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Music News

Music News

ZUSO & Beckah Amani ‘Close To Heaven’

by the partae November 21, 2025
written by the partae

Over the past few months, Australian producer ZUSO has been building the anticipation for his upcoming EP with a series of collaborative releases, including Make Me Feel with Sydney producer Maver, Hurting with Melbourne artist Keelan Mak, and Erase You featuring Melbourne singer Matilda Pearl.

That EP is set for release in January, and this week ZUSO is giving us another teaser with this inspirational new single called ‘Close To Heaven’, which features the enchanting voice of Burundian/Australian artist Beckah Amani.

“Close To Heaven came along quite naturally. I wrote the original idea at the end of last year, starting with a really powerful and emotional chord progression that evolved into a euphoric afro house track. I knew it needed a vocal, and Beckah’s voice is honestly incredible. She gave the whole song another level of emotion and presence. We had a studio session together in Sydney and pretty much wrote the lyrics that day. Everything just worked so well, and we both knew we’d made something great.” ~ ZUSO

Blending emotive melodies with euphoric afro house rhythms, ‘Close To Heaven’ is a shining example of ZUSO’s ability to channel deep feeling through dancefloor-ready energy — further cementing his reputation as one of Australia’s most exciting emerging producers.

Beckah Amani has been captivating audiences with her soulful voice, poetic lyricism, and emotionally rich storytelling. She has received widespread acclaim for her ability to blend vulnerability with strength, weaving personal narratives through a unique blend of soul, R&B, and indie pop. Her collaboration with ZUSO marks an exciting step into the electronic space, showcasing the depth and versatility of her artistry.

“I had the most amazing time working on this track! When Zuso reached out and sent me the track, the first thing that jumped out at me was how euphoric and sonically expensive the production was. It made me feel like I was flying or traveling through the galaxy to get to heaven. Lyrically, I wanted to capture this imagery and euphoric mood the production made me feel. I explore how being in love feels like being close to heaven and how special and vulnerable that feeling is. My favourite lyrics in this song “‘cause i’m falling without a parachute” captures this idea so well.” ~ Beckah Amani

Stream:

https://msdistro.lnk.to/CloseToHeaven

ZUSO:

https://linktr.ee/zuso_music

Beckah Amani:
https://linktr.ee/Beckah_Amani

Credits:

Produced by Gabriel Cuenca (aka ZUSO)

Written by Gabriel Cuenca & Beckah Amani

Mixed & Mastered by Dan Konopka

Artwork by Eclipse Visuals

Photos by Karlo Apostol

November 21, 2025 0 comments
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Music News

Superdose Gangway share nostalgic new single “No Reason At All”

by the partae November 21, 2025
written by the partae

Adelaide pop punk/emo band Superdose Gangway share their nostalgic new single, “No Reason At All“, and prepare to launch it live at OC Sound Fest, a celebration of the South Australian punk scene, on the 24th January.

For fans of Blink 182 and Hot Mulligan, “No Reason At All” is about a generation disillusioned by the reality of the world today, produced by Lachy Pitcher (TOWNS, Sleep Talk, Colourblind). Tackling themes of existential doubt, the track explores the weight of living in a world where leaders fail to inspire hope. “I believe that action is the best response to the current state of the world,” says frontman Max Tulysewski. “But sometimes all I can muster is despair. This song has been a work in progress since the pandemic, and I think it reflects some common themes of the last five years. My hope is that this song encourages people to be kinder to themselves and those around them.”

Accompanying the new single is a cinematic music video directed by Pete Williams. The clip features high-energy band performances soundtracking a young couple’s struggle to stay afloat during the current housing crisis, represented by epic footage of a couch on fire. Watch it here.

Formed in Adelaide in 2015, Superdose Gangway fuse buoyant pop-punk with the sounds of heartfelt Midwest emo revival. The band’s core members first crossed paths while studying jazz at the Elder Conservatorium – a background that subtly informs their songwriting and musicianship. Fronted by the charismatic Max Tulysewski, Superdose Gangway pairs the endlessly versatile guitar work of Sam Morris and Zoe Smith with the bolt-action rhythm section of Anthony Costanzo and Craig Burns on bass and drums, respectively.

Initially a songwriting project for Tulysewski and a close-knit group of collaborators, Superdose Gangway quickly established themselves as a hard working band known for unorthodox releases. The first of which was called twenty-six songs in twenty-sixteen, seeing them composing, recording  and releasing a new song every fortnight. Upon completion of this project, the band released a best-of mixtape called Monsoon Season through US indie label Old Press Records. In 2017, their single Nothing Gold was included on an international 4-way split 7” with Summerbruise (US), Gun Shy (UK) and The East and their song Quixote appeared on ‘We Believe You: A Benefit Compilation for Victims of Sexual Violence‘ in 2018 amongst a host of US emo mainstays including Great Wight, Prince Daddy & the Hyena and Into It. Over It. Further showcasing their versatility, the band also wrote an original song for the independent feature film The Last Grind, which is now streaming on SBS.

Superdose Gangway have earned a reputation for their captivating live shows, sharing stages with a diverse lineup of kindred artists including Tigers Jaw (US), Signals Midwest (US), The 5.6.7.8’s (JPN), Carb on Carb (NZ), The Smith Street Band, Slowly Slowly, Ceres and Press Club, among others. Their sound has resonated with both fans and critics alike – Junkee praised that “over the last five years, they’ve crafted a sound of their own,” while Hysteria Mag declared, “Fans of emo-tinged pop punk, meet your new favourite band: Superdose Gangway.”

“No Reason At All” is out now and streaming everywhere.

November 21, 2025 0 comments
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Festival NewsMusic News

ELECTRIC ISLAND TOUR ADDS ABOVE & BEYOND TO ADELAIDE EVENT + EXPANDS LINEUPS WITH SPECIAL GUESTS EATS EVERYTHING, CRISTOPH B2B JEREMY OLANDER, ELI & FUR, SNEAKY SOUND SYSTEM, LATE NITE TUFF GUY & MORE

by the partae November 20, 2025
written by the partae

Electronic music festival Electric Island today announces that Above & Beyond will join the Adelaide leg of its upcoming April 2026 tour – co-headlining a lineup that also features Armand Van Helden and Flight Facilities (DJ Set).

Furthermore, the festival unveils a world-class cohort of international powerhouses and unmissable local icons as very special guests. Joining respective events across the three-city, five-date tour will be the likes of prolific English producer, DJ and remixer Eats Everything, trailblazing duo in the new wave of house music Cristoph b2b Jeremy Olander, the emotive dance world of London sibling duo Eli & Fur, Australian dancefloor legends Sneaky Sound System and South Australia’s disco maestro, Late Nite Tuff Guy.

Additional to each city’s stacked lineup are a mix of esteemed locals, including Melbourne / Naarm’s Amity, Mike Steva, Rromarin and Tyson O’Brien, Adelaide / Kaurna DJs Audioporn and Felicity, plus Perth / Whadjuk’s Fifth Day & Nico Giovanni, Law Corden and Mind Electric.

