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How did the collaboration between you two come about? Was this something you had discussed before, or did the opportunity arise organically?
Lin Gardiner – Julia Sound (JS): This was definitely an organic collaboration. Kinnie and I have worked together a bunch over the last few years, mainly on her solo music, but she also featured on a track from my 2023 album. When I was putting this track together, Kinnie’s was the only voice I could hear on it, so I was thrilled when I asked if she’d be up for another feature, she said yes!
“Cars Crush” blends Julia Sound’s mellow electronica with Kinnie Starr’s chill rap and ethereal vocals. Can you describe your creative process for this track and how you melded your distinct styles together?
JS: Our collaboration is always really easy, which I love. I sent the track to Kinnie asking if she’d be interested in contributing a kind of chill stoner rap, and she responded with what you hear.. I loved it right away! Kinnie is a producer as well as a writer and performer, so she recorded the vocals in her studio, including adding a lot of the effects you hear in the track. It’s so seamless when we collaborate, we’re on the same page creatively which is really cool.
KS: Lin and I have been collaborating for years. We share similar work ethics and enjoy the art of communicating, which makes work easy. I think people rush too much with communication, and when we do that too much, the relationship and work suffers. When Lin and I collaborate, we offer each other time, but also we know that follow up is important. So our work flow is very successful.
Julia, your background spans across video games, TV, and film—how did those experiences influence the production and feel of “Cars Crush”?
JS: I would say they don’t influence this track at all. When creating music for visual media, you are informed by the characters, the story, the setting.. When creating a music track isolated from any other form of media, the canvas is completely blank and I just follow ideas in my mind’s eye, rather than my actual eyes 🙂
Kinnie, you’ve been a major figure in the Canadian indie hip-hop scene for decades. How does collaborating on a project like this challenge or excite you compared to your solo work?
KS:Collaboration makes songs easier. I do most of my production (beats and bass lines and keys and structure) alone, which can get boring. I really prefer throwing it back and forth and Lin is great at that.
The single is described as a taste of Julia Sound’s upcoming album. Can you give us a hint of the direction the full album will take, especially in terms of sound and themes?
JS: The album has a few tracks with this mellower trip hop vibe, but there are also a couple of tracks where I up the tempo quite a bit (by Julia Sound standards anyway!). The opener is going to lean into a bit of a nostalgic 90’s club vibe, and another track has a more edgy, slightly indie style.. Both of those songs also have some exciting featured vocalists. Stay tuned!
How does “Cars Crush” reflect both of your personal journeys as artists, and how do you see it fitting into your broader musical narratives?
JS: I think I have a 90’s trip hop influence at my core (among other genres & time periods), and this track is one of the most reflective of that trip hop vibe. I love rap and hip hop too, and have so much respect for Kinnie’s work, and see this track as showcasing some of the many strings on her bow, from cool chill rap to beautiful melodic phrases.
KS: Oh I don’t know the answer to this one! But I really like this track. It feels like the west coast – blurry.
Kinnie, your versatility in switching from rap to ethereal background vocals is striking on this track. What inspired you to experiment with those different vocal styles on “Cars Crush”?
KS: That’s just how I work. I’m not trained in music so I’m very exploratory. I am always learning. I like breaking my voice up.
Julia, as someone who works across multiple mediums, how do you approach songwriting and production differently when creating music for an album versus for TV or video games?
JS: As mentioned above, writing straight up music tracks is quite free-ing, as I’m not bound by any other influences such as a story or setting for a film or game.
You both have had long careers in the music industry—what do you think makes “Cars Crush” stand out in today’s musical landscape, and what are you hoping listeners will take away from it?
JS: The whole Julia Sound project is 100% female (and non binary) created, which I think gives it a unique story. In terms of the track standing out, how does anyone stand out these days with 1 million uploads per day? All I can hope for is that some people dig it and add it to their playlists (which appears to be happening so that’s cool!). I just love creating music, and collaborating with amazing artists, so for me it’s all about enjoying the process of creating, and then putting it out in the world for people to enjoy, rather than having any grandiose goals or expectations.
KS: Honestly I’m not sure how music reaches people or IF it reaches people. The amount of new songs that are released on Spotify alone daily is staggering. I think it’s important to make the work for the work, not for expansion or for any goal other than to do it well. I have a very small following on Spotify and don’t really have a competitive spirit so it’s been hard for me to understand how to embody that “get it” mentality we are supposed to have in music. I am just grateful to be working.
Finally, with “Cars Crush” as a preview, what can fans expect next from Julia Sound and Kinnie Starr? Are there any exciting plans for live shows or future collaborations on the horizon?
JS: From me, there’s the new Julia Sound album due late Spring, an EP from my electro-punk trio Bae Baracus, as well as some live shows in the summer in BC. Also, I’ll be finishing up co-producing and mixing some tracks for a fantastic new Kinnie Starr release slated for release soon(ish!).
KS: Yes!! We are always working together and actually Lin worked with me on my whole new album, DESTROYER. I think we are in it for the long haul. It’s very important to develop deep working relationships and in particular to hire women and Indigenous people as much as possible to keep populating the industry.
Words: Charlotte Najjar – Photography: Ian Laidlaw
Despite the blistering heat of the first day, Sunday’s run of the Yours & Owls festival (or “Gong Christmas”) brought howling winds and dropped temperatures to the stunning beach side venue. Yet patrons refused to let the sudden change spoil the day. Afterall, it only takes jumping in the pit to get warmed up.
San Cisco was the first stop of the day, their defining indie sound able to be heard from the gates, so of course, I made a beeline for the Harbour stage. Fan favourites like “About You” and “Too Much Time Together” had the crowds up and about throughout the entirety of their very windy 40 minute set.
