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Linkin Park Deliver an Emotional and Electric Night Two in Sydney

March 18, 2026

Riley Green – Hordern Pavilion- 16 March 2026

March 18, 2026

Peach PRC At Hordern Pavilion – 15 March 2026

March 16, 2026

A Perfect Circle Return to Australia in 2026 With Special Guest Puscifer

March 16, 2026

ICONIC MELBOURNE DJ MARK PELLEGRINI – CELEBRATES 40 YEARS BEHIND THE DECKS

March 16, 2026

Interview: LAMOUR on KARMA, Crooner Energy and Life After Touring with Peter...

March 16, 2026

Interview: Julia Sound Explores Emotion, Politics and Hope on New Album midlife

March 16, 2026

The Lemon Twigs (USA) announce new album Look For Your Mind! out...

March 16, 2026

INTERVIEW: Nautical Mile Return With ‘Daydreamer’ After Four Years Away

March 16, 2026

Clay Hazey Finds Hope in the Frost on ‘Tulips’

March 14, 2026
Category:

Music News

Music News

Luke Million & Muna n Release ‘Smoke & Mirrors’

by the partae February 19, 2026
written by the partae

Australian producer Luke Million teams up with South-Korean artist Munan on their new collaborative single ‘Smoke & Mirrors’, offering up a shimmering, synth-driven track that blends retro-disco energy with dreamy indie-pop mystique.

Built on a foundation of 80s-inspired instrumentation, ‘Smoke & Mirrors’ pulses with vintage warmth and modern flair. The track channels classic influences while allowing both artists’ distinct musical worlds to collide; Luke Million’s rich, analog-heavy production meets Munan’s psychedelic sensibility, hazy guitars, and ethereal vocal delivery.

Luke Million shares: “Smoke & Mirrors began as a fun 80s synth-infused bop where I channelled influences from Justice, Giorgio Moroder and even Billy Joel. When it was time to find a vocalist, I was drawn to the psychedelic, indie-pop sound of Munan. I wanted our two worlds to meld together, and when I received the first demo back from Munan, I knew we were on to something magical right away. His dreamy vocals and epic guitar melodies encapsulated a feeling of mystery and a feel-good vibe that took the instrumental to a whole new level. It was such a pleasure working with Munan. His passion and musicianship made this a dream collaboration, and Smoke & Mirrors is the result of this instant connection we made.”

For Munan, the collaboration felt like a natural meeting of shared influences and creative curiosity:
“Smoke & Mirrors is a song I worked on with Luke Million (aka “The Synth Lord”). Being an avid 80s disco lover, I was really excited to be part of something like this. Luke sent me the instrumental, and I got straight into writing the melody, then recorded fuzz guitars that acted and sounded like a synth lead. The phrase ‘Smoke & Mirrors’ came to mind immediately – the track had this mysterious energy that felt both nostalgic and surreal.

The result is a song that feels simultaneously euphoric and enigmatic, a late-night disco pulse wrapped in layers of atmosphere, melody, and analogue glow. ‘Smoke & Mirrors’ captures the spark of an instant creative connection, turning distance into collaboration and shared influences into something fresh and transportive.

‘Smoke & Mirrors’ is available everywhere now.

Stream:
https://xelon.ffm.to/lmm010

Luke Million:
https://linktr.ee/lukemillion

Munan:
https://linktr.ee/munanisaverage

Credits:
Co-Written by Luke Godson & Mun Hwan Lee
Produced by Luke Million
Mixed by Luke Million
Mastered by Simon Francis
Artwork by Snow
Photos by Sian Bates

 

 

February 19, 2026 0 comments
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Festival NewsMusic News

FOO FIGHTERS (USA) ANNOUNCE AUSTRALIA & NEW ZEALAND TAKE COVER STADIUM TOUR AUSTRALIA – NOVEMBER 2026. PERTH + NEW ZEALAND – JANUARY 2027

by the partae February 18, 2026
written by the partae

TICKETS ON SALE WEDNESDAY 25 FEBRUARY

Frontier Touring is thrilled to announce that one of the biggest and most beloved rock bands of all time – Rock and Roll Hall of Fame Inductees Foo Fighters – will make their hugely anticipated return to Australia and New Zealand next summer. Celebrating their long-standing love of both countries, this return marks another major chapter in the band’s ongoing global touring legacy, as they bring their unparalleled live show to stadiums in Brisbane, Townsville, Sydney, Newcastle, Melbourne and Adelaide this November 2026, followed by Christchurch, Auckland and Perth in January 2027.

Today’s news follows Foo Fighters’ recent history-making performance in Tasmania – the biggest concert ever held in the State, and their first ever appearance in Launceston. The sold-out UTAS Stadium show reaffirmed Foo Fighters’ enduring connection with their fans down under, with frontman Dave Grohl fulfilling his onstage promise that the band would return before his birthday (January 14). Buoyed by their Tassie visit and with a reputation for delivering landmark live moments in every corner of the globe, Foo Fighters have added two regional cities, Townsville and Newcastle, to their forthcoming return.

Over in Christchurch meanwhile, the band will take to the stage at the city’s newly built, state-of-the-art One New Zealand Stadium, on track to be completed in April.

Foo Fighters are stoked to be sharing stages across Australia and New Zealand with 16 of the region’s hottest rising acts, handpicked by the Foos – arrive early and discover your next favourite band, with a support lineup including:

Brisbane: Full Flower Moon Band (Brisbane) + Mini Skirt (Byron Bay)
​Townsville: Full Flower Moon Band (Brisbane) + Downgirl (Sydney)
​Sydney: The Belair Lip Bombs (Frankston) + TEENS (Hobart)
​Newcastle: The Buoys (Sydney) + C.O.F.F.I.N (Sydney)
​Melbourne: The Belair Lip Bombs (Frankston) + FRENZEE (Melbourne)
​Adelaide: Kurralta Park (Adelaide) + Spooky Eyes (Launceston)
​Christchurch: Dartz (Wellington) + Seek Help! (Dunedin)
​Auckland: Dick Move (Auckland) + Ringlets (Auckland)
​Perth: Southern River Band (Perth) + Last Quokka (Perth)

 

Telstra Plus Members can access presale tickets from Friday 20 February via telstra.com.au/plus. Spark customer presale also starts Friday 20 February (12pm local time) via spark.co.nz/music. Frontier Members (sign up here) can access presale tickets from Monday 23 February (times staggered). Tickets will then go on sale Wednesday 25 February (times staggered) – see frontiertouring.com/foofighters for full tour information.

