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La La Falls feels like a natural continuation of the world introduced in Vincent, but it carries a very different emotional and visual energy. What pulled you back into this world, and when did you realise there was still more to explore in Vincent as a character?
It wasn’t something that was a naturally easy decision for me. Firstly, after finishing the first film Vincent I never in my wildest dreams imagined that I would reprise the character, in fact it couldn’t have been further from my mind. I thought that was it, done!
After we screened the film at various festivals I had a lot of people wanting to know if the character was going to be reprised and there was also a great interest in the relationship with Gunther and Vincent continuing. The shoot and role had been so demanding, the thought of going back to that place mentally and physically, sort of really turned me off. In hindsight it was probably a bit of PTSD!
And so, as filmmakers do, I prepared myself to move on to working on my next project, fumbling from one idea to the next.
So, there I was twiddling my thumbs wondering where to go, when I remembered a lesson from art school. I was taught by some gifted educators, if we persist with a theme or body of work we feel is finished and push through, that’s often the point we find the best discoveries.
I thought, well if the feeling to stop with Vincent was so strong, maybe the discoveries on the other side will be equally strong if I push through. So that was that, decision made and away I went!
Across both films there’s a constant pull between emotional states—humour and sadness, stillness and disruption, connection and distance. What draws you to that shifting ground, and do you think cinema is uniquely able to hold it without trying to resolve it?
That’s a really interesting observation and for me it’s that shifting ground that gives the characters, the narrative and the work its dimension, complexity and authenticity. I’m fascinated with contradictions and incongruities in people. This polarity for me, is the epitome of the human condition – love/hate, peace/war, inclusion/isolation etc.
As an artist to be able to present this constant pulling back and forth is a wonderfully energetic bandwidth to work within and the madness of it all can be so bloody funny at times, whilst in equal measure also so incredibly sad. It’s a pretty fertile feeding ground for a filmmaker.
The fact there is no resolution is perhaps the resolution in itself. I wouldn’t say cinema is unique in holding this without resolution, I think this push/pull duality is expressed in all art forms painting, music, poetry, dance etc.
There are moments in La La Falls where it feels like a scene could go anywhere at any second. Was that sense of unpredictability something you were shaping deliberately, or something that naturally emerged once you were inside the shoot?
I shaped this intentionally with the script beforehand and we implemented this during the shoot. I really wanted to add a natural feel to the film, so the script for La La Falls was written with a combination of both written dialogue and structured story allowing room for improvisation.
These elements of improvisation allowed for more unpredictable and spontaneous elements to be introduced to the overall film. It also allows for much more natural performances, especially from the non-professional actors in the cast, as delivering written dialogue is a learned skill and making it sound natural is very hard for first timers compared to improvisation.
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You’ve described the film as sitting somewhere between a structured script and improvisation. Once you were on location with the cast, how much did that original structure start to loosen?
About 70% of the film was scripted with dialogue and we pretty much stuck to this during the shoot. For me, I really need to have that scripted dialogue structure within the narrative or things can get ‘too loose’ with too much improvisation and the film loses all its shape, turning into a bit of a mess. It’s definitely a balance.
The performances feel really immediate and unfiltered, partly because many of the people on screen are non-actors or people you already know. What does that kind of familiarity unlock for you that traditional casting doesn’t?
Many of the roles in the script were written around the personalities of the non-actors I cast. Knowing them as friends for some time, really allowed me to tailor and write each role to their personalities.
In a traditional casting sense, an actor needs to infuse elements of their personality into a role that has already been written. The difference between the two approaches is one is bespoke, tailored and written specifically for the individual based on an intimate knowledge of their personality, the other is not.
Shooting in black and white gives the film a very specific atmosphere—almost like it exists slightly outside of time. What made that the right choice for this story?
Well to start with, I absolutely love shooting in B&W, most of my short films have been in that format, and it’s always ‘just called me’ so a progression to B&W for a feature film was only a matter of time.
And secondly both Vincent and La La Falls have both looked to question whether what’s happening really even exists, or whether it’s all just the delusions of a mentally ill recluse.
The explosion of colour in the first film, I believe gave Vincent a hallucinogenic, dream like quality, a bit like the original The Wizard of Oz and I also believe B&W has the same ability to alter our viewer perceptions, almost as if everything is operating as you say “outside of time”.
We were so very fortunate again to have cinematographers Michael and Samadhi Schoell along with colourist Vincent Taylor follow on from their masterful work in the first film to come on board again for La La Falls, and they’ve done it again!
Coming from Vincent, which was so saturated and heightened visually, was that shift into monochrome a reaction to that world at all?
Vincent was such an explosion of colour, taking La La Falls to the opposite end of the colour spectrum allowed it to have its own distinct signature as a stand-alone work.
And looking at it now, these extreme opposites (colour/B&W) also potentially serve as a connecting thread between the two works through both the film’s themes of polarity. 
The Australian bush feels like it has its own presence in the film. It shifts from calm to unsettling in a way that really shapes the characters. How much did that environment steer the tone while you were shooting?
I wanted to reflect the way it can be calm then suddenly swallow you if it wants, nature that is. This is reflected in the story of La La Falls but was also reflected in real life on the shoot.