“This is our biggest line-up to date with so many great international and local artists playing Electric Island next year. We’re thrilled to be able to expand in 2026 and deliver these unique shows across pristine coastline venues in three states of Australia.” – Damian Gelle (Director T1000 Events / Electric Island)  

Earlier this year, Electric Island announced its grand return for 2026, where internationally-acclaimed dance icons meet impeccable beachside locations for the ultimate music experiences. Kicking off with a one-day takeover of Adelaide’s Glenelg Beach on 11 April, the series will next venture to Melbourne’s RIVA and Perth’s Cottesloe Beach for two-day weekenders across 18 and 19 April.

See below for the full lineup, dates and locations. Tickets are on-sale now at www.electricisland.com.au

ELECTRIC ISLAND

GLENELG BEACH, ADELAIDE, SA
SATURDAY 11 APRIL, 2PM-10PM
ABOVE & BEYOND (ADDED), ARMAND VAN HELDEN, FLIGHT FACILITIES (DJ SET)
LATE NITE TUFF GUY, AUDIOPORN, FELICITY

RIVIERA BEACH CLUB, MELBOURNE, VIC
SATURDAY 18 APRIL, 3PM-10PM
ARMAND VAN HELDEN, FLIGHT FACILITIES (DJ SET)
EATS EVERYTHING, TYSON O’BRIEN, MIKE STEVA

SUNDAY 19 APRIL, 3PM-10PM
ABOVE & BEYOND
CRISTOPH b2b JEREMY OLANDER, ELI & FUR, RROMARIN, AMITY

COTTESLOE BEACH, PERTH, WA
SATURDAY 18 APRIL, 3PM-10PM
ABOVE & BEYOND
CRISTOPH b2b JEREMY OLANDER, ELI & FUR, RROMARIN, FIFTH DAY & NICO GIOVANNI

SUNDAY 19 APRIL, 2PM-9PM
ARMAND VAN HELDEN, FLIGHT FACILITIES (DJ SET)
EATS EVERYTHING, SNEAKY SOUND SYSTEM, MIND ELECTRIC, LAW CORDEN

www.electricisland.com.au

ELECTRIC ISLAND
FACEBOOK | INSTAGRAM | WEBSITE

November 20, 2025 0 comments
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Festival NewsMusic News

Kacey Musgraves – Sydney Opera House – 19/11/25

by the partae November 20, 2025
written by the partae

Photography: Jake Harm Nam

November 20, 2025 0 comments
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Festival NewsMusic News

Halfmoon Festival Announces 2026 Headliners for for Open-Air Jungle and Beachfront Celebrations

by the partae November 19, 2025
written by the partae

As Europe heads into winter and the festival calendar quiets down, Thailand’s iconic Halfmoon Festival is heating up and is the perfect way to escape it all. Halfmoon offers the perfect alternative with sunshine, sea views, incredible music and a global community of like-minded travellers. Over more than two decades, Halfmoon Festival has been a bucket list getaway bridging international electronic culture with local artistry, spectacular visual performance and soul-stirring and spiritual celebration.

From December through February 2026, Koh Phangan’s open-air jungle celebration will host a fresh run of bi-weekly shows featuring major international talent including Blazy, Blastoyz, Ghost Rider, Reality Test, WHITENO1SE, Querox Berg, Silver Panda, Mr.Black, Blanka, Ranji, Tezla, IARA, Tali Muss, Don’t Blink, Dirty Andy and Javier Gonzalez. Heading into 2026, the January and February headliners offer a stacked selection of progressive trance, psytrance, melodic techno and deep house. Highlights include NEELIX, the legendary German producer, bringing his progressive psytrance energy to the dancefloor as well as Liquid Soul known for his deep rolling basslines, layered psychedelic textures and euphoric melodies. The new year will also see some Halfmoon favourites return such as Ghost Rider, known for his melodic, electro-house beats and Javier Gonzalez, bringing tech-house and afrohouse percussive, tribal grooves. Other names include Audiomatic, Dilby and Sun Diary with more to be announced.

With its unique two-day format and famously high definition and super sized production, all in an otherworldly island setting, Halfmoon Festival has long offered one of the most transportive dance music experiences in the world. Each edition kicks off at the stunning Harmony Beach Club where you ease in with beachside beats, fire dancers and exotic performers, making for plenty of daytime fun. There are pool parties and endless tropical cocktails to enjoy as the sun sets over the Gulf of Thailand and leads into day two.

The second night then transforms the Magical Forest into a surreal nighttime playground. Surrounded by palms and jungle canopy, three custom-built stages – The Prime Stage, G Floor, and The Cave – are all curated with their own soundtrack and host everything from melodic techno and psychedelic trance to house, indie, hip-hop and experimental live sets. Fire shows, LED visuals and vivid production make this a vibrant, sensory stimulating rave like no other.

With over 2,000 accommodation options on the island ranging from beachside bungalows to luxury resorts, Koh Phangan offers easy access to wellness retreats, waterfalls, hiking, local markets and the festival itself. Daily ferries from Koh Samui and a growing number of direct flights into Surat Thani and Samui Airport mean it’s never been easier to escape to paradise.

HALFMOON FESTIVAL THAILAND

Every 2 Weeks Until June 2026

2 Days, 4 Stages

Tickets: www.halfmoonfestival.com

Locations:

Day 1 – Harmony Beach Club: 99/5 , moo 1,

Bantai, Koh Phangan,, Surat Thani, 84280

(14:00 till Midnight)

Day 2 – Halfmoon Magic Forest: 72/39 moo 2, Ban Tai,

Koh Phangan, Surat Thani 84280

(21:30 till Sunrise)


For full artist lineups, ticket packages and travel tips heads to www.halfmoonfestival.com

November 19, 2025 0 comments
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Festival NewsMusic News

SCHOONER OR LATER 2026 Sydney Harbour Cruise FRENZAL RHOMB + MID YOUTH CRISIS

by the partae November 19, 2025
written by the partae

Yeah, it’s back. SCHOONER OR LATER – The original, the biggest and the best punk rock boat on Sydney Harbour. The one that hosted bands like Me First and the Gimme Gimmes, Unwritten Law, Lagwagon – and always sells out in a heartbeat.

 

2026 will be host to FRENZAL RHOMB – back on board for the first time since 2018 + Melbournes MID YOUTH CRISIS – A combo never to be repeated!
Support comes from ARSE & Melvic Centre
Tickets on sale Thursday November 20, and you know the drill – they won’t last long.
Four Hours cruising across beautiful Sydney Harbour watching your favourite international and local acts.
FRENZAL RHOMB + MID YOUTH CRISIS

with ARSE & MELVIC CENTRE

Over 18 (Unless accompanied by guardian) – 2PM-6PM

SUNDAY FEBRUARY 15, 2026
Casino Wharf, Pyrmont

REGISTER FOR THE SALE HERE
November 19, 2025 0 comments
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Music News

Nameless Friends – There’s A Rapist In The White House / Mary

by the partae November 19, 2025
written by the partae

Toronto glam-punk powerhouse Nameless Friends are back with a gut-punch of a release—two tracks that wrestle with family trauma and political fury in equal measure. The double single release, arriving November 19th, is led by the haunting “Mary” before launching into the defiant protest anthem “There’s a rapist in the White House.”

