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Hip hop icons BONE THUGS-N-HARMONY have shifted their anticipated Australia and New Zealand run to May 2026 due to extended studio commitments, giving fans a new set of dates to mark on the calendar as the legendary crew prepares to touch down.
A Statement from the band: Australia & New Zealand, we’re still in the studio putting the finishing touches on the album so we’re pushing back our dates to May 2026. Hang on to your tickets, we can’t wait to party with you next year!
Ticket holders are encouraged to hang onto their tickets which will remain valid for the new shows. Anyone that can’t make the new dates, are entitled to a full refund and should get in direct contact with their ticket provider.
Still riding high on the release of their newest single ‘AWW SHIT’ (out now via Greenback Records), the Grammy-winning collective—Bizzy Bone, Wish Bone, Layzie Bone, Krayzie Bone and Flesh-n-Bone—remain laser-focused on delivering an unforgettable show celebrating more than three decades of groundbreaking music. Their influence is unmatched: over 60 million records sold, multiple Platinum albums, and a catalogue that forever changed the sound of rap.
Across four shows, Bone Thugs-N-Harmony will honour their timeless catalogue of music, all the while reconnecting with Australian audiences and showing them the potential that is still to be tapped into.
Joining Bone Thugs-N-Harmony in Australia two fellow game-changing hip hop legends, XZIBIT and TOO $HORT.
West Coast legend XZIBIT has long held a strong following in Australia, and will be bringing his first studio album in over a decade KINGMAKER – featuring collaborations with heavyweights such as Dr. Dre, Ty Dolla $ign, Ice Cube and more – to audiences for the first time. Bay Area legend TOO $HORT is a West Coast hip hop pioneer, an impactful figure whose music shaped an entire wave of the West’s movement and popularity in the ‘90s and ‘00s. Maintaining his relevance via classic hits and his recent album, SIR TOO $HORT, VOL. 1 (FREAKY TALES), Too $hort’s sound is never far from a club beat or being sampled on a modern day hit.
Regarded as “the world’s most influential rap group”, Bone Thugs-N-Harmony’s impact on the culture and the mainstream is undeniable. Multi-Platinum selling records, chart-topping projects and genre defining songs in the bank, this is a group that has over 60 million records sold to their name, remaining to this day the best selling rap group of all time. Thirty years on, Bone Thugs-N-Harmony have created a legacy not many can match and in 2025, the original lineup comes back together, hungrier than before.
BONE THUGS-N-HARMONY AUSTRALIAN TOUR DATES
With XZIBIT and TOO $HORT
Tickets
Fri 8 May Spark Arena, Auckland
Sun 10 May Riverstage, Brisbane
Tue 12 May – Hordern Pavilion, Sydney
Wed 13 May – PICA, Melbourne
SYDNEY, BRISBANE, NEWCASTLE & MELBOURNE – NOVEMBER 2025. TICKETS ON SALE THURSDAY 25 SEPTEMBER
BODY AND SOUL, THE BOY’S A FREAK
Frontier Touring is thrilled to announce Daniel Johns In Conversation: What If The Future Never Happened? – four nights of storytelling, film and music with one of the most decorated Australian artists and songwriters of his generation, live in Sydney, Brisbane, Melbourne and Newcastle this November.
Johns is taking to the stage in celebration of the worldwide premiere of his highly anticipated short film, What If The Future Never Happened? – with each screening framed by an hour-long onstage conversation. In these rare live talk appearances, Daniel will discuss his early life and creative process, sharing never-before-seen photos, moving archival footage, and unreleased recordings straight from his personal collection. He’ll reveal previously unheard demos – from 4 track embryonic Neon Ballroom bedroom demos to the original songwriting session of ‘Straight Lines’ from Silverchair’s final album Young Modern, to ideas for songs he had written that would never make it onto a sixth Silverchair album – Johns will also play new music from his solo career and collaborative projects, each evening promising a distinct experience shaped by the moment, no two nights the same.
In these four shows – his first time appearing on stage in over five years – Johns will get up close and personal with fans, who’ll also be invited to submit questions pre-event in each city.
“What If The FutureNever Happened? is equal parts reality and fantasy and I’m as proud of it as anything I’ve ever done in my career. The orchestration took time, and the final result was worth it.
“To celebrate the release of the Featurette, I’ll be sitting on stage, telling stories, taking the aux chord and sharing tunes that nobody has heard and sharing random ideas that couldn’t be realised or released. Basically, turning theatres into giant living rooms… it would be great if some people showed up but I’m doing it anyway – you’re all invited!” – Daniel Johns
Directed by James Medlam, What If The Future Never Happened? is a genre-bending, semi autobiographical featurette that puts reality and fantasy in a hyper-speed spin cycle. Shot in 2022, Johns made the executive decision to hold it back while he completed it and to mark the 30th anniversary of frogstomp.
Fans first caught wind of the trailer back in 2022 with the release of Johns’ chart-topping second solo album, the #1 FutureNever – an album that broke ARIA records by reaching #1 twice and spending a record seven weeks in the Top Ten, a feat that is yet to be matched in the three years that have passed. Produced by Clockwork Films in association with Daniel Johns, BMG and Winarch, the sci-fi inspired film is a cinematic portal back to the ‘90s, a postcard from the past written to the future. The Featurette features a stunning orchestral soundtrack intertwining modern interpretations of Daniel’s Silverchair classics with sound design by Adam Alexander from Bamm Bamm Wolfgang.