Then it was time to head off to catch MAY-A’s anticipated return to the stage, which left even those who didn’t know her music rocking out by the time she played her final song of the afternoon. Also debuting a new unreleased track, her catchy tune had all of the crowd chanting lyrics previously unknown to them. With no release date revealed, this will be one to look out for when it drops.
Of course The Veronicas were not to be missed, their set bringing forth a mixed crowd all united by what could be described as the sound of the 2010s. Their newer songs were not to be discounted, “Detox” and “Here to Dance” from their 2024 album “Gothic Summer” cemented themselves as certified dance hits. Much to the screaming fans delight, they wrapped up with everyone’s favourites “4ever” and “Untouched”, leaving the crowd exhausted and out of breath from such an energetic performance by the iconic Aussie sisters.
After some refuelling thanks to the many wonderful food truck options on sight, it was a non-negotiable to catch some of CYRIL’s DJ set. Crowds were thrilled by his well known mix of “Stumblin’ In”, and were absolutely blown away by the mashup of two classic rock songs, “Thunderstruck” and “Black Betty”. With incredible mixes blaring out to the dancing audience, it was almost impossible to drag yourself away, but alas The Kooks are too much of a household name to miss.
Of course, there was nothing more iconic than seeing the English band perform their song “Seaside” on the breathtaking seaside festival site of Flagstaff Hill. It would seem I was not the only one who was enamoured by the views and accompanying soundtrack, multiple crowd members commenting on the perfect choice of song to watch the sun begin to set to. Before I knew it, it was suddenly time to dash across the grounds to catch Slowly Slowly’s performance, but that wasn’t before leaving with a new favourite Kooks song. “Bad Habit” had everyone jumping around to the catchy tune, and it’s safe to say it has found a comfortable place in my daily song rotation.
Never one to miss the chance to mosh, Slowly Slowly’s turn on the Mountain stage was exactly where I needed to be. The Melbourne band brought even more energy than usual, the centre of the crowd not staying still for a single minute, taking every chance to collide into each other. After everyone got in the day’s cardio dancing along to multiple hits from the bands newest album “Forgiving Spree”, we all made a run for the Harbour stage, determined to not miss our favourite Irish band taking the stage.
Fontaines D.C. have been making waves recently with the release of their album “Romance”, however I’ve been sour ever since I missed them at Laneway 2023, so this was not one I was going to miss. Sure enough, they did not disappoint. I know I myself was thrilled to hear my favourite (pun most certainly intended) song off the new album “Favourite”. However, they couldn’t have ended with a better song than “Starburster”, the whole crowd searching to get up onto the shoulders of friends in order to fully immerse themselves in the experience.
As the night came to a close, Honey Dijon and Hockey Dads were the final stop of the evening. It comes as no surprise that Dijon rocked the crowds, even people such as myself who listened from afar, enjoying the electronic hits whilst resting up for the closing act. Her high energy tracks would’ve been a great end to the day, the only thing which could’ve topped it being Hockey Dad closing up the Mountain stage right after, which lucky for all us festival goers, is exactly what happened.
The indie rock group, who funnily enough hail from just a few suburbs over from the festival site, ended the night with everyone’s favourites, “I Wanna Be Everybody”, “Homely Feeling” (a personal favourite) as well as “Join The Club” and of course “Seaweed”. A perfect song to end a perfect festival weekend along the beautiful beach front. The only regret we all have is that we’ll have to wait another year for it to come around again. 
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If the name sounds familiar, it’s because sisters Kate and Lauren Kurdyak first made waves as The Katherines with their 2017 debut, To Bring You My Heart (604 Records). That record racked up over a million Spotify streams, landed on New Music Friday and Hot Hits Canada, and even found its way into TV hits like Orphan Black and The Order. Then, after stepping away to study philosophy, they re-emerged in 2020 as Vox Rea—a name that reflects their creative reinvention and a move beyond the “girl band” label.
Their sound? Dark, cinematic, and deeply introspective. Think noir-pop laced with lush strings, hypnotic harmonies, and poetic storytelling, tackling themes of addiction, self-doubt, independence, and grief. Their self-titled album brought together an incredible lineup of collaborators, including Luca Fogale, Begonia, Joël, and producers Connor Seidel, Tim Buron, Derek Hoffman, and Joel Stouffer. Since dropping their first single, Dose Me Up, they’ve hit 700k+ Spotify streams, landed on CBC and British Columbia radio, and saw Damn (Unstuck) named one of Spotify’s Top Folk Songs of 2021.
But Vox Rea isn’t just a band—it’s a full-fledged artist collective. They direct their own videos and short films, craft a merch line in collaboration with Dutch artist Maud van Baar de Knegt, and bring their immersive artistry to major festivals across the UK, Europe, and North America—including SXSW, The Great Escape, Reeperbahn, and Treefort Music Fest. Their impact goes beyond music, earning them industry recognition with CreativeBC’s Career Development Grant, Canada Council’s Research & Creation Grant, and selection for RBCxMusic’s First Up Program. Oh, and they’ve teamed up with brands like Field House Brewing, Huha, Charlie Beads, and Lost Goodz along the way.
At its core, Vox Rea is more than just music—it’s a movement. A bold rejection of industry norms. A testament to the power of self-expression, autonomy, and art without compromise. And with The Art Oracles Songbook on the horizon, they’re just getting started.
What inspired you to create Read Between The Lines, and what does the title signify to you?
It has long been a dream of mine to put together and release a book of my art. I love the idea of a physical product that people can sit with and enjoy. Something to hold on to and maybe display on your coffee table.
The title is a playful idea around the fact that a lot of my art has lines running through it in one way or another. And I like the idea that even though there are very few words in the book, people might want to read into the meaning of the pieces.
