BECK ANNOUNCES FIRST EVER AUSTRALIAN ORCHESTRAL SHOWSTICKETS ON SALE THURS 5 MARCHHaving dazzled crowds at landmark venues from London’s Royal Albert Hall to New York’s Carnegie Hall to the Hollywood Bowl, Beck has confirmed that Australian audiences will soon have their first chance to experience the magic of his live orchestral performances. This May, Beck will be accompanied by native orchestras for a very special limited run of five shows – three at the Sydney Opera House and two at the Palais Theatre in Melbourne – reimagining a body of work including hits and deep cuts from classic Beck works including the multi-platinum Odelay, world-tripping Mutations, somber and reflective Sea Change, and GRAMMY Album of the Year winner Morning Phase, plus a share of surprises.
Praise for Beck’s previous orchestral dates has been uniformly effusive, including:
Melbourne: Performing with Beck at the Palais Theatre will be Philharmonia Australia (Orchestra Director Leah Zweck), with Orchestra Supervisor Chong Lim AM. Philharmonia Australia is one of the country’s leading session orchestras and has been the orchestra of choice for numerous national tours with Josh Groban, John Farnham & Olivia Newton-John, Hans Zimmer, Michael Bolton, Harry Connick Jnr and Ministry Of Sound. Frontier Members can get early access to tickets for the iconic Palais Theatre performances via the Members Presale, which starts today at 11am (AEDT). Tickets will then go sale Thursday 5 March (11am AEDT) – head to frontiertouring.com/beck for all full tour information. BECK FRONTIER MEMBERS PRE-SALE GENERAL PUBLIC ON SALE Thursday 12 May Wednesday 13 May Also playing Sydney Opera House, May 7-9 Patrons are advised to purchase tickets only through authorised ticket sellers. We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website. FOLLOW BECK: Website | Facebook | Instagram | X | YouTube | Spotify | Apple Music
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“Pushing Punishment” feels like a turning point. When you say this is you “becoming you,” what does that actually look like day-to-day?
I think it’s about rebuilding myself over the past two or three years and rediscovering the parts of me that maybe got lost along the way. Music has always been how I process everything — whether that’s writing or just listening — but writing “Pushing Punishment” felt different. It felt like a release. Like I was reconnecting with something essential in myself.
For most of the past two years, this album has shaped my day-to-day life. The songs have been my soundtrack while I’ve been navigating change — learning to accept what I can control and what I can’t. I’ve tried to embrace growth instead of resisting it.
In many ways, I’ve always wanted to create a song like “Pushing Punishment” — in its sound, its energy, its intensity. It feels like a version of me I’ve been working toward for a long time. And I’m just really proud and happy about what it became.
There’s a real tension-and-release dynamic in the track. Did that come from the production first, or was it already sitting in the way you were feeling at the time?
What you hear is pretty much how it was written. The tension and release were already there — it all came together really quickly, in about a day. I wrote and self-produced a demo before taking it into the studio with Gareth Hudson, and when he heard it, he loved it straight away. From there, we just built on what was already there.
We rerecorded certain parts and really elevated the structure with some solid instrumentation. My favourite elements are probably the live strings and the acoustic drums — they add so much depth and movement to the track.
I’m super proud of the arrangement and the musicianship on this one. In a lot of ways, I felt more like a composer than just a songwriter, which was really exciting for me. And I feel incredibly lucky to have so many amazing musicians playing on this track and across the album — it sounds the way it does because of them.
You talk about learning to fill your own cup first. Was that a hard lesson for you, or something that came after hitting a wall?
It’s definitely been a mix of experiences and just learning to trust the process of life. I’ve hit burnout before. I’ve had setbacks with both my mental and physical health, and I’ve had to navigate two pretty debilitating diseases — Endometriosis and an autoimmune disease. Those experiences alone teach you very quickly that you only have so much capacity. I’ve explored these experiences through previous releases like my single ‘Firework Night’.
I’ve had to learn how to be resourceful for myself in difficult moments — to pause, to practise mindfulness, diaphragmatic breathing, and nervous system regulation. To actually stop and reframe with what I do have, instead of pushing through.
I’ve always believed in timing. I really do think everything happens for a reason, and that there’s something to learn from every experience — whether you see it in the moment or only in hindsight. I’ve tried to really own the changes that have come my way, and to recognise that the people who come into your life are often there to teach you something about yourself.
