes of Chris Floyd, Kevin Cummins and Scarlet Page, fans can experience the attitude, chaos and brilliance that defined an era of British music,” said Stephen Dallimore – Behind the Gallery.
Running in both Melbourne and Sydney, the exhibition is timed to coincide with the tour, offering fans a rare chance to revisit Oasis’ meteoric rise, unforgettable live shows, and candid behind-the-scenes moments through striking imagery.
The exhibition brings together more than two decades of imagery, spanning gritty early gigs, iconic stage moments, backstage portraits, and rare personal insights into the Gallagher brothers and the band’s inner circle.
- Chris Floyd – Known for his evocative portraits and collaborations with leading cultural figures, Floyd captured Oasis in their prime, offering photographs that reflect both their swagger and their vulnerability.
- Kevin Cummins – Legendary Manchester photographer whose lens defined the visual identity of the city’s music scene, from Joy Division to The Stone Roses. His work with Oasis charts their journey from hometown heroes to global superstars.
- Scarlet Page – Acclaimed rock photographer, Scarlet brings a uniquely intimate perspective. Her portraits of Oasis are celebrated for their warmth, honesty, and insider’s eye on the band’s world.
“When you start out as a photographer one of the things that you secretly hope for is that one day your work will have some resonance or interest for future generations. It’s over 30 years since the first of these pictures were taken and it gives me a lot of satisfaction to see that the love and passion for Oasis is as strong, if not stronger, as it ever was,” said Chris Floyd.
Scarlet Page reflects “These photographs capture Oasis right at the height of their raw, unstoppable energy. It was an incredible moment in British music, and I feel lucky to have been there to document a part of it.”
Together, their work creates a powerful narrative that reflects Oasis’ music, attitude, and enduring cultural influence. Each print in this series is an artist’s print, available exclusively through Behind the Gallery for this exhibition in Australia.
Melbourne Exhibition
Venue: 14 Langridge Street, Collingwood, VIC 3066
Pre-Concert Meet Ups:
Friday 31 October, 11:00am – 5:00pm
Saturday 1 November, 11:00am – 5:00pm
Closing Date: Sunday 2 November 11:00am – 4:00pm
Sydney Exhibition
Venue: 17 Oxford Street, Paddington, NSW 2021
Pre-Concert Meet Ups:
Friday 7 November, 11:00am – 5:00pm
Saturday 8 November, 11:00am – 5:00pm
Closing Date: Sunday 9 November – 11:00am – 4:00pm
For further information head to https://www.behindthegallery.com.au/pages/oasis-exhibitions
This project feels like a new chapter built on two decades of creative chemistry — how did Lounge of the Flamingo first come to life?
Paris: Thank you! Finley and I had been talking about this sound for ages, but we kept getting distracted by our various dance music projects. When the opportunity to record at Frying Pan came along, it was like the record wrote itself.
The record carries this slow-burning calm — part Latin lounge, part late-night jazz bar. What led you to explore that sound at this point in your journey?
Finley: Our chats about a jazz-inspired album kept circling, but I didn’t want to do a swing record! Eventually, we landed on the lounge era — elegant, stylish, smooth, and moody, but still rhythmic. It opened the door to exploring more complex harmonies and textures… and off we went.
You’ve both moved through so many styles over the years. What did this album let you express that you hadn’t captured before?
Paris: For me, it was about intimacy. I’d rarely had the chance to explore close-mic vocals — everyone always wanted big notes and big sounds, but I knew there was a tenderness I wanted to capture. Slowing things down and letting the space breathe took real discipline. I’ve also always loved the sound of the soprano sax, so being able to weave that in was such a joy.
Recording live at MONA’s Frying Pan Studios must’ve been a rare experience. How did that environment shape the sessions?
Paris: Aside from being pregnant and needing to pee every hour, walking in there every day made me feel like a working artist again — and that’s a rare feeling these days! We’d take the ferry each morning, debrief on the water on the way home, and the whole process felt calm and purposeful. The vista from the studio really seeped into the music. I love Tazzie.
Paris, you’ve described this as an album rooted in humour, calm, and family. How did being a married mum influence what came out creatively this time?