At its core, “Mary” is inspired by waves of feelings so intense that words can’t reach them anymore. The track begins with tender, progressive guitar work that lulls you in before shattering into an explosive punk-rock assault—mirroring the moment when suppressed emotions finally break through the surface.

The song’s title carries weight beyond its simplicity. For four generations, the women in Number One’s family carried variations of the name Mary—a tradition that bound them together while also symbolizing inherited patterns of pain and expectation. She’s among the first to break that cycle—a quiet rebellion that echoes through the song’s sparse lyrics and crushing instrumental passages. The name itself becomes a vessel for all the unspoken struggles passed down through mothers and daughters, the weight of family legacy, and the courage it takes to step outside predetermined roles.

“Some feelings are too big for words,” says Number One. “We needed the music to carry what language couldn’t hold.”

The companion track hits harder and more direct. “There’s a rapist in the White House” rumbles to life with menacing basslines before Number One’s commanding vocals cut through with unflinching clarity. Drawing inspiration from an arsenal of protest music legends from Neil Young to Kendrick Lamar, the song fuses folk and hip-hop sensibilities into something urgently relevant.

The lowercase spelling is intentional—a deliberate choice to strip away any sense of glorification. “We refuse to make it sound like an honorific title,” Number One explains. “Sexual violence is banal, it’s horrifyingly normal. When somewhere between one in four and one in three North American women survive sexual assault, we’re not treating this like some distinguished position. It’s lowercase because it should never be dignified.”

Written before the recent cross-border tariff drama, the track’s fury feels even more prescient now. For Number One—who carries both Canadian and US citizenship and counts Trump supporters among her relatives—the song becomes a pressure valve for all the rage and heartbreak of watching a country betray itself.

“We wrote these lyrics before the tariff chaos, but that’s the thing about speaking truth—it doesn’t expire,” Number One reflects. “When you’re holding dual citizenship and watching family members vote against your values, the anger becomes something you have to transform into sound or it’ll eat you alive.”

This is what Nameless Friends does best: turning political and personal devastation into glittering, heavy rock that hits like a freight train. Self-described as “modern glam, prog punk, metal-adjacent, hysterical pussy shit,” they channel Queen’s theatricality, PUP’s raw energy, and Rage Against The Machine’s revolutionary fire.

Hailing from London, Ontario, the band features Number One on lead vocals and production (plus primary songwriting duties), Number Three on guitar, Number Five on bass, and Number Seven on drums. Touring keyboardist Number Six rounds out their live lineup. Onstage, they’re unmistakable—drenched in glitter, wearing bleach-stained band shirts, creating an atmosphere where righteous anger meets pure joy.

Their 2023 debut Blasphemy launched them into the spotlight with millions of social media views and a very public battle with Saskatchewan Premier Scott Moe over transgender youth rights. They’ve sold out venues like Toronto’s legendary Horseshoe Tavern—including an entire Queen tribute set that proved they have the musical firepower to back up their ambitions. They’ve written about menstrual justice, climate collapse, and economic violence, all while keeping their music dangerously fun. Tour after tour across Canada, the UK, and Ireland, they’ve made it a priority to share the stage with other femme and queer artists.

“Mary” and “There’s a rapist in the White House” arrive on all streaming platforms November 19th, 2025

 

“Known for their powerful yet freeing rock musicality, Nameless Friends present themselves in their most authentic and unfiltered form”

EARMILK

“Spite-fuelled chaotic do-gooders with electric guitars”

NEXT WAVE

“Bringing back more of that bold and grizzled alt-rock aesthetic they have become synonymous for”

RETURN OF ROCK

DISCOVER NAMELESS FRIENDS

Website | Facebook | Instagram | Tiktok | Youtube | Twitter

November 19, 2025 0 comments
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Festival NewsMusic News

Jeremy Zucker – Roundhouse, Sydney – 18/11/25

by the partae November 19, 2025
written by the partae
Photography: Jake Harm Nam

November 19, 2025 0 comments
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Festival NewsMusic News

LIVE NATION’S ONES TO WATCH LAUNCHES MELBOURNE EVENT CELEBRATING AND AMPLIFYING AUSTRALIAN ARTISTS LIVING WITH DISABILITY

by the partae November 19, 2025
written by the partae

HOSTED BY ELIZA HULL
FEATURING MATHILDE ANNE, R.EM.EDY AND COOPER SMITH

Continuing to redefine their status as one of the premier live music discovery platforms in the country, Live Nation’s ONES TO WATCH series today announces their final edition for 2025: 

an event held in Melbourne on Wednesday 26 November, to coincide with 

International Day of People with Disabilities (IDPWD) – observed on Wednesday 3 December.

Championing and celebrating incredible artists who have been breaking down barriers with their music, encouraging inclusivity and an industry shake-up that has long been needed to benefit those living with myriad disabilities, ONES TO WATCH is excited to bring a new roster of expertly curated talent to a room full of fans and industry professionals alike.

Working closely with award-winning songwriter, performer and activist ELIZA HULL, the ONES TO WATCH team is excited to present a lineup of artists who represent some beautiful creative corners of Australian music that are positioned to crest new waves of success in the near future.

The evening will be hosted by Eliza Hull, who will also close the night with a special performance – a poignant reminder of her own status as one of Australia’s best voices. A striking songwriter, Hull’s music has been embraced by Australian and international audiences alike in recent years, touring throughout Australia and the UK, delivering spellbinding performances to growing numbers of fans who have been instantly drawn to her natural gifts as a storyteller. 

With a new record due in 2026, Hull has remained busy across a number of different projects while not on tour, including international collaborations and exploring the fruits of a recently signed worldwide publishing deal with Sony Music, while led to an emotive reimagining of Silverchair’s ‘Tomorrow’ for Australian drama, Playing Gracie Darling.

In working with ONES TO WATCH to shape this November event, Hull has explained, “This is exactly what the industry needs right now – a night to celebrate and amplify the incredible artists with disability in this country. I’m incredibly grateful to Live Nation for stepping in and showcasing talent that is so often underrepresented. I’m super proud of the artists I’ve curated. As a musician with a disability myself I know firsthand that there are still barriers in the industry, but moments like this give me real hope for what’s ahead.”

Set to perform at this final ONES TO WATCH event for the year, Melbourne-based pop artist MATHILDE ANNE will captivate with her unique blend of pop and indie stylings. Making waves with her alt-pop debut album NORMAL in 2024, Mathilde has since risen prolifically within the local space; her music weaving through ethereal sounds and evocative songwriting, exploring themes of young adulthood, womanhood and living with neurodivergence. Mathilde has shared stages with the likes of Cub Sport, Telenova and more, and is looking ahead to a busy 2026 with the highly-anticipated release of her new EP, Cigarettes and Anxious Sex.

Joining her will be R&B/pop chameleon, R.EM.EDY, a fellow Melbourne-based artist who has been shifting boundaries in her effortless blend of genres and sonic influences. Ranging from R&B to soul, pop, hip-hop and dance music, r.em.edy has found a natural calling in music as a way for her to not only tell her own stories, but to be a vessel for inspiration and change. Advocating for fellow artists with disabilities including ADHD, Autism and POTS, re.me.dy has generated more than 5 million streams for her music, as well as a fiercely loyal fanbase around the country.

