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Brisbane – January 1st (New Year’s Day), 2026 – Brisbane Showgrounds
Perth – January 3rd (Saturday), 2026 – Arena Joondalup
Wildlands Festival has officially announced its return for Summer 2026, presented by Untitled Group, Beyond The Valley and triple j. The signature single-day event will once again bring its palpable energy to Brisbane and Perth, with Brisbane now taking place on New Year’s Day and Perth following on January 3rd 2026.
This marks a new chapter for Wildlands in Queensland, as Brisbane swaps its previous New Year’s Eve slot for the fresh energy of New Year’s Day allowing all headliners to play in peak time slots. Meanwhile, the festival’s west coast edition returns stronger than ever, bringing the Wildlands experience back to Perth in full force.
Released late last week, the teaser video for Wildlands 2026 was set to Luude’s anthem Fun in The Sun, perfectly capturing the festival’s spirit of running wild. The playful clip follows a group of dogs as they are taken on their everyday walk, their attention caught by a sign reading ‘Wildlands This Way’. In an instant, they break free and run wild with unstoppable momentum charging towards exactly what they’ve been waiting for, the festival, with the same fearless energy that defines the Wildlands experience.
Fans can expect Wildlands to once again deliver the best in electronic, hip-hop and indie music, with a stacked lineup of global icons and rising talent set to define the sonic year ahead. Previous editions have featured the likes of Tyler, The Creator, RÜFÜS DU SOL, Peggy Gou, Central Cee, FISHER, Diplo, BICEP, A$AP Ferg, G Flip, Becky Hill, Chase & Status, Lola Young and more.
Both Wildlands instalments will feature reimagined stage designs and updated site layouts, redefining the experience across both cities. This year will see the introduction of an all-new ‘in the round’ stage, giving punters a huge 360-degree experience, complete with a 4-point sound system and raised dance floors, delivering a truly immersive experience from every angle.
Attendees will also have the option to elevate their day with the Casamigos House Of Friends VIP Pass, offering express entry, access to exclusive viewing areas and bars, private VIP amenities, and additional comforts like WiFi, phone charging and FastPass lanes across the site.
A variety of flexible payment plans will be available, allowing fans to lock in their Wildlands ticket now and pay later. Attendees can choose Zip Pay for flexible repayments, or split your purchase with PayPal Pay. For the first time, Wildlands will also introduce Ticket Request, giving fans the chance to skip the presale rush and secure their ticket at a guaranteed price, while allocation lasts.
Wildlands Festival is proudly brought to you by Untitled Group, the team behind some of Australia’s most celebrated events including Beyond The Valley and Pitch Music & Arts.
The countdown to Wildlands 2026 is on, gather your crew and lock in your tickets now to be part of the celebration everyone will be talking about.
Sign up for presale access HERE
HEADLINED BY (A-Z)
BEN BÖHMER, CHRIS STUSSY, CONFIDENCE MAN, DUKE DUMONT, I HATE MODELS, KETTAMA, MARC REBILLET, MARIBOU STATE, UNDERWORLD, X CLUB.
FEATURING (A-Z)
ANNA LUNOE, BABY J, BAD BOOMBOX & MISCHLUFT, BALU BRIGADA, BELLA CLAXTON, BIG WETT, BLUSHER, BULLET TOOTH, CASSIAN, CHANNEL TRES, DAMEEEELA, DJ HEARTSTRING, DOMBRESKY pres. DISCO DOM, DR BANANA, FCUKERS, FOLAMOUR, HEIDI, HOT DUB TIME MACHINE, INJI, JAZZY, JOSH BAKER, JUICY ROMANCE, KILIMANJARO, LUKE ALESSI, MERCI, MERCY, NARCISS, NOTION, ODD MOB, OMAR+, PEGASSI, PROSPA, RIRIA, ROSS FROM FRIENDS pres. BUBBLE LOVE, SEX MASK, SILVA BUMPA, SIM0NE, SUMNER, SWIM (LIVE), TWO ANOTHER, VTSS, WOLTERS
+ MANY MORE
28 DECEMBER 2025 – 1 JANUARY 2026
GLENWORTH VALLEY (DARKINJUNG COUNTRY), NSW
SIGN UP NOW FOR PRESALE TICKETS & TICKET RESERVATIONS
New Years Eve institution Lost Paradise today unveils its stacked 2025 lineup, returning home for its 11th year in Glenworth Valley (Darkinjung Country), from 28 December until 1 January, just an hour drive from Eora/Sydney.
Eco-conscious, music-centred, community-led and wellness-prioritised – Lost Paradise is an NYE cultural ritual, where world-class music from all corners of the globe communes with a boutique, intimate experience grown from the underground. The 2025 lineup reflects just this, heavily influenced by the rave culture in their DNA while spotlighting a range of artists – from the world’s biggest festivals and prestigious clubs to up-and-coming faces at home and abroad.
Spearheading this year’s bill are some of the world’s top names in their field. German producer and composer Ben Böhmer will arrive with his complex melodic house and acclaimed audiovisual show following a stellar year since his 2024 album Bloom, an enthralling experience to be enjoyed hand in hand with new friends and old at Lost Paradise. Dutch DJ, producer and Up The Stuss label head, Chris Stussy, also joins the bill. An essential figure propelling house music today, his leftfield sound and versatile sets have facilitated a colossal rise in the scene, 2024 being his biggest year yet with sold out tours across the globe, his Won’t Stop (Don’t) EP, and now followed by the launch of a new immersive event series, USS, in 2025.
English producer and DJ Duke Dumont needs little introduction, a contemporary electronic powerhouse who has stolen the world’s attention with his mega-hits like “I Got U”, “Ocean Drive”, “Won’t Look Back”, “Need U (100%)”, and more earning numerous #1 chart titles, Grammy nominations, billions of streams, and a reputation as one of the most successful electronic acts today. Australian duo and Lost Paradise royalty Confidence Man have spent the past few years enrapturing the world in their energetic brand of electro-pop and entertaining live performances, this year touring the globe including Glastonbury, Lollapalooza, All Points East and more, and now make their welcome return to the valley this Summer. French industrial techno artist I Hate Models is non-conformist by nature, a piercing voice in the scene driven by emotion and never beholden to formula.
Irish behemoth KETTAMA, with his self-defined ‘sledgehammer-house’ and slew of club-ready hits like “Fly Away XTC”, has been on a mega Northern Hemisphere touring cycle, and now his cult following in Australia will be pleased to welcome him down under for Lost Paradise. American electronic musician, YouTuber and Twitch streamer Marc Rebillet will journey to the valley, known for the improvised funk and hip-hop tinged cuts, outrageous beats and free flowing humour that have shaped his mighty empire. English electronic duo Maribou State return this NYE with an unmissable live show, off the back of their 2025 album Hallucinating Love and a globe-spanning tour. The two are set to blend their signature atmospheric sound with mesmerising live energy. Iconic an understatement, British electronic stalwarts Underworld also make their return to Australia for Lost Paradise. Acclaimed for their daringly blurred boundaries and unique sonic fusions, the group launched to worldwide fame in 1996 with their single and Trainspotting anthem, “Born Slippy (Nuxx)”, and remain an enduringly influential name in the UK dance scene and beyond. London-based, Brisbane-raised X CLUB. are one of the most in-demand acts on the underground circuit, inspired by early ’90s techno, the duo are fresh from commanding stages from Glastonbury to Berghain.