Was there a particular moment that made you say, “It’s time to make this book happen”?
Not sure if there was one particular moment, but I have wanted to show my art in a different form to just people scrolling past it on their phones. I have been creating art for a long time now and have an extensive catalogue of work. It felt like a good time to put together a collection.
How did you approach curating 150 pages of work? Was it more about showcasing your best work, or were you looking to tell a larger story with the sequencing and selection?
It wasn’t easy and has definitely taken longer than I thought it would. The overarching theme is my digital art that has lines as part of its makeup. Outside of that, I wanted the book to have a nice flow to it. You get to see a common thread, but I’d like to think that there’s a lot of variation in how it’s presented.
Your work has a distinct aesthetic. How would you describe your editing style, and how did it evolve over time? Were there any key influences—photographers, artists, or even music or film—that shaped the way you process and present your images?
I feel like I’ve developed a strong visual language. I think if your art can be identified without someone needing to see a title or caption, you’ve hit a pretty sweet mark on establishing your own style. It is definitely something that evolved over time. When I first started working in digital art, I was very much learning from others and trying to emulate what they were doing. As I got more confident in my skills, I really wanted to experiment with what I was doing and create something that I could call my own.
Having said that, I do have some key influences in my art journey. Stanley Donwood is a major one. He creates all the art (alongside Thom Yorke) for Radiohead. Stanley is a traditional artist that works in a number of mediums like printmaking, paint and pencil. He has an aesthetic that really appeals to me. I’m also drawn to the work of Storm Thorgerson. He (and his studio) work with photography in such a surreal way. He also creates album artwork for a large number of well know acts. A huge inspiration.
What’s your typical camera setup when shooting? Are you loyal to a specific camera and lens, or do you switch things up depending on the subject and setting?
I have quite a few toys… I’m not particularly loyal to any one camera or device. I tend to use whatever will get the job done. My main camera is a Canon 5d Mk 4. I use that most of the time, but I’m also a fan of iPhone photography and creating with whatever I have on hand.
A large portion of my art starts out as photos of land or sky and then gets manipulated into something completely differen
When it comes to post-production, what’s your workflow like? Are there any particular techniques or software tools you rely on to achieve your signature look?
I do a lot of creating in post. There are a number of programs and apps that I use to generate the assets I need to create my art. There was a time when I was beta testing iPhone photography and editing apps which gave me a real insight into what could be done with my phone. As a general rule though, all my art ends up going through the Adobe suite and put together in Photoshop.
Beyond photography, your work has a strong artistic element. Do you see yourself as a photographer first, or more broadly as an artist? And how do other artistic mediums influence your approach to photography?
I definitely see myself as an artist. I grew up with a strong interest in drawing. Through my teens and early adult life my focus switched to photography and I studied it and printmaking at University. I also had a strong interest in graphic design. When Instagram became a thing, I took an interest in digital art and design, but that all stemmed from photography too. As I have worked more as an artist full time, I’ve become more and more interested in just being creative through any medium I can get me hands on.
The book launch at @oshi_au isn’t just about the book—you’re also offering signed prints, merch, and creating an entire experience. What do you want people to feel when they step into the exhibition?
I’d like to think that people can step into my world for a little while. Art can be a great escape for both the artist and the viewer. I love the idea that someone can get drawn into my digital and surreal landscapes and they can go on a journey of sorts. Even if it’s just a little moment when their eyes do a little dance due to the digital lines. And hopefully there’s a sense of joy or wonder attached to it as well. I am aware that my art can give a feeling of isolation and maybe feel a little dark, but often if you check out the titles, that is countered with hope and opportunity.
You’ve spent a lot of time working on this book—when you finally held the finished copy in your hands, what was that moment like for you?
It was an amazing and surreal feeling. Holding the physical product and flicking through all that work. I’m really proud of it and super stoked with how the book has come together. The final product is as good as I’d dreamed it would be. Possibly better…
Looking back, what were the biggest challenges in bringing Read Between The Lines to life? If you were to do another book, would you approach it differently?
I knew going in that I would need help. If I had tried to do this on my own, it would never have got done. As a freelance, full time artist, you often have to put client work ahead of your own. So I enlisted the help of my graphic designer friend Paul of Vanda Graphics. It was the first time either of us had worked on a book, so there was defiantly a learning curve on getting everything right on the templates and working through how to piece it all together.
I feel like the second time would be easier…
Now that Read Between The Lines is about to be out in the world, what’s next for you? Do you see yourself diving deeper into publishing, or are there other creative projects on the horizon?
I’ve always got 1000 projects on the go (either in real life or in my head). I’ve already got the concept sorted for my next book and can definitely see myself doing more physical products. Most of all, I just love the fact that I get to be creative for a living. Whatever that looks like at the time…
Following overwhelming community support, the Esoteric Music Festival is excited to announce that the local Buloke Shire Council has tonight voted in favour of holding this year’s event as scheduled this long weekend in Donald from Thursday 7 March to Monday 11 March.
After submitting the Planning Permit in September, festival organiser Sam Goldsmith commended the Council for approving the Planning Permit days out from the event and thanked the local community for throwing their support behind the event.
“This year will be the 8th year that the Esoteric Music Festival will be held in this small Victorian town, and we are so grateful for the local groundswell, the Buloke Shire Council and our beloved Esoteric community for their support in making it happen,” he said.
“Ensuring festival goers are safe is our number one priority and we have demonstrated for the better part of a decade our competency as a safe, compliant, and well-run festival. Now that we have Council planning approval, the festival build can progress, and the site will be ready for festival goers on Thursday when gates open and the party begins.
“Tickets are nearly sold-out and the local community who faced a nervous wait on this can get now go about their plans to prepare for the influx of tourists from all over the world.”