Completing this ONES TO WATCH lineup is talented Australian DJ, COOPER SMITH. Creating music and soundscapes that are instantly engaging as they are electrifying, Cooper’s success as a DJ has been driven by a spirit to create a new lane for himself in a scene already dominated with unique personalities. His commitment to breaking barriers has seen Cooper’s profile continue along a rapid, upward trajectory, with shows alongside the likes of Torren Foot, Airwolf Paradise; on the Australian Open Main Stage, and in renowned clubs including New Guernica and Revolver, cementing his status as a talent to keep an eye on.

Throughout 2025, the ONES TO WATCH music discovery series has delivered successful events right around Australia, bringing packed out events to venues in Brisbane, Melbourne, Sydney, Perth and Byron Bay. Providing a stage for Australian and international artists alike to captivate an audience of fans and influential industry players, in a unique and intimate setting, Live Nation’s ONES TO WATCH has become a globally renowned and respected pathway for artist exposure and support. 

Capping off another busy year with this final event in Melbourne, raising awareness for and celebrating International Day of People with Disabilities (IDPWD), ONES TO WATCH is keen to continue their support of up and coming artists who are changing the culture and game in Australian music.

“Collaborating with Eliza Hull on this Ones To Watch showcase to elevate these voices reinforces our shared commitment to championing inclusivity across the industry, and it’s a proud moment to celebrate the incredible talent of these artists in the lead-up to the International Day of People with Disability.

As part of the broader Ones To Watch program, this event helps create real pathways for emerging talent, opening doors, building connections, and ensuring every artist has the chance to be seen, heard and supported by the industry” Michelle Lucia, SVP, Product & Innovation, Live Nation Australia & New Zealand. 

 

ABOUT ONES TO WATCH:

The ONES TO WATCH series has made a solid impact within the Australian music community. In Australia since 2021, the series has been serving industry and fans exclusive opportunities to see some of the country’s best new talent perform in intimate environments across Melbourne, Sydney, Darwin, Brisbane  and Byron Bay, highlighting the current wave of artists primed to make their impact in other markets.

Since its establishment in North America, the ONES TO WATCH series has been able to support and promote artists such as Dua Lipa, Olivia Rodrigo and Halsey early in their careers. So far in Australia, ONES TO WATCH has platformed artists including Salty, Lotte Gallagher, Fletcher Kent, Chanel Loren, J-MILLA, Georgia Lines, Ishan, Adrian Dzvuke, Phebe Starr, J.Tajor, Yung Milla, Juran, Blake Rose, Sophisticated Dingo, STUMPS, Forest Claudette, Teenage Joans, Carla Wehbe, ZPLUTO, WIIGZ, Hoodzy, East AV3, Colourblind, Saint Lane, Say Sue Me, Cifika, Sion, Wah Wah Wah, Ullah, Ghost Care, Mariae Cassandra, Loren Ryan, Dem Mob, Rox Lavi, Dobby, and Lewis Love at events around the country. 

 

LIVE NATION AUSTRALIA: Official Website | Facebook | Twitter | Instagram  

November 19, 2025 0 comments
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Festival NewsMusic News

DOM DOLLA ANNOUNCES MONSTROUS LINEUP FOR SYDNEY ALLIANZ STADIUM SHOW

by the partae November 18, 2025
written by the partae

Dom Dolla – Saturday 20th December – Allianz Stadium, Sydney

With less than a month to go until his debut Australian stadium show, GRAMMY Award-nominated DJ and producer Dom Dolla has revealed the line-up of artists set to join him for this landmark show at Allianz Stadium, Sydney on Saturday 20th December, 2025.

Joining Dom Dolla is the Irish electronic heavyweight KETTAMA, New York’s genre-defying Fcukers (Dj set) and Australian dance icon Anna Lunoe. Together, they’re set to deliver a night of world-class energy for what promises to be one of the most anticipated electronic music events of the year, presented by Untitled Group and TEG Live.

This stadium show follows Dom’s record-breaking 2024 national tour, which saw him sell over 170,000 tickets across four cities, making it the largest tour ever by an Australian electronic artist. In 2025, Dom has continued his meteoric rise, headlining two sold-out shows at Madison Square Garden in New York City to over 30,000 fans, performing headline sets at Lollapalooza Chicago, Ultra Miami and EDC Las Vegas, and most recently completing his 10-week residency at the world’s #1 club, Hï Ibiza.

Dom’s catalogue has surpassed 1.5 billion streams, earning him three ARIA Awards to date, along with seven nominations in 2025 – including coveted categories Best Live Act, Song of the Year, and Best Solo Artist.

Earlier this year, he released Dreamin’ featuring Daya, followed by Forever with Kid Cudi, and most recently wrote and produced a lead single for the film “F1: The Movie” No Room For A Saint ft. Nathan Nicholson

Final tickets are on sale now HERE, don’t miss the event of the year.

This is an 18+ event.

Get connected:

domdolla.com.au

November 18, 2025 0 comments
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Festival NewsMusic News

Bali’s Djakarta Warehouse Project Set to Host Calvin Harris, Charlotte de Witte, Cyril, Fisher, Hugel, and More This December

by the partae November 18, 2025
written by the partae

Bali’s Biggest Music Festival, Djakarta Warehouse Project,
Set to Host Calvin Harris, Charlotte de Witte, Fisher, Hugel, Sammy Virji, Skrillex, Steve Angello, and More This December

This December 12-14, 2025, Djakarta Warehouse Project (DWP) returns to Bali, transforming the island’s breathtaking GWK Cultural Park into a world stage for electronic music, art, and community. What began as a club night in Jakarta has evolved into one of Asia’s most respected music festivals, bringing its signature energy to the Island of the Gods for an unforgettable three-day celebration.

Held at GWK Cultural Park, DWP 2025 unfolds in one of Bali’s most iconic and atmospheric locations. The vast outdoor venue, crowned by the towering Garuda Wisnu Kencana statue, captures the island’s creative pulse – open skies and tropical warmth. As day turns to night, the park shifts from glowing sunsets to a horizon alive with light and sound, creating a setting that feels both grounded in culture and charged with dancefloor energy.

Fisher makes his exclusive festival appearance in Southeast Asia at the 2025 edition, joining a powerful lineup of global icons and diverse innovators from a myriad of scenes. Calvin Harris, Charlotte de Witte, Hugel, Sammy Virji, Skrillex, and Steve Angello bring their infectious energy, joined by Cyril, Dipha Barus, an unprecedented exclusive first-ever-in-Indonesia triple billing from DubVision b2b Matisse & Sadko b2b Third Party. The momentum continues with Nifra, Odd Mob, Paul van Dyk, Space 92, Whisnu Santika, alongwith Lukas & Frank (live), Gil Glaze and ¥ØU$UKE ¥UK1MATSU rounding out a program engineered to move from sunset euphoria into late-night intensity within one of the world’s most striking open-air venues.