Accompanying this slate of electronic heavyweights is Sydney-born, LA-based DJ vocalist and songwriter Anna Lunoe, Perth/Whadjuk-based, Indo-Australian artist and DJ Baby J, a team-up between buzzy internationals Bad Boombox b2b Mischluft, Auckland indie rock newcomers Balu Brigada, favourite of the Aussie club circuit Bella Claxton, Melbourne’s hedonistic electro-pop icon BIG WETT, unapologetic pop trio Blusher, enigmatic UKG DJ bullet tooth, one of Sydney’s most accomplished and versatile progressive house talents Cassian, Compton producer and Detroit techno, Chicago house, and West Coast rap fusion artist, Channel Tres, DJ, producer, radio host and Yuggera woman Dameeeela, Berlin-based duo and trance connoisseurs DJ Heartstring, fierce voice from the US, now UK-based, Heidi, French producer Dombresky pres. Disco Dom, eclectic DJ and one of the UK’s most in-demand selectors Dr Banana, and equally one of New York’s most in-demand bands of the moment, Fcukers.
Further stacking the lineup is French producer and Aussie festival favourite Folamour, local nostalgia legend Hot Dub Time Machine, Turkish dance and electronic pop star INJI, Irish dance-pop singer/songwriter Jazzy, Manchester tech house DJ Josh Baker, steamy Australian producer Juicy Romance, the Afro-centric selections of Kilimanjaro, groove-driven Australian dancefloor star Luke Alessi, Merci, Mercy’s irresistible brand of pop, a moment of connection and catharsis with Berlin’s Narciss, rising bassmith Notion, the distinctive pop and house blends of Aussie DJ Obb Mob, UK’s RnB, UKG and house producer Omar+, Belgian DJ and producer Pegassi, English electronic duo Prospa, genre-smashing Tokyo-born DJ innovator Riria, Ross From Friends’ special Bubble Love show, visceral post-punk force Sex Mask, breakthrough DJ Silva Bumpa’s pop-infused speed garage and bass, rising Scottish DJ Sim0ne, alternative electronic duo Sumner, deeply atmospheric, high-energy production from SWIM (Live), Australia’s versatile electronic exports Two Another, techno maximalist VTSS and the infectious energy of Melbourne’s Wolters.
Capped off with unmissable sets from Alex Dowsing, BADASSMUTHA, Bella Backe, Caleb Jackson, Cricket, Couch Mechanic, Dayzzi b2b Daug, Disco Dora, Elijah Something, GMOZ, Grooveworks, Kai Kawai, Large Mirage, Laytx, Lily FM, Lost Soundsystem, Madame Reve, Maina Doe, Mash, Middle James, Mina Tonic, Oscill8, Pamela, Penelope, People’s Party, Roxy Lotz, Salarymen, Selve, SIILA, Silly Lily, Sim Select, Tia Lacoste, Tokyo Sexwale, Tseba, Waxlily, Yasmina Sadiki and a triple j Unearthed winner – a labyrinth of unmatched dancefloor fever awaits in the valley this year.
Woven between Arcadia, Lost Disco and Paradise Club music stages, a labyrinth of eclectic side-quests await discovery. Shambhala Fields will return to facilitate a series of talks, workshops and programs that nurture movement, innovation, creativity and curiosity, including appearances from soulful sound healer Benny Holloway, tech ethicist and thought-leader in the psychedelic renaissance Catriona Wallace, activist Chanel Contos, yoga and breathwork teacher Deano Gladstone, everybody’s favourite science guy Dr. Karl, Ngiyampaa, Yuin, Bandjalang and Gumbangirr artist Eric Avery, movement based therapy expert Gwyn Williams, queer advocate and line dancing enthusiast Kath Ebbs, international yoga teacher and art therapist Lara Zilibowitz, warrior against single-use plastics Plastic Free Mermaid, musical comedian Sez, physio and yoga therapist Simon Borg-Olivier and renowned Australian surfer Tom Carroll. The food village on site will serve up everything from international gourmet bites to greasy after-dark cravings.
Continuing their commitment to forward-thinking ticketing solutions, Lost Paradise have brought back ticket reservations in 2025. Right now, with no money taken until 10am Monday 25 August, before the presale opens, punters can add their payment details and automate their ticket purchase, taking the stress out of the presale and locking in the lowest possible ticket price (orders can easily be changed or cancelled up until 9am, Monday August 25). As one of the last remaining established festivals in NSW, GA camping access is automatically included with all tickets purchased, while optional glamping accommodation upgrades will be announced soon for those seeking a little added luxury for their NYE.
Curated by creative, music, events and touring agency, Finely Tuned (Lost Sundays, ABOVE, Lost Baggage), the forward-thinking event is shaped by global music and cultural sensibilities, reimagined within a homegrown setting and injected with local spirit.
Lost Paradise paints a serene natural backdrop for shedding off the old and dancing into the new; a place where surreal memories and lasting connections are made with like-minded people. With a track record for selling out early year on year, don’t miss your chance to secure your spot at the premier NYE festival in 2025. Sign up here for presale or reserve your ticket now and mark your calendars… Paradise is waiting.
LOST PARADISE
PRESENTED BY FINELY TUNED, PAYPAL & TRIPLE J
SUNDAY 28 DECEMBER 2025 – THURSDAY 1 JANUARY 2026
GLENWORTH VALLEY / DARKINJUNG COUNTRY
MUSIC LINEUP:
(A-Z)
BEN BÖHMER
CHRIS STUSSY
CONFIDENCE MAN
DUKE DUMONT
I HATE MODELS
KETTAMA
MARC REBILLET
MARIBOU STATE
UNDERWORLD
X CLUB.
ANNA LUNOE, BABY J, BAD BOOMBOX B2B MISCHLUFT, BALU BRIGADA, BELLA CLAXTON, BIG WETT, BLUSHER, BULLET TOOTH, CASSIAN, CHANNEL TRES, DAMEEEELA. DJ HEARTSTRING, DOMBRESKY PRES. DISCO DOM, DR BANANA, FCUKERS, FOLAMOUR, HEIDI, HOT DUB TIME MACHINE, INJI, JAZZY, JOSH BAKER, JUICY ROMANCE, KILIMANJARO, LUKE ALESSI, MERCI, MERCY, NARCISS, NOTION, ODD MOB, OMAR+, PEGASSI, PROSPA, RIRIA, ROSS FROM FRIENDS PRES. BUBBLE LOVE, SEX MASK, SILVA BUMPA, SIM0NE, SUMNER, SWIM (LIVE), TWO ANOTHER, VTSS, WOLTERS + TRIPLE J UNEARTHED WINNER
ALEX DOWSING, BADASSMUTHA, BELLA BACKE, CALEB JACKSON, COUCH MECHANIC, CRICKET, DAYZZI B2B DAUG, DISCO DORA, ELIJAH SOMETHING, GMOZ, GROOVEWORKS, KAI KAWAI, LARGE MIRAGE, LAYTX, LILY FM, LOST SOUNDSYSTEM, MADAME REVE, MAINA DOE, MASH, MIDDLE JAMES, MINA TONIC, OSCILL8, PAMELA, PENELOPE, PEOPLE’S PARTY, ROXY LOTZ, SALARYMEN, SELVE, SIILA, SILLY LILY, SIM SELECT, TIA LACOSTE, TOKYO SEXWALE, TSEBA, WAXLILY, YASMINA SADIKI
SHAMBHALA FIELDS:
BENNY HOLLOWAY
CATRIONA WALLACE
CHANEL CONTOS
DEANO GLADSTONE
DR KARL
ERIC AVERY
GWYN WILLIAMS
KATH EBBS
LARA ZILIBOWITZ
PLASTIC FREE MERMAID
SEZ
SIMON BORG-OLIVIER
TOM CARROLL
GA TICKETS ON SALE 10AM AEST WEDNESDAY 27 AUGUST
SIGN UP FOR PRESALE HERE
LOST PARADISE
WEBSITE | INSTAGRAM | FACEBOOK | TIKTOK
“Happy Mealz” feels like both a critique and a confession. What moment or feeling sparked the creation of this song? Was there a personal catalyst for its dystopian mood?