Since 2017 Esoteric Music Festival has been an important feature on the Victorian music festival calendar and injects more than $15 million into regional tourism in the state, the local community of Donald and surrounds. It is the single largest event in the Wimmera Mallee tourism region, which comprises 14 per cent of the state of Victoria.
More than 7,000 festival goers will descend on Donald this weekend and the festival continues to provide thousands of jobs to industry personnel and local contractors.
We continue to work closely with Buloke Shire Council and the relevant authorities on making this a sustainable event for future years. Subject to a further Place of Public Entertainment Permit being approved by the Municipal Building Surveyor in the coming days, the festival will proceed as planned.
Members of the public are encouraged to purchase a ticket to support the event sell-out. Tickets on sale here: https://esotericfestival.com.au/tickets/
After an 8-year hiatus from Australian stages, ILL NIÑO, the trailblazing Latin-influenced metal band that redefined heavy music, is set to return for a blistering run of shows across Australia. This long-awaited tour will feature special guests ADEMA.
ILL NIÑO, known for their explosive live performances and genre-defining fusion of heavy metal and Latin influences, will bring their unique sound to Australian venues in September 2025. The band’s return is highly anticipated, as they prepare to deliver a high-octane setlist filled with fan-favourite hits and new tracks. ILL NIÑO released their ground-breaking debut album Revolution Revolución in 2001. Whilst their sophomore album Confession boasting the U.S. smash hit single ‘How Can I Live’, hit the Billboard Top 40 and has gone on to sell over 600,000 copies.
Joining ILL NIÑO on their Australian journey, for the first time ever are U.S. Post-Grunge, Alternate Metal band Adema, who will bring their signature sound of hard-hitting electronic rock and nu-metal to the stage.
The two bands are set to deliver an evening of hyped-up intensity, bringing a mix of heavy riffs, Latin infused percussion, emotionally engaging lyrics, and powerful performances that will make this an unmissable experience.
ILL NIÑO and ADEMA September 2025 Australian Tour Dates
Friday 12th September SYDNEY, Liberty Hall
Saturday 13th September MELBOURNE, Max Watts
Sunday 14th September BRISBANE, The Trifid
General Public on sale: Monday 3rd March 9:00am AEDT: https://www.octoberpresents.com/illnino2025
Photo Credit: Ewan Ogden
Set to make their long-awaited Australian return in March, Blossoms are bringing with them their latest chart-topping album, GARY. Ahead of their national tour supporting British indie icons Kasabian, the Stockport five-piece share focus track ‘I Like Your Look’ – a key entry in GARY’s sprawling tapestry of fun and dynamic sounds.
Co-written with breakthrough Irish musician and performer CMAT, ‘I Like Your Look’ is a homage to the aesthetic and sounds of the ‘80s, with vocalist Tom Ogden noting, “‘I Like Your Look’ is a tipping of the hat to Blondie’s ‘Rapture’ and a wink to Joan Baez ‘Time Rag’, and lyrically it explores a tongue-in-cheek approach to high fashion. ’Mothers’ is an ode to my and Joe’s friendship and it references the fact that our mothers were friends back in the 80s.’”
Their fifth studio album, GARY sees Blossoms engage with some of their most dynamic music to date. Having consistently released music that has remained in line with the energy of their earlier releases, the five-piece have also kept their focus very much trained on new sounds and directions that keeps the chemistry within the band fresh and tight.
GARY is a perfect example of such chemistry. Their first studio record as independent artists, there is a spirit of rejuvenation that threads its way through the record; from its singles in ‘Gary’, ‘Perfect Me’ and ‘What Can I Say After I’m Sorry?’, the album captures a unique turning point in Blossoms’ journey. The music is fun without losing poignancy in songwriting; dynamic without sacrificing precision in execution.
The impact of GARY only speaks to Blossoms’ continued staying power – debuting at #1 on the UK Albums Chart, the album has become the band’s fourth #1 record and has gone on to spark two special additional editions: a deluxe edition, and a covers edition featuring reworks of songs by artists including Radiohead, Whitney Houston, Caroline Polachek and Lady Gaga.
Selling over 100,000 tickets in the last year alone, as well as logging excellent sets at festivals including Glastonbury, Blossoms are set to have another busy and fruitful year with the release of GARY putting them back on the map as a band not to be missed.
Since forming in 2013, Blossoms have enjoyed widespread success and acclaim. Their 2016 debut Blossoms topped the album charts for two consecutive weeks and went on to earn the band BRIT Award and Mercury Prize nominations, while 2018’s Cool Like You charted at Number 4 in the UK album chart, spawning the anthemic singles I Can’t Stand It, There’s A Reason Why (I Never Returned Your Calls) and How Long Will This Last? Their third studio album, 2020’s Foolish Loving Spaces was the band’s second UK Number 1 album, while their fourth studio LP Ribbon Around The Bomb gave the band their third UK Number 1 album, with the record’s standout tracks Ode To NYC, The Sulking Poet and Care For well established as fan favourites. Blossoms have had five top 5 albums in the UK, including their In Isolation/Live From The Plaza Theatre, Stockport release.
PRAISE
“At the top of their game…”
ROLLING STONE UK
“A band who gets better with each release…”
SUNDAY EXPRESS
“A cohesive, well-crafted and captivating album which is testament to their artistry.”
CLASH MAGAZINE
“Gary is Blossoms’ most accessible, cohesive record to date.”
LOUDER THAN WAR
“Gary is the most fun you’ll have with any band in 2024.”
DORK UK
BLOSSOMS AUSTRALIAN TOUR DATES
SUPPORTING KASABIAN
Tickets via destroyalllines.com
Tuesday 11 March Forum Melbourne
Wednesday 12 March Forum Melbourne SOLD OUT
Saturday 15 March Enmore Theatre Sydney SOLD OUT
Sunday 16 March Enmore Theatre Sydney
Tuesday 18 March Fortitude Music Hall Brisbane
GARY is out now.