It’s 1994, mere months before a teenage rockstar called Daniel (actor Rasmus King) would conquer the global music world in ways never-before-seen. On this ordinary day in regional Australia, while escaping the routine torment of three local bullies (led by newcomer Lockie Ranson), a chance interaction with a mysterious figure from the future will change Daniel’s Tomorrow forever…
Tickets for Daniel Johns In Conversation: What If The Future Never Happened? go on sale Thursday 25 September (1pm local) via frontiertouring.com/danieljohns. Sign up to become a Frontier Member and get early access to the Presale, starting Wednesday 24 September (11am local) – see website for further details.
These are the nights fans have been waiting for. Don’t miss Daniel Johns In Conversation: What If The Future Never Happened?
About Daniel Johns
With six #1 albums and a career marked by reinvention, Daniel Johns stands as the most decorated Australian songwriter of his generation. As the frontman of Silverchair, he led the band to an unprecedented run: five studio albums between 1995 and 2007, each debuting at #1 on the ARIA Albums Chart and collectively selling more than 10 million copies worldwide. Along the way, Johns became the first artist in history to claim APRA’s Songwriter of the Year award three times, cementing his reputation as one our most innovative musicians.
Johns’ career has been defined by constant reinvention. In 2003 he joined forces with Paul Mac to create The Dissociatives, a Gold-certified project that picked up ARIA and MTV Awards. His debut solo album Talk (2015) reached #2 on the ARIA Albums Chart, while his collaboration with Empire of the Sun’s Luke Steele, DREAMS, launched in 2018 and took them from Vivid Sydney to the stage at Coachella. Johns’ songwriting has also reached far beyond his own projects: he co-wrote Flume’s Grammy-winning ‘Say It’ featuring Tove Lo, and has worked with Zhu, What So Not, and Slumberjack. As Musical Director for the Emmy-winning series Beat Bugs (2017), he reimagined Beatles songs for a new generation.
In 2021, Johns turned the lens inward with the Spotify Original podcast Who Is Daniel Johns?. Narrated by actor Guy Pearce, the series charted at #1 in Australia for five consecutive weeks and peaking at #3 in Canada, #11 in the UK, #23 in US, #47 in Ireland and #58 in Brazil. Featuring contributions from figures as diverse as Billy Corgan, Tom DeLonge, Kevin Parker, Van Dyke Parks, and Natalie Imbruglia, the podcast mapped the personal and creative forces that shaped one of Australia’s most enigmatic artists.
FutureNever – Johns’ 2022 second album – continued his singular path, breaking ARIA chart history by going to #1 twice before becoming the longest reigning Australian top 10 album of the year, and the highest selling new Australian album of 2022. Released without singles, it was one of Johns’ most arresting full-length statements to date. The same year, Johns staged ground-breaking exhibition ‘Past, Present & FutureNever’, which showcased personal memorabilia from the artist and experimental exhibits, across four months at Rialto Melbourne. $5 from every ticket sold went towards the FutureNeverFund – a charitable fund Johns created to raise money to create better futures for people and animals in need across the globe.
What If The Future Never Happened? was shot proudly in Newcastle on Awabakal Land with a local cast and crew, the Featurette is a love letter to the creative evolution of Silverchair’s hometown of Newcastle. The film was partially funded by the generosity of Winarch Experience – a Newcastle owned and operated entertainment company built around the human experience. Winarch Founder and one of the film’s executive producers, Paul Lambess, is a proud supporter of local stories including Daniel’s and is committed to taking these Newcastle stories to the world.
DANIEL JOHNS IN CONVERSATION: WHAT IF THE FUTURE NEVER HAPPENED?
AUSTRALIA
NOVEMBER 2025
Presented by Frontier Touring
FRONTIER MEMBER PRESALE
via frontiertouring.com/
Runs 24 hours from: Wednesday 24 September (11am local)
or until presale allocation exhausted
TICKETS ON SALE
Begins: Thursday 25 September (1pm local)
ALL SHOWS LICENSED ALL AGES
Saturday 1 November
State Theatre | Sydney, NSW
ticketmaster.com.au
Friday 7 November
Newcastle Civic Theatre | Newcastle, NSW
civictheatrenewcastle.com.au
Sunday 9 November
Fortitude Music Hall | Brisbane, QLD
ticketmaster.com.au
Thursday 13 November
Palais Theatre | Melbourne, VIC
ticketmaster.com.au
FOLLOW DANIEL JOHNS:
Website | Facebook | Instagram | X | YouTube | Spotify | Apple Music
frontiertouring.com/
FUTURENEVERMOVIE.COM
Patrons are advised to purchase tickets only through authorised ticket sellers.
We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website.
FOLLOWING BREAK OUT SHOWCASES AT BIGSOUND
TOURING AUSTRALIA OCTOBER – DECEMBER
Photo Credit: Tiarna Stahmer
Fresh off the back of a successful BIGSOUND debut, Wollongong indie four-piece CHEEKY LEASH have continued to build on the momentum their music has generated across the last year.
Returning with a brand new track titled ‘CHANGE’, Cheeky Leash demonstrates how their collective energy as songwriters and performers has fueled – a vibrant and exciting effort from the band as they head into the home stretch of 2025, ready to welcome a Spring/Summer season of shows around the country.
‘Change’ is a song that had Cheeky Leash focusing on human connection and growth – things that are easy to lose sight of when we’re caught up in trying to stay afloat in today’s social and financial environment. Musically, the track is sharp and engaging from the jump. Cheeky Leash’s combination of melody, riffs and emotion-building within their indie arrangements have made them fresh favourites on the East Coast. The arrival of ‘Change’ further cements their place as one of the best new groups to watch.