The idea behind the song came from seeing people act happy, but their eyes told a completely different story – like joy was just a mask. They laugh but there’s no warmth, kiss yet remain cold, smile but carry hate. Grins serve as both shields and swords. It is frustrating how disposable everything is, it’s easier to throw away than to fix. Performative ecstasy fascinates me, especially in how fake it feels – like plastic. Sometimes the world feels like a parody of itself, endlessly repeating the same mistakes, things are becoming so absurd, it is funny, but then you catch yourself and realize it’s not really funny at all – it’s horrifying. Everything’s “fine,” but all is actually falling apart at the seams. “Happy Mealz” is part scream into the void, part self-reckoning – I describe it as the synth-punk requiem for the emotionally extinct. Honestly, sometimes I feel we already live in a dystopia.
There’s biting irony in lines like “Oh happy bastards with their happy meals.” How do you balance satire and sincerity in your songwriting without tipping too far into cynicism?
I think irony and dark humor are essential tools for navigating the absurdity of the world. But at the same time, they allow me to hold up a mirror to society and say, “Look at this.” The sarcasm is just my way of pointing out how ridiculous everything is, but there’s always a deeper sincerity there, a truth that I’m trying to uncover. I’m not just mocking the world, I’m dissecting it – underneath that satire, there’s a genuine frustration, a desire for something real. I don’t want my music to be swallowed by cynicism because that’s when you become hopeless. So, while I might be laughing at the absurdity, I’m also asking, “Why is this the reality we live in?” There’s always a vulnerability beneath it. That’s where the balance comes from – acknowledging the pain without giving in to it completely.
You write, produce, and perform everything yourself—what does that level of control mean to you as an artist, especially in an era of heavy collaboration and digital interference?
I have a strong artistic vision that isn’t meant to be filtered or “smoothed out” by others. I’m a firm believer in auteur theory – true art comes from full creative control. The way I write, produce, and perform is all tied to how I see myself and how I want to be heard. I am capturing a snapshot of a moment inside me that no one else can truly understand or interpret in the way I see it. When I create music, it clicks inside me when it’s ready. I don’t need outside approval to validate that.
Your upcoming album CYBERWOLF dives deep into identity collapse and artificiality. Do you see yourself as documenting this era or actively rebelling against it—or both?
It’s both. CYBERWOLF is my way of documenting what’s happening around us, but it’s also an act of rebellion against it. Our world is increasingly morphing into a hyper-digital version of reality, where people pour all their energy into curating their perfect online lives, believing that love and validation come from a screen, while, in the process, they’re losing touch with the raw connections that truly define what it means to be human. CYBERWOLF is a mirror for our society built on superficiality and false values where people “like” everyone but love no one, not even themselves. So, the album serves as both a snapshot of that decay and an attempt to wake people up before we lose ourselves completely. It’s a reminder that behind the shiny, artificial images is something real – I want to remind people there’s still a self behind the selfie, a soul behind the screen – something raw and unfiltered, refusing to be erased by the endless ones and zeroes. The CYBERWOLF is a howl against the digital wilderness, a way of reclaiming our fractured identities before they’re swallowed whole by the algorithm. It’s both an observation and a challenge.
As a classically trained pianist and film composer, how do your cinematic instincts shape the atmosphere and emotional landscapes of your songs?
Cinema has provided me with the greatest opportunity to experiment with narrative form, including scriptwriting and film editing. Writing lyrics for me is like writing a mini-movie. Classical music on the other hand gave me a rich vocabulary for composing. Once you truly understand Beethoven, Bach, Chopin, you can do anything, in any genre. My cinematic background teaches me that every note should serve a story. When composing standalone songs, I immerse myself in their atmosphere, feeling like I’m discovering and documenting new emotional landscapes. It’s always about finding raw, honest truth through sound. Every song I write first starts as a fragment of a lyric which must give me strong emotional and visual associations that then kick-starts my musical imagination. Every instrument added is like a new color in the work. Each song should feel like its own unique microcosm.
You’ve cited influences like Siouxsie and the Banshees, Sonic Youth, and Hole. What emotional or creative thread connects you to these artists, and how do you think your work pushes that legacy forward?
I’m in awe of their unvarnished beauty. Sure, technically perfect voices have their place, but I can’t imagine anyone performing those songs better than they did all their grit. Technical perfection without energy or soul is pointless. I’ve always been drawn to women who shatter the mold of what’s “acceptable” for female performers – I’m interested in rage, vulnerability, despair – the full spectrum of feeling that isn’t polished or polite or merely catering to the male gaze. That’s the thread I carry forward: the refusal to be nice, the insistence on being real. I even thought before about producing other vocalists, but then I realized my material is too personal for others to understand it well enough to perform, so for now I will concentrate on writing music for myself.
“Follow and obey, smile and comply” — your manifesto is unapologetically defiant. Have you faced resistance or misunderstanding from the industry because of your bold vision?
Of course. I don’t fit neatly into any box – and I never wanted to. If someone doesn’t like me or what I do, that’s perfectly fine. I like experimenting. I like discomfort – that’s where creativity blossoms. An artist who sticks to doing the same thing all over again stops being an artist. On my current album, I’m exploring a mix of electronic, darkwave, rock, experimental, rap – pushing boundaries, and I’ll continue to evolve and experiment in the future. I’ve never aspired to be digestible or easily branded. I don’t belong to any industry – I’ve always thrived on the outside. That’s where artistic freedom is. The system wasn’t built for people like me, so I am building my own.
There’s a strong visual and narrative component to your work. If “Happy Mealz” were a scene in one of your films, what would it look and feel like?
It would be set in an office cafeteria sometime in the future – people moving like programmed machines, blank expressions, frozen smiles. The food on their plastic trays glistens under harsh lights, gooey and pulsating. Screens flicker overhead, chanting “smile and comply” on loop. Suddenly, a grinning man carrying a tray collapses, unconscious. No one reacts, people just move around him. I wonder what the food was made of. That’s the world of Happy Mealz – mechanized happiness and castrated emotion.
You’ve spoken about not making lullabies “for the sedated.” What do you hope your music awakens in people who might feel numb or disillusioned today?
I want to wake up the part of them that still feels – the part that hasn’t been deadened yet. If one beat or lyric makes someone pause and question the script they’ve been following, then the song has done its job. My music isn’t meant to play in the background – it’s a jolt, a punch in the gut. It’s a reminder that you’re still alive.
As someone creating across genres and mediums—film, music, composition—do you think today’s world still values authenticity, or is that part of what you feel has been lost?
Authenticity is risky. It doesn’t always trend. It’s not designed to please everyone. That’s why so much of today’s mainstream art feels sanitized – manufactured by committees chasing metrics, not meaning. Realness lives on the fringes now, and you only find it if you know where to look. It’s not backed by corporations – because authenticity makes people think, and that’s dangerous.