I’ll tell you a story, it was day four and everything was going very smoothly, the sun was out and we were shooting a very large scene by the dam on the remote bush property in Newstead. I remember even thinking “Gee this shoot has been going really well”.
Then Angela Ling my co-producer and our assistant director calmly said “no-one move stay right where you are”. I looked at her and she then calmly said “snake, very large snake”.
I looked around and about 3 to 4 meters away from all the actors/crew (some of whom were sitting on the ground and not too mobile) was the biggest bloody Brown Snake I have ever seen in my life, sunbaking without a care in the world.
Everyone very slowly got up and moved quite some distance away, the snake eventually decided to move and we had a runner follow it from a distance before it went down a hole in the ground, so we could then finally continue.
It was a good example of how the Aussie bush can go from serene to potentially deadly very quickly. So I would say the bush is one of the main characters in this film, yet somewhat of a capricious member of our ensemble, that refused to look at the script and improvise at will reminding the rest of us who is really in charge.
You made the film in just six days with a very small crew, working with a Dogme-like approach. What keeps you coming back to that kind of stripped back way of working?
Look to be honest, budget plays a big role in this, it’s much cheaper to shoot six days than ten and we are an entirely self-funded film.
That said, there is also an energy, a charge that comes from a tight schedule like this, that creates spontaneity and an environment where instincts are given top priority.
To rely more on instinct is both scary, yet also highly rewarding when it comes off. But like anything, the more you do the better you get at it.
Do you think working under those kinds of limits changes the way you notice things on set?
You develop a heightened sense as a director for what is truly important and what is extraneous. Everything gets stripped back to just what you need and nothing else.
A bit like that scene in Platoon where the rookie soldier Chris (Charlie Sheen) starts out and is hauling a backpack full of crap through the Vietnam jungle and Willem Dafoe’s character Elias goes through it and unloads all the extra shit he doesn’t need, so he can travel light and fast through the jungle.
There’s a looseness to the way the film plays out—scenes breathe, drift, sometimes even slip off track. How intentional was it to protect that feeling in the edit and on set?
I guess that comes down to my desire as an artist to recognise beats and rhythm within a work, then look to at times disrupt those rhythms and beats.
I love the way old films breathe, The Godfather or 2001: A Space Odyssey. They really weren’t afraid to embrace the power of stillness and silence.
We live in such a fast food, high turnover, ADHD, TikTok, 15-20 second clip era now, that we’ve lost so much of that! I guess my work is trying to protect that heritage and power of silence because for me the cinematic artform is better for it.
For me the silences and disruptive rhythms are reflective of the unpredictable and non-linear nature of life and as artists we have a responsibility to do our best to reflect life.
The relationship between Vincent and Gunther feels really lived in, with humour, tension, warmth, and silence all sitting together naturally. How did you build that dynamic?
Bill Evans (Gunther) and myself have been very good mates for quite some time, so a lot of the natural chemistry we share on screen is born from that history.
We both feel very comfortable in each other’s presence and share very similar interests and a sense of humour. So I think much of that warmth and trust naturally transfers to the screen.
Your work often focuses on people slightly outside of conventional spaces or systems. What keeps pulling you toward those kinds of characters?
I guess as an independent artist, I can really relate to people trying to survive on the fringes or outside of a conventional system. I’ve always gravitated towards these types of stories and as a filmmaker I very much like being involved in their creation as well. 
A lot of contemporary cinema feels quite polished and controlled. Do you think something gets lost when everything is too refined?
Absolutely, for sure. For me everything gets lost, the heart and soul gets completely ripped out. The rough edges and disruption are what makes something real, gives it depth. Polish and control is a mask to the soul.
You referenced Henri Matisse in your director statement, especially that idea of returning to a more instinctive way of seeing. How much do you still rely on instinct when you’re making decisions on set?
Well as mentioned earlier, it’s primarily a creative survival mechanism, when working within such a tight shooting schedule.
That said, there are months and months of pre-planning that go into these films, to ensure the instinctive decisions are also made within a safe working space and a very meticulously planned shooting schedule.
So the two, planning and instinct work very much hand in hand. Otherwise it becomes unsafe and too messy.
Music plays a really specific role in the film, especially “Alles hat ein Ende, nur die Bratwurst hat zwei”, which sits somewhere between humour, melancholy, and something existential. What drew you to it?
Well to be honest, I was just searching for a really nasty, dirty, hard grinding Euro dance track for when Bad Banjok (Les Mosnyi) first appears and I came across the work of this German DJ Sascha Ende.
As we operate on a micro budget all our music is sourced through a creative commons license and his stuff was available through this channel for use in film. I absolutely loved that particular track “Alles hat ein Ende” and thought it was perfect.
The real thrill came when I managed to get it translated to English and discovered the main verse was “Everything has an ending only the bratwurst has two”.
I couldn’t believe it! It was perfect for La La Falls – funny, cheeky, silly, poignant, and absolutely relevant to the themes of duality, life/death, love/loss in the film! It was like one of those magic moments when everything clicks.
Both Vincent and La La Falls were made quickly and under intense conditions. Do you think that pace creates a kind of honesty that can disappear in bigger productions?