Renowned for their marathon sets and career-spanning performances, as the world’s premier stadium rock band Foo Fighters have sold over 1.8 million records in Australia alone, with nine #1 albums to date – the most #1’s in any territory for the group. With demand sure to be high for these nine shows, fans are urged to act quickly to secure tickets.

Foo Fighters are Dave Grohl, Nate Mendel, Chris Shiflett, Pat Smear, Rami Jaffee and Ilan Rubin.


FOO FIGHTERS
​With special guests
​
Presented by Frontier Touring and Triple M (AU), The Rock (NZ)

TELSTRA PLUS (AU) MEMBER PRESALE
​
via telstra.com.au/music
​Runs 48 hours from: Friday 20 February
​
or until presale allocation exhausted ​
​Pre-sale timings staggered per show, visit website for more details

SPARK (NZ) CUSTOMER PRESALE
​
via spark.co.nz/music
​Runs 48 hours from: Friday 20 February (12pm local)
​
or until presale allocation exhausted, visit website for more details

FRONTIER MEMBERS PRESALE
​
via frontiertouring.com/foofighters
​Runs 24 hours from: Monday 23 February
​
or until presale allocation exhausted ​ ​ ​
​Pre-sale timings staggered per show, visit website for more details

GENERAL PUBLIC ON SALE
​
Begins: Wednesday 25 February (times staggered, see below)


ALL SHOWS LICENSED ALL AGES

Thursday 5 November 2026
​Suncorp Stadium | Brisbane, QLD
​
Licensed All Ages
​On sale: Wednesday 25 February (12pm local time)
​axs.com/au
​With special guests Full Flower Moon Band (Brisbane) + Mini Skirt (Byron Bay)

Saturday 7 November 2026
​Queensland Country Bank Stadium | Townsville, QLD
​
Licensed All Ages
​On sale: Wednesday 25 February (12pm local time)
​axs.com/au
​With special guests Full Flower Moon Band (Brisbane) + Downgirl (Sydney)

Tuesday 10 November 2026
​Accor Stadium | Sydney, NSW
​
Licensed All Ages
​On sale: Wednesday 25 February (12pm local time)
​axs.com.au
​With special guests The Belair Lip Bombs (Frankston) + TEENS (Hobart)

Thursday 12 November 2026
​McDonalds Jones Stadium | Newcastle, NSW
​
Licensed All Ages
​On sale: Wednesday 25 February (12pm local time)
​axs.com/au
​With special guests The Buoys (Sydney) + C.O.F.F.I.N (Sydney)

Saturday 14 November 2026
​Marvel Stadium | Melbourne, VIC
​
Licensed All Ages
​On sale: Wednesday 25 February (11am local time)
​axs.com/au
​With special guests The Belair Lip Bombs (Frankston) + FRENZEE (Melbourne)

Tuesday 17 November 2026
​Coopers Stadium | Adelaide, SA
​
Licensed All Ages
​On sale: Wednesday 25 February (12pm local time)
​axs.com/au
​With special guests Kurralta Park (Adelaide) + Spooky Eyes (Launceston)

Tuesday 19 January 2027
​One New Zealand Stadium | Christchurch, NZ
​
Licensed All Ages
​On sale: Wednesday 25 February (12pm local time)
​axs.com/nz
​With special guests Dartz (Wellington) + Seek Help! (Dunedin)

Friday 22 January 2027
​Western Springs Stadium | Auckland, NZ
​
Licensed All Ages
​On sale: Wednesday 25 February (12pm local time)
​axs.com/nz
​With special guests Dick Move (Auckland) + Ringlets (Auckland)

Monday 25 January 2027
​HBF Park | Perth, WA
​
Licensed All Ages
​On sale: Wednesday 25 February (12pm local time)
​axs.com/au
​With special guests Southern River Band (Perth) + Last Quokka (Perth)

 

FOLLOW FOO FIGHTERS:

foofighters.com | Facebook | X | Instagram | Spotify | YouTube | Apple Music | TikTok

frontiertouring.com/foofighters

February 18, 2026 0 comments
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Music News

Rich Delinquent joins Tyla Yaweh on the dark, euphoric title track from his new mixtape Heartbreak Afterparty

by the partae February 16, 2026
written by the partae

Rising alt-pop artist Rich Delinquent returns with a powerful new collaboration, linking up with Tyla Yaweh on the emotionally charged single “Heartbreak Afterparty.” The track fuses moody atmosphere with late-night euphoria, capturing the tension between heartbreak, escapism amidst a penthouse – substance driven downfall. 

Driven by lush, shadowy production, Rich Delinquent delivers soaring high-register melodies that blur vulnerability and intoxication, embodying the feeling of trying to outrun emotional collapse through sound, lights, and motion. Tyla Yaweh cuts through the haze with slick, confident bars, grounding the record in raw realism and turning emotional damage into unapologetic swagger.

Together, the pair create a hypnotic collision of melody and rap, a sonic afterparty where pain and pleasure coexist. “Heartbreak Afterparty”

The release continues Rich Delinquent’s momentum as he expands his cult-like fanbase and pushes the boundaries of modern alt-pop, blending emotive songwriting with immersive aesthetics and global ambition.

A Year-Long Journey Comes Full Circle

“Heartbreak Afterparty” serves as the final chapter and emotional bookend of a year-long mixtape rollout that has steadily expanded Rich Delinquent’s world and audience. Across the campaign, the project has featured a diverse run of collaborators including phem, RMR, FRVRFRIDAY, and Starr Adara, each contributing to the evolving sonic narrative and helping shape the mixtape into a global, genre-blurring statement.