MTV in the ‘80s was a beautiful accident – an indie network accidentally showcasing strange, powerful, British music videos. There were raw messages, wild experiments. Then the system “fixed” the mistake – America took over, and the strangeness was replaced by market-tested brain-numbing sameness. Now, with AI easily replicating the formula, that artificiality stands out even more. Hopefully, it will raise the bar for the music industry, because the more everything becomes predictable, the hungrier we get for something real. We don’t need more simulations. We need something human again. We need artists who aren’t afraid to push boundaries and exist outside the machine.
I want people to wake up and question the world they’re living in. I want them to look past the shiny exterior of social media, the plastic smiles, and the curated perfection. We’re all running on autopilot, just existing. My music is a wake-up call to shake people out of that numbness. There’s still something real inside us, we’ve just forgotten how to connect with it. So, if there’s one thing I want listeners to take away, it’s that: there’s more than what’s on the screen. There’s still something worth fighting for, something worth feeling.
HAPPY MEALZ is available on Bandcamp and YouTube, with other platforms coming soon.
What was the spark that inspired you to write “You’re My Girl”, and how did the song evolve from its first idea to the final track we hear today?
Well, I went through a very tough period in late 2020. I developed feelings for her, but she didn’t even respect me as a friend. I was in an incredibly dark place and after recovering from that I released my debut album about it. “You’re My Girl” was my attempt to write something that was hopeful and optimistic about my love life. I remember like it was yesterday, I was taking my dog for a walk near the river and a bassline popped in my head. I immediately sang the bassline and recorded it. Then as further production progressed and the lyrics were added, I was surprised how sexual some of the lyrics turned out, but I think it works perfectly because the final song is really all about being in love with someone on a very deep level, and I think you can’t be deep and emotionally invested without some sexual investment.
The song has such an uplifting, feel-good energy — was that a conscious goal from the start or something that naturally came out in the process?
I must be honest and say I just let the song come out naturally. Even though I made it very clear consciously that I didn’t want all the songs I have on my debut album to be depressing and sad, I never at my desk with a piano or guitar and say, “I need to write a song about this!”. It’s never worked for me, but I knew “You’re My Girl” was going to be a positive song because the bassline that just came to me was very upbeat, something you would expect from a song playing on the dance floor. I believe the track achieved that .
You’ve blended pop, modern rock, R&B, and soul in your sound — how do you find the balance between those influences without losing your own signature style?
I think it’s important to develop your own style and sound, but I think it’s almost impossible to create a style and sound that is unique to you. So many artists throughout the years have developed their own sound and style that I don’t think there is much room to bring something brand new without some level of inspiration from a previous artist. I think rock, pop, R&B and soul has so much in common it’s easy to blend those genres, but the key difference is how to approach the vocals for a song. Sometimes it’s difficult but I honestly never want things to be easy, I’ve always been someone who gets motivated and hungry to prove people wrong and not take the easy route. Overall, I try my best to not change the approach of a song drastically, so depending on if it fit more in the rock category than the pop category, I would approach the song according to its genre.
The track was born from a personal shift from darkness into hope — can you share more about that turning point and how it shaped your approach to songwriting?
Even though I was going through a very dark period in my life I did use that time to improve myself and learn to how to approach dating and future potential partners. So, after that dark depressing period I was very enthusiastic about getting back in the market. However, because my debut album was about my journey from falling in love, getting heartbroken and eventually moving on, I had to include a mix of songs that were upbeat and hopeful, but also depressing. Even though I don’t consciously write songs myself, I did have in the back of my mind that I wanted a mix of happy songs and sad songs to reflect the emotional rollercoaster I experienced during this phase in my life.
How has your experience as an independent, self-producing artist shaped your creative freedom and the way you connect with your audience?
I would have to say that its hard for me to describe it well because I have just recently started my career. Overall, it’s not easy at all. Even though you do get a lot of creative freedom and you’re able to produce your own songs, approach your marketing and promotion through channels chosen by you, the reality is when you’re a true independent artist you are responsible for doing everything. I am currently looking at management options to help me balance everything because it has been tough for me to manage everything independently. Record labels are something I’m looking at too, but the reality is no record label will take you on without some proof of an establish fanbase (small or large), so I think that will be something to come in the later future. However, it’s really refreshing to know that people connect with my music right now because of me, rather than some massively funded marketing campaign or press tour. I would love to do that too because it would help me with the growth of my fanbase but it’s not realistic when you’re all on your own.
The deluxe edition of HN will include bonus tracks and live recordings — what excites you most about revisiting and expanding on your debut album?
I’m really excited to expand the album because even though I am happy with the final product I know there is still so much more I can do to make my work even better. It’s also a great opportunity for me to re-do the marketing and promotion for my first album, including both the old and new tracks coming. It’s really a great feeling.
What was the most rewarding or surprising moment during the making of the deluxe album?
I think the most rewarding moment was releasing how much my songwriting has progressed since releasing the basic version of the album. I found it so shocking how quick my songwriting progressed and I’m very excited to share these new tracks I recorded with my fans. It’s exciting and nerve racking at the same time but I’m so happy with these new songs I have done.
Which of your musical influences do you feel had the biggest impact on “You’re My Girl”, and in what ways do they show up in the song?
I think the biggest influence for this song was George Michael. I say that because a lot of the arrangement and feel of this song reminds me of George’s song “Amazing”. It was incredible how much I could see and hear, I would even close my eyes and see the music video for George’s song. I am a big fan of his and I think the music and work he did is not around anymore, which is sad to be honest.
How do you want listeners to feel after hearing “You’re My Girl” for the first time?
I want them to feel hopeful, specifically for listeners who are single. I have been single all my life, and I would be lying if I didn’t admit there were times I just wanted someone to share my life with romantically. I just don’t want people to go through the dark phase I went through, because there will always be a situation where you have strong feelings for somebody and end up using you for their gain.
With more music and live performances on the way, what’s next for you in this new chapter of your career?
After the deluxe album it’s immediately onto the next album. I have already written all the songs for it and I’m very happy with how things have progressed. I truly believe because of social media and music distribution being widely acceptable you must produce work and content non-stop. It’s a tough pill to swallow but it’s just the way it is. If you think you can go from an unknown to a mainstream record label artist without giving 550%, you’re going to be hit with a massive reality check. Trust me, you don’t want to miss out on this journey of mine.
After more than a decade away, Linkin Park are set to make a powerful return to Australian stages in March 2026, bringing their From Zero World Tour to Brisbane, Melbourne, and Sydney. The shows mark their first visit since 2013, and the first with new vocalist Emily Armstrong and drummer Colin Brittain, signalling a bold new chapter for the band.
The tour opens at Brisbane Entertainment Centre on March 3, moves to Melbourne’s Rod Laver Arena on March 8, and wraps up at Sydney’s Qudos Bank Arena on March 14. Fans can expect a high-energy setlist blending tracks from their chart-topping new album From Zero with the anthems that defined a generation, including “Numb,” “In the End,” and “One Step Closer.”
The new record, their first since 2017’s One More Light, debuted at number one in several countries and has been praised for capturing the spirit of Linkin Park while pushing their sound into fresh territory. According to Mike Shinoda, the tour is about reconnecting with fans and embracing the band’s next era, promising an unforgettable live experience.
With the addition of Armstrong’s dynamic vocals and Brittain’s hard-hitting style, this tour is set to reintroduce Linkin Park as a revitalised force in modern rock — and for Australian fans, the countdown has already begun.