BLOSSOMS: OFFICIAL WEBSITE | FACEBOOK | X | INSTAGRAM | YOUTUBE
FIREWORKS, FOOD AND FANTASTIC TUNES!
LIVE AT THE GARDENS RETURNS THIS WEEK
FIVE UNMISSABLE SHOWS OVER TWO HUGE WEEKENDS IN MELBOURNE
ROYAL BOTANIC GARDENS MELBOURNE
7-9 MARCH & 14-15 MARCH
FINAL TICKETS ON SALE NOW
Melbourne, we’re back! Following a sensational debut in November, Live At The Gardens returns to the breathtaking Royal Botanic Gardens Melbourne for two more unforgettable weekends of live music, great food and open-air magic. A collaboration between the beloved venue and Roundhouse Entertainment – the creators of a day on the green – this unique outdoor concert experience transforms the lush Observatory Precinct into a vibrant wonderland of music, food, and festivities under the stars.
Kicking off this Friday night, 7 March, the series will bring a dynamic mix of dance, rock, indie, electro, jazz and soul to the stunning surrounds of the Garden’s Observatory Precinct in the heart of the city. Don’t miss RÓISÍN MURPHY (Friday 7 March), THE CRUEL SEA (Saturday 8 March), GROOVE ARMADA DJ SET (Sunday 9 March / Sold Out), BOY & BEAR (Friday 14 March) and LAKE STREET DIVE (Saturday 15 March).
Adding to the spectacle, Melbourne’s Labour Day weekend fireworks – part of the Moomba Festival – will light up the night sky, providing a breathtaking backdrop for the first weekend of concerts with dazzling displays each evening.
“Turning the Observatory Precinct at the Gardens into a concert space is a new feat. Brought about by a partnership between the Gardens and Roundhouse Entertainment (A Day On The Green), their combined experience at successfully transforming a space was evident.”
Arts Hub
“As for the lineup, it hits right in those summer feels.”
Urban List
“Cleverly bringing two of Melbourne’s favourite pastimes together: drinking in the park and live music.”
Scenestr
Come for the music, stay for the feast! Our tasty lineup of food and drink vendors will keep you fuelled for the ultimate garden party.
Step into The Eatery for a feast of global flavours.
From Greek delights at The Greek Trojan Yiros and vibrant Thai dishes from Mai Thai Food Truck to Mexican favourites at Taco Station and rich Spanish paella from Melbourne Paella, there’s something for every craving. Dig into fragrant Indian curries from Two Fat Indians, wood-fired pizzas from Primo Pizza, crispy chicken schnitzels from Schnitty Schnitty, and freshly made gozleme from Gozleme Food Truck. Plus, don’t miss out on gourmet toasties from Little Eutopia, delicious burgers from Goldie Boy and all-natural artisan ice creams from Billy Van Creamy. You definitely won’t go hungry!
And of course, no Melbourne event is complete without great coffee. Little Eutopia has you covered with expertly brewed coffee, alongside refreshing cold-pressed juices, chai teas and hot chocolates.
Sip on a selection of beers and ciders from Melbourne’s own Mountain Goat Brewery, longtime champions and supporters of live and local music.
For wine enthusiasts, indulge in a selection of premium Victorian-sourced wines by Mt Duneed Estate, including Sauvignon Blanc (Yea Valley), Rosé (Yarra Valley) and Shiraz (Yea Valley), along with their sparkling Blanc de Blanc (Yarra Valley).
Meet ISLA Vodka – an all-natural, irresistibly smooth, Australian-made, great tasting, deliciously refreshing range of premium ready-to-drink vodkas, best shared with friends as the music plays and the sun sets.
And we’re squeezing the last bit of summer with a refreshing lineup of your favourite spritzes and cocktails. Don’t miss the Aperol Spritz Bar in the eye-catching Airstream, where signature good vibes meet iconic cocktails. Plus, el Jimador Tequila is rolling in with their Margarita truck, pouring premium tequila, freshly made margaritas and a variety of delicious mixed drinks.
Don’t miss the ANZ Circle Happy Hour! Enjoy 20% off your drinks purchase when you pay with an eligible ANZ Visa debit or credit card for the first hour after gates open.
The series kicks off on Friday 7 March, with Ireland’s queen of indie electronic pop RÓISÍN MURPHY, joined by special guests MIDNIGHT JUGGERNAUTS DJ SET and DJ PAULETTE, setting the stage for an electrifying opening night that will have you dancing all night long.
Saturday night – 8 March – sees Aussie legends, five-time ARIA Award winners THE CRUEL SEA joined by an all-star lineup of MARK SEYMOUR & THE UNDERTOW, VIKA & LINDA and LOOSE CONTENT, promising to be a night of unforgettable performances, gritty rock anthems and soulful harmonies, in a celebration of Aussie music.
Sunday night – 9 March – is set to be a SOLD-OUT celebration as GROOVE ARMADA bring their iconic DJ set to the Gardens, transforming the space into a pulsating outdoor dancefloor, delivering an epic journey through their legendary record collection for an unmissable night of non-stop grooves. Joining the dance party are special guests TIFF CORNISH and MIRAMAR.
The music keeps flowing into the following weekend, with BOY & BEAR headlining on Friday 14 March for a night of compelling indie-folk anthems. Joining them on this fantastic bill are SARAH BLASKO, AUGIE MARCH and DE PORSAL.