Reflecting DWP’s commitment to celebrating Asia’s diverse and dynamic electronic scene, this year also spotlights rising regional talent. Singapore’s FVDER brings a forward-thinking blend of house and bass, while Indonesian favorite LTN returns with his internationally acclaimed progressive sound. Indonesia’s own XYRA makes his long-awaited DWP debut, joined by Vietnam’s Sphinix, who adds cinematic depth and texture to the lineup. Rounding out the regional showcase, Japan’s YAKSA and TJO join forces for an exclusive back-to-back performance, uniting two decades of club culture and high-octane energy.

Extending beyond the main event, DWP Bali Music Week offers a full week of island-wide programming that blends culture, creativity, and community. Beachside pre-parties, wellness sessions, label takeovers, and cultural activities invite festivalgoers to experience Bali’s rich spirit in new ways.

Every year, DWP pushes creative and technical boundaries, and its 2025 debut in Bali will be its most ambitious yet. Expect monumental stage designs inspired by Indonesian artistry, cutting-edge lighting and pyrotechnics, and immersive environments that blur the line between art and performance. Each element has been carefully curated by Ismaya Live to capture Bali’s cultural soul while delivering the world-class production DWP is known for.

Exclusive tickets and travel packages are now available, designed to make the journey to paradise seamless.

GA Early Entry 3-Day Pass: IDR 1,900,000 / USD 115

GA Presale 3-Day Pass: IDR 2,100,000 / USD 128

VIP Presale 3-Day Pass: IDR 4,200,000 / USD 255

Travel Packages: from IDR 8,400,000 / USD 515 (includes passes for two, hotel, and breakfast)

Tickets, group deals, and travel packages can be found at www.dwpfest.com.

Organised by Ismaya Live, Djakarta Warehouse Project has grown from a local club event into one of Asia’s most celebrated music festivals, drawing hundreds of thousands of fans from across the globe. Known for its impeccable production, diverse programming, and vibrant sense of community, DWP continues to redefine the festival experience in Asia.

Djakarta Warehouse Project 2025
December 12-14, 2025 | GWK Cultural Park, Bali, Indonesia
www.dwpfest.com

CONNECT WITH DJAKARTA WAREHOUSE PROJECT

INSTAGRAM | FACEBOOK | WEBSITE

November 18, 2025 0 comments
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AWARD-WINNING HAISLA NATION DUO SNOTTY NOSE REZ KIDS ANNOUNCE AUSTRALIA & AOTEAROA/NZ TOUR

by the partae November 18, 2025
written by the partae

AUSTRALIAN DATES CO-HEADLINED BY BARKAA
DEBUT AOTEAROA DATES SUPPORTED BY REI

Powerful hip hop duo SNOTTY NOSE REZ KIDS are wasting no time in continuing to build upon the momentum that has generated in Australia– confirming their Australian return, as well as their debut in Aotearoa/New Zealand across February and March, 2026.

SNOTTY NOSE REZ KIDS represent more than just a hip hop firebrand coming out of British Columbia. The rappers, hailing from the Haisla Nation, are cultural gamechangers; fusing the storytelling and ardent connection to their histories and ancestral lines with a ferocious brand of music and forward thinking sounds. 

The release of their sixth album RED FUTURE in 2024 repositioned SNOTTY NOSE REZ KIDS as one of Canada’s most important creative forces. The album earned critical praise, as well as the Juno Award for ‘Rap Album of the Year’ in 2025; making SNOTTY NOSE REZ KIDS the first Indigenous artists to do so. Also long-listed for the prestigious Polaris Music Prize, the project proved to be a moment of redefinition for SNOTTY NOSE REZ KIDS and as Australian audiences have witnessed on previous visits, the music and the messaging have never been more urgent or poignant. 

First Nations excellence will be celebrated at all stops of SNOTTY NOSE REZ KIDS’ Australian and Aotearoa/NZ run; with award-winning Malyangapa, Barkindji rapper BARKAA co-headlining all Australian dates, and award-winning Tāmaki Makaurau/Auckland artist REI supporting at both shows in Aotearoa/New Zealand. Representing some passionate storytelling and uncompromising performance styles, this SNOTTY NOSE REZ KIDS return is one that could not have been curated more perfectly.

The tour begins on the West Coast with an appearance on the 2026 PERTH FESTIVAL program on February 21. SNOTTY NOSE REZ KIDS then head down the Australian East Coast with BARKAA and special guests, before heading to Aotearoa for the first time, where REI and special guests will join for these unmissable Aotearoa shows. Ngāti Raukawa, Ngāti Pākeha songwriter and producer REI has been leading a wave of innovative artists fusing culture, language and music out of Aotearoa. The 6 time Waiata Māori Award winning artist has taken his music global in recent years, and continues to redefine what it means to be a modern artist in Aotearoa working te reo in with clashing genres such as hip hop, R&B and electronic.

“Australia is like our home away from home. As Indigenous people from Turtle Island, we can relate to the struggles of Indigenous people in Australia. Every time we come, it’s nothing but love and we’re stoked to be back and playing shows in both Australia and New Zealand this time around.” SNOTTY NOSE REZ KIDS

For Australian punters, the opportunity to see SNOTTY NOSE REZ KIDS and BARKAA together on one bill is not one to be missed. Powerhouses in their own right, the 7x ARIA Award nominated, National Indigenous Award winning rapper has cemented her status as one of Australia’s finest and potent voices. With over 10 million streams and continued positive influence spreading nationwide with her music, BARKAA is set to embark on a bright new chapter in 2026 – this tour perfectly timed for such a kick off.

“I’m so honoured to be joining my First Nations brothers, SNRK, on their tour next year, connection is everything for us mob and sharing culture! To be able to continue the song-lines of our old people and putting power back into my people means everything to me. LAND BACK!” BARKAA

The tour also marks an exciting collab between SNOTTY NOSE REZ KIDS and BAD APPLES MUSIC – the music label, collective and platform for First Nations excellence, celebrating its tenth anniversary in 2025. Since being founded by BRIGGS ten years ago, Bad Apples has grown into a community-driven movement, one that supports and uplifts First Nations talent through collaboration, mentorship, and uncompromising artistic freedom.

“We’re stoked to be sharing the stage with our homie BARKAA in Australia and our brother, Rei, in New Zealand. This all started with the Perth Festival reaching out and bringing us onto their festival and we’re excited to play Perth for the first time. We can promise you energy energy energy on this next tour. See you on the road.” SNOTTY NOSE REZ KIDS

PRAISE 

“Snotty Nose Rez Kids continue to make waves in the hip-hop industry while also uplifting their community. They effortlessly blend introspective lyricism into upbeat and lighthearted dance-worthy anthems. SNRK embodies representation for the modern music lover.” 