After more than a decade away, Lenny Kravitz is finally making his way back to Australia — and he’s bringing plenty of soul, swagger, and stadium-sized energy with him. This November, the rock and roll icon will launch the Blue Electric Light Tour across New Zealand and Australia, marking his first shows here since 2012. Adding extra punch to the bill, Aussie rock heavyweights Jet will join as special guests.
The run kicks off in Auckland on November 15 — Kravitz’s debut performance in New Zealand — before hitting Sydney on November 18, Newcastle on November 19, Brisbane on November 21, Melbourne on November 25, and Mildura on November 28. The tour wraps with a huge closing set at Adelaide’s bp Grand Final on November 29.
It’s been a long road back. Planned tours in 2017 and 2020 were scrapped due to scheduling issues and the pandemic, making this return all the more anticipated. The timing couldn’t be better, with Kravitz riding the wave of his latest album Blue Electric Light, a record that’s been praised for blending his trademark rock-funk groove with fresh, modern flair.
Fans can expect a setlist stacked with his biggest anthems — from “Fly Away” to “Are You Gonna Go My Way” — alongside new material delivered with his trademark energy and charisma. With Jet opening the night, each show promises to be a full-throttle celebration of rock, soul, and pure live electricity.
It’s been more than a decade since Metallica last tore through Australia and New Zealand, but the drought finally breaks this November. The band’s M72 World Tour is locked in for a six-date stadium run, bringing the kind of bone-rattling, high-voltage show only Metallica can deliver. Perth, Adelaide, Melbourne, Brisbane, Sydney, and Auckland are all on the hit list, each set to host two hours of unrelenting metal chaos.
They won’t be coming alone. Evanescence and Suicidal Tendencies will be in tow, ensuring the amps are smoking well before James Hetfield steps up to the mic. It’s a support bill that’s built for impact, designed to keep adrenaline levels peaking from the moment the gates open.
This isn’t just another tour. Metallica’s in-the-round stage will sit dead centre in each stadium, with the iconic Snake Pit snaking out into the crowd. The setlist will span their entire career, backed by pyrotechnics, walls of light, and the roar of tens of thousands of voices screaming along to “Master of Puppets.” For those looking to go all in, VIP upgrades range from stage tours and early entry to an all-access Black Box lounge. The most committed fans can grab the “I Disappear” pass, granting entry to every single show on the Australian and New Zealand leg.
It’s been a long road back. The band last played here in 2013, with a planned 2019 tour cancelled and pandemic delays keeping fans waiting even longer. That’s all about to change. Tickets go on sale Monday, 4 November 2024, at midday local time, with fan club pre-sales in the days before. For some, it will be the first chance to see Metallica live; for others, a long-overdue reunion. Either way, this is shaping up to be the loudest, heaviest, and most unforgettable stadium experience of the year.
METALLICA M72 WORLD TOUR – AUSTRALIA/NEW ZEALAND 2025
Nov 1 Perth, WA – Optus Stadium
Nov 5 Adelaide, SA – Adelaide Oval
Nov 8 Melbourne, VIC – Marvel Stadium
Nov 12 Brisbane, QLD – Suncorp Stadium
Nov 15 Sydney, NSW – Accor Stadium
Nov 19 Auckland, NZ – Eden Park
Torren Foot & Airwolf Paradise drop their long-anticipated first original collaboration, ‘Everybody’
In demand Australian producers Torren Foot and Airwolf Paradise today release their first original single together, ‘Everybody’. A record designed to fill dance floors, it’s catchy, driving and guaranteed to get you up and about.
‘Everybody’ samples Tittsworths’s 2010 hit ‘WTF’ feat. Kid Sister and Pase Rock, a record that both Melbourne artists have fond memories of hearing in their hometown’s club-back-rooms growing up. An admirable nod to the original, Torren Foot and Airwolf Paradise then do as they do best; up the anti. Rolling bassline, uplifting drums and pure energy from start to finish, ‘Everybody’ is that track that will remain on rotation for years to come.
Torren Foot speaks to the release, “I cut my teeth in the bloghouse days. Scouring Hype Machine for remixes and edits every week, it was my generation’s crate digging. This vocal cut from Tittsworth’s iconic ‘WTF’ has sat with me for years, I always wanted to flip it for a new generation. Coffee, adderall, xanax – we’re all on something, so lean into it and enjoy yourself.”
As two of Australia’s most sought-after touring acts, Torren Foot and Airwolf Paradise have ignited a cult following from their now infamous B2B sets. Notably Beyond The Valley 2023, and a sold out eight-hour Sunday afternoon marathon at Melbourne institution, Revolver. A musical journey in itself, the producers seamlessly blend their sounds, showcasing why they are two of the highest commoidity tastemakers in the dance game. Stand out festival performances from their debut North American B2B tour at Lollapalooza Chicago, HARD Summer Los Angeles and Elements Festival, solid evidence of this.
“We wrote Everybody as a nod to where we fell deeply in love with dirty club house music,” Airwolf Paradise says “rewind to 2010 and I’m chanting the words to Tittsworth’s ‘WTF’ in the infamous backrooms of Melbourne’s clubs. It’s an honour to be able to revive a bloghouse anthem from the 2010s and make it our own. We’ve been playing this in our sets for the past year and it never ever seems to fail.”
On the solo front both producers have equally earnt their status, and more. Torren Foot’s global break out moment arrived through his single ‘New Bottega’ with Azealia Banks released via Sweat It Out in 2023. The record collecting over 50 million streams, 260’000 sound uses on TikTok and 1.2 billion views on creations, and counting. The track also featured in Pitchfork’s list of the 100 Best Songs Of The Year. Airwolf Paradise’s 20 million streams consistently supported across key radio stations BBC Radio 1 via Pete Tong, Danny Howard and Sarah Story, plus triple j and Sirius XM.
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The Belair Lip Bombs today announce their new album, Again, out October 31 via Third Man Records (the first Australian release on the label), and share its lead single, ‘Hey You’. LISTEN HERE + PRE-SAVE THE ALBUM HERE. Again is the follow-up to their 2023 debut, Lush Life, a “punchy, hook-laden rock record…straightforward in sound but borderline unassailable in its construction” (The Guardian). Again marks a new chapter for Australia’s best-kept secret, who have been building a loyal local following since they first formed eight years ago with their earnestness and ultra-sticky power-pop song structures. Again is endlessly listenable and winkingly symbolizes the band’s reintroduction to a global audience. The Belair Lips Bombs is made up of Maisie Everett, Mike Bradvica, Jimmy Droughton, and Daniel “Dev” Devlin, who first formed the band in a Melbourne suburb, Frankston’s DIY venue Singing Bird Studio. Upon graduating from high school, they juggled band life with day jobs, working to define a sound inspired by classic rock pillars like the Rolling Stones and Television as well as indie stalwarts like the War On Drugs and Stephen Malkmus. They spent the first years as a band opening for Australian favorites like Ladyhawke, Spacey Jane, Slowly Slowly, and Tired Lion before releasing their more grunge-inspired self-titled debut EP in 2018 and then the poppier three-track follow-up, Songs to Do Your Laundry To (2019). As the next decade rolled in, The Belair Lip Bombs fine-tuned their “limerence-rock” (as Maisie puts it) aesthetic across impassioned and snappy singles. In mapping out what would become Again, the band merged their individual influences more than ever to craft a no-skips collection of indie-rock anthems. It gives the group’s DIY indie-rock style a fresh coat of polish across 10 rollicking new tracks. Again was produced by the band, Nao Anzai (The Teskey Brothers), and Joe White (Rolling Blackouts Coastal Fever), marking the first time The Belair Lip Bombs worked with a producer. Maisie, who was born in Scotland and moved to Australia at 3 years old, tends to fall back into an early love of vocal behemoths, Queen when she writes the band’s prominent melodies and harmonies, as on today’s single, ‘Hey You’. The song is a jubilant melody built from a looping synth that’s bound to inspire listeners to leap up and dance it out. “Having a synth loop driving a whole song is something that we’ve never done before,” Maisie says. Dev adds: “We kind of leaned into that and pushed to make the scope of the song bigger than some of the other songs in the album.” The accompanying video was directed by Angus Fielder. The Belair Lip Bombs pull you in immediately with their self-coined “yearn-core” combination of quick-footed rhythms, warm and fuzzy guitar melodies, and Maisie’s cathartic vocals. As they move into an exciting new era of their careers, their unshakable friendship, wide-open hearts, and knack for foot-tapping melodies will no doubt endear them to legions of fans in search of musical transcendence. Next month, The Belair Lip Bombs embark on their first ever North American tour with Spacey Jane, with many dates already sold out. Following, they’ll play headline shows across Europe. For the full list of ticket dates and information, head to: https://thebelairlipbombs. THE BELAIR LIP BOMBS ‘Hey You‘ is out now, buy/stream it here.