Absolutely, as mentioned earlier when working at a really quick pace, you are losing all the extraneous load, you can travel light and quick but there is also a vulnerability and honesty in that, as you are stripped back to the basics.
In a metaphoric sense you are in your underwear and talking to the crowd, so you need to make sure what you are saying is worth listening to. 
Your background in painting and fine art still comes through in the way you frame images. Do you still think of filmmaking as a visual practice first, or has storytelling taken over that space?
For me it’s not one or the other, and to throw a spanner in the works, I see audio in film as just as relevant as visual.
So I guess I see filmmaking as a visual, auditory and storytelling space, in what measure for each, I’m not sure. For me thinking now about it maybe the proportions of each change for each different project.
There are moments where humour suddenly tips into something more fragile or painful. How important is humour to you when you’re working with heavier emotional material?
I really do think the two go naturally hand in hand. We laugh in our darkest times and cry in our happiest. I guess it comes back to that polarity I love to work with.
In the broader film world, multiple genres in a single film tend to be looked down upon, as if the filmmaker was somehow confused, unfocused, couldn’t decide what he was doing, or unclear on what his message was.
For me as long as people continue to have multiple genres then characters and films need to as well.
Looking back now, what do you think La La Falls revealed about your process that Vincent didn’t?
La La Falls was such a different experience to the first film, the lessons carried forward were huge! From planning, to shooting, to post production, nothing beats having that experience.
Sort of like the difference between having a first and second child. Even though our process remained the same, it was how we functioned within that process changed.
We were much more efficient, organised and calm due to the experience we had gained on the first. I hope that we can keep moving forwards with these learnings onto the next.
After two fiercely independent features made this way, do you feel like you’re moving closer to defining your voice as a filmmaker, or further away from needing to define it?
Both.
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A new national initiative will put school-aged Australian music creators, and their teachers, in the spotlight, with the launch of the NUMAs (Next Up Music Awards) and paid Youth Intern Program.
Founded by respected music executive Milly Petriella OAM, the NUMAs have been created as a youth-led celebration of emerging talent in schools supported by student internships, designed to strengthen the pathways connecting young creators and the contemporary music industry.
Australian icons Sia and Troye Sivan will support the initiative as the first of a group of industry Patrons, with Mahalia Barnes announced as Artistic Director alongside DOBBY as First Nations Artistic Director, and Ruby Rodgers and Myka Champion appointed as the first Youth Patrons, helping to shape the program and reflect how music is created and shared today.
Taking place on Thursday 28 January 2027, the inaugural NUMAs will be hosted by venue partner Carriageworks in Sydney, and arrive at a critical moment for local music, responding to declining access to music education and growing concern for the future creative workforce.
Recognising school-aged recording artists, producers, and songwriters, the NUMAs provide a national stage through awards, live performance, mentorship, and paid youth roles behind the scenes.
The Awards will also shine a spotlight on educators, with Music Teacher of the Year awards presented by Music Australia across both primary and secondary categories — recognising the critical role teachers play in shaping the next generation of artists and industry.
Backed by Revive Live – an Australian Government initiative, early support spans both music and education, with partners including The Song Room, Carriageworks, and Music Australia, with more to be announced.
“NUMAs is not just an awards program. At a time when so much of our young people’s lives are shaped online, we want this to be a real-world space for creativity, connection and live expression. Through paid internships, mentorship and hands-on involvement in the event, we’re helping young people build skills, confidence and community, whether they see their future on stage, in the studio or behind the scenes,” said Milly Petriella OAM.
Open nationally to students aged 6–18 and their music teachers, nominations and intern applications will open in June 2026 via nextupmusicawards.com
Photography: Jake Harm Nam
Words: Josh Ma – Photography: @JordanKMunns
There’s something fitting about Genesis Owusu returning to the Enmore Theatre, a venue he last visited with a certain infamy, having quite literally broken the floor during his previous run through Sydney. Whether that story has grown in the telling or not, it hangs in the air tonight like a dare. The crowd arrived ready to test the theory again.
The last time Sydney got a proper Owusu headline show it was at the Opera House, which felt like a statement. Tonight felt like a homecoming, sweatier, louder, and considerably less civilised. Exactly as it should be.
He enters not as himself but as the character, the pirate radio DJ, the broadcaster from the fringe. The whole set is framed as Red Star Wu’s pirate radio station, and from the jump with “Pirate Radio”, the crowd buys in completely. It’s a smart conceit; it gives the show a theatrical spine and lets Owusu move between moods and modes without it feeling scattered.
“Stampede” follows and the pit responds accordingly, with a proper head-banging opener sequence from the new record the left hand side of the enmore balcony from a 16 year old wearing his merch. Then things shift, “Waitin’ On Ya” and “Hellstar” bring some groovy, mellow warmth to proceedings, the latter bleeding between songs in a way that feels genuinely inventive. The organs on “WUTD” took the room briefly to church, pulling out an unexpected 80s glow that you didn’t know you needed. He’s got a gift for that kind of tonal whiplash, keeping you slightly off-balance, always second-guessing what’s coming next.