But I also know I don’t get very far when I give my power away or focus on other people more than I focus on myself. That’s when I end up exhausted, emotional, and stressed — and that’s just not a sustainable way to be. Filling my own cup first wasn’t a single lesson; it was something I had to learn the hard way, over time, but I am proud to have learnt so much about my life at 22, with so much more to learn.
The song sounds big — almost anthemic — but it’s rooted in something very internal. How do you balance that scale when you’re writing?
When I’m writing, I’m not really thinking about the final outcome or the expectation of how it should sound. I don’t go in with expectations about what it’s “supposed” to be. I just trust the process of entering ‘flow state’ and following whatever feels honest in the moment.
Creativity is so special to me — I genuinely love it. Writing is one of the few times I completely lose track of everything else. I am just planting this garden of flowers and vines of songs, with every word of every song being part of who I am. Each song carries pieces of who I am, whether they’re loud and expansive or quiet and internal.
The scale kind of takes care of itself. If the emotion feels big, the song grows big. If it feels intimate, it stays close. I don’t force that balance — I just let the feeling lead. And then suddenly… poof. There’s a finished song. It still feels like magic to me.
You’ve mentioned accepting your neurodivergence and personality more fully. Did that acceptance change the way you approach songwriting or performance?
Not really — I’m just me. If anything, it’s just made me prouder to be who I am. I feel really lucky that I get to share that with people, and that it resonates and lands how I hope it lands. What you see is what you get, on stage and off. I have never felt like I have had to mask or ‘perform’ a certain version of myself.
In terms of songwriting, it’s probably made me more honest. Accepting my neurodivergence has helped me understand how my mind works and how I process emotions. I think I’m better at articulating what I’m actually feeling now, instead of filtering it, being confused by it, or second-guessing it.
So the core of how I write hasn’t changed — but my relationship with myself has. And that’s made everything around my artistry feel way clearer and more grounded.
Working with Gareth Hudson, was there a moment in the studio where you felt the track really clicked into place?
He’s marvellous, so incredibly talented — we’ve worked together on so many amazing projects over the years. When I brought him the demo, I also came in with this long, excitement-filled list of goals for what the song could become. He just got it straight away.
We really do share a wavelength when it comes to communication. Sometimes it’s barely even verbal — it’s just a look or a noise made, a melody hummed, a rush to an instrument, or a small comment and we both know where it needs to go next. That’s such a special thing in a studio environment.
I think the moment it really clicked was when we started layering in the live elements — especially the drums, vocals and strings. Then everything began to breathe. You could feel the energy shift from a “great demo” to something alive. From that point on, it felt like we were just bringing the vision into focus rather than searching for it.
You reference Go Farther In Lightness and that sweeping, emotional build. Were you chasing that same kind of lift in the final chorus?
Dave’s work is unmatched. Gang of Youths — David Le’aupepe — create music that feels architectural. There’s such endurance in it. He writes with this sweeping emotional scale, exploring the human condition, faith, inner battles, mental health, love and loss, and that latent strength we all carry. It’s like a roaring call to action wrapped in vulnerability, and I am so inspired by it. Hearing their music is peak enjoyment for me.
I definitely draw inspiration from their sound and writing style. They’ve carved out something that feels like its own genre, and that’s so inspiring to me — the idea that you can build a world sonically and emotionally and fully inhabit it. So yes, I think there’s always a part of me that’s chasing that kind of lift — that feeling where the final chorus doesn’t just arrive, it erupts.
With the drums and strings toward the end, that cyclical feeling was intentional. I was also inspired by Bon Iver and the way Justin’s instrumentation moves. I wanted it to feel almost relentless — like running in circles inside your own mind — before that sense of breaking through. The arrangement tells the story just as much as the lyrics do. It’s tension, momentum, and release. The song is big, but the core of it is personal.
And with my debut album, I Have A Habit of Dreaming, just around the corner… it feels like both exposure and empowerment. There’s vulnerability in letting people hear the full body of work — these songs have been my world for the past two years. But there’s also so much pride in it. This album shaped my days, carried me through change, and helped me understand myself better.
Releasing it feels like saying, “This is me.” And that’s terrifying — but it’s also incredibly freeing, and I am excited to open doors with my music.