TRACKLIST TOUR DATES 23 Profile | Website | Instagram | YouTube 23 Profile | Website | Instagram | YouTube
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SATURDAY 25 OCTOBER
THE STROKES (AUS EXCLUSIVE)
THE WAR ON DRUGS (AUS EXCLUSIVE), VANCE JOY, M.I.A., LIME CORDIALE, WOLFMOTHER (PERFORMING DEBUT ALBUM), THE PRESETS, SKREAM & BENGA, GENESIS OWUSU, THE JUNGLE GIANTS,
CLOUD CONTROL (15 YEAR ANNIVERSARY), VACATIONS, BAG RAIDERS (LIVE), TEENAGE JOANS, DIVEBAR YOUTH, SUNSICK DAISY, OSCAR THE WILD,
ANY YOUNG MECHANIC,
SUNDAY 26 OCTOBER
JELLY ROLL
ROYEL OTIS, MINISTRY OF SOUND CLASSICAL, GROOVE ARMADA (DJ SET), SHABOOZEY, PNAU, LAUREN SPENCER SMITH, RUEL, SNEAKY SOUND
SYSTEM, THE DREGGS, DREW BALDRIDGE, JULIA COLE, FOLK BITCH TRIO, MILD MINDS, ANNA LUNOE, VELVET TRIP, TOWNS, COLDWAVE, COLTER, APOLLO
RYMILL & KING RODNEY PARKS / MURLAWIRRAPURKA & ITYAMAI-ITPINA
SIGN UP FOR LINEUP AND TICKET INFO AT
PRESENTED BY SECRET SOUNDS
IN PARTNERSHIP WITH KICKS ENTERTAINMENT AND LIVE NATION
Thursday 14 August – Today, Adelaide’s weekend feast of taste and sound Harvest Rock reveals its stacked 2025 lineup, featuring Jelly Roll, The Strokes (Aus Exclusive), The War on Drugs (Aus Exclusive), M.I.A., Vance Joy, Royel Otis, Wolfmother, Ministry of Sound Classical, Groove Armada (DJ Set), Cloud Control and many more. Promoted by Secret Sounds, alongside presenting partners Kicks Entertainment and Live Nation, this standout cultural and culinary experience of music, food and drinks is returning in its third year to Adelaide’s Rymill & King Rodney Parks / Murlawirrapurka & Ityamai-Itpina on Saturday 25 and Sunday 26 October.
Across two days and two major music stages, a lineup spotlighting exemplary local and international musicians awaits festival goers. New York rock legends and cultural icons The Strokes join as Saturday’s headliner for an exclusive Australian performance. Needing little introduction, from their debut 2001 record Is This It the 5-piece swiftly became a leading figure in the post-punk and garage-rock revivals of the early-2000s, with their catalogue now spanning six studio albums. Multi-award-winning, 4x Grammy-nominated American country music star Jelly Roll will headline Sunday’s billing during his first-ever visit down under, celebrating his most successful year yet with 2024 Billboard #1 album, Beautifully Broken.
Continuing to juice up Saturday’s billing is none other than Philadelphia’s heartland rock heroes The War on Drugs, back down under for a highly-anticipated exclusive performance. Beloved Australian singer-songwriter Vance Joy is ready to serve up his festival-shaping anthems like the multi-Platinum selling “Riptide” and “Mess Is Mine”, while adored British rapper and singer M.I.A. returns to Australia with her eclectic sound palette and slew of megahits like “Paper Planes” and “Bad Girls”. Northern Beaches surf-poets Lime Cordiale will infuse the day with sun-soaked melodies, alongside Australian hard rockers Wolfmother with their very special 20th anniversary show, performing their debut self-titled album in full, including smash hits “Joker and the Thief” and “Woman” for the Harvest Rock crowd.
The Presets are set to deliver their pulsating electro energy to the stage, as dubstep pioneers Skream & Benga make their long-anticipated reunion set. Genre-defying trailblazer Genesis Owusu unleashes his encompassing world-building and sheer energy to the mix, before festival favourites The Jungle Giants light up the stage with a high-octane performance. Beloved indie gems Cloud Control will continue their own 15th anniversary show run with a career-spanning set, as Newcastle rock act Vacations show why they are becoming one of the country’s most exciting exports and Bag Raiders have us seeing “stars” with a rare live set. Local talent is front and centre too, with punk rock duo Teenage Joans serving a hometown set not to miss, alongside indie-rock sweetheart Divebar Youth, riff-heavy Sunsick Daisy, indie rockers Oscar The Wild and alt folk darlings Any Young Mechanic.
Australian indie rock stalwarts Royel Otis join Sunday’s lineup, capping off a colossal year of sold-out shows, major global festivals like Glastonbury, Lollapalooza and more, plus celebrating their forthcoming second album, hickey. Curing the Sunday scaries, Ministry of Sound Classical are celebrating the greatest moments in dance music with their wildly popular live orchestral experience and reimaginings of generation-defining tracks, while one of the most successful dance acts of all time, Groove Armada, make a special DJ set appearance. Trailblazing star redefining modern country, Shaboozey, blends his Southern roots, hip-hop swagger and viral, record-breaking song “A Bar Song (Tipsy)” live to Adelaide, alongside Australian dance icons PNAU and British-born Canadian singer songwriter Lauren Spencer Smith. Chart-topping homegrown favourite Ruel, Gold Coast indie-folk duo The Dreggs and idols of Australian electronic music Sneaky Sound System take their place on the bill, as Nashville’s Drew Baldridge and empowering singer-songwriter Julia Cole cook up a dose of contemporary country heat. Buzzed-about Melbourne trio Folk Bitch Trio will offer harmonic bliss while producer Mild Minds floats the audience down a stream of summer-ready electronica, as club legend Anna Lunoe delivers raw, genre-hopping electricity. Psych-rock visionaries Velvet Trip, as well as the Kaurna-based Towns, post-punk troubadours Coldwave, brit-pop sweethearts Colter and genre-blending producer Apollo round out Sunday’s programming with a fresh wave of emerging local sounds.