“The song ‘Change’ is rooted in the cost of living crisis and reflects how society has become so focused on getting ahead that we’ve lost a sense of connection with each other. It’s a metaphor for transformation whether that’s personal growth, the evolving world, or even the band’s own musical development. There’s a nostalgic, coming-of-age film feel to the track and lyrically, it’s open to interpretation. Lines like “Still searching for change…” play on the dual meanings of spare money and a deeper desire for societal change, making it resonate differently depending on the listener’s own experiences.” CHEEKY LEASH
Recorded at Sonora Studios with Jack Nigro (The Terrys, Rum Jungle, Pacific Avenue, Lazy Ghost) in the Central Coast ‘Change’ lands as the band’s second release for the year, following on from July’s drop, ‘The Weekend’, and the impactful Cheeky Leash debut EP, The Burrow, which arrived in March and firmly put the band on the map.
Filmed amongst the picturesque Gerroa coastline, Cheeky Leash today also unveil their accompanying official film clip. Written and directed by Brendan Palmer and filmed by Film for Frank.
“Change was a change of pace for us, handing over the reins to Brendan as director and Mitch as videographer to get their perspective on what the song means to them as well as to us. It’s different from us running around and having a laugh. It’s more serious and we really wanted to get the best representation of the song as possible. The song has a deeper meaning and a different pace for the video compared to what we’ve done before, so there’s more to explore and interpret in this one. We always seem to pick the wildest and coldest days for filming music videos, which presents its own challenges, but it’s a whole lot of fun getting to create something with your friends. Making music videos is always difficult with limited time and resources, but it was really cool to see the passion from other collaborators who have now become an integral part of the project. We’ll remember this one as our first time having an actor and handing over creative control, just trusting the process.”
Their music has caught the attention of Australian industry, with heavy triple j and triple j unearthed support for their music putting Cheeky Leash in front of a hungry national audience, while as a live unit, the band has been constantly dominating on stages as headliners, enjoying sold out shows across the East Coast for their EP tour for The Burrow – the EP quickly amounting 1 million streams.
Cheeky Leash have shared stages with artists including The Kooks and Fontaines D.C. (at Yours & Owls Festival 2025), as well as Boy And Bear, South Summit, The Terrys, Death By Denim and more. Before 2025 is out, fans will be able to see Cheeky Leash touring around the country from October through into December – charting headline dates, festival appearances and support slots for fellow Australian favourites.
PRAISE
“This upload absolutely leaps out of the speakers – perfect way to cap off the Aussie summer – what sunshine <3” TRIPLE J, ANIKA LUNA (‘Red’, 2025)
“Had me shouting along at the chorus immediately! Great song you guys, my fav from you yet!”
TRIPLE J UNEARTHED, CLAIRE MOONEY (‘Red’, 2025)
“High energy, fun loving…”
GOOD CALL LIVE
“…Explosive live shows and indie rock anthems full of playful charm.”
HAPPY MAG
“…their latest single ‘Lock My Stare’ elevating Australian indie rock to new heights.”
PLEASER MAGAZINE
CHEEKY LEASH AUSTRALIAN SHOWS
Tickets and info via cheekyleash.com
On sale 10am AEST Thursday 18th September
Saturday 4 October Pambula Beach Sapphire Coast
WANDERER FESTIVAL
Sunday 5 October Finnian’s Tavern Port Macquarie
FINNIAN’S SPRING FESTIVAL
Thursday 6 November The Northern Byron Bay
Friday 7 November Elsewhere ‘Bespoke’ Gold Coast
Saturday 8 November Solbar Sunshine Coast
Friday 14 November 170 Russell Melbourne
Supporting South Summit
Saturday 15 November Factory Theatre Sydney
Supporting South Summit
Sunday 16 November Stag & Hunter Newcastle
Thursday 22 November Felons Barrel Hall Brisbane
Friday 28 November Dissent Cafe & Bar Canberra
Saturday 29 November Marlin Hotel Ulladulla
Friday 5 December Lalala’s Wollongong
Friday 12 December Gage Roads Fremantle
CHANGE is out now!
CHEEKY LEASH: Official Website | Facebook | Instagram | YouTube | Triple J Unearthed | TikTok
Charu Suri’s Shayan is not just an album, it is a passageway into stillness. Known for pioneering a distinctive fusion of jazz and Indian ragas with her celebrated Book of Ragas series, Suri steps into more meditative territory with this deeply personal project. What began as an experiment with raga-based compositions has evolved into a signature style that now carries her name, and with Shayan she offers perhaps her most intimate work to date.
The album was born out of a very human experience: the desire to help her mother find peace after nights of insomnia following the loss of Suri’s father. The Sanskrit word “Shayan” means rest or deep sleep, and this intention permeates every note of the record. Rather than writing for performance or spectacle, Suri has created a collection of seven pieces designed to guide the listener inward, reconnecting body and mind with a sense of natural rhythm and balance.
From the very first track, the title piece, the album sets its tone with a quiet invitation. The music is grounded in raga Kalyani, the Eastern counterpart to the Lydian mode, and its muted piano, ethereal vocals, and gentle flute create an atmosphere that feels like stepping into twilight. This is music that doesn’t demand attention but rewards it, carrying the listener into a space where the rush of the day begins to dissolve.
The journey continues with “Mohanam Hymn,” where Grammy winner Jim “Kimo” West’s warm guitar playing weaves around Charu’s elegant piano, joined by cello, flute, and delicate vocals that feel like a prayer. “Inner Peace” is one of the album’s most emotive pieces, pairing Ravichandra Kulur’s expressive flute with Siyer’s hauntingly tender vocals, creating a sanctuary in sound. “Raga Jog” turns more inward, its shimmering dulcimer textures and resonant cello lines evoking the quiet of late-night contemplation.