CHLOE GILL AUSTRALIAN TOUR DATES
Friday 17 April Stag & Hunter MAYFIELD NSW
Thursday 21 May The Wesley Anne MELBOURNE VIC
Friday 22 May The Taproom CASTLEMAINE VIC
Saturday 23 May Peninsula Hot Springs MORNINGTON PENINSULA VIC
Sunday 24 May Shiraz Republic CORNELLA VIC
Saturday 30 May Knappstein CLARE VALLEY SA
Sunday 31 May The Wheatsheaf Hotel ADELAIDE SA
Saturday 27 June Fusebox MARRICKVILLE NSW
CHLOE GILL: Official Website | Instagram | Facebook | YouTube | Triple J Unearthed | TikTok
Photography: Jake Harm Nam
Photography: Jake Harm Nam
The Southern Hemisphere’s largest music showcase, BIGSOUND is celebrating 25 years this September and as always, the team are looking for the next BIG thing.
With some of Australia’s most coveted showcase spots, BIGSOUND is the place to be. Applications are open now. The team encourages artists to apply now for their chance to be included on our stacked line up. Applications close Wednesday, 1 April 2026 – there will be NO EXTENSIONS.
Otherwise known as Music Industry Christmas, BIGSOUND brings Australian and New Zealand artists together with the big wigs of the global music industry. From labels, promoters and managers to media, festival bookers and venues – the who’s who of Music descend on Brisbane’s Fortitude Valley for what is the biggest week in Australian music annually.
BIGSOUND has a strong track record of platforming artists who go on to achieve significant national and international success, with alumni including Flume, Confidence Man, Rufus du Sol, G Flip, Gang of Youths, Thelma Plum, and Lime Cordiale.
The nitty gritty – BIGSOUND is all about BIG impact
Programmers are seeking export market-ready acts regardless of their career stage (be it unsigned, emerging or established legend) – who can capitalise on momentum and will benefit from the opportunities provided at BIGSOUND.
If selected, you will be playing front of a curated audience of domestic and international industry guests, including A&R representatives, bookers, and delegates from global export events such as The Great Escape and Reeperbahn Festival.
Preparing your applicants in integral – you will need to submit band member details, social media profiles, notable career achievements, streaming and ticketing stats, a short biography, two representative tracks, a high-quality artist image, and a video. Plus you’ll need to talk about what you’re seeking to get out of BIGSOUND, who your dream team would be and what you’re looking to achieve as an act in the future.
Applications close Wednesday 1 April 2026 at 11:59PM, with no extensions. Artists are encouraged to apply early, as programmers assess applications on a rolling basis.
But what’s in it for me?
There is a reason why we call our past showcase artist alumni – BIGSOUND isn’t just a festival, it’s an industry showcase and a global marketplace for Australian talent.
If selected, by night you’ll play in multiple venues across Fortitude Valley in front of tastemakers, trendsetters and industry decision makers; by day, you’ll meet one-on-one with curated industry guests and delegates who we think can help you take the next step in your music career.
You’ll also have access to the full BIGSOUND festival including after parties and the Artist Hub which features artist-focused professional development and networking opportunities across three days of the festival. Your team will receive ONE delegate pass granting access to the full BIGSOUND Program and Delegate Portal (valued at $899), as well as a discounted price to purchase other delegate passes should you wish.
There are limited paid performance spots at BIGSOUND presented as part of our partner event series. We’ll put you forward for these opportunities but there are no promises.
These performance spots are programmed in conjunction with our partners with a focus on aligning to their commercial outcomes.
Photo Credit: PISCO SOUR performs at BIGSOUND 2025 (Darcy Goss)
The Temper Trap return today with new single ‘Into The Wild’, the latest in a run of new music that has firmly re-established the band as one of Australia’s most enduring and globally recognised acts: euphoric anthem ‘Giving Up Air’ and its remix from iconic DJ/producer Solomun, bold indie-rock track ‘Lucky Dimes’, and a fresh take on ‘Sweet Disposition’ from German dance powerhouse BUNT..
‘Into The Wild’ encapsulates the duality of body and mind, and the existential yearning to transcend physical limits. Produced by Styalz Fuego (Troye Sivan, Charli XCX, Khalid) with Catherine Marks (Wolf Alice, boygenius, Manchester Orchestra) on mixing, it’s freeing, pulsing, soaring – Dougy’s hypnotic falsetto floating over the top of undulating drums that draw the listener in and never let go.
Alongside the release is a surreal music video directed by emerging Melbourne creatives Joey Clough and Edvard Hakansson. A dreamlike car ride on wide open roads, cut with chaos and strangeness; the mind proves wilder and more uncontrollable than the world outside.
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When the first violin line cuts through the low-