In addition to its world-class international lineup, Harvest Rock’s unique offerings are closely shaped by its home on the doorstep of South Australia’s wine country, world-class culinary culture and diverse arts scene. Enter: the Amuse-Bouche Stage, a gathering place for culinary stars, podcasters and comedians
to showcase talks and ideas. Hosted by breakfast radio presenters Ben Harvey and Belle Jackson, expect appearances from Nat’s What I Reckon, the Marmalade trio, surprise artists from the music lineup and much more to be announced!
Away from the music stages, a spread of bespoke food and lifestyle activations will be on the menu all weekend, including bespoke pop-up cellar doors and buzzing bars, a curated by-the-bottle wine bar area, and elevated food experiences by local chefs and restaurants. Back for another year, Wildwoods & Cellar Door by Duncan Welgemoed & Nick Stock returns as the centrepiece of the festival’s food precinct. The duo have co-created a vibrant dining experience that champions South Australian producers, talent and venues, all within the open-air surrounds of Wildwoods Village.
The American-style classics of Denny Bradden’s Dirty Doris Diner, North Adelaide icon Regent Thai, the South African-inspired dishes of Africola Canteen, Prospect’s cult pizzeria and pasta bar Anchovy Bandit and Eden Hills burger joint Gang Gang will all be on site, serving their mouthwatering delights and showcasing Adelaide’s vibrant food network.
Spotlighting the state’s best in award-winning, world-class wines will be a gathering of local labels, open for tastings, sit-backs and ensuring a glass of South Australia’s finest is always in hand as you roam about the festival. Appearing this year are Ochota Barrels, Yangarra, Basket Range Wines, Murdoch Hill, Grant Nash, Sherrah, S.C.Pannell / Protero, Shaw + Smith / Other Wine Co, Henschke, Les Fruits / Parley, Bloomfield, Stoke Wines, Worlds Apart, Koerner, First Drop, Torbreck, Adelina and Champagne Taittinger, pouring a range of delicious drops sourced from vines across Adelaide Hills, McLaren Vale, Clare Valley, Barossa Valley and more.
Top up and elevate your weekend away with some premium VIP offerings, including exclusive areas at the Harvest Stage and Vines Stage, the luscious Harvest Lounge for putting your feet up, or the Harvest Suites to add the ultimate dose of luxury to your accommodation.
SA Minister for Tourism, Zoe Bettison shared: “The third edition of Harvest Rock delivers another impressive lineup that will bring music lovers from all around to Adelaide this October.
In past years we have seen around 30 per cent of ticket holders come from out of state, and the mix of significant international artists like The Strokes, as well as beloved Australian music legends like Wolfmother will again bring the crowds.
Now is the time to start booking to make the most of our wineries, renowned restaurants and nature experiences in our tourism regions to bookend your Harvest Rock Festival weekend in South Australia.”
Bon vivants and festival-goers from around the country are invited to South Australia to dance the weekend away at Harvest Rock 2025, a feast for the senses with an incredible lineup of music and the best of South Australia’s world-class flavours on the table. Perfect for book-ending with wine tours, gallery visits and eating at internationally-acclaimed restaurants around the region, don’t miss securing your spot at this South Australian icon this Spring.
Sign up for tickets and news at harvestrock.com
Harvest Rock is proudly supported by the South Australian Government, through the South Australian Tourism Commission.
HARVEST ROCK
Presented by Secret Sounds
In partnership with Kicks Entertainment and Live Nation
Supported by the South Australian Government, through the South Australian Tourism Commission.
Saturday 25 & Sunday 26 October 2025
Murlawirrapurka & Ityamai-Itpina / Rymill & King Rodney Parks, Adelaide CBD
Presale tickets on sale: Tuesday 19 August 2025
GA tickets on sale: Wednesday 20 August 2025
Sign up for news and exclusive presale access at harvestrock.com
MUSIC LINEUP:
SATURDAY 25 OCTOBER
THE STROKES (AUS EXCLUSIVE)
THE WAR ON DRUGS (AUS EXCLUSIVE)
VANCE JOY
M.I.A.
LIME CORDIALE
WOLFMOTHER (PERFORMING DEBUT ALBUM)
THE PRESETS
SKREAM & BENGA
GENESIS OWUSU
THE JUNGLE GIANTS
CLOUD CONTROL
VACATIONS
BAG RAIDERS (LIVE)
TEENAGE JOANS
DIVEBAR YOUTH
SUNSICK DAISY
OSCAR THE WILD
ANY YOUNG MECHANIC
SUNDAY 26 OCTOBER
JELLY ROLL
ROYEL OTIS
MINISTRY OF SOUND CLASSICAL
GROOVE ARMADA (DJ SET)
SHABOOZEY
PNAU
LAUREN SPENCER SMITH
RUEL
SNEAKY SOUND SYSTEM
THE DREGGS
DREW BALDRIDGE
JULIA COLE
FOLK BITCH TRIO
MILD MINDS
ANNA LUNOE
VELVET TRIP
TOWNS
COLDWAVE
COLTER
APOLLO
AMUSE-BOUCHE LINEUP:
HOSTED BY BEN & BELLE
NAT’S WHAT I RECKON
MARMALADE
ARTIST APPEARANCES
& MANY MORE – FULL LINEUP TO BE ANNOUNCED SOON!
FOOD:
DIRTY DORIS DINER
REGENT THAI
AFRICOLA CANTEEN
ANCHOVY BANDIT
GANG GANG
& MANY MORE
WINE:
ADELINA
BASKET RANGE
BLOOMFIELD
FIRST DROP
GRANT NASH
HENSCHKE
KOERNER
LES FRUITS / PARLEY
MURDOCH HILL
OCHOTA BARRELS
S.C.PANNELL / PROTERO
SHAW + SMITH / THE OTHER WINE CO SHERRAH
STOKE WINES
TAITTINGER
TORBRECK
WORLDS APART
YANGARRA
Perth’s own Rocco Martinez is lighting up playlists with his new single “You’re My Girl” — an irresistible mix of pop sparkle, modern rock punch, and soulful R&B undertones. With a vocal style that’s both clean and deeply emotive, Rocco draws from the charisma of George Michael, Bruno Mars, Michael Jackson, and Freddie Mercury while shaping a sound that’s entirely his own.
“You’re My Girl” is a love letter to that one person who makes you feel safe, seen, and inspired. It’s bright, danceable, and heartfelt — born from a personal shift from heartbreak and self-doubt into joy and gratitude. Layered with luminous synth textures, a driving rhythm section, and hooks that demand to be sung along to, the track is already resonating with fans for its uplifting energy.
The release sets the stage for the deluxe edition of Rocco’s debut album HN, arriving soon with bonus tracks and live performance recordings. It’s a celebration of his first chapter as an artist, offering a richer, more evolved sound that points toward the future while honouring where it all began.
Independent and self-producing, Rocco is carving out his own lane in today’s music landscape — not just making songs, but creating moments of connection and hope. With more music and live shows on the horizon, “You’re My Girl” is proof that his brightest work is still to come.
Australia’s premier multi-day festival, Beyond The Valley, is officially returning this year for its 10th birthday edition, taking place once again at the stunning Barunah Plains from 28th December to 1st January.
Presented by Untitled Group and triple j, and supported by Visit Victoria, BTV has grown into one of Australia’s longstanding summer rituals for tens of thousands of music lovers worldwide.
This year’s huge milestone event promises to be the most exciting yet, with Australia’s largest camping festival set to celebrate all of their unforgettable summer memories with fresh, one-of-a-kind experiences built on everything fans have come to know and love.