“Nightingale” is the heart of the album’s lullaby quality, Jim Kimo West’s guitar gently cradling the melody while Charu’s piano floats above, delicate and soothing. “Raga Durga” glows with a sense of devotion, Haruna Fukazawa’s flute and Philip Vaiman’s violin intertwining like candlelight flickering in the dark. The album concludes with “Shayan Reprise,” a cinematic and deeply satisfying finale featuring Raniero Palm and the Venezuela String Recording Ensemble, Ron Korb’s lyrical flute, and Charu’s poised piano, closing the album like a benediction.
What makes Shayan extraordinary is its balance between tradition and innovation. Charu does not dilute the ragas or rush their natural flow; each piece is allowed to breathe, to open and bloom in its own time. Yet the arrangements are global in scope, drawing from a palette of harp, ukulele, dulcimer, cello, and multiple flutes to create a soundscape that feels both rooted and expansive. This makes the album accessible to longtime raga enthusiasts while inviting new listeners into the world of Indian classical music without intimidation.
Listening to Shayan feels like a journey through evening itself. It starts with that first moment when the light softens, moves through the introspection of nightfall, and ends with the deep exhale of sleep. It does more than accompany rest — it creates it. The album’s pacing is unhurried but never static, allowing the listener to slow down without losing engagement. It is as much about emotional restoration as it is about sonic beauty.
Charu Suri has assembled a remarkable ensemble of Grammy-winning and world-class musicians to bring this vision to life, and their contributions are never ornamental but always in service of the emotional center of the music. Together, they have made something rare: a work that is artistically rigorous and emotionally generous in equal measure.
Shayan is an album that stays with you long after the last notes have faded. It is an experience that asks you to pause, to breathe, to listen — not just to the music but to yourself. In a world that feels increasingly restless and noisy, Charu Suri has given us something priceless: a moment of stillness, offered with grace.
ZOCO–the international rock project founded by multi-instrumentalist, singer, songwriter Marco Zocco–makes its debut today, September 19, with the release of “Restless” (Z3 Records), and it’s a real family and friend affair. Produced by Gunnar Nelson (of Nelson) with executive production by Kerry Brown (Smashing Pumpkins), “Restless” shines with masterful performances from Zocco on vocals, guitar, piano, synth and percussion, and distinguished rock players Carmine Rojas (David Bowie, Rod Stewart) on bass guitar, Slim Jim Phantom (Stray Cats) on brush drums, London Hudson (Return to Dust, Suspect208) on drums. Marco Zocco wrote the music and lyrics for the song with his two brothers Paolo and Matteo, who feature on the iconic whoa chorus backing vocals. Marco also got lyrical input from good Stanford friend and acclaimed American swimmer Jack LeVant whilst at college together at Stanford in 2022.
An inspired debut release, “Restless” offers a preview of what’s to come when ZOCO releases their debut EP LUMANISTA (Part 1) early January 2026. The stirring, guitar-driven track with Zocco’s signature baritone vocals on display highlights the restless energy of moving on and starting anew.
“Restless is about breaking free from routines and celebrating spontaneity. Whether for an hour, or for a day, in a career, or in a relationship, it’s about reimagining daily experiences to live life to the fullest” shares Marco Zocco of the song he co-wrote with his brothers Paolo and Matteo Zocco. “It’s a call to press pause on our emotional and physical autopilot, and make space for freedom and adventure.”
The all-star collaboration was recorded between Los Angeles’ Licorice Pizza Records and Milan’s Massive Arts Studios with vocal production and recording in Nashville, putting a stamp on the international appeal of ZOCO. In addition to the cast of talented players, with Gunnar Nelson also on backing vocals, Marco co-produced the music with the help of studio engineer and friend Jake Pace alongside Carmine Rojas. The music was mixed by Stephen DeAcutis (Gladys Knight, Cyndi Lauper) and mastered by legendary mastering engineer Howie Weinberg (Nirvana, Beastie Boys).
Marco, who hails from Geneva, Switzerland, writes and performs all of ZOCO’s material, guitar, piano, bass, drums, vocals and lyrics, often alongside his two younger brothers, Paolo and Matteo, and a revolving door of talented collaborators from the U.S. rock scene who help bring his creative vision to life.
With new music on the horizon, ZOCO continues to expand its bold, genre-bending sound where iconic guitar riffs meet cinematic arrangements, layered with piano, synths, and unexpected instrumental turns. The upcoming release carries the band’s signature mix of alternative rock and pop with flashes of metal, electronica, and blues, creating songs that are both technical and heartfelt.
“What’s My Name?” feels raw and full of urgency — almost like a demand to be heard. What was the spark that lit this track, and how did it evolve in the writing room?
‘For me it came with the chorus, it was a callout to all the frustrations and confusion I feel hearing about catastrophes abroad. The victims of atrocities become nameless, even with the details in the news. It’s not political, it’s personal, as I was inspired by the frustration I feel trying to highlight these issues with people who don’t care. It’s my attempt to (albeit vaguely) convince them that these issues are important no matter how much it stings to acknowledge them.’
You’ve described the song as channeling frustrations with the state of the world. Was there a particular moment, event, or feeling that tipped this into music, rather than just anger?
‘I would say the concept of “What’s My Name?” originated with my own contempt of people claiming to know me, that don’t know my name, let alone could deadname me. But with the state of the world it evolved into an anthem for people fighting for, and marching for, peoples around the world who stand up for the nameless victims of cruel regimes.’