Finally, on Saturday 15 March we wrap up the series in spectacular style with Brooklyn quintet LAKE STREET DIVE bringing to the stage their unique blend of soul, pop and jazz. They’ll be joined by Melbourne musicians PLAYLUNCH and BATTS, for a night of pure musical magic.
For a smooth and enjoyable experience, we highly recommend using public transport. The Royal Botanic Gardens Melbourne is easily accessible via convenient tram and bus routes, with Flinders Street Station only a short stroll away.
The music, food and beverages are sorted … now all we need is you! Set against the magnificent backdrop of Melbourne’s iconic Royal Botanic Gardens, get ready for an unforgettable garden party at Live At The Gardens. Incredible artists, an iconic location – we’ll see you under the stars!
Tickets on sale now from Ticketmaster.
LIVE AT THE GARDEN DATES
Friday 7 March
Róisín Murphy FINAL TICKETS
with special guests Midnight Juggernauts (DJ Set) and DJ Paulette
Saturday 8 March
The Cruel Sea FINAL TICKETS
with special guests Mark Seymour & the Undertow, Vika & Linda and Loose Content
Sunday 9 March
Groove Armada SOLD OUT
with special guests Tiff Cornish and Miramar
Friday 14 March
Boy & Bear FINAL TICKETS
with special guests Sarah Blasko, Augie March and De Porsal
Saturday 15 March
Lake Street Dive FINAL TICKETS
with special guests Playlunch and BATTS
IMPORTANT INFORMATION
Patrons are advised to purchase tickets only through authorised ticket sellers. Ticketmaster are the authorised ticketing agency selling tickets for Live At The Gardens. We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Live At The Gardens, MG Live and Royal Botanic Gardens Melbourne websites.
All event information liveatthegardens.com.au
Bringing the party to Australia, New Zealand and Bali
Ultimate party starter Hot Dub Time Machine is back for 2025 and he just can’t stop bringing the energy with a new headline tour around Australia, New Zealand and Bali. Across 8 nights in 3 countries, Hot Dub’s brand new show will be celebrating some of the best in dance music from 1962-2025, delivering on his promise of the BEST. PARTY. EVER.
TICKETS
Kicking off in March, the Can’t Stop Tour will bring the good times to Adelaide, Bali, Melbourne, Auckland, Christchurch, Hobart, Brisbane and Sydney. Grab your best friends and get ready for a dancefloor that just won’t quit, in what will be an epic tour you won’t want to miss.
Since first launching his time-travelling, ‘dance-through-the-decades’ audio-visual party concept in 2011, Sydney’s Tom Lowndes has taken Hot Dub Time Machine from humble beginnings to global acclaim. A regular on festival main stages, Hot Dub has brought his one-of-a-kind experience to some of the world’s biggest festivals, including Coachella, Tomorrowland and Splendour in the Grass.
Hot Dub headline tours continue to thrill fans across Australia, playing to sold-out crowds at the iconic show Hot Dub on the Harbour, 100% Bangers Tour around the country, and now the much anticipated Can’t Stop tour. Internationally, Hot Dub has wowed fans with headline performances at London’s Printworks for Hot Dub Rave Machine and a sold out 5,000-pax Hot Dub Boogie show in Glasgow.
Beyond festivals, Hot Dub’s epic party energy has taken over major sporting events like the Australian Open, Formula One, Hong Kong Sevens and Summernats. Hot Dub Time Machine is a constantly evolving high-energy experience that unites crowds, electrifies dancefloors, and keeps the good times rolling.
Showcasing songs from every decade and genre of music, weaving it into one expansive, electrifying, music history lesson, Hot Dub has become a worldwide sensation, winning over audiences with his iconic, celebratory shows.
Get ready for the BEST. PARTY. EVER!
HOT DUB TIME MACHINE CAN’T STOP TOUR DATES
Saturday 8 March 2025
Gluttony @ Fringe
Adelaide, SA
Friday 21 March 2025
Ulu Ciffhouse
Uluwatu, Bali
Saturday 29 March 2025
Hot Dub on the Bay
Melbourne, VIC
Friday 4 April 2025
Town Hall
Auckland, NZ
Saturday 5 April 2025
Ngaio Marsh Theatre
Christchurch, NZ
Saturday 26 April 2025
The Goods Shed
Hobart, TAS
Friday 2 May 2025
The Tivoli
Brisbane, QLD
Saturday 24 May 2025
The Hordern Pavilion
Sydney, NSW
TICKETS
Words + Photography: Louie Mosscrop
Knotfest Australia kicked it off in Melbourne, this wasn’t just a concert; it was a pilgrimage, a day where the city’s metal faithful gathered under the blazing Australian sun to partake in a sonic ritual. From the early afternoon’s first crushing chords to the final, echoing roar from Slipknot, the day unfolded as a meticulously crafted tapestry of metal, each thread contributing to the festival’s overwhelming power. The anticipation was palpable, a collective hum of excitement that vibrated through the crowd, a testament to the enduring and evolving power of metal in the Australian music scene.
The lineup was a masterclass in metal diversity, a carefully curated selection that showcased the metal’s breadth and depth.
Vended, with their raw, youthful energy, brought a fresh and ferocious sound, proving that the next generation of metal is ready to take the stage. Their performance was a jolt of adrenaline, a reminder of metal’s ever-evolving spirit.
Slaughter To Prevail, emerging with a visceral intensity, owned the stage with unrelenting heaviness. Alex Terrible’s guttural vocals and their crushing breakdowns resonated with a primal force, leaving the crowd stunned and invigorated, unfortunately having to stop mid set to get medics to assist with what we hope is a now fully healed festival goer. Despite their brutal nature Alex and the band made sure they were out of further harms way before continuing their set.