EUPHORIA

“Their sound, grounded in unparalleled lyrical skill and a uniquely natural storytelling ability, quickly established their reputation…”

WONDERLAND

 

SNOTTY NOSE REZ KIDS AUSTRALIA / AOTEAROA TOUR DATES

Tickets available HERE

Saturday 21 February East Perth Power Station BOORLOO, PERTH 

Perth Festival

Thursday 26 February Oxford Art Factory GADIGAL, SYDNEY

Co-headline with BARKAA
Special Guests TBA

Friday 27 February The Night Cat NAARM, MELBOURNE

Co-headline with BARKAA
Special Guests TBA

Saturday 28 February Crowbar MAGANDJIN, BRISBANE

Co-headline with BARKAA
Special Guests TBA

Thursday 5 March Double Whammy TĀMAKI MAKAURAU, AUCKLAND

with REI and Special Guests

Friday 6 March Meow PŌNEKE, WELLINGTON

with REI and Special Guests

SNOTTY NOSE REZ KIDS: Official Website | Facebook | X | Instagram | YouTube 

November 18, 2025 0 comments
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Music InterviewsMusic News

Interview: Pilot Crisis – Deep Procrastination and Creative Breakthroughs Behind ‘No Vacancy’

by the partae November 17, 2025
written by the partae
‘No Vacancy’ was born out of a moment of deep procrastination. What was happening in your lives when this song first took shape? 
 
Mitch: My wife and I had finalised our venue and vendors for our wedding. I was excited to start the next phase of my life but felt I was stuck in a rut staying at home now thinking I had to save for the honeymoon. It felt like I’d go to work, come home and sit in front of the TV and recycle that routine. I’d have my guitar out and noodle around if I was bored of TV but kept coming back to cartoons. 
 
Evie: I had just moved to Townsville with my fiance, and we were set up in a hotel for the time being – I remember lying on the floor and spending hours going over the song. We weren’t the happiest about being posted to Tville even while we tried to make it feel like a fun adventure. I distinctly remember feeling the song was so fitting as I avoided signing my new work contract, sitting in a room that actually had a pretty good view… 
 
Mitch, you mentioned zoning out to King of the Hill while noodling on guitar — what made that particular moment spark something worth turning into a track? 
 
Mitch: It was a time where we were trying to work out what songs to record so I  to have my guitar with me all the time to finish them. Sometimes I’d catch myself looping sections into the abyss while staring at the TV, trying to work out the melody. I’d make up lyrics using the show and if I didn’t get anywhere I’d just lose myself back to the TV eventually 
 
Evie, you pushed your vocal approach on this song. What new techniques or ideas did ‘No Vacancy’ unlock for you as a performer? 
 
Evie: For me it was about learning to hit each consonant with enough attitude that you could feel how bitter each word is. The other part is Chen always pushing me to try going an octave up on certain segments in each song – it always adds a fun challenge as I have to work out belting techniques for different vowel shapes, word deliveries, word lengths, and how to bring my voice out of a belt to tail off the end of the word. 
 
The track has shades of early WAAX and Paramore — how do those influences naturally weave into the Pilot Crisis sound without overshadowing your own identity? 
 
Mitch: I’m a sucker for fun guitar riffs and both of these bands are full of them. I wanted to write riffs that looked like you were enjoying yourself on stage and were fun to play that make you want to jump around when you hear that first strike. I felt this when I had the Wild and Weak EP on repeat and seeing them live made you wanna thrash around. 
 
Evie: I very much model clarity and technique off Paramore songs, but for this song I also had myself listening to a lot of The Pretty Reckless, Halestorm, and lots of Marmosets to pick out the attitude they bring and learn why some word deliveries are chosen. 
 
You worked with Matt Cochran and Brock Weston again on this single. What made this team the right fit for bringing ‘No Vacancy’ to life? 
 
Mitch: Matt, Tim (drummer) and I played in a band together in highschool called “Minus Nine” and have remained close friends ever since. We know each other quite well which allows us to enter recording mode relaxed and focused. He gets the best performances from us while knowing what we are trying to achieve. It’s fun working together so it doesn’t feel tedious. Brock was Matt’s recommendation from when we recorded Misguided. We loved how it sounded so have always gone back to him. 
 
Evie: Matt became a friend of mine through Chen, and we recorded our first two singles with him. He is genuinely one of the coolest people, but also he is so smart and knowledgeable that it makes every recording process a breeze. Plus he has good humour so every recording session is pure fun (even with hours upon hours of recording). These things are super important when you’re anxious, it helps you just focus on the art instead. Brock is an automatic option for us, he knows our sound well. 
 
You’ve had a big run recently with tours alongside Vipersnatch and support slots for Beddy Rays. How have those shows shaped the new music you’re creating? 
 
Mitch: Watching Vipersnach take the stage felt like an explosion. They were confident, passionate and loud in what they believed in. Off stage they were kind, funny and actually chatted with us. It set the bar for what bands we wanna play with. Beddy Rays welcomed us to the show with open arms and were the nicest guys. They showed us it’s all about having fun with your mates and not taking things too seriously cause they can be your family. When we think of Beddy Rays we think remember it’s for fun. 
 
Evie: Playing alongside Vipersnatch was so much fun – now that’s a cool group. It was awesome to see how they work together. And playing with Beddy Rays was amazing – it showed us what it’s like to play in front of a bigger crowd, and also exactly why they’re at the top of their game. Both their groups being good friends within themselves made me aware of how important the PC group is, and how our friendship matters and that people love to see it. But it made me competitive in a way – I want to be as engaging on stage as both of these bands, and I want people to love what we bring to the table. 
 
Pilot Crisis has evolved from the angst of ‘Misguided’ to electro-pop touches on ‘Sad Sunshine’ and strings on ‘Turning On The Tele.’ Where does ‘No Vacancy’ sit in that evolution? 
 
 Mitch: Instrumentally when I write I try to keep things different to feel like I’m always evolving creatively. We went from ‘We want a guitar heavy riff punk song’ to a ‘Get Tim to layer some drums and see what happens’ and then a ‘let’s see what Evie can come with on her cello.’ Whenever someone in the jam room has any idea, you gotta give it a try and in this case it was a ‘does any of our songs start on a verse yet?’
 
 Evie: No Vacancy is different for listeners, but every song will be – that’s the Pilot Crisis way. We don’t want you bored, and I swear we get better with every song we write together. 
The song captures the spiral of overthinking and boredom. What were the biggest real-life moments that fed into that feeling? 
 
Mitch: I finished maybe 3 seasons of King of the Hill over a weekend while plonked on the couch. I’d get restless but not wanna leave what I was doing. I’d feel bored but not have the energy to really do anything. I’d make mental plans to go outside and be outdoors with nature but I seemed to make an imaginary anchor I couldn’t release. 
 
Your lineup changes, marriages, and new babies all happened while building this next chapter. How has real life chaos influenced the band’s creative energy? 
 
Mitch: It puts what matters most to us in perspective. I went from wasting hours every day to now knowing I may only get 30 minutes to myself to maybe even start writing something new. My daughter is just over one and I love sharing everything band related with her, even if it’s just playing The Wiggles for her. Playing music is the greatest drug on the planet for stress relief and I feel quite lucky to have it as an outlet when things can get overwhelming in dad life. I try to make the most of what time I get in keeping things simple and not overthinking too much riffs or song structure and challenge myself to just do what I can with what time is available to me in the moment. If I only get an hour in the week to show the guys a riff I’ve been working on, then it’s presented more raw, likely with a lot of mistakes but it feels more real when it hits your ears first. We channel that into some new songs coming up and we’ve been having a lot of fun writing this way.
 