To Octavia has always been known for blending heaviness with melody — but on MELODRAMA the darker tones feel more unapologetic. How did you decide to push further into that heavier space?
‘Really, the heaviness of MELODRAMA comes from our mental states while writing. It’s as simple as that. We were angry and hurt and sad and all of those things during the writing process. We wanted to make an album that represented us as a collective at this specific point in time, and this is the result. It’s darker, heavier, and more of a middle finger up to everyone than we’ve ever felt brave enough to do.’
Working again with Chris Lalic, who knows your sound inside out, must give you both comfort and challenge. How did he shape the sonic landscape of this record compared to your past releases?
‘I would say this was the release he was most “hands-off” with, in terms of writing. We came to Lalic with more songs almost fully formed than we ever had before and I think just having him there for guidance was a tool in our belt that we exploited as much as possible, while being able to completely maintain our own vision and concepts for the album.’
Nav Jay officially joined the fold during this album cycle. How has his addition changed the band dynamic, both creatively and personally?
‘Nav joining gave us a wholly outside perspective which we had never had before internally of course. It’s been a pleasure getting that perspective and working with it. We couldn’t have done what we have with MELODRAMA without him.’
Your journey from Somewhere in a World, Not of the Dream through Wonderland to MELODRAMA feels like a steady escalation in conviction. Looking back, what do you think you’ve shed or outgrown as a band to get here?
‘What we’ve shed is worrying about what will sell, or what songs will be the most popular. We have just pushed forward the tunes that we like and have made an album with which none of us can agree on a best song. It’s a smorgasbord of bangers that we love, and all we can hope is that our fans love them too.’
Merry, your vocal contribution to Sonic Frontiers reached a global audience far beyond the alternative scene. Did that experience influence how you approached writing and performing on this record?
‘The short answer is no. The longer answer is that writing to a criteria set for you, is a LOT easier than coming up with the concept by yourself. So writing for the album was a complete ordeal compared to writing for the Frontiers theme song.’
With triple j support, festival appearances, and now over a million Spotify streams, you’re steadily carving out a national and international footprint. Do you feel the momentum building differently around MELODRAMA compared to past releases?
‘Yes, it has been such an unexpectedly successful release so far. Only unexpected in the way that the releases have done far better than we ever could have hoped. We are so incredibly grateful to our fans and all new listeners for consuming To Octavia this way.’
The title MELODRAMA suggests heightened emotion, tension, and maybe even theatre. What does that word mean to To Octavia, and how does it tie the whole record together?
‘The record is a series of stories all filled with heightened emotions, drama, conflict, and resolution. Therefore, “MELODRAMA” perfectly encapsulates the energy of the album from start to finish.’
Saturday 3 January 2026 – PICA, Melbourne
Following unprecedented demand since his last sold-out visit, global techno heavyweight, I Hate Models returns to PICA Melbourne on Saturday 3rd January 2026 presented by XE54 and Untitled Group.
Joining him for this occasion are Patrick Mason and Pegassi ensuring this will be one of the most highly anticipated electronic events to kick start 2026.
Fresh off the back of announcing his slot at Beyond The Valley, Australia’s largest camping festival which is already sold out, I Hate Models now delivers Melbourne fans another chance to experience his commanding and uncompromising performances.
A true force on the global circuit, I Hate Models has released music on his own label Disco Inferno, delivered remixes for Depeche Mode, and created international anthems such as his edit of Toro. His latest EP, Forever Melancholia, continues to showcase his uncompromising sound. The DJ and producer has also headlined Ultra Music Festival, EDC, Awakenings, Tomorrowland and more, cementing his reputation as one of techno’s most in-demand artists.
Famed for sets that traverse trance, and techno with emotional intensity, his sound rejects formula and embraces raw catharsis. On his last visit to Melbourne in October 2024, I Hate Models sold out two shows at PICA Melbourne, proving the sheer demand for his return and reaffirming his cult-like following within Australia.
Berlin’s Patrick Mason brings his boundary-pushing hybrid of music, fashion, and art. Known for his powerful stage presence and “techno extravaganza” style, Mason has played at Awakenings, Time Warp, Printworks, Tomorrowland, and DC-10. His creative influence also spans into fashion, including collaborations with Maison Margiela and Trippen, and as Ray-Ban’s first external creative director — where his designs sold out globally within days
Belgium’s Pegassi has rapidly risen as one of the most exciting voices in electronic music. Breaking through with his remix of No Type, which hit #1 on Soundcloud’s global charts, and his club anthem Yoyoyo, Pegassi has since gained support from tastemakers including Marlon Hoffstadt, Anetha, Trym, and Solomun. With performances at Tomorrowland, Intercell, and more, he is now driving forward with his own imprint and event series, Sweet Nothing, cementing his global trajectory.
Also joining the event will be homegrown talent Mikalah Watego b2b Hannah D, rounding out the incredible lineup of artists taking to the stage this January.
Untitled Group, Australia’s largest independent music promoter, is celebrating 10 years of redefining the live music scene with flagship events including Beyond The Valley, Pitch Music & Arts, Wildlands and Ability Fest.
Sign up for presale access HERE
Presale begins Thursday 18th September 11:00 AM AEST
General on sale begins Friday 19th September 11:00 AM AEST
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Your new single ‘Don’t Let Me Put A Track On You’ is fiercely defiant and sonically bold. What was the spark that led to writing this particular track in the south of France?
Musically, I kept vibing with sea, the beach, and walking along the Croissette in Cannes. It has this energy and pulse to it, it’s contagious. Lyrically, a family member was going through a tough time and catching a lot of heat for it. It started to spill on to me because I was supporting her… my response… “Don’t Let Me Put A Track On You” – they don’t want none of this.