Closing the chapter with Tyla Yaweh brings the journey to its most cinematic and high-impact moment, uniting melody, edge, and mainstream reach while staying true to Rich Delinquent’s dark, emotionally charged core.

The single not only signals the culmination of a carefully built rollout, but also positions Rich Delinquent for the next phase of his creative evolution, continuing to blur the lines between alternative emotion, hip-hop attitude, electronic production and late-night escapism.

INSTAGRAM

February 16, 2026 0 comments
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Music InterviewsMusic News

Interview: Ata Dune – Holding the Flame Inside TEKOSA

by the partae February 16, 2026
written by the partae

What was the moment you realised TEKOSA wasn’t just a collection of sketches but a body of work that needed to exist as an album?

From the beginning. I started out with a full length in mind, and used a few loose parameters to try to keep the whole thing together.

Ambient can often feel weightless. You’ve described wanting to bring “fire” into the genre — what does heat mean to you in a sonic sense?

Ambient that is maybe a little more in front of you, commanding your attention, rather than drifting off.

There’s a tension running through the record that never quite resolves in obvious ways. Were you consciously holding something back?

Intensity is one of the things I was aiming for. To resolve the tension would have undermined the aim.

Do you write from emotion first, or from texture and sound design, and let the meaning reveal itself later?

I always start with sound design, trying to arrive at a compelling sounds that I can work with, which then naturally leads into phrases and meaning.

Silence feels just as important as sound on this album. How do you decide when to leave space rather than fill it?

For both the sound and any silence, I just listen to the track, to see if it is what I was going for and to see if it works.

Was there a particular track on TEKOSA that unlocked the tone for the rest of the record?

Laleno kind of anchored the album. A few of the tracks I even went back and reworked long after I initially completed them, salvaging them as best as I could, because they sounded too separate from the others.

Ambient music often becomes background listening. Do you think about how your music is consumed, or do you let go of that once it’s released?

That’s out of my control. I just try to get it out there to people who might be interested.

Did the album come together quickly, or was it built slowly over time?

It came together very quickly, in the span of three months or so. I initially set a deadline, to help facilitate production, and kept getting sidetracked with various things. That compression of time ended up helping me finish, because I would have been really ticked off if I missed that deadline.

What does the name TEKOSA represent to you — is it conceptual, personal, abstract?

It’s a little personal. Like all my other titles up to this point, it’s just a made up word, a mixture of different Greek words. I think some of the titles I’ve used actually have meanings in other languages. I double checked them by doing a search, to make sure they didn’t reference something egregious. I think the word for one of my singles not on this album, Tiskata, means a type of stew in Norwegian.

Now that the debut is out in the world, do you feel exposed, relieved, or already thinking about what comes next?

Thinking about what comes next! Very excited to have a platform to release my work, and hopefully reach people who will enjoy it.

 

WEBSITE

 

February 16, 2026 0 comments
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Music News

Jody Glenham Embraces Endurance and Ease on Self-Produced EP Still Here

by the partae February 16, 2026
written by the partae

Canadian indie artist Jody Glenham is back with Still Here, a self-produced EP set to arrive on April 24, 2026, marking a striking new chapter in her nearly two-decade career. The collection reflects a shift toward emotional endurance and creative maturity, moving beyond the immediacy and mood-driven focus of her past work to embrace patience, presence, and timeless songwriting. Hazy guitars, door-chime synths, and dreamy vocals weave together to create a soundscape that feels both intimate and expansive.

Lead single “Love Deficiency Syndrome” captures the awkward optimism of post-breakup rebirth, pairing a sunlit mid-tempo bounce with what Glenham describes as “grinning through the pain.” Inspired by an article by Lena Dunham on ending a long-term relationship, the track brims with subtle nods—from a synth-and-guitar hook that mimics a drawn-out doorbell awaiting an Uber Eats delivery, to a bridge referencing computer shutdowns, evoking both the autopilot of romance and the slow work of becoming whole again. “We leaned into really melodramatic imagery,” Glenham says, “as a nod to how a breakup can make you feel like ‘my life is ending,’ when really… you’re going to be just fine.” The result is bittersweet yet buoyant—heartbreak reframed with a confident sense of ease and forward motion.

For nearly twenty years, Glenham has been a defining presence in Canada’s independent music scene. Her 2020 album Mood Rock earned national support from CBC Radio, charted on Canadian college stations, and was considered for the Polaris Music Prize long list. Her cinematic indie-rock style has landed placements in Netflix series including Snowpiercer, Tiny Pretty Things, and My Life with the Walter Boys. Praised by outlets such as NME, Refinery29, and American Songwriter—which described her work as “as if she composes music from the very elements in the air and atmosphere around us”—Glenham’s songs offer listeners permission to feel deeply without despair. American Songwriter also notes that she “holds time in her palm on Still Here, an EP that cradles each song like a memory,” a fitting testament to an artist whose music consistently balances cinematic sweep with intimate reflection.

INSTAGRAM

February 16, 2026 0 comments
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Music News

1tbsp & Soltera Collide in Two Halves on ‘Soulseek’ — A Rebirth in Motion

by the partae February 14, 2026
written by the partae

Australian dj/producer 1tbsp fuses techno, dance, grunge, and punk on new single ‘Soulseek’, featuring Colombian-American artist Soltera, and offering the first glimpse of his forthcoming album.

Written across Mexico City, Los Angeles, and Sydney, ‘Soulseek’ unfolds in two distinct pulses: a tense, intimate first half that explodes into bubbly, left-field prog-tech chaos, inspired by underground parties and warehouse raves. Soltera’s punk-infused, synth-driven vocals meet 1tbsp’s genre-bending club sensibility, crafting a track that’s unpredictable, emotionally charged, and irresistibly kinetic.

1tbsp explains; “I made the instrumental on a flight from Mexico City to Los Angeles ahead of a recording night with Soltera. We opened it up in her garage studio and had the first half down in an hour. Back in Australia, I knew the second half needed to move somewhere else. Since moving to Sydney, I’ve been inspired by underground community parties and this bubbly, left-field prog-tech sound—perfect for the bush or a warehouse. I wanted to bring that feeling into the end of the track, pairing it unexpectedly with the first half. For me, ‘Soulseek’ feels like a cleanse or a rebirth, and it gives a glimpse into this multi-genre album I’ve been making,”

Soltera reflects, “‘Soulseek’ is about becoming one, merging, embodying masculine and feminine.”