“Right Now Interlude” is where the room gets quiet in a different way. This is Owusu’s manifesto moment, touching on everything from the mines in Congo to Palestine, naming the weight of being alive in this particular era. It’s earnest and uncomfortable in the best possible way. Not every artist earns that space but he does. “The Worldwide Scourge” and “Most Normal American Voter” follow as a kind of political double act, and for the latter he moves into the middle of the room, surrounded on all sides, crowd closing in. It’s one of the better uses of space you’ll see at the Enmore, a venue that’s intimate enough for it to really land.
Then the switch flips again. “4LIFE” restarts the mosh, at one point Owusu shouts out Andrew Tate in the most gleefully pointed way possible, dedicating the chaos accordingly. The run from there through “Blessed Are The Meek”, “Death Cult Zombie”, “Life Keeps Going” and “Big Dog” is relentless, the band locking in tight. The KFC fans went completely feral during “Get Inspired (Remix) / What Comes Will Come”, the kind of performance that makes you stop and just watch someone do their thing.
“Don’t Need You” closes the main set, one of those choruses that has soundtracked spontaneous singalongs at every festival this summer without anyone really planning it. It’s a genuinely weird time to be alive, Owusu notes, and nobody in the room seems to disagree.
The encore brings things back to the pirate radio conceit, a reminder of the community this whole thing has been building. ONE4ALL does exactly what the title promises, before he closes the night with “Leaving the Light”, a song that somehow makes a room full of sweaty, wrung-out people feel completely still.
Genesis Owusu is one of the most genuinely interesting performers this country has produced, and tonight at the Enmore was a reminder of exactly why.
The floor held. This time.
What was the first spark that led to writing “i cant believe it” and how quickly did the song come together once the idea landed?
The first spark that kicked this song off was we wanted a song that would punch you in the face straight away but it needed to have the story to go along with it I (Mitch) had some lyrics in my phone about a situation ship I was in and kinda spiraled into that for inspo.
The track explores the confusion of a love triangle. Was it important for you to show both the excitement and the emotional fallout at the same time?
Yes it was important because we wanted the song to be from one persons perspective creating a song for the friend zoned lovers out there, the people that find themself caught between friendship and someone they love.
There is a real balance in your music between polished synth pop and raw indie rock energy. How have you developed that sound as a band?
Honestly by watching some of our influences doing it like The 1975 , The Rions, Holly Humberstone they all have amazing balance of synth pop with indie rock. I guess for us it comes from our love for the British Pop Rock Scene and the blend they have mastered over the years and adding our Aussie taste onto it.
“i cant believe it” feels huge and festival ready while still sounding personal. How do you approach writing songs that connect on both levels?
Sheesh I mean festival ready sounds like music to our ears! I guess it all starts in the writing process for Me I grew up writing and singing country music and I feel like my story telling and what I choose to write about stems a lot from that but then also being aware with what sounds good in modern music today and people just wanna dance and belt there hearts out in the car.
Your live shows have built a strong reputation across the east coast. What do you think people remember most after seeing a Colleen Ave set?
This is actually something we’ve put quite a lot of thought into actually so for one of our songs “Shit Shower” we have a old telephone that we have turned into a mic and that’s a big crowd favorite at the shows bc I do a little skit before I then answer the ringing phone and start singing the opening lines we always value bringing an unforgettable show first and those “pull your phone out” moments.
Looking back at Space For You and your earlier singles, where do you feel the biggest growth has happened creatively?
Definitely how we write music now, before it was more individual for example someone in the band would write a song they would finish the song then all of us learn our parts. Now it’s a lot more sessions together not only writing a song together as a band but also coming up with all of our parts together bouncing ideas off each other. Its been a big difference in the quality of our new tunes.
Queensland has such a strong independent music culture. How has your local scene influenced the way Colleen Ave operates as a band?
I remember coming to Brisbane for the first time and it’s daunting because it’s a big city but everyone has your back in the community here in Brisbane. Big thing for us and how we like to operate is trying to be as local as possible weather that be the music distributor we go through (G.Y.R.O.) and also where we get merch (Slosh Printing) all local.
Launching your own festival with Hair of the Dog is a massive step. What inspired you to create something that supports other Australian artists as well as your own music?
Well the answer is as simple as more opportunity. To think that we have now hosted two hair of the dog festivals and the 1st went from Indooroopilly Hotel to the The Triffid was insane, us as a band and the size that we are would never of thought of playing at the Triffid unless it was for opening for someone yet the first time we played there was for a festival completely independently ran by us is a dream come tru honestly and so amazing for the community and local music scene to have a reason to play on a stage like The Triffid.
When you are putting together new music, do lyrics usually come first or does the atmosphere and production shape the story?
This is a great question and normally id say lyrics but now days ill say the atmosphere and production bc that’s what gets my creative juices going is a vibe and foundation being solid then letting that vibe take the song where it needs to go.
With “i cant believe it” out in the world and momentum building around the band, what feels like the next big goal for Colleen Ave?
The next big goal for Colleen Ave is to sell out a tour having people listen and love the music that we’ve created and have that spread all over Australia and the world is so special and to feel that impact you could have on people will be special.