You’ve performed in some remarkable locations — Château Les Alouettes, Villa Balbiano, and even the Paris premiere of Azur. How do these unique settings influence your creative process and live performance style?
Travel and diversity is so much to what I do. I like to explore, to push boundaries and be vulnerable in these unique atmospheres, it adds to the growth process. There is so much to learn, the more I learn the more I realize how much I don’t know.
Your music blends hip hop with cinematic sound design, funk, rock, and film score elements. How do you decide which influences to weave into a track without losing your signature sound?
I walk into the studio with ideas loaded and start creating. Instinct first, guardrails second. The beat leads; I layer textures. If it drops the energy, it’s gone. I set a tempo and let it carry me wherever it wants. Maybe that sounds crazy—I just go. Everything I’ve lived and everything I’m feeling rushes in, a haze that snaps into focus when the groove hits.
You mentioned there’s a “Caribbean pulse” beneath this track. Can you walk us through the production choices and instrumentation that brought that vibe to life?
The Caribbean pulse lives in the low end. I built it on a reggae-leaning bassline that gives the whole track that swaying feel. When the back half of Verse 1 hits, I open the arrangement—steel-drum colors and percussion kick up the dust. That’s straight Bahamian Junkanoo energy: parade vibes, celebration, movement, color. It’s party and pursuit at the same time—the groove invites you in, the chaos keeps you on your toes.
Storytelling is a key part of your work. When you sit down to write, do you think in terms of lyrics first, visuals, or soundscapes?
I start with sound. The tone and personality of the beat set the mood, the pace, and the point of view. I see pictures first—scenes, camera moves, colors—and then I write the lines that fit that frame. The lyrics chase the groove. If the beat feels like a party, I aim for movement; if it carries edge or weight, I sharpen the language and tighten the cadence. This track blends lanes—party energy, raw aggression, and real heart—so the story flips between celebration and pursuit without losing the signature voice.
Being completely self-written, self-produced, and self-performed is no small feat. How does that independence shape the authenticity of your music?
Thank you. That answer is pretty simple: I do what I want—and I own it. I write it, produce it, perform it, so the record never loses its face. No filters, no detours, just a straight line from my gut to the speakers.
Detroit’s underground scene clearly shaped you. How does your hometown continue to inspire your art, even while living in Cannes?
Michigan-made, Detroit-wired. The hustle and resilience from home run through everything I make. Midwest grit with Riviera glam — that’s the mix, every record.
The single features a calmer bridge with female vocals before exploding back into intensity. How did you approach that dynamic shift and the collaboration process for that section?
I had to let the song breathe. I’d written that section for another record and shelved it, but I was still in love with it. The way I catalog ideas, I knew right where to pull it from—and it fit perfectly here. The female vocal brings a calmer texture, but it’s the same message, same pulse. We give her space to carry it, then slam back in so the final hit feels earned.
Your music feels like it belongs in films and luxury campaigns. Do you see yourself expanding further into film scoring or fashion collaborations?
Absolutely. I don’t really “branch out” so much as integrate—sound, style, and cinema on one frequency. I’m already developing a feature where the music is the spine: a sexy, seductive love triangle told through shifting POVs, with the score driving the tension from first glance to fallout. I’m already in talks with filmmakers in New York, France and Prague. In fashion, I’m stepping in deeper: a capsule collection and an on-stage runway-meets-performance in Mumbai in March 2026 tied to a brand collaboration, where I handle the soundtrack and creative direction so the visuals and the music hit as one. That’s the lane—films you can feel, campaigns you can hear.
With nearly 2 million streams already, what’s next for you? Can fans expect an EP or full-length project following this single?
I don’t plan on slowing down. “Stick Figaro” lands Oct 10, then “YOLO 2 Yoga” drops in early November. In December, the full n=40 EP arrives—eight tracks with eight cinematic videos, one for each record. I’ll be performing across Europe this winter, then bringing a runway-meets-performance to Mumbai in March 2026 tied to my capsule collab. In Spring 2026 I drop L’Americain—a world of its own—with a live moment around the Cannes Film Festival in May, and I’m shooting videos for it across Europe, L.A., India, and the Caribbean. In parallel, I’m finishing a feature scored with 20+ originals—a seductive love triangle told in sound and light. EP now, album next, and a whole ecosystem to go with it.
Follow Jairic:
Website – Instagram – Soundcloud – Youtube – Spotify
Photo credit: Kane Lehanneur
Globally renowned rockers Ocean Alley today return with their most vibrant and confident body of work yet, unveiling their fifth studio album Love Balloon, out now independently via Community Music. The release is led by the luminous focus track and video “Drenched”, capturing the six-piece’s gift for transforming vulnerability into something cathartic and universally resonant.
To celebrate the release of Love Balloon, Ocean Alley are hosting a series of exclusive fan pop-ups and launch parties across the East Coast where fans can get their hands on an exclusive signed vinyl variant limited to 500 units. In Melbourne, Soundmerch HQ will be transformed into a Love Balloon pop-up store this entire weekend, followed by a special launch party at Hotel Brunswick in Byron Bay on Saturday 20 September from midday. The celebrations will wrap up in Sydney on Sunday 21 September with a takeover of Bombies at the Harbord Hotel.