1tbsp also recently announced his North American “bubble tour” (tickets here), and today he’s announcing Soltera will be joining him on the road as the main support, alongside signing her next project to his very own indie label, dottidot

Stream/Watch:
https://bfan.link/1tbsp-soulseek

Upcoming Shows (all tickets)

Thursday, March 5th – IGLOOFEST, Quebec City (w/ Disclosure)

Friday, March 6th – Newspeak, Montreal

Saturday, March 7th – Transmission, Washington

Friday, April 10th – Coachella (Do Lab Stage)
Sunday, April 12th – Gop Tun Festival, Brazil

bubble tour (w/ Soltera) ~ usa

Saturday, Friday, March 13th – The Showbox, Seattle

Saturday, March 14th – The Regency Ballroom, San Fran

Thursday, March 19th – The Fonda Theatre, Los Angeles

Friday, March 20th – Music Box, San Diego

Saturday, March 21st – Cervantes, Denver

Thursday, March 26th – Terminal West, Atlanta

Friday, March 27th – El Club, Detroit

Saturday, March 28th – Outset, Chicago

Thursday, April 2 – A&R Music Bar, Columbus

Friday, April 3rd – The Sinclair, Cambridge

Saturday, April 4th – Brooklyn Steel, Brooklyn

1tbsp:

https://linktr.ee/1tbsp

Soltera:
https://www.instagram.com/soltera818/

Credits:
Co-Written by Maxwell Byrne, Tania Ordonez & Aarum Alatorre

Produced by Maxwell Byrne
Mixing by Doug Wright

Mastering by Ryan Schwabe

Artwork by piggybankshoe

Photos by James Caswell

Music Video Co-Directed by Maxwell Byrne & Tom Ward

February 14, 2026 0 comments
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Music News

Ata Dune Ignites the Ambient Form on TEKOSA

by the partae February 14, 2026
written by the partae

Ata Dune introduces TEKOSA as a debut that doesn’t simply drift through ambient conventions — it leans into them, then quietly shifts the temperature.

Framed as an eight-track body of work, TEKOSA feels intentional rather than incidental. The pacing suggests design. The space between sounds feels considered. Instead of dissolving into passive texture, the album carries a restrained intensity — subtle harmonic friction, slow-building tonal weight, a sense of something glowing beneath the surface.

Ata Dune’s approach isn’t about disrupting ambient through volume or excess. It’s about pressure. Small movements matter. Silence is structural. Even the softer passages feel charged, as though they’re holding energy in reserve.

There’s a cinematic quality here, but it’s intimate rather than grand. The compositions unfold like dim light shifting across a room — gradual, warm, deliberate. The result is ambient music that doesn’t float aimlessly; it lingers with intent.

As a debut statement, TEKOSA positions Ata Dune not as a producer chasing atmosphere, but as one shaping it — bringing a controlled heat to a genre often content to remain cool.

Ambient, yes. But alive.

WEBSITE

 

February 14, 2026 0 comments
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Music InterviewsMusic News

Interview: Midnight Engine – FREZYA on Building ‘FURTIVA’ as a Cinematic Getaway

by the partae February 13, 2026
written by the partae

“FURTIVA” feels more like a scene than a song. At what point did you realise this wasn’t going to fit a traditional single format?

It clicked as soon as the arrangement refused to collapse into a neat three-minute arc. We didn’t want to amputate the tension just to hit a template. “FURTIVA” is built like a sequence — escalation, pressure, release — the way a night run actually feels.

There’s a strong sense of motion throughout the track — speed, pressure, momentum. What were you trying to capture emotionally rather than sonically?

It’s not “speed,” it’s that calm panic right before things go loud. The focus, the paranoia, the tunnel vision. I wanted the listener to feel like they’re moving fast and staying invisible at the same time.

The production pulls from a lot of worlds — mariachi brass, phonk, amapiano, cinematic tension. How do you decide when contrasting elements are adding energy versus competing with each other?

We treat contrasts like controlled friction. The amapiano log drums are the engine, the phonk weight is the pressure, and the mariachi brass is the warning light. If they’re fighting, it’s an arrangement problem. If they lock, you get that neon-noir heat without losing momentum.

FREZYA exists as more than just a vocalist. How do you think about identity and presence when the project itself feels deliberately fluid?

FREZYA is intentionally untethered. No fixed hometown myth, no forced biography. The presence is the aesthetic and the voice — like a character you recognise instantly, even when the world around her keeps changing.

The track suggests a narrative — a final run, a city that only reacts after the damage is done — but never spells it out. Why was ambiguity important to you here?

Ambiguity turns the listener into the driver. If I spell everything out, it becomes a story you watch. If I leave space, it becomes a scenario you inhabit — and that’s where replay value lives.

Vocally, “FURTIVA” feels restrained rather than explosive. What does holding back allow you to say that a more dramatic performance wouldn’t?

Restraint makes it feel closer, more dangerous. In that world you don’t “perform,” you communicate. The vocal sits like an inner monologue — controlled, deliberate — which makes the tension stick longer than a big dramatic moment.

How much of the track was built with visual worlds in mind, and how much emerged organically once the music started taking shape?

The visual world came first. We had the asphalt, the humidity, the neon, the sense of pursuit — and then we wrote the music to serve that. The sound design is detailed on purpose, but the goal was always to make the picture feel real.

You’ve positioned “FURTIVA” to live across film, games, and digital spaces as easily as headphones. Do you think music needs to be more adaptable now, or is this specific to how you like to work?

A lot of the industry still treats music as listen-only. We build tracks to be usable — clean workflow, clear reuse terms, minimal clearance friction. LPSV-01 is our way of making that practical, not theoretical.

There’s a sense that this project isn’t chasing trends or quick payoff. What does success actually look like for FREZYA at this stage?

Success is when a creator uses it and says, “that was painless.” No weird back-and-forth, no uncertainty, no takedown anxiety. If the standard gets adopted because it makes people’s lives easier, we’re winning.