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Photo Credit: Darcy Goss Media
Colleen Ave are an indie synth pop rock explosion band making waves in the Australian music scene, known for their vibrant mix of soaring melodies, heartfelt lyricism, and a distinctly modern edge. Blending shimmering synth-pop textures with classic indie rock energy, the Queensland five-piece have built a reputation for emotionally resonant songwriting and high-impact live performances that leave a lasting impression.
Their latest single, i cant believe it, marks the band’s most confident and immediate release to date. Driven by punchy guitars, glistening synths, and anthemic hooks, the track captures the rush and vulnerability of fleeting connection. Equal parts euphoric and introspective, i cant believe it distils Colleen Ave’s signature sound into a tightly wound, festival-ready indie hit that feels both intimate and expansive.
“i cant believe it is a tune about someone who is in a love triangle and the confusion and hurt that can come from it”
Following their debut EP Space For You (2024) and standout singles The Way I Feel and Y.O.Y and Last Night Colleen Ave continue to sharpen their artistic identity, balancing cinematic production with raw, relatable emotion. Their growing catalogue has helped foster a loyal and expanding audience across Australia’s east coast, drawn to the band’s ability to transform deeply personal moments into shared experiences.
Beyond the stage, Colleen Ave are actively shaping their local scene. In 2025, the band launched their own festival, Hair of the Dog, bringing together emerging and established Australian artists, with Bootleg Rascal headlining the most recent event. The festival highlighted the band’s commitment to community, collaboration, and creating meaningful platforms for the next generation of indie artists.
With i cant believe it, a rapidly growing live reputation, and a clear creative vision, Colleen Ave are fast becoming a defining voice in Australia’s new wave of indie rock.
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How would you describe where you’re at musically right now, and what led you there over the course of making this EP?
I’ve leant much further into a pop soundscape with this project, as I think is evident with the singles I have been releasing over the last year. This sound evolved partly from the collaboration of working with my co writer/producer Cam, as this sonic world is clearly a strength of his. The music naturally arrived in the overlap between my indie/folk influences and his talent for creating a pop banger.
What did your recording process actually look like day to day?
I was usually only in Sydney for two days at a time — so quite rushed, but a lot of fun.
I’d land on a Saturday morning, grab a coffee with Cam & resident studio dog Wookie, and head straight to the studio, only really emerging for coffee or dinner and often returning after dinner to finish up pretty late. Then it was back in the studio to do the last of the vocals Sunday morning — come nightfall, I was back on a plane!
Where did most of the recording take place, and how did those environments shape the feel of the songs?
For the most part we recorded in Sydney, except for track ‘Better’, which was made right here in Melbourne. Still, ‘Grocery Store’ is kind of the anomaly, being the only song I’d written alone and sometime before the others. Travelling back and forth to Sydney to record & write sounds cumbersome, but actually worked quite well for me. Having somewhere you’re visiting for the sole purpose of being creative is a luxury in its own right and sets up the right mental space to dive in deep.
How did you approach the songwriting for this project, and did that differ from how you’ve written in the past?
Actually yes, this is the first project I’ve had co writers involved in the whole way. Each of the songs felt like a single in their own right, but still cohesive enough sonically and topically to form an EP. I’ve come to really enjoy the collaboration of writing a track with the producer — it’s a form of creating that I can’t do as well on my own, but allows me to get into a different space.
When you’re building a song, what tends to come first for you, the lyrics, the melody, or the overall feeling?
It can change; usually the overall concept — but that might only become apparent after stumbling into a lyric. I think it can change over time. I used to start more with chords that would drag something to the surface I could then explore.
Was this EP written over a long period of time or in a more focused window?
Aside from Grocery Store, which still had a little workshopping, the writing was done within maybe 12 months total.
At what point did the project start to feel cohesive to you?
Cam and I started working together intending on recording Grocery Store, but we ended up writing 10 Seconds of Silence. After deciding to fly back to Sydney and finish 10SOS, Phase emerged when we had a few hours to spare. So pretty quickly it was obvious we were onto something that deserved to be followed through as its own body of work. Better was the sweet & moody final touch that, while maybe a little unique to the others, felt to me like the final touch to complete Rust’s narrative.
What challenged you the most while making this EP, either creatively or personally?
Distance was definitely a challenge we had chosen to take on, recording remotely or flying between states. Creatively speaking, I sometimes worried this pop focused direction might be too much of a departure from what I’d previously thought was ‘me’, but the production and arrangements we settled on I couldn’t have been happier with. I think the style does the music justice and walked the line beautifully between my previous releases and the more mature sound I was chasing.
What role did collaboration play in both the writing and recording process?
The whole project was collaborative! I went into these sessions more hands off than I had ever been before — meaning I didn’t come in with specific preconceived ideas for the most part. Showing up with some influences, maybe a concept or story to tell, and letting my collaborators shape the final product was refreshing & exciting.
Looking back now, what do you think this EP captures about you at this point in your life?
The title felt fitting for its imagery — how the presence of rust acknowledges a chapter of time is irretrievable or can never be quite the same. The songs detail a chapter of my life from start to end, of making difficult choices & finding the confidence to push forward.
When someone listens from start to finish, what kind of experience do you hope it creates for them?