Across 10 tracks, Love Balloon takes listeners on a journey through life and love in all its complexity, anchored by moments of light, vulnerability and connection. Written during a time of significant personal milestones for each band member, that undercurrent fed directly into their pursuit of new sounds. With legendary rock producer Nick DiDia (Bruce Springsteen, Rage Against The Machine, Powderfinger) at the helm, the album embraces a stripped-back, organic approach that prioritised spontaneity and openness through the recording process. Woven with influences as diverse as Creedence Clearwater Revival, The Bee Gees, Kokoroko and GUM, it wears its inspirations with reverence while carving out its own distinct Ocean Alley-flair.
Keyboardist and vocalist Lach Galbraith shared, “The album explores the many layered dimensions of love – not just the cinematic kind where you’re falling head over heels, but the full spectrum: joy, hurt, discomfort and disappointment. Let’s call it the river of love – whether it’s with a partner, a friend, or family, you never know when it’ll get deep, go shallow, or suddenly change course. It’s such a force that you have to just surrender to its current.”
From the disarmingly simple four-chord progression that opens “First Blush”, there is an immediate shift from records past – its melodic ease feels instantly familiar, like a song that you’ve always known. The toasty, sun-soaked “Tangerine” has already cemented itself as an audience favourite, while the driving beat of “Thru Everything” and the bluesy swagger of “Left Of The Dealer” showcase the strength of the band’s rock DNA. At the album’s core sits the buoyant title track “Love Balloon” – anchored by an irresistible groove, pulsating bassline and shimmering guitar riff, threaded with Nile Rodgers-inspired funk that marks playful new territory for the group. And closing track “Drenched”, which drifts in like golden hour, warmed by slide guitar and subtle country twang, soaring on vintage synths and whirling guitars. Baden Donegal’s hypnotic vocals swell with dizzying self-reflection to glimmers of hope and release, it’s a finale that transforms introspection into bliss. The accompanying video was inspired by a wave of early-2000s nostalgia, drawing on director Duncan Wright’s own memories of growing up skating and “being ratbags when there wasn’t any swell” in Gracetown where the clip was shot – and aligning similarly to how the Ocean Alley boys grew up. Channeling that energy, the video features first-time actors alongside the band, who were given the freedom to play around in different scenes… surfing, loitering and capturing the carefree spirit of youth.
Love Balloon is a triumphant record that celebrates joy, reckons with change and reaffirms Ocean Alley’s deep commitment to each other and to the music that binds them. It’s the sound of a band pushing their creative limits, surprising at every turn, and reminding us that emotional truth doesn’t need to be complicated to be profound.
To celebrate the release, Ocean Alley will take Love Balloon on the road in early 2026 for their biggest Australian headline shows to date. Kicking off at Melbourne/Wurundjeri’s Catani Gardens on Saturday 24 January, the band will then head to Brisbane/Meanjin Showgrounds on Friday 30 January, before hitting The Domain in their hometown of Sydney/Eora on Saturday 31 January. They’ll round out the tour on the West Coast at Freo Esplanade and 3 Oceans Winery in Margaret River/Wadandi on Saturday 21 February and Sunday 22 February respectively. The East Coast shows will exclusively feature UK alt-rockers Nothing But Thieves and platinum-selling US outfit Rainbow Kitten Surprise, alongside the raw and relatable Ruby Fields. On the West Coast, DIY heroes Skegss join Ruby Fields and Perth’s rising indie-pop darlings Smol Fish.
The Australian run will follow a huge slate of international dates throughout 2025, including festival appearances at Lollapalooza, Sziget and Austin City Limits; two North American tours; the band’s first-ever shows in South America; and their largest headline show to date at London’s iconic 10,000-capacity Alexandra Palace.
With a catalogue surpassing 1 billion streams and a reputation for their magnetic live performances, Ocean Alley have cemented themselves as one of Australia’s most influential contemporary bands. Their breakthrough hit “Confidence” topped triple j’s Hottest 100 in 2018, has since gone 6x Platinum and charted around the world, plus most recently placed #65 in triple j’s Hottest 100 of Australian Songs.
With Love Balloon, Ocean Alley step into a bold new chapter – a band at the height of their powers, bringing their most open, spontaneous and radiant work to life on their biggest stages yet.
OCEAN ALLEY – LOVE BALLOON [LP]
Out 19 September via Community Music
Artwork by Nick Curl
BUY/STREAM THE ALBUM
Presented by Live Nation, Face to Face Touring, Macro Music, UNIFIED Music Group
Supported by triple j
OCEAN ALLEY
LOVE BALLOON AUSTRALIAN TOUR 2026
WITH SPECIAL GUESTS NOTHING BUT THIEVES (UK),
RAINBOW KITTEN SURPRISE (USA), SKEGSS, RUBY FIELDS
AND SMOL FISH
Saturday 24 January – Catani Gardens, Melbourne/Wurundjeri VIC*
Friday 30 January – Brisbane Showgrounds, Brisbane/Meanjin, QLD *
Saturday 31 January – The Domain, Sydney/Eora, NSW*
Saturday 21 February – Freo Esplanade, Fremantle/Whadjuk, WA^
Sunday 22 February – 3 Oceans Winery, Margaret River/Wadandi, WA^
For complete tour and ticket information, visit: oceanalley.com.au
*Supported by Nothing But Thieves, Rainbow Kitten Surprise (both exclusive to Mel/Bris/Syd) and Ruby Fields
^ Supported by Skegss, Ruby Fields and Smol Fish
Presented by Live Nation, Face to Face Touring, Macro Music, UNIFIED Music Group
Supported by triple j
OCEAN ALLEY
LOVE BALLOON AUSTRALIAN TOUR 2026
WITH SPECIAL GUESTS NOTHING BUT THIEVES (UK),
RAINBOW KITTEN SURPRISE (USA), SKEGSS, RUBY FIELDS
AND SMOL FISH
Saturday 24 January – Catani Gardens, Melbourne/Wurundjeri VIC*
Friday 30 January – Brisbane Showgrounds, Brisbane/Meanjin, QLD *
Saturday 31 January – The Domain, Sydney/Eora, NSW*
Saturday 21 February – Freo Esplanade, Fremantle/Whadjuk, WA^
Sunday 22 February – 3 Oceans Winery, Margaret River/Wadandi, WA^
For complete tour and ticket information, visit: oceanalley.com.au
*Supported by Nothing But Thieves, Rainbow Kitten Surprise (both exclusive to Mel/Bris/Syd) and Ruby Fields
^ Supported by Skegss, Ruby Fields and Smol Fish
FOLLOW OCEAN ALLEY
WEBSITE | FACEBOOK | INSTAGRAM
OUT EVERYWHERE DECEMBER 5, 2025
Half Purple Half Red w/ Yellow & Orange Splatter Vinyl
(Limited to 3,500 units worldwide)
PRE – ORDER HERE
Legendary punk band NOFX has announced the release of ‘A to H’, the first instalment in their upcoming triple album project titled A to Z, a special album series packed with rarities, demos, and never-before-heard tracks from the band’s storied career. The artwork design comes from legendary artist, SHAG.