When someone finishes listening to “FURTIVA,” what do you hope lingers longer — the sound itself, or the feeling it leaves behind?

I want the silence after the last hit to feel suspicious — like you got away with something. If they take the headphones off and the room feels too still, that’s the reaction.

LISTEN

INSTAGRAM

February 13, 2026 0 comments
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Music InterviewsMusic News

Interview: Felsmann + Tiley – Scoring the Absurdity of Modern Existence

by the partae February 13, 2026
written by the partae

For years, your music has been instantly recognisable, yet your identities remained largely in the background. Did anonymity give you freedom creatively, or did it ever feel like something you had to eventually step beyond?

We’ve been lucky to have unlimited creative freedom and a team around us that fully understands that the music always comes first. Anonymity mainly gave us time — time to experiment and arrive at something we genuinely love. With Protomensch, there’s simply much more to talk about and much more to show, and it felt natural to finally emerge from our long-standing studio hermit phase and re-enter the outside world.

The idea of the “proto-human” feels both philosophical and painfully current. When you began shaping Protomensch, were you responding to the world around you, or to something more internal?

The core idea of the Protomensch existed in our heads long before we wrote a single note or even had a name for the album. It began as an internal observation rather than a response to specific events or headlines. It was a fascinating concept to explore — the absurdity of human existence has so many facets that we could weave music, visuals, and words around it. Living through the past couple of years, however, it started to feel as though the album had turned into a soundtrack for what’s happening around us.

Back in 2017, you imposed the rule of no drums or percussion. That kind of creative constraint can either box you in or force invention. What did that restriction unlock for you that traditional electronic production couldn’t?

It feels less like a restriction and more like a way of putting the focus on the things we love. Coming from club music, removing drums shifted the entire centre of gravity. It forced us to build tension, movement, and release through melody, modulation, and arrangement.

We’re still chasing the same payoff you’d expect from a drop, but without drums we have to arrive there using completely different production techniques. That shift opened up a more emotional and cinematic way of writing that traditional electronic structures wouldn’t have left room for.

There’s a recurring tension in this record — humanity reaching for transcendence while accelerating toward collapse. Do you feel hopeful about where we’re headed, or is Protomensch more of a warning?

It’s neither purely hopeful nor purely a warning. It’s an observation and a commentary on what we see happening around us. Protomensch doesn’t try to predict outcomes or take a moral stance — it simply holds the contradiction up to the light and opens a dialogue. Nevertheless, even though we’re both naturally drawn to darker music, we’re fundamentally optimistic people.

You’ve spent nearly two decades moving through Europe’s pop and electronic scenes, then relocated to Brisbane and built 4000 Studios. Has that shift from touring producer to community builder changed the way you think about success?

Great music happens when creatives collaborate, when they’re surrounded by like-minded people who challenge and push each other’s ideas. Most music cities around the world have spaces where this exchange happens organically. Brisbane didn’t really have that, so together with a small group of locals, we decided to change it. In that sense, building 4000 Studios came more out of necessity following a lifestyle move across the world.

While success in art is a very hard term to define, seeing what has grown out of this community has been incredibly meaningful to us.

Your reinterpretation of M83’s “Solitude” connected on a massive global scale. Did that moment validate the drumless, cinematic direction you’d chosen, or did it add pressure to define what Felsmann + Tiley really is?

It was definitely validating in the sense that it showed our music can appeal to a broader audience than we initially hoped, and that we’re on the right track. The song went viral long after it was released, which was a good reminder that sometimes it’s enough to simply put music out into the world and trust that it will connect with people when the time is right.

The album feels cinematic without being tied to a single storyline. When you’re composing, do you imagine specific scenes and characters, or are you chasing emotional states rather than narratives?

Even though we almost always work with visual or conceptual guides when making music, we’re ultimately chasing emotional states rather than fixed narratives. If, for example, a film about a love story is the inspiration for a song, we try to score how it makes us feel rather than the story itself. Leaving that space open allows listeners to project their own imagery and meaning onto the music.

“Always You” with Woodes carries a strong sense of intimacy within an otherwise expansive concept. What drew you to her voice for this particular chapter of the record?

We’ve been big fans of her project and wanted to work with Woodes for quite some time. A lot of Protomensch explores darker and heavier emotional territory, and “Always You” represents the hopeful, deeply human counterweight to that. Elle’s gentle, soft voice and the way she delivers her performance brought exactly the kind of warmth and intimacy that chapter of the album needed.

After Weltschmerz captured a very specific lockdown-era melancholy, this album feels broader in scope — more societal, almost mythic. Did you approach this project differently from a writing perspective?

Yes, very differently. Weltschmerz was inward-looking and guided by a more focused, intimate emotional palette. With Protomensch, we took a more concept-driven and expansive approach. Exploring different facets of the manifesto allowed for greater musical breadth and gave us more room to experiment sonically, while still grounding the music emotionally.

Now that the full live show has been realised — visuals, live instrumentation, a seated immersive experience — does performing Protomensch feel like closure on a long-held vision, or does it open up new questions for what comes next?

It feels like both. There’s a sense of closure in finally realising something we’ve been carrying for a long time and seeing it exist as a complete, shared experience. At the same time, as with everything else in life, it opens up a whole new world to explore, with many exciting aspects still to be refined. Right now, we’re mainly focused on adapting the show so it can work in different settings without compromise and on finding the right venues to present it properly.

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February 13, 2026 0 comments
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Music InterviewsMusic News

Interview: Jordie Tomas Won’t Bleed for the Applause

by the partae February 13, 2026
written by the partae

Your music moves between intimacy and spectacle in a really deliberate way. When you’re writing a song like Catching Feelings, how early do you know whether it wants to stay close and restrained or open up into something cinematic?

This is so kind! I’m truly led by impulse. With Catching Feelings, I made the chorus first, knowing I wanted it to live in this bigger, dreamlike space. That immediately informed how stripped back the verses needed to be, so they felt grounded in real life. There’s no right or wrong way to make music, and I never go into the studio trying to write a “big” song or a small, intimate one. The song that shows up finds me on the day, and my job as the artist and producer is just to dress it in the outfit that serves it best.