If listeners really dive into the lyrics (which of course I hope they will), it’s partly my intention that they can find a piece of themselves reflected somewhere in the stories. The songs are ordered chronologically, so in a random order I expect they could sound a bit separate, but I’m really proud of the little world that lives within each track.
LAUNCH SHOW TICKETS – WORKERS CLUB – MAY 23, 2026
The air inside Sydney’s Metro Theatre on Sunday night was thick with sweat, anticipation, and the unmistakable hum of a global breakout moment. Fresh off the internet-breaking success of his viral hit “Big Dawgs,” Indian rap phenomenon Hanumankind made his highly anticipated Australian headline debut on May 17. The OTW Tour stop felt less like a standard concert and more like a heavy, high-octane celebration, proving that his sonic grip extends far beyond smartphone screens.
From the second the lights dropped, the crowd matching every syllable of his relentless, Southern-fried flows. Local support from The Browns and Ashwarya set the baseline, but the room completely fractured into chaos when the main act took center stage. Mosh pits opened up effortlessly across the floor, driven by a raw, bass-heavy energy that hasn’t been seen at the George Street venue in months.
Our cameras were down in the trenches of the pit to capture the sweat, the strobe lights, and the pure crowd pandemonium. Scroll through the exclusive gallery below to see exactly how Hanumankind conquered Sydney.
Photography: Jake Harm Nam
Toronto duo Robinson Kirby have been steadily building a name for themselves with music rooted in honest songwriting, strong harmonies, and a blend of modern folk and indie influences. Their new single, “End And The Start,” arriving this Friday, continues that trajectory with a reflective track centred on change, growth, and emotional transition. The song offers another preview of their debut album Gone, due June 26, and highlights the thoughtful songwriting and understated sound that have helped the pair connect with audiences both in Canada and internationally.
The release follows previous singles “Hey Christine,” “Summer Rain,” and “AC Units,” all of which have helped introduce listeners to the themes explored throughout Gone. The album focuses on relationships, personal growth, heartbreak, and the ways people change over time, drawing from the duo’s own experiences together over the last decade. “End And The Start” fits naturally within that larger narrative, balancing intimate lyrics with a warm, stripped-back approach that has become a defining part of Robinson Kirby’s sound.
Outside of the studio, Robinson Kirby have continued to expand their reach through touring and growing industry support. The duo recently completed a 2025 Atlantic Canadian tour as well as a winter European run supporting Leith, while Madelyn has also toured alongside Nelly Furtado and Charlotte Cornfield. Their recent singles have landed on editorial playlists including Apple Music’s New in Indie and New in Alternative, along with Amazon Music playlists such as New Music and Coffee Shop Indie. Airplay from outlets like CBC Music, SiriusXM, and Indie88 has also helped broaden their audience.
At the centre of the project is the partnership between the two musicians and the experiences that have shaped them over the years. As Madelyn explains, “Gone is the culmination of our growth together as partners in life and as individual musicians. These songs reflect who we are, where we’ve been and how far we’ve come. We’ve spent a decade together and this album explores our love story, our heartbreaks, the hard times we’ve faced, and the growth that’s shaped us both individually and together. We are completely different people than when we met and this record traces that journey.” With “End And The Start,” Robinson Kirby continue to establish themselves as a duo focused on thoughtful, grounded songwriting and a clear sense of emotional honesty.
Alberta trio Sparkle Blood have just dropped their new single “Restless,” a sharp, surf-tinged blast of indie rock that continues to build anticipation for their upcoming LP ZIP ZAP, arriving June 25. Known for their direct, no-frills approach, the band—Tyler Stewart (guitar/vocals), Bailey Kate (bass/vocals), and Bre Day (drums)—have a way of cutting through the noise with songs that feel immediate and unforced. “Restless” fits right into that ethos: fuzzy guitars, driving rhythms, and a vocal push-and-pull between Stewart and Kate that gives the track its edge and charm. It’s tight, hook-forward, and buzzing with the kind of nervous energy the title suggests.
What makes Sparkle Blood stand out is how naturally everything seems to lock in. There’s a looseness to their delivery, but underneath it is a very deliberate sense of momentum—songs don’t meander, they move. On “Restless,” that balance is front and centre, with the band leaning into surf-rock textures while still keeping one foot planted in scrappy indie punk territory. Bre Day’s drumming keeps things urgent without ever feeling cluttered, letting the guitars and vocals bounce off each other with just enough space to breathe.
The single also serves as a strong indicator of what ZIP ZAP is set to deliver. Across the record, Sparkle Blood lean into short, punchy songwriting that never overstays its welcome. The album opens with “Mad About It,” a fitting statement of intent that feels both amped-up and slightly fed up in the best way, while “Totally Ignorant” barrels forward with a Ramones-style economy, getting in and out in under two minutes. Elsewhere, tracks like “Burning Barrel” and “I Don’t Know” stretch things just enough to let their melodies land, drawing on classic power-pop instincts and a melodic sensibility that nods to bands like The Buzzcocks and Hüsker Dü without feeling overly referential.
Taken together, Sparkle Blood are carving out a space that feels both familiar and distinctly their own—hook-heavy, slightly ragged, and consistently fun. “Restless” doesn’t just act as a preview of what’s to come; it doubles down on what they already do best: turning tension into something fast, loud, and oddly uplifting.