With more singles on the way and momentum building, what does the next stage of Pilot Crisis look like heading into 2025? 
 
Mitch: We have several singles ready to be released so it’s just now on us to stick to our plan and put the effort into releasing them over the first half of the year. While that’s going on we are putting a focus on finishing off writing songs and getting started playing gigs with more hometown heroes.  

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November 17, 2025 0 comments
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INTERVIEW: ‘All I’ve Got’ – The Admired’s Love Letter to the 2010s Internet Era and Feminine Nostalgia

by the partae November 17, 2025
written by the partae

What inspired you to write a love letter to the 2010s internet era, and why did that particular time feel important to revisit through “All I’ve Got”?

If you know me IRL, you will know that I am constantly shouting from the rooftops about how important that time was in culture and its impact on everything today. I feel like that time signifies a really formative moment not only in my life but so many of my friends’ lives and I feel like in the music I make it’s really important that I try and give it the respect it deserves. I feel like culture, especially the heavier side of rock music that we’re around, is constantly dominated with the important narratives in men’s lives and how their formative teenage experiences influenced them. I feel like it’s definitely my mission as an artist to offer up this perspective that a lot of women may have felt is both glazed over and sometimes just seen as a “silly fangirl experience,” and dive into how important it was to all of us.

How did your own teenage experiences online — Tumblr, fandoms, the scene — shape both the lyrics and emotional tone of the song?

I wanted to draw from direct experiences and try and be as specific as possible — for example, mentioning seeing a band on a Sunday night on George St (where the Metro Theatre in Sydney is), having New Found Glory on your playlist, reading Rookie magazine. I love the idea of including these references as a personal touch but also as something listeners can insert their own specific memories of the time into.

The track captures such a specific kind of nostalgia — how did you strike the balance between sentimentality and freshness in its sound?

There’s also a lot less purposeful decision-making — we’re not sitting there with a 00s moodboard on the wall going “how can we create this?”. We’re just recreating the music that has the strongest emotional pull to us and that also comes from pop, electronic, oldies, and a ton of other stuff which gives this specific result.

Your bedroom studio setup in Enmore sounds like a time capsule of the 2000s–2010s. How did that space influence the creative process behind the EP?

We lived at home while doing our previous band, so now doing this out of home helps you really get lost in it because you’re on your own schedule entirely, and you can be as free as you want. I can walk around our kitchen with a guitar trying to think of something while Bianca tracks vocals — there’s just more freedom to move around. We can also just create a world, put books next to us, have movies playing with sound off, just turn our whole place into the vibe of the music so we just live in it and it can come out naturally.

Recording and producing the music yourselves adds a real sense of authenticity — what does DIY mean to The Admired in today’s music landscape?

Recording this EP ourselves was initially both set out as a personal challenge (having only ever worked with producers in the past) and also allowed us the space to figure out what we wanted this band to be without having to work to someone else’s timeline. We honestly really enjoy collaborating with other people but it was important to give ourselves some space away from the world to figure it all out.

There’s a clear emotional through-line between “Dancefloor” and “All I’ve Got.” How do these tracks connect to the broader story of your upcoming mini EP 3 songs?

All of these songs were written with a clear intention of not wanting to write from a perspective that was overly angsty or, for lack of a better word, sad. I think in the past I’ve fallen into patterns of writing lyrics from this “I’ve been so hard done by” perspective that I was purposefully trying to avoid this time around. I wanted to write songs that were more about romanticising these elements of life that we both love and that fascinate us as concepts — fame, nostalgia, New York, etc.

Bianca, your lyrics often weave between personal memories and cultural touchstones — how do you approach writing something that feels so universal yet specific?

I think my experiences as a teenager were really universal and shaped who I am today. I wasn’t the “coolest” person and didn’t go to crazy parties and do stuff like that, but my life revolved around being as much a part of music as possible and I feel like that was the reality for so many people my age — either through going to shows or online through things like Tumblr. I feel like the cultural touchstones of our generation are starting to creep into pop culture more and more, which is something I’m loving (particularly with Ninajirachi’s most recent album).

The Admired’s sound bridges modern pop and emo nostalgia — what artists or eras have most shaped your identity as a duo?

In terms of sound, the main references would be pretty obvious — Jimmy Eat World, The Starting Line, Motion City Soundtrack etc. All that good stuff. But we’ve always loved trying to write the catchiest songs possible and be inventive with production, which pop music has always been a space for. There are also modern bands like Mannequin Pussy, Militarie Gun, Scowl, White Reaper who just are themselves — they don’t seem fazed by what’s “cool” and let their authentic persona deeply connect with people. That’s very inspiring.

You’ve both built strong roots in Australia’s alternative scene through Grenade Jumper and beyond. How has that history informed this new chapter?

Oh, it definitely thickened our skin. Coming off of Grenade Jumper where we had a record contract, a team, and several tours lined up that we’d worked years for — and then having it all kind of dissipate overnight — there’s nothing that can hurt us now (hahaha). But going through all that gave us a way stronger sense of who we are and why we do this, so we’re no longer vulnerable to making bad choices based on anxiety.

What do you hope fans feel when they listen to “All I’ve Got” — especially those who lived through that same chaotic, heartfelt online world?

I hope that people see themselves and their experiences in the song — even if they didn’t live that exact era, I hope they can tap into their own formative experiences with music and relate to it. Hopefully it makes them tap into that invincible feeling you get when you’re so passionate about something that it takes over your life.

Upcoming Shows

Friday 28th November – Kick Ons @ Bootleggers – Sydney, NSW

Thursday 11th December – The Vanguard – Sydney, NSW*

Supporting GRXCE*

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November 17, 2025 0 comments
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Festival NewsMusic News

Playlunch follow up sold out national Sex Ed album tour with extensive 29-date regional run

by the partae November 17, 2025
written by the partae

Big lunch is BACK! Melbourne bogan-funk favourites Playlunch are set to bring their nostalgia-packed, good-time-guaranteed live shows across the east coast on a mammoth 29 date run in late 2025 and into 2026. Kicking off with an already sold out show in Belgrave, the Sex Ed Regional Tour will hit headline and festival stages across VIC, TAS, QLD, NSW, WA, and ACT from December through to May.

Victorian fans who missed out on the band’s Melbourne shows at 170 Russell, The Leadbeater and their surprise late night sets at The Night Cat will have ample opportunity to catch Playlunch in action throughout the first half of the year, with dates in Warrnambool, Phillip Island, Bendigo, Ballarat, Frankston, Lorne, St Kilda, South Morang, Traralgon, and Barwon Heads. 

The band will venture back across the country to Western Australia, with dates scheduled on NYE, before heading back in January for performances in Bunbury, Margaret River, and Albany, as well as Queensland stops on the Sunshine Coast and Gold Coast. New South Wales lunchers can catch Playlunch in Byron Bay, Albury, Gosford, Sydney, Newcastle, Avalon Beach, Wollongong, and Archies Creek, and Canberra will be treated to a one-off show. Playlunch are also scheduled to return to Tasmania for Good Gumnuts Festival, plus a headline show in Hobart. 