Paris: I’d love to say my house is always calm (lol), but it’s really the moments of calm I wanted to capture. Those flashes between the chaos. I’ve always written with a bit of social commentary too — I was writing songs about “Karens” before the term even existed!
Finley, reconnecting with your Afro-Latin jazz beginnings seems to have reignited something deeper. What was that rediscovery like for you?
Finley: My whole journey with piano began with Latin jazz compilations — samba, bossa nova, and jazz improvisation completely captivated me. Those CDs were on heavy rotation. At the same time, I was hearing those same jazz elements in electronic records I was DJing. It was an amazing era of discovery and curiosity as a young musician.
With voices like Kylie Auldist and the strings of Dean Stevenson woven in, the record feels rich and cinematic. How did those collaborations unfold?
Paris: Kylie and I have supported each other for years — we’re all about girl power! Dean is such a core part of MONA’s music scene, and we got to know each other while I was down there. When I asked him for some instrumentals, he sent a huge batch, and one of them became Strange Days. That song just poured out.
There’s an effortless confidence throughout these tracks — unhurried and self-assured. Was that an intentional approach or just chemistry doing its thing?
Paris: Fin musically directed the players and got about 70% of the recording done in a single day — it was magic. My husband made amazing sandwiches, I kept everyone caffeinated, and Fin was large and in charge! The confidence came from preparation and from knowing exactly who we are. I focused on the right character for each tune — the delivery sets the scene and tells the story.
Finley: This album was all intentional. Paris and I had long chats about what we wanted to create. The brief came down to moods and times of day — pre-dinner apéritif cocktails, beachside evenings, post-dinner single-cask sips.
After years performing on major stages alongside global names, what’s it like now stepping into something so intimate and textured together?
Paris: The best. Dinner music is back.
And for everyone coming to George Lane on November 27 — what kind of atmosphere should they expect when Lounge of the Flamingo comes alive on stage?
Paris: St Kilda always delivers a perfect musical summer night. We’ve got guest vocalists, backup singers, incredible local jazz players — and yes, everyone gets a flamingo in their drink. You’ll leave slightly buzzed, your ears won’t be ringing, your taste buds will crave one more cocktail… and you’ll still be home by 11.
ALBUM LAUNCH
Thursday November 27 George Lane Melbourne VIC
TICKETS
Paris Wells: Facebook | Instagram | YouTube
Finley François: Facebook | Instagram | YouTube
Lounge Of The Flamingo: Official Website | Facebook | Instagram
Australian disco duo Midnight Pool Party have been on a roll lately, serving up a run of irresistible tracks with FIDELITY, WHAT AM I GONNA DO?, and NEVER GONNA GIVE UP, and the good news is they’re not slowing down anytime soon.
This week they’re back with another disco-pop gem called ‘OUTTA YOUR MIND’ which is a playful, uplifting anthem about shaking off a tough week and leaning into good vibes with your friends.
“The song’s basically about having a shitty week at work and just wanting to hang out with your friends and not needing attention from anyone else. It’s about confidence, setting boundaries, and firmly rejecting any assumption that you are available or interested. It’s very much a ‘I’m with my friends, leave us alone’ kinda vibe,” they explain.
The track was born out of frustration but quickly flipped into something fun and rebellious. “I actually wrote this one night after a stressful week at work. I just needed to write something carefree. The song came together in about 30 minutes. The next time Ollie came over, we arranged it in under an hour, and we just knew it had to be the next single,” says the band.
‘OUTTA YOUR MIND’ is out everywhere now.
Stream/Watch:
https://bfan.link/outtayourmind
Socials:
https://linktr.ee/MPP_PoolBoys
Credits:
Co-Written by Darren Morilla & Oliver Dela Cruz
Produced by Midnight Pool Party
Mastering by Jack Prest
Artwork, Photos & Visuals by Morilla Media
Choreography & Dancing by Whyan Chen & James Vidigal
Photography: Jake Harm Nam
Photography and Review: Darren Chan
On a cool spring evening, Rod Laver Arena was set ablaze — literally and figuratively — as Tennessee powerhouse Jelly Roll brought his blend of country soul, hip-hop grit, and gospel heart to a sold-out Melbourne crowd. It was part rock show, part revival, and all heart.