Knotfest’s atmosphere was a living, breathing entity, a testament to the power of shared passion. The mosh pits, far from being mere displays of aggression, were expressions of communal release, a physical manifestation of the music’s emotional intensity. The crowd, a diverse tapestry of metalheads, was united by a shared sense of belonging, a feeling of being part of something larger than themselves. The festival grounds buzzed with a sense of camaraderie, with fans exchanging stories, sharing their favorite bands, and celebrating the unifying power of heavy music. Beyond the music, the festival offered a vibrant marketplace, with merchandise stalls, food vendors, and interactive displays, creating a holistic festival experience. The sense of community was palpable, making Knotfest more than just a concert, but a genuine cultural event, even under the intense Australian sun.
Polaris, delivered a performance that was both technically precise and emotionally charged. Their blend of metalcore and progressive elements was met with thunderous applause, solidifying their position as a leading force in the Australian metal scene.
Within Temptation, bringing a touch of symphonic grandeur, offered a captivating contrast. Their soaring vocals and intricate arrangements created a mesmerizing atmosphere, proving that metal can be both heavy and beautiful. This being their first visit down under, lets hope not the last.
BABYMETAL, the enigmatic Japanese trio, injected a dose of theatricality and infectious energy into the festival. Their fusion of kawaii aesthetics and heavy metal riffs was a captivating spectacle, a testament to the genre’s capacity for innovation and cross-cultural appeal.
The intense heat of the Australian summer day, coupled with the physical demands of the mosh pits, underscored the importance of hydration and sun protection. Despite these minor considerations, the overall festival experience remained overwhelmingly positive. The festival’s meticulous organisation, and well-maintained facilities contributed to a smooth and enjoyable experience for attendees, some more shade wouldn’t have gone unnoticed however.
Hatebreed, with their signature brand of hardcore intensity, delivered a set that was pure, unadulterated aggression. Their relentless energy and empowering lyrics ignited the crowd, creating a swirling vortex of moshing bodies.
A Day To Remember, with their sing-along anthems and infectious stage presence, provided a welcome moment of collective catharsis. Their blend of pop-punk sensibilities and metalcore aggression created a singalong atmosphere, uniting the crowd in a shared moment of passionate release.
Finally, Slipknot, the architects of modern metal mayhem, delivered a performance that was nothing short of a sonic and visual assault. Their iconic masks, frenetic stage presence, and timeless anthems ignited the crowd, transforming the festival grounds into a swirling vortex of energy. Delivering an all new show it was a spectacle to witness and a show no one will forget any time soon.
Knotfest Melbourne was a resounding success, a testament to the enduring power of heavy music and the passionate community that surrounds it. The festival’s meticulously curated lineup, electric atmosphere, and dedicated fanbase combined to create an unforgettable experience. It was a day of sonic immersion, a tribal gathering where metalheads from all walks of life came together to celebrate their shared passion under the Southern Cross. Knotfest’s Melbourne has undoubtedly left an indelible mark on the city’s music scene, forging a legacy of metal mayhem and communal celebration. For those who were there, the memories of Knotfest Melbourne will resonate long after the final notes have faded, a testament to the power of live music to unite and inspire, even under the harsh Australian sun.
…So when does the 2026 line up drop?
ULTRA Worldwide unveils Phase 2 lineup for 2025 editions of ULTRA Australia and ULTRA Beach Gold Coast
Nora En Pure, Joel Corry, Blasterjaxx, BYØRN, Simon Patterson, and more join the star-studded lineup
Previously announced headliners include Axwell, Da Tweekaz, Deborah De Luca, Knock2, Martin Garrix, and Sub Zero Project
ULTRA BEACH GOLD COAST – FRIDAY, 11 APRIL 2025
BROADWATER PARKLANDS
ULTRA AUSTRALIA – SATURDAY, 12 APRIL 2025
FLEMINGTON RACECOURSE IN MELBOURNE
ULTRA Worldwide has unveiled the Phase 2 lineup for ULTRA Australia and ULTRA Beach Gold Coast 2025. The single-stage ULTRA Beach Gold Coast is set to take place Friday, April 11, 2025 at Southport’s picturesque Broadwater Parklands for its second edition, while the multi-stage ULTRA Australia will once again touch down in Melbourne on Saturday, April 12 for the festival’s sixth instalment.
As previously announced, both festivals will feature star-studded headlining sets from Martin Garrix, Axwell, Da Tweekaz, Sub Zero Project, and Knock2. At ULTRA Australia, they will be joined by Italian techno maestro Deborah De Luca.
The festival will also feature performances from deep house queen Nora En Pure, British dance sensation Joel Corry, Dutch electro-house duo Blasterjaxx, Belgian hard techno producer BYØRN, and trance/tech virtuoso Simon Patterson.
Rounding out the lineup, ULTRA Australia adds a bevy of regional talent including Tazi, Laura King, Brent Honey, Brooke Powell, Sammy La Marca, Dimatik, KAOS, and many more.
ULTRA Australia takes pride in creating an all-encompassing entertainment experience for its fans from around the world. Revel in mesmerizing performances from the ULTRA Angels, relax in the designated, shaded ‘chill out’ areas, enjoy culinary delights from a vast array of local food trucks, and taste cocktails from the various bars stationed throughout the festival grounds.
ULTRA Worldwide continues to cement its status as the world’s most international music festival brand, boasting active events on all six inhabited continents. The global festival brand is celebrated for delivering an unparalleled combination of top-tier electronic talent, cutting-edge technology and large-scale productions.