You’ve spoken about queer connections where curiosity doesn’t always come with care. When you’re writing from those experiences, do you feel a responsibility to protect parts of yourself, or does honesty always come first?

I make a lot of music, like, an overwhelming amount, which means most of what I write will never be released. Because of that, I’m always writing from a place where I assume no one else will ever hear it. That gives me permission to be as honest and unfiltered as possible. Of course, when it comes time to release something, there’s a slight panic realising it’ll live out in the world. But I’m really settled by the belief that once a song is released, it’s no longer mine. It belongs to the listener, for them to hold in their own world and let it soundtrack their own experiences.

There’s a strong sense of time and atmosphere in your work, 70s warmth, modern pop polish, metallic edges. What usually leads your creative process first: the emotional story, a sonic texture, or a visual in your head?

I almost always start with the production. I’m finding how I want my body to move to the drums, where the chords and melodies sit in relation to whatever feeling I’m circling. Most of the time, I don’t actually know what I’m writing about yet. I’m just building sounds that excite me. Then, at some point, the story or emotion walks into the room. It’s magical when that happens. But there are also hundreds of sessions on my laptop that are just production ideas that never found their song.

I Hope You’re Watching rejects the idea of performing pain for someone else’s benefit. Was that song a turning point for you creatively, or did it confirm something you already knew about yourself?

I’m a pretty happy human. I love my life, my work, my friends, my family. But I’ve often had people expect me to offer up pain or emotional turmoil that just isn’t there. They’d say, “But how are you really?” as if I needed to be broken to make them feel better about their own feelings. I Hope You’re Watching felt like a defiant turning point. The bridge becomes a mantra by the end of the song: “I’m not bleeding out for you because you want someone broken to hold onto.” I even shot a video where a little kid plays my therapist while I bleed out on a couch. It’s my statement on how people want to play therapist while being completely unequipped to actually care for the person in front of them.

You’ve been producing your own music since your early teens. How has having full control over production shaped the way you write lyrics and melodies compared to artists who hand that part over?

The greatest joy of producing my own music is being able to make the production talk to the lyric. That’s something you can only really do when your hands are on both parts of the record. For example, my song I Wouldn’t Date Me is an uptempo, club pop song production wise, but the lyric itself is devastating. I think of production as the location where the story takes place, and then I drop the song into that world. I’m also a child of YouTube tutorials, totally self taught, which means I make mistakes and use equipment “incorrectly.” But that’s exactly what makes my productions sound like mine. I’m not too fussed if I haven’t made a sound the same way a big time producer in a fancy studio would, and I think audiences are drawn to that sound more and more right now.

Acting taught you how to inhabit characters and narratives. When you’re performing your own songs, do you approach them as versions of yourself, or as characters that allow you to say things more freely?

Performing live is my favourite part of everything I do. I’ve trained my whole life to put on the best live show possible. The version of myself onstage is me at my boldest and freest, but ultimately my job is to create an evening where the audience feels like every song belongs to them, like I’m singing directly about moments in their own lives. My acting background really helps with that. I know how to step into slightly different personas for different songs, or to put myself right back into the emotional moment I wrote the song about and perform it from that place.

You’ve described keeping the production of Catching Feelings warm and intimate so the story could breathe. What does “space” mean to you in a song, and how do you know when not to add more?

Space does more for a song than most people realise. It’s so easy to overcook something and make it overwhelmingly full. I usually produce songs to about 70%, then leave the demos alone until it’s time to release them. When I come back, I’m really specific about what I add or take away to get the song as clear and yummy as possible. Catching Feelings has a bass and drums through most of the verse, and that’s it. It feels like a hot day where no one has the energy to play anything more. Then the chorus erupts into this dream world where the synths and guitars come alive. Leaving that space in the verse makes the contrast between real life and fantasy feel really clear.

Your early memories of music are tied to play, performance, and sharing space with friends. How do you try to hold onto that feeling now that the stakes are higher and expectations are real?

Making music will always be the playful, creatively free place for me. I never think about the business side when I’m creating. I try to put myself back in the mindset of the kid who played guitar backwards or had the synth on completely the wrong settings and let that curiosity lead. As the stakes get higher, my ambition grows with them. I dream bigger, plan larger releases, and want more for my work than I ever have before. I actually thrive and I’m obsessed with the business and planning side. I just keep it as far away from the creative room as possible.

With a debut EP on the way, how are you thinking about cohesion emotionally or sonically across a body of work rather than individual singles?

I never want to release a body of work that feels like a playlist. Once I knew the EP was the next step, I chose songs that best served the story I wanted to tell, even leaving behind a few songs I really love, because they would have been indulgent or perhaps broken the cohesion. I see this EP really clearly, and I finished writing and producing it with the full arc in mind. It’s meant to be listened to from start to finish, in order. That said, we chose singles that could still stand on their own and tell their own stories before they slot into the bigger picture. Sonically they all sound like me, probably because I was the only producer, but I like the space each song occupies and ventures off to.

Looking ahead to 2026, what do you hope people understand about you as an artist after spending time with your music, beyond the songs themselves?

I’ll always make music that’s authentic and unapologetically me. I hope people feel seen, welcome, and loved when they engage with my work. I want to create spaces and projects that are centred around belonging, and to represent my communities as honestly as I can. I’m a workhorse. I build worlds around my projects and care deeply about cohesion and intention. Anyone getting on board with me is signing up for a lifetime of intentional work and community building. I can’t wait to share this EP, but more than anything, I’m excited to perform it and see the audiences make it their own. It’s going to be great.

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February 13, 2026 0 comments
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Festival NewsMusic News

ANYMA BRINGS GROUNDBREAKING LIVE EXPERIENCE ÆDEN TO SYDNEY THIS OCTOBER

by the partae February 12, 2026
written by the partae

PRESENTED BY DESTINATION NSW & UNTITLED GROUP

PRE-SALE REGISTRATION HERE

TOUR INFO HERE

Photo credit: Alex Loucas

Following the global unveiling of his next immersive live concept, Anyma presents ÆDEN, today Destination NSW and Untitled Group are thrilled to announce a one-off exclusive performance at The Domain, Sydney on Saturday 17th October 2026 – marking one of the most anticipated electronic music events to hit Australia this year.