The night opened with Drew Baldridge, the Illinois-born country artist known for his big-hearted lyrics. Backed by a dynamic live band, Baldridge wasted no time winning over the crowd with crowd-pleasers like “She’s Somebody’s Daughter” before throwing in a few Aussie-flavoured surprises — a roaring cover of AC/DC’s “Highway to Hell” and a gritty take on Cold Chisel’s “Working Class Man”, which drew a deafening singalong from the crowd.
Between acts, DJ Chill turned the arena into an impromptu block party, spinning everything from Snoop Dogg to Lynyrd Skynyrd and keeping the crowd buzzing.
Next up was Shaboozey, the Virginia-born trailblazer currently redefining modern country with hip-hop swagger and crossover hits like “A Bar Song (Tipsy)”. His set was tight, confident, and effortlessly cool. With a full band behind him, Shaboozey moved between smooth R&B flow and Southern grit, earning cheers and appreciation from new fans.
On the rear stage, rising Nashville star Julia Cole made a surprise cameo — her strong vocals and relaxed stage presence delivered her music in pure Nashville country style.
When the lights dropped and the flaming house frame ignited at the back of the stage, Jelly Roll appeared like a man stepping out of his own story. Opening with “I Am Not Okay,” the raw honesty in his voice hit hard — and the crowd was his from that moment on.
From there, the set moved through an emotional delivery of “Heart of Stone,” “Get By,” “Liar,” and a mashup of “Take Me Home, Country Roads / Lonely Road.” Each song was a confession — gritty, grateful, and honest.
Midway through, Jelly welcomed Shaboozey onstage for a powerful rendition of “Amen,” the two artists trading verses like old friends. Later, Drew Baldridge returned for a massive, beer-raising cover of “Friends in Low Places” that turned Rod Laver Arena into one big honky-tonk choir.
Between hits like “Hard Fought Hallelujah,” “Halfway to Hell,” “Bottle and Mary Jane,” and “Son of a Sinner,”Jelly balanced pain and praise, struggle and salvation. The fire and pyro might have been spectacular, but it was his authenticity that burned brightest.
A covers medley — “Sweet Home Alabama,” “How You Remind Me,” “Party Up,” “Flowers,” and “Young, Wild & Free” — A Night to Remember started to show Jelly’s energy waning.
Jelly Roll took to the rear stage alone for the finale “Save Me.” As rain began to pour down over him creating an unfiltered cinematic moment — he sang like a man laying everything bare – the crowd fixated on every word. It was Jelly’s symbol of redemption and why his story resonates so deeply with so many people.
It was powerful, emotive, and honest show that blurred genres and boundaries — proof that Jelly Roll is on the journey to redefining himself and his music.
“Majestically maneuvering between indie rock, trip-hop, psychedelia, dream-pop, darkwave, shoegaze, and garage punk, among many other sounds and textures, THE HORRORS enraptured the spectators at Dark Mofo in a sonically wondrous journey. The five-piece undeniably bring ‘all wonders to light’ with their scintillating soundscapes and lustral gothic poetry, which coalesce entrancingly in magnificence.”
– William Oakeshott (Wall Of Sound)
Earlier this year, The Horrors made a captivating exclusive appearance at Dark Mofo in Hobart and treated Melbourne fans to an intimate Live at 3RRR set ahead of the festival. The visit marked the group’s first Australian shows since 2012, when they appeared at Laneway Festival alongside a run of headline shows in support of their third studio album Skying.
In April 2026, The Horrors are set to return to Australia for a headline national tour, today announcing dates in Brisbane, Sydney, Melbourne, Adelaide, and Perth.
After nearly 20 years making music, few bands have created a canon as determinedly innovative and consistently acclaimed as The Horrors. Emerging as zeitgeist-shaking garage-goths on their 2007 debut Strange House, before taking a sharp left turn for their Mercury-nominated follow-up Primary Colours, The Horrors have continually evolved — roaming freely between genres.
Their 2011 album Skying won the NME Award for Best Album, while V (2017) was hailed as “a triumph” by The Guardian in a five-star review. Their 2021 EPs Lout and Against The Blade ushered in a new era with their most industrial and uncompromising sound yet.