For all details head to www.ultraaustralia.com
ULTRA BEACH GOLD COAST 2025 LINEUP (A-Z)
HEADLINERS (A-Z)
Axwell
Da Tweekaz
Knock2
Martin Garrix
Sub Zero Project
SUPPORT (A-Z)
Blasterjaxx
Joel Corry
ULTRA AUSTRALIA 2025 LINEUP (A-Z)
HEADLINERS (A-Z)
Axwell
Da Tweekaz
Deborah De Luca
Knock2
Martin Garrix
Sub Zero Project
SUPPORT (A-Z)
Blasterjaxx
BYØRN
Joel Corry
Nora En Pure
Simon Patterson
ADDITIONAL SUPPORT (A-Z)
Benjamin
Brent Honey
Brooke Powell
Colin Hennerz
DARLEY
Dimatik
Ely Oaks
Etwas
Hannah
Highup
KAOS
Lance
Laura King
Only You
Ph4ntam
Rockafellas
Sammy La Marca
Sarah Armstrong
Scott Alert
Suae
Tazi
Teddy Cream
Yamatamoya
Words + Photography: Nate Hill
It’s a perfect summer evening in Melbourne. Sixty thousand people have gathered at Marvel Stadium with the roof open to bare witness to Green Day on The Saviours Tour. Here to celebrate 30 years of ‘Dookie’ and 20 years of ‘American Idiot’, the crowd were buzzing with excitement.
Private Function kicked off the night with a wild, unpredictable energy that instantly set the tone. The band tore through their set with playful chaos, throwing themselves into it both figuratively and literally. Both of the bands singers strutted confidently down the stage like it was his personal runway, owning every inch of the spotlight, balancing rockstar bravado with a sharp sense of humour. It was clear they were taking in the spectacle of playing a stadium show. At one point Chris Penney said “This ain’t the Tote”.
In a bold move, they encouraged the crowd to boo them, challenging the audience with a grin, promising to win them back — and they did. The call-and-response moments crackled with energy, turning the pit into a wave of raised hands and clapping by the time the last song rolled around. It was a performance that blurred the line between rebellion and charm, a perfect cocktail of punk spirit and crowd engagement.
Following the chaotic charm of Private Function, AFI took the stage and instantly shifted the atmosphere. From the first note, it was clear this was a band at the peak of their craft — a masterclass in precision and passion. The vocals were flawless, with Davey Havok’s voice soaring effortlessly from haunting whispers to gut-punching screams, every lyric hitting with emotional weight.
The band was impossibly tight, each member locked into the rhythm with an intensity that only comes from years of playing together. The balance between polished professionalism and raw, emotive energy made the set feel both larger-than-life and deeply personal.
But tonight was all about Green Day and they proved exactly why they’re rock royalty. From the moment they hit the stage, the energy was electric — and the crowd was one of the loudest I’ve ever heard. The call-and-response moments were deafening, a sea of voices echoing Billie Joe Armstrong’s every word, turning the arena into one massive choir. Tonight Marvel Stadium was converted into the church of Green Day and they were there to be our Saviours.
The show wasn’t just about sound — it was a full-blown spectacle. An inflatable plane soared over the crowd, and flames roared around the drum kit, adding a fiery edge to the already explosive atmosphere. But Green Day knows how to strip it back too — at one point, it was just Billie Joe and his guitar, the crowd singing every lyric in perfect unison, a raw and intimate moment amid the chaos.
It was an epic two and a half our set that included the band playing their iconic albums ‘Dookie’ and ‘American Idiot’ in full.
A playful interlude of All by Myself brought a lighthearted break. One of the highlights had to be when they pulled a fan from the crowd to join them on Know Your Enemy— a dream come true for one lucky person and a reminder of the band’s connection to their fans.
Green Day didn’t just perform — they ignited a fire, blending punk anthems, unforgettable theatrics, and pure rock ‘n’ roll magic. Fans of all ages were treated to a masterclass in stadium rock and we hope to see them again sooner rather than later.
Emerging from the frosty slopes of Revelstoke, BC, Pickle Juice came together during a lackluster snow season in 2023. Born out of boredom and a shared love for music, this five-piece band unites members from Canada, Australia, and England, fusing diverse influences into a distinctive alt-rock sound. Their first singles, “Toxic and Sweet” and “Caught in a Lie,” dropped in 2024, catching ears across BC’s ski resorts and beyond. Now, with their debut EP Cheeky set for release in February 2025 and a Western Canada tour alongside Ottawa’s AHRF, the band is primed for their biggest year yet. Fans are drawn to their driving rhythms, magnetic melodies, and guitar hooks that carve out a space as one of Western Canada’s most exciting new acts.
“Our sound really came together in a cramped basement full of snowboard gear and old instruments,” recalls lead guitarist Josh Radford. “It was chaos, but it pushed us to explore something unique.” With influences spanning continents, Pickle Juice blends the grit of Australia’s rock edge, the UK’s indie flair, and North America’s raw authenticity. “We’re not just five ski bums,” says vocalist Tim van der Krogt. “Our music connects with anyone who’s ever felt out of place or craved something real.” Their EP reflects this global identity, each track showcasing different musical roots while maintaining their signature energy.
Cheeky EP delivers on the band’s promise of raw, infectious energy, offering a five-track ride through anthemic choruses, clever lyricism, and dynamic instrumentation. Opening track “Powder Days” immediately sets the tone, layering punchy guitars over an unshakable rhythm section, while “Better Off” leans into a grittier, Brit-rock-inspired sound reminiscent of Arctic Monkeys. The standout track, “Avalanche Hearts,” balances soaring melodies with introspective lyricism, solidifying its place as the emotional core of the EP. Closing with the raucous “Loose Ends,” Pickle Juice proves they’re more than just a novelty act from the slopes—they’re a band with staying power.
With Cheeky, Pickle Juice has crafted an EP that is both playful and poignant, offering a fresh yet familiar take on modern alt-rock. As they embark on their Western Canada tour, expect their growing momentum to carry them far beyond the mountain town roots that started it all.