Fans can enjoy a captivating glimpse of the world of ÆDEN, a blend of sci-fi futurism and ancient mythology, by watching the video teaser here.

Anyma – the project of Italian-American DJ, producer, and multidisciplinary artist Matteo Milleri – has quickly become synonymous with a new era of immersive electronic performance. Blending cutting-edge audiovisual production with emotive electronic music, Milleri’s work has carved out a singular space where music, visual art and technology converge on a global scale.

ÆDEN represents the next chapter in that evolution. Following acclaimed immersive productions Genesys and Quantum, the new concept expands Anyma’s meticulously crafted visual language into a fully realised environment where sound, narrative and digital design collide. The project will make its worldwide live debut at Coachella, before rolling out across select global cities – with Sydney announced as the sole Australian date.

“We’re so grateful to be partnering with the NSW Government to bring a project of this scale to Sydney,” said Michael Christidis, of Untitled Group. “Anyma presents ÆDEN is a truly boundary-pushing live experience, and delivering it at The Domain as a one-off Australian show is something we’re incredibly proud of. It’s about giving audiences access to the most forward-thinking electronic music experiences in the world, right here at home.”

Minister for Jobs and Tourism Steve Kamper said: “This is exactly the kind of immersive experience we want to see more of in Sydney and NSW, and we are thrilled to be partnering with Untitled Group to bring this world-renowned, cutting-edge artist exclusively to the Harbour City.

“The completely unique nature of Anyma’s shows means that we are expecting a significant number of attendees to travel to Sydney to attend the show. These visitors will not only experience a one-of-a-kind concert at The Domain, but will also stay in our hotels and eat at our restaurants, supporting hundreds of local businesses and jobs.

“Investing in a dynamic calendar of immersive world-class events and experiences like Anyma presents ÆDEN is a key strategic priority in achieving our goals set out in the Visitor Economy Strategy 2035.”

ANYMA PRESENTS ÆDEN

Pre-sale registration here: https://www.anyma.com/sydney 

Saturday 17th October 2026 – The Domain, Sydney

Since launching the Anyma project in 2021, Milleri has emerged as one of electronic music’s most forward-thinking creative forces. His recent milestones include becoming the first electronic artist to hold a residency at Sphere in Las Vegas, delivering his Quantum two-stage production at the Great Pyramids of Giza, and headlining global events including Tomorrowland, Ultra Miami, Coachella, and the League of Legends Worlds Opening Ceremony in China.

The announcement of ÆDEN follows the release of The End Of Genesys (Deluxe), out now via Afterlife/Interscope. The expanded release features the original album alongside six new tracks debuted during Anyma’s sold-out Sphere residency, including recent singles “Out Of My Body” featuring EJAE and “Till I Die” with Solomun featuring Claudia Valentina.

Anyma presents ÆDEN in Sydney will be one of the rare opportunities to experience this next evolution of the live project outside of major international festivals and first-run global tour stops – and the only chance for Australian audiences to witness ÆDEN in 2026.

About Anyma

Anyma is the American-born Italian electronic music and multidisciplinary artist Matteo Milleri. Renowned for boundary-defying techno compositions, visuals and live shows, Anyma became the first electronic music artist to hold a residency at Sphere Las Vegas in 2024. The meticulously produced Afterlife Presents Anyma “The End of Genesys” cybernetic opera drew in an audience of 200,000 people across all 12 dates. Exploring themes of technology, nature, humanity, and coexistence, Anyma also created the Genesys album trilogy. A debut album, Genesys, came out in 2023, followed by 2024’s Genesys II (Afterlife/Interscope), with a third, The End of Genesys in 2025. The trilogy was drawn to a close on NYE 2025 with The End of Genesys Deluxe, including latest single ‘Out Of My Body’, featuring KPop Demon Hunters star EJAE. Anyma’s further collaborators across albums and live shows have included Sevdaliza, Grimes, Ellie Goulding, FKA Twigs, John Summit and many more. In 2024, he took on visual creative direction for The Weeknd’s “One Night Only” concert in São Paulo, Brazil. In 2025, Anyma held a summer residency at the world’s largest club [UNVRS] in Ibiza. He also headlined Ultra Miami 2025 with a B2B set with Solomun, additionally headlining Sziget Festival, Zürich Open Air, and many more. Last year, Anyma launched the beginning of his creative partnership with Oakley, was announced as a 2026 Coachella headliner, ranked #10 on DJ Mag’s Top 100 DJs list, soundtracked the Vetements 2025 Paris Fashion Week runway show with Chris Avantgarde, headlined and provided creative direction at the League of Legends World Championship in China, and delivered a sold-out performance at the iconic Pyramids of Giza, where he unveiled his groundbreaking two-part show, “Quantum Genesys.” 

Anyma presents ÆDEN is proudly supported by the NSW Government through its tourism and events agency, Destination NSW.

Presale registration is now open.

Presale tickets go on sale 2pm AEDT Wednesday 18th February 2026.

General public tickets on sale 10am AEDT Friday 20th February 2026.

For more info on Anyma, visit: 

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February 12, 2026 0 comments
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Festival NewsMusic News

Benee – Liberty Hall – 11/02/26

by the partae February 12, 2026
written by the partae

Photography: Jake Harm Nam

February 12, 2026 0 comments
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Festival NewsMusic News

Glitch Melbourne is back for 2026

by the partae February 11, 2026
written by the partae

After a Melbourne debut in 2025, internationally acclaimed Maltese festival GLITCH returns to Melbourne for one night only on Saturday, 18 April 2026, at PICA. Known for its boundary-pushing lineups and immersive production, GLITCH gives Australian audiences another chance to experience its signature electronic music energy firsthand.

SIGN UP FOR PRESALE

PRESALE: Thursday 12th February, 2026 at 12:00pm AEDT

GENERAL ON SALE: Friday 13th February, 2026 at 12pm AEDT

THE LINEUP

DJ AYA from Zurich delivers raw, hypnotic techno sets that keep the floor moving from start to finish.