Now, with their brand new album Night Life, The Horrors return with a record of weight and space; of melancholy and euphoria. It’s a work that entwines the visceral and the sublime — the thoughts that bloom under cover of darkness, when the rest of the world sleeps. Night Life rekindles the raw, instinctive spirit of their early years while expanding their sonic reach into thrilling new territory.
Tour Dates — The Horrors “Night Life” Australia 2026
Friday 10th April – Princess Theatre – Brisbane
Saturday 11th April – Manning Bar – Sydney
Sunday 12th April – Northcote Theatre – Melbourne
Tuesday 14th April – Lion Arts Factory – Adelaide
Wednesday 15th April – Rosemount – Perth
Presale: Friday 31st October, 9:00am local time
General On Sale: Monday 3rd November, 9:00am local time
Presented by Premier Artists, ThePhoenix.au & 3RRR (Melbourne only)
For tickets and more information, visit thephoenix.au
|
||||||||||||||||||||
|
||||||||||||||||||||
What first inspired you to create “Japanese Onsen,” and how did your trip to Japan with your son shape its emotional core?
Upon my son’s college graduation, we decided to take a trip to Japan. I had never been to Asia before, and we wanted to experience both big-city life and small towns. One of my friends recommended Kinosaki since I was interested in its Onsen culture. While researching the trip, a month before we left, the main melody you hear in Japanese Onsen came to me, and I recorded it in my studio. The title came later, after the trip — which turned out to be deeply magical and emotional. The heart of it was spending time with my son, who would soon be moving away for work.
Can you describe the moment in Japan when you knew this experience would become music?
Walking around the shrines and forests in Kyoto, and later experiencing the Onsen and Ryokan life in Kinosaki, solidified the musical vision. It was peaceful, quiet, and completely different from the energy of big cities. My next project captures Tokyo’s urban pulse — with a traditional cultural twist.
How did the sounds and atmosphere of Kinosaki’s hot spring villages influence your approach to rhythm and texture?
While composing, I dimmed the lights in my studio, bathed the room in red light, and played a video of hot springs. It brought me straight back to that atmosphere.
In what ways did Kyoto’s temples and shrines inform the tone or spiritual feeling of the composition?
I bought a small Torii gate for my studio — like the ones at Fushimi Inari Shrine. My son and I avoided the main crowds and stumbled upon a quiet bamboo forest where I began forming new melodies in my head. That stillness found its way into the song.
You’ve explored a wide range of sonic worlds as Monster Taxi — what makes “Japanese Onsen” stand apart from your previous work?
A lot of my recent songs are inspired by places and family experiences. Reflect came from a trip to Arizona with my father. Field of Dreams was born from a journey through rural America with my daughter. Pacifica was inspired by Oregon’s coastlines. Japanese Onsen continues that pattern — rooted in emotional travel memories. I wanted this one to authentically reflect Japan’s landscapes and culture. Danny Rein’s video brings it to life beautifully, transforming my photos into anime-like visions. Everything shown in that video really happened. And yes, I still owe my mother a song — and Iceland may be next!
Was there a particular sound or field recording from your travels that made it into the final piece?
I recorded train station sounds for a future Tokyo-inspired track, but not for Japanese Onsen. Everything you hear was crafted with my synths, instruments, and sound libraries — especially Arturia, which provided many of the Asian tones.
How do you balance capturing the authenticity of a place while still translating it into your own musical language?
Honestly, a lot of it is instinct. I experiment until it feels right. Many of the best parts were happy accidents — like the improvised middle solo, done in one take. I considered bringing in traditional Japanese instruments like the Shamisen and Shakuhachi, but what I had already felt authentic and complete.
What role does family connection play in your creative process, especially in translating shared experiences into sound?
Family and friendship are my creative fuel. They bring the magic and emotion that turn ideas into melodies.
How do you hope listeners feel when they immerse themselves in “Japanese Onsen” for the first time?
I hope they find peace and beauty in the song — and maybe feel inspired to travel to Japan themselves.
If you could return to one moment from that trip with your son, where would it be — and what sound would you want to capture there?
Sitting with my son in the ancient Onsen of Goshono-Yu in Kinosaki, followed by our Kaiseki dinner in Kyoto’s Geisha district. The central section of the song captures the Onsen, while the middle reflects that intimate Kaiseki experience.