‘A to H’ (out Dec. 5) perfectly kicks off this special three-part collection with the band’s newly-released song, “Barcelona,” the first NOFX song released since the band played their final shows last year. “There are unreleased songs, very rare songs that have never been available digitally, and demo versions of songs that are not nearly as good as the album versions!” – Fat Mike
Fans can pre-order exclusive vinyl for the first instalment now.
Track Listing:
1. The Audition
2. Barcelona
3. Cigarette Girl
4. Don’t Count on Me (demo)
5. Everything in Moderation (especially moderation)
6. Fleas (live at MySpace)
7. Generation Z (demo)
8. Hardcore 84
New Album Easier Said Than Done out October 17 Followed by an Australian Tour
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Photography: Andrew Faram
Canadian singer-songwriter Clara Cloud returns with Rabbit King — the second single from her upcoming sophomore album As Above, a dark, folkloric twist on the Orpheus and Eurydice myth. With a voice as hypnotic as the tales she spins, Cloud leads us down the rabbit hole — not to Wonderland, but into a shadowed realm where power seduces, crowns corrupt, and even kings can fall. Blending medieval chamber pop, forest-soaked folk, and stormy alt-anthems, Rabbit King carries the theatrical sweep of Florence Welch, the raw spark of Mumford and Sons, and the untamed magic of AURORA. Inspired by Alice in Wonderland’s iconic White Rabbit — here recast as a lost wanderer crowned by a Hades-like Red Queen — the track beats with a ceremonial refrain, “Ra ta ta ta…,” charting his tragic rise and ruin. It’s a descent, a warning, and a fable for anyone who’s ever reached too far, too fast.
Rabbit King builds on the critical acclaim of Cloud’s visual album The Woods, deepening her reputation as “BC’s Kootenay fairy songstress” — a genre-blending artist with theatrical roots and a love for Celtic traditions, dreamy pop atmospheres, and the mysticism of folklore. Raised in the mountain town of Kimberley, BC, Cloud has been weaving music, film, and theatre into her work since 2018, all while mentoring the next generation of artists through her role as a music educator and her upcoming 2025 choral workshop with Selkirk Secondary School. Produced by Sal Verma and mastered by Greg Mindroff, Rabbit King stands both as a spellbinding standalone track and as a pivotal chapter in As Above — a sweeping, mythical opera of love, loss, and longing, where every note feels like a step deeper into the forest.
https://www.claramacleod.com/musician
Australia’s favourite beer-fuelled legends Cosmic Psychos are back with their twelfth studio album I Really Like Beer on Friday November 7, and they’re hitting the road the very same day. No mucking around.
Recorded to tape with Paul Maybury at Secret Location Studios between Knighty’s vineyard duties and CFA callouts, the new record is classic Psychos. As raw, loud and gloriously dumb as ever – with the occasional life lesson hidden under a pile of riffs. If you’ve been paying attention since *checks notes*, 1982, you already know what you’re in for.
The first sip comes in the form of “I Like Beer“, a touching love letter from Ross to his true love. This one comes to life with an absolutely bonkers video (we’d expect nothing less).
To mark the album release, the band is heading off on their most ridiculous tour yet. 40 regional dates right across Australia, kicking off in early November and charging into 2026. RSLs, pubs, halls and hard-earned beers with the local townsfolk.
The band will be joined on drums by none other than Dan Peters (Mudhoney, Nirvana) for the first leg and that young whippersnapper BC from Dune Rats on the second stretch. One tour. Two drummers. No downtime. We dare you to find a more extensive tour in Aussie Rock history.
“We made a record about beer, so now we’re going to play it in as many pubs as possible. Simple.” says Knight.
And because idle hands make mischief, Knighty has also decided to launch a brand new weekly podcast, How Ya Goin? (with Dr Knighty). Equal parts mental health check-in and pub-style yarn, the show features honest conversations with some of his mates, who also happen to be some of the biggest names in music. Season 1 guests include Eamon Sandwith (The Chats), Donita Sparks (L7), Tim Rogers (You Am I), Scarlet McKahey (Teen Jesus and the Jean Teasers) and many more. It’s warm, funny, loose, and totally unfiltered, just like the bloke hosting it.
Listen to the trailer for How Ya Goin? here
Tickets for the I Really Like Beer Tour are on sale now via cosmicpsychos.com.au
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