The regional run follows Playlunch’s completely sold out headline tour in September, where they played their biggest headline shows to date across the country. Reflecting on the tour and looking to the future, Playlunch say: 

“It’s been such a wild 3 months since we put out our sophomore album Sex Ed, and the response has been insane. The cap city album tour was absolutely bonkers – we’re still pinching ourselves that all those shows SOLD OUT so quickly (in such MASSIVE venues…what the helly) and the response from people was just wonderful. We also know how many people weren’t able to make it to one of those gigs or missed out on a ticket, SO……

We’re announcing our biggest headline run to date across regional locations around Australia (with a few festivals and special exclusive shows sprinkled in for good measure!). Touring regionally has always been such a big priority for our band since the very start, and getting around to all the people who continue to support us. To be able to keep the Sex Ed train rolling is so special! We’ll be playing a whole heap of the new tracks from the record live for the very first time in these locations (can’t wait to show you!), as well as all the favs from our debut album.”

Having just signed with international booking agency Mint Talent Group in North America, don’t sleep on the chance to see Playlunch in action before the rest of the world catches on.

“These will be the last Australian shows for quite a while as we are looking to see what the rest of the world has in store for us; so we hope you are able to grab a ticket and make it a night to remember. Everyone is in for an absolute treat, with a show of nonstop dancing and singing across the whole lineups!”

Playlunch’s Sex Ed album, released in August via ABC Music, was immediately adored, debuting at #7 on the ARIA Australian Artist Charts and cracking the Top 5 for physical sales. The release was followed up by an instant classic triple j Like A Version, with the group covering The Weather Girls’ ‘It’s Raining Men’. Earlier this month, Playlunch were nominated for two J Awards, including Unearthed Artist of the Year and Australian Music Video of the Year for their viral single ‘Keith’. The iconic track also made its way into bbno$’s setlist at his recent Melbourne show.

With an infectious catalogue of genre-blending tracks covering nostalgic and distinctly Aussie themes like school athletics days, Blue Light Discos, and the peculiar world of daytime TV on a sick day, Playlunch’s upcoming tour promises audiences a sense of euphoric escapism and unabashed joy. Pack your schoolbags and grab your Yu-Gi-Oh! cards for childhood nostalgia’s night of nights, coming to a city near you with additional dates due to be announced in the coming  months. 

Tickets are on general sale from Friday 21st November at 10.00am local time, with DAL/EARLY LUNCH presale available on Wednesday 19th November at 10.00am local time. Visit destroyalllines.com for tickets and further information.

Destroy All Lines presents 

PLAYLUNCH 

THE SEX ED REGIONAL ALBUM TOUR

with special guests 

Friday 5th December – Sooki Lounge – Belgrave, VIC SOLD OUT

Wednesday 31st December – Indian Ocean Hotel (NYE) – Scarborough, WA

Saturday 3rd January – Lorne Theatre – Lorne, VIC

Friday 9th January – The Whalers – Warrnambool, VIC

Saturday 10th January – Ocean Sounds Festival – Phillip Island, VIC

Friday 16th January – The Deck – Bendigo, VIC

Saturday 17th January – Volta – Ballarat, VIC

Thursday 29th January – Prince of Wales – Bunbury, WA

Friday 30th January – The River – Margaret River, WA

Saturday 31st January – Albany Town Hall – Albany, WA

Saturday 7th February – Pelly Bar  – Frankston, VIC

Saturday 21st February – Commercial Hotel – South Morang, VIC

Saturday 7th March – Republic Bar – Hobart, TAS

Sunday 8th March – Good Gumnuts Festival – Burnie, TAS
Friday 13th March – The Deck – Traralgon, VIC

Saturday 14th March – Barwon Heads Club – Barwon Heads, VIC

Saturday 28th – Archies Creek Hotel – Archies Creek, VIC

Thursday 9th April – Solbar – Sunshine Coast, QLD

Friday 10th April – The Northern – Byron Bay, NSW

Saturday 11th April – Miami Marketta – Gold Coast, QLD
Sunday 12th April – Finnians Tavern – Port Macquarie, NSW

Friday 24th April – The Espy Gershwin Room – St Kilda, VIC

Saturday 25th April – Beer Deluxe – Albury, NSW

Thursday 30th April – UC Hub – Canberra, ACT

Friday 1st May – Drifters Wharf – Gosford, NSW

Saturday 2nd May – UTS Underground – Sydney, NSW

Friday 8th May – King Street Bandroom – Newcastle, NSW

Saturday 9th May – Avalon Beach RSL Club – Avalon Beach, NSW

Sunday 10th May – UOW – Wollongong, NSW

DAL/Early Lunch Presale: Wednesday 19th November 10:00am local time 

General On Sale: Friday 21st November 10:00am local time 

For tickets & more information visit destroyalllines.com

About Playlunch

Forged in the depths of lockdown in a share house home-studio somewhere in Melbourne’s eastern suburbs, Playlunch is the chaotic, genre-bending brainchild of producer and multi-instrumentalist Liam Bell. A wild blend of retro dance music, late ‘90s/early 2000s Aussie nostalgia and unapologetic suburban swagger, Playlunch aren’t just riding a wave—they’re creating their own: a loud, proud, and irresistibly fun genre they call Bogan Funk.

Since bursting onto the scene in April 2022, Playlunch have gone from a cult curiosity to one of Australia’s most exciting and talked-about new acts. Their 2023 debut album, Who’s Ready For A Good Time?, laid the foundations with viral TikTok moments, triple j High Rotation, and a sold-out 500-person shows across Australia – but Playlunch aren’t just a viral moment. 

In an industry facing tough economic headwinds, Playlunch have defied the odds, powered by a fiercely loyal and ever-growing fanbase. Their 2024 showcase at BIGSOUND cemented their reputation as one of Australia’s most exciting emerging acts, with eyes now firmly set on their next era.

2025 has seen Playlunch cement their place in the national spotlight with the release of their sophomore album Sex Ed — a bold, cheeky, and sonically irresistible evolution of their Bogan Funk manifesto. The standout single “Keith” became a breakout hit, racking up over 3 million streams across DSP’s, 10 million+ views across TikTok and Instagram Reels, and earning triple j Feature Track alongside high rotation and community radio saturation across the country. Thanks to its hilarious yet heartfelt tribute to every middle-aged Aussie bloke you’ve ever known, “Keith” struck a chord far beyond their core fanbase—spawning thousands of memes, fan videos, drag performances and even unofficial pub karaoke nights. The track reached #1 on the Spotify Viral 50 (AU) and helped propel Sex Ed into national charts and end-of-year “Best Of” lists. 

Playlunch’s insane live show has made them a must-see act across the country. Across NYE on the Hill, Party in the Paddock, Hyper Festival (to name a few), and a headline tour of packed-out 1200 CAP venues, they’ve built a reputation for turning any crowd into a sweaty, laughing, dancing mess. Wherever they go, Playlunch take nostalgic school disco and amp it up to full-blown festival euphoria.

 

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November 17, 2025 0 comments
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