Spinster and the Ancestors have released their new single “Wild West,” offering another compelling glimpse into their forthcoming album Garden—a project that sits at the intersection of music, visual art, and lived experience. The work is led by Larissa Blokhuis, an interdisciplinary artist whose practice has long moved fluidly between disciplines, and whose personal and creative journey has been shaped by migration, displacement, and a deep engagement with community-based art forms.
Blokhuis was born and raised in Calgary after her family immigrated to Canada from Nederland and Jamaica, grounding her identity in multiple diasporic lineages from an early age. Before fully stepping into music as a primary medium, they spent close to a decade embedded in Vancouver’s visual arts scene, building a practice informed by performance, installation, and collaborative work. That trajectory shifted significantly in 2018 following a series of experiences with racial discrimination within institutional art spaces—an inflection point that led Blokhuis to step away from those environments and redirect their creative energy toward songwriting and performance.
With a foundation in choral singing and instrumental training, Blokhuis began composing music that gradually formed the conceptual and sonic basis for Garden. The album, produced in collaboration with Vancouver artist Kim Villagante (Kimmortal), draws from an intentionally wide palette: 1930s-style blues inflections sit alongside grunge textures, banjo-led motifs, djembe rhythms, and layers of natural field recordings. Rather than treating genre as fixed, the project uses it as a flexible language—one capable of holding memory, history, and contemporary political urgency at once.
“Wild West” emerges from a specific moment of reflection, sparked by Blokhuis watching documentary footage of the LA riots and considering the ways Black and Global Majority communities have historically intervened to protect and rescue others, often at significant personal risk. What began as an attempt to write a kind of love song to those acts of courage shifted into something more direct and urgent. As Blokhuis describes it, the track became “a call to those of us in the wild west who want to see the Lands respected,” reframing the idea of the “Wild West” away from mythologized frontier narratives and toward a lived space of responsibility and collective action.
That reframing sits at the core of the album’s broader conceptual arc. Garden threads together themes of collective liberation, diasporic connection, and relationship to land, asking what it means to rebuild cultural and ecological relationships outside of inherited systems of harm. In Blokhuis’ vision, the “wild west” is not a fixed historical backdrop but a contested present—one that can be reimagined through care-based systems, mutual accountability, and active resistance to ongoing forms of dispossession.
Within that context, “Wild West” functions as both a continuation and an expansion of the album’s central questions. It connects Black histories in Alberta with broader diasporic narratives across Turtle Island, tracing the evolving intersections of African and European heritage while resisting any singular or simplified identity framework. The result is a track—and an album—that moves between the personal and the political without separating the two, using sound as a way to hold complexity rather than resolve it.
Through its hybrid sonic language and grounded storytelling, Spinster and the Ancestors continue to build a body of work that is as intellectually engaged as it is emotionally resonant. “Wild West” stands as a clear statement of intent for Garden: music that does not just reflect the world as it is, but insists on imagining what it could become.
Bestselling author, award-winning podcast host and purpose-driven entrepreneur to bring his transformational live experience to Australia
Tickets on sale from $89 at TICKETS
Wanderlust True North is proud to announce globally renowned author, podcast host and purpose-driven entrepreneur Jay Shetty as the next guest in its celebrated live conversation series, bringing one of the world’s most influential voices in mindfulness, connection and personal growth to Australian audiences this November.
Following his sold-out tour in 2023 Jay Shetty returns to Australia with a brand-new show, bringing his live experience to the stage for a powerful three-day tour. Appearing at The Plenary on Friday, 13 November in Melbourne before heading to the Tik Tok Centre in Sydney on Saturday, 14 November and wrapping up in Brisbane on Monday, 16 November at the Brisbane Convention & Exhibition Centre.
Presented by Wanderlust True North, audiences can expect a live, transformative experience with Jay Shetty blending powerful storytelling with practical insights you can take beyond the room.
“I’m honoured and excited to bring my speaking series to Australia this spring and connect with like-minded individuals through purposeful mindfulness,” said Jay Shetty.
Exploring the four decisions that shape your entire life: how you feel about yourself, how you make money, who you choose to love, and how you serve the world. Through raw storytelling, life-changing insights, and practical wisdom you can immediately apply, Jay will challenge the way you think about success, purpose, relationships, and fulfillment. This is more than a talk – it’s about the actions you take, the decisions that shape your life, and the lasting transformation that stays with you long after you leave the room.
Quote from Wanderlust Founder, Radek Sali: “Jay has an extraordinary ability to connect with people across generations and cultures through honesty, compassion and insight, his conversations go far beyond inspiration — they leave audiences feeling empowered with tangible tools and a renewed perspective on how they live and connect.”
Known for his ability to connect deeply with audiences through powerful storytelling and practical wisdom, Jay Shetty has built a global community inspired by purpose, relationships, mental wellbeing, and personal transformation. His chart-topping podcast, On Purpose with Jay Shetty, reaches more than 35 million listeners monthly and has featured conversations with some of the world’s most influential figures including Oprah Winfrey, Michelle Obama, Sir Lewis Hamilton, Chris Hemsworth, Kim Kardashian, Emma Watson, Kobe Bryant, Selena Gomez and Tom Hanks.