Having released a small teaser on socials yesterday, the festival officially launches today across social media. Set in a grey corporate dystopia, BTV’s launch campaign video follows office workers stuck in a lifeless routine until whispers of a hidden exit begin to spread. An evolution of last year’s theme, Life in Technicolour, the campaign taps into the universal need to escape and reconnect with the freedom, celebration and joy that BTV uniquely offers. As the final frame shows the words It Gets Better – an ode to the accompanying track by Kettama, heard only as a brief tease – the message is clear: Beyond The Valley is back.
Fans can expect the festival’s three main stages to return bigger and better than ever, with a reimagined Valley Stage designed in collaboration with UK-based creative studio Vision Factory, a newly revamped Dance Dome, and the return of the iconic Dr Dan’s.
Untitled Group Co-Founder and Managing Partner, Filippo Palermo, said: “Reaching Beyond The Valley’s 10th edition is something we’re incredibly proud of. What started as an idea between a few mates has grown into one of Australia’s biggest and most unique events, welcoming tens of thousands each year from across the country and overseas.
This year we’ll be celebrating the music, art and community that has shaped the festival into an important piece of Australian culture. Our team is excited to share the biggest and most innovative BTV production to date.”
A host of new experiences and activations will also debut at Beyond The Valley this year, led by The Lounge Room – a vibrant new space born from the original Podcast Stage – set to host everything from the festival’s beloved podcast programming presented by The Daily Aus and in-depth conversations, to an evening cinema experience and more. POOF DOOF returns with Cirque Du Slay, bringing nightly DJ sets, drag icons and the legendary Yummy crew. Vanessa’s Place, powered by the TAC, will also feature as part of the expanded on site experience with a dedicated chill zone as well as interactive games and activities, while The Palms Pool House, (a reinvented version of the former Beach Club) will offer punters a place to take a rest, cool off and refresh.
Festival favourites return in full force once again, with Jack Daniel’s House Party, Red Bull Unforeseen and Smirnoff Schmall Klub all set to evolve even further, with immersive party experiences, surprise twists and bigger, bolder activations, while The Sanctuary, presented by QV Ceramides, expands its offering, presenting a restorative oasis and a refreshed wellness program featuring meditation, massages, saunas, cold plunges and everything needed to hydrate, refresh and recover.
Following its successful premiere last year, The Valley Club once again offers an elevated members-only experience. Resort-style features, including a private bar, beauty station, badminton court and shaded al fresco lounging, shape a Summer playground of premium festival pleasures.
Beyond The Valley’s accommodation options return this year with more on offer than ever before, from General and Premium camping to Pre-Pitched tents, plus Lux Camp packages with exclusive access to the Valley Club and the all-new Signature Package for attendees wanting to take their experience to the next level. For those staying off-site, hotel packages and daily transport options are also available to ensure easy access throughout the festival.
Festival Entry Tickets will be available in 4-day, 3-day, 2-day and NYE-only options. Single Day Festival Entry tickets will also be returning, giving more flexibility to those wanting a taste of the BTV experience without the full weekend commitment.
Ticket + Car Pass bundles will also return after launching to great success last year, offering a streamlined purchase process for groups.
Fans can also secure tickets now and pay later via Afterpay, Zip Pay or Laybuy, making the lead-up to New Year’s smoother than ever.
This year’s event is presented by Untitled Group and triple j and is proudly supported by Visit Victoria, helping showcase the very best of the state’s music, culture and summer spirit.
Set on the lands of the Wadawurrung and Eastern Maar Peoples, Beyond The Valley will once again deliver a genre-blending lineup across world-class stages, with site-wide installations, immersive moments and pop-ups throughout. Having hosted artists like Tyler, The Creator, Peggy Gou, Central Cee, RÜFÜS DU SOL, FISHER, Nelly Furtado, KAYTRANADA and more, its 10th edition is set to be the biggest and boldest New Year’s celebration yet.
Sign up for presale ticket access HERE for the best chance at securing tickets. Stay tuned for presale information, ticket timings and lineup announcements soon.
BEYOND THE VALLEY
28 DECEMBER – 1 JANUARY
BARUNAH PLAINS, WADAWURRUNG COUNTRY, VIC
ARIA and AIR Award-nominated punks These New South Whales today share ‘INSTINCT’, alongside a stream of national tour dates this October. LISTEN HERE + TICKETS ON SALE HERE.
‘INSTINCT’ is an immediate listen: “Listen to your instinct / Fuck what the rest of them think.” Where their 2022 album TNSW confirmed the group’s evolution from brute force basement punk to hardcore fusion, ‘INSTINCT’ is Whales shooting from the hip, vocals slicing across a pounding instrumental anchored by drop bass and adorned with riffs. Produced and mixed by Ben Greenberg (Show Me The Body, Depeche Mode, Ceremony), the berating ‘INSTINCT’ signals a thrilling new chapter for Australia’s favourite punk agitators.
“I’ve wasted so much energy over the years worrying about what other people think,” vocalist Jamie Timony explains. “It’s such a futile, counterproductive pursuit – one of those lessons I’m always having to re-learn. The chorus lyrics are a mantra for a different way of thinking. The vocals felt triumphant and empowering – the song put us all in a really good mood the day we wrote it. Underneath the positivity, there’s a spirit of anger and unrest with the way things are… Now more than ever, it feels important to stay connected to yourself, your instincts, and to what’s actually real.”
WATCH: ‘INSTINCT’ (Official Video)
These New South Whales have always had a knack for balancing harsh reality with comic relief, first forming with humour at the forefront. The Melbourne foursome of Jamie Timony (vocals), Todd Andrews (guitar), Will Shepherd (bass), and Frank Sweet (drums) have honed their blend of undeniable artistry and self-effacing humour to runaway success across multiple disciplines.
From their cult Comedy-Central mockumentary TV series These New South Whales and satirical talk show TNSW Tonight!, to their hit podcast What A Great Punk, which is rapidly approaching 500 episodes over its five-year history, there remains a distinct separation between These New South Whales’ comedy and their music. As a band, any notion of parody was put to bed with the critical success of their last album, TNSW, which was nominated for a ‘Best Heavy Album’ ARIA after debuting at #9 on the ARIA charts.
They’ve shot the shit with rock royalty — Tame Impala, Amy Taylor (Amyl & The Sniffers), Tom Coll (Fontaines D.C.), Rodger O’Donnell (The Cure) among them. But TNSW’s live show resume is just as significant, sharing stages with the likes of Shame, Soft Play, Frank Carter & The Rattlesnakes, The Garden and Grinspoon, while also gracing triple j’s seminal Like A Version. Today, These New South Whales boast a sound that swings between extremes while being anchored by profound self-belief. Their new music will blow your haircut off.
This October These New South Whales will take the stage with Delivery and The Antics to mark their latest era. Tickets are on sale now will all tour routing details listed BELOW.
‘INSTINCT‘ is out now, buy/stream it here.
TNSW TOUR DATES
Presented by Select Music & 23
Supported by Delivery and The Antics
Fri 17 Oct – Crowbar – Meanjin / Brisbane^ (TIX)
Fri 24 Oct – Crowbar – Eora / Sydney* (TIX)
Sat 25 Oct – The Night Cat – Naarm / Melbourne* (TIX)
Fri 31 Oct – Mojo’s – Walyalup / Fremantle^ (TIX)
Sat 01 Nov – Jive – Kaurna / Adelaide* (TIX)
*The Antics
^Delivery
Tickets are available HERE
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