Funk Tribu, Colombian-born and Berlin-based, fuses trance-inspired melodies with modern club energy, having wowed crowds at Tomorrowland, EDC Vegas, and Creamfields while continuing to define the next wave of electronic music.

Lammer from Germany blends techno, house, and breakbeat into genre-defying, high-energy journeys, while globally recognized

MIJA is a Berlin-based purveyor of bounce and groove, bringing high-energy sets from start to finish.

Representing Melbourne’s underground scene, Mikalah Watego brings her signature techno, breaks and electro blends to Glitch Melbourne.

Berlin-based DJ Upper90 rounds out the lineup with fast-paced, rave-ready techno, channeling raw club energy and late-night intensity.

TOUR INFORMATION

WATCH: Glitch Festival 2025 Official Aftermovie

 

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February 11, 2026 0 comments
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Laneway Festival Sydney 2026 – Crowds flood Centennial Park to get a look at the next up and coming acts, as well as pop sensations Role Model, Pink Pantheress and Chappell Roan

by the partae February 11, 2026
written by the partae

Photography & Words: Charlotte Najjar

Well, 17,589 steps and many rain ponchos later, Laneway 2026 was certainly the place to be on Sunday. Not even the pouring rain could keep Sydney from pulling up to one of the biggest festivals of the year, thousands flocking in early to catch artists such as Cavetown, Shady Nasty and Teen Jesus and The Jean Teasers. 

The weather also didn’t stop the featured artists from giving us their all on the stage, a handful of UK artists even praising the brief pause from the heat, making way for something more comparable to the british summers. 

The Belair Lip Bombs, fresh off their European tour brought big energy to the Hope Springs stage, an excellent warm up before heading over to Cavetown at the main stages. 

The day flew by in a blur of talent, Shady Nasty was an excellent introduction to the Everything Ecstatic DJ tent, the place was seriously packed out, and Wisp was another crowd favourite with their alt, shoe-gazy sound that took over the space. 

Of course, checking out Teen Jesus in between was a non-negotiable, with the recent release of their  album “Glory“, they garnered quite the hype and were an honest highlight of the day. 

A quick dash back to center stage got us to Alex G in the nick of time, then it was a quick lunch break before a crazy back to back trio of Lucy Dacus, The Dare and Role Model. All three brought a unique energy to each of their spaces, especially The Dare who I genuinely have no words to describe the energy and stage presence of. Just know the next time he plays near you, get to that show immediately. 

Geese was next up on my list, and this up and coming band from NYC did not disappoint. Such a cool new sound, a bit rock a bit jazz, and a crowd that are already forming such a loyal fan base for the group here in Sydney. 

I’ve heard that Pink Pantheress put on an incredible show, drawing insane crowds to the tent, so much so it had people climbing trees to get a look. I however, was not one of those brave enough to venture into such a crowd, as I was busy gearing up for Wet Leg over at the main stage. 

I popped over just in time to catch The Wiggles make a special guest appearance as Role Model’s “Sally”, before heading into the pit to enjoy the UK band’s incredible performance. The show was phenomenal, made even better by the iconic red landline microphone that they brought out for CPR. 

The final few sets were definitely a stretch to try and get to all at once. Malcolm Todd really delivered on a great sound and performance for his adoring fans, but I have beef with whoever scheduled him at the same time as Wolf Alice. Alas, that is the festival lifestyle, so it was quite the sprint (and I mean that in the most literal sense I can assure you) for myself and a few others to get there in time for the group, but there were zero regrets. Definitely one to see if you’re attending any of the other Laneway dates. 

Finally, to end the night, a quick stop over at Yung Lean and Bladee (incredible) before what everyone had been waiting for. I swear I blinked and every stage had emptied within seconds, everyone headed to the same spot to try and catch a glimpse of pop phenomenon (Femininomenom even) Chappell Roan. 

Despite the absolutely insane crowd, it was the perfect end to the perfect day. Chappell has a stage presence and personality like no other, controlling the environment around her to create a truely emersive show. It was such a treat to have her here again, after her 2023 show at Liberty Hall, it was quite the change of pace. Either way I think we are all hoping to have her back here as soon as possible, just to witness another show of a lifetime.

  

February 11, 2026 0 comments
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Festival of the Stone 2026 – Saturday 20 June, Byron Bay – Music | Community | Tradition

by the partae February 11, 2026
written by the partae
Music and beer lovers of Byron and beyond, mark your calendars! Stone & Wood is thrilled to announce the return of the Festival of the Stone for its 12th year, welcoming everyone back to the brewery for a winter celebration filled with great music, good company and the age-old tradition of stone brewing.

Taking place on Saturday 20 June from 3pm to 10pm at the Stone & Wood brewery in Byron Bay, the much-loved festival marks the ceremonial tapping of Stone & Wood’s annual Stone Beer, made using glowing hot stones in homage to ancient brewing methods.

Stay tuned for Festival of the Stone’s 2026 lineup, coming soon!
Each year, a month before the festival, Stone & Wood’s brewing team and local community gather for Stone Brew Day, a ceremonial gathering to heat stones over woodfire before lowering them into the kettle, creating the rich, smoky flavours that make Stone Beer so distinctive.

Following another hugely successful event in 2025, Festival of the Stone 2026 is set to deliver another unforgettable day of top-notch Australian talent, freshly poured brews and delicious bites from local food vendors.

Best of all, it’s for a great cause. The latest NSW Street Count figures show Byron Shire continues to face one of the highest rates of rough sleeping in the state, with 291 people recorded sleeping rough in 2025, second only to the City of Sydney.

In response, Festival of the Stone 2026 will once again proudly support Fletcher Street Cottage through the Ingrained Foundation, helping raise vital funds for the community hub’s essential services, advocacy and practical support for people experiencing homelessness across the Northern Rivers.

Festival of the Stone 2026 is shaping up to be one of winter’s must-attend events, all for a worthy cause. Save the date, book your leave and keep an eye on the website and socials for lineup reveals and ticket releases!

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