Jay is the bestselling author of Think Like A Monk and 8 Rules of Love, books that have resonated with millions around the world for their ability to translate timeless wisdom into practical tools for modern life. His work continues to redefine the wellness conversation by making self-growth accessible, actionable, and grounded in real human experience.
TOUR DETAILS
JAY SHETTY LIVE – THIS CHANGES EVERYTHING!
Melbourne – Friday 13 November – The Plenary
Sydney – Saturday 14 November – Tik Tok Arena
Brisbane – Monday 16 November – BCEC – Brisbane Convention and Exhibition Centre
Tickets are on-sale from $89.00
This will be a rare opportunity to experience Jay Shetty live — an uplifting and thought-provoking evening designed to leave you inspired, grounded and equipped with tools to navigate modern life with greater clarity and purpose.
Maggie Lindemann is heading back to Australia in May 2026 and this time she is arriving with more confidence, more intensity and a completely evolved sound. Following the success of her previous Australian appearances, the singer songwriter will return for a five date national tour that celebrates her latest album I FEEL EVERYTHING.
For fans who have followed Lindemann from her early breakout singles through to her darker alternative era, this tour feels like a defining moment. She is no longer experimenting with identity or sound. She has fully stepped into her own lane and audiences are responding in a major way.
Blending emotional lyricism with explosive pop rock energy, Lindemann has become one of the most recognisable voices in modern alternative pop. Her music moves between vulnerability and chaos with ease, drawing influence from emo, punk and industrial pop while still delivering hooks that stay with listeners long after the song ends.
Her latest album I FEEL EVERYTHING captures that evolution perfectly. The record dives into heartbreak, healing, anxiety and self discovery while pushing her sound into heavier and more cinematic territory. It is personal, raw and unapologetically honest, which is exactly why fans have connected with it so deeply.
The Australian run begins in Perth before moving through Adelaide, Sydney, Melbourne and Brisbane. Each venue offers an intimate but high energy setting that suits Lindemann’s emotionally charged performances.
Australian Tour Dates
May 10 — Perth — Magnet House
May 12 — Adelaide — The Gov
May 14 — Sydney — Roundhouse
May 15 — Melbourne — Forum Melbourne
May 17 — Brisbane — The Tivoli
Fans attending the shows can also access VIP packages that include early entry, exclusive merchandise, signed memorabilia and a meet and greet experience with Lindemann.
Part of what makes Maggie Lindemann stand out in today’s music landscape is her ability to connect so directly with her audience. Her songs feel unfiltered and personal, and that honesty carries into her live performances. Whether she is delivering emotionally heavy ballads or explosive crowd favourites, there is an intensity to her shows that leaves a lasting impression.
With alternative pop continuing to dominate youth culture worldwide, Lindemann’s return to Australia arrives at the perfect time. The 2026 tour is shaping up to be more than just another run of shows. It feels like the arrival of an artist who has fully realised her creative identity and is ready to own every stage she steps onto.
Tickets for the tour are on sale now through Destroy All Lines
Following a prolific streak of singles that have ignited anticipation for his forthcoming debut album, Australian producer/DJ Arky Waters returns this week with his most formidable club weapon yet: ‘Run It Up.’
Further solidifying his presence in the bass music world, ‘Run It Up’ is a deep dive into darker, high-velocity soundscapes. It is a work of calculated tension, expertly blending the raw physicality of the 140/bass landscape with the meticulous, intricate sound design that has become a hallmark of his recent work.
Designed specifically to provide a high-energy “pivot” during his live sets, ‘Run It Up’ centers on a unique rhythmic identity, blending a driving four-on-the-floor beat with a heavy half-time groove. The soul of the track lies in its lead bassline, which Arky Waters crafted using a software emulation of the legendary Moog analogue synthesizer. By leaning into the volatile nature of classic synthesis, he captured a sound that feels alive and constantly evolving.
“I wanted something dark and gritty to cut into my sets. The main bass lead is made with a software copy of a classic Moog analogue synth; I think it provides so much warmth and character. It’s super unpredictable and hard to control, so you end up with these really cool moments where the filter opens up and it really seems to take over the whole track. Was so much fun to make!” ~ Arky Waters
‘Run It Up’ arrives as a pivotal piece of the puzzle for Arky Waters’ upcoming debut full-length record. Over the last few months, the Sydney-based artist has been meticulously teasing the project, showcasing a versatile production palette that ranges from breakbeat and tech-house to this latest foray into darker bass music.
With a sound that echoes the industrial weight of artists like Bicep and Overmono, Arky Waters stays true to his “suburban Australia” roots, filtering UK-inspired club music through a distinct, local lens. It’s this authentic, raw perspective that continues to prove why he is one of the most compelling names rising out of the Australian electronic circuit.
‘Run It Up’ is out now via Mammal Sounds Records:
https://bfan.link/arky-run-it-up
Socials:
Credits:
Written & Produced by Arky Waters
Mixed by Doug Wright
Mastered by Suture Mastering
Artwork, Photos & Visuals by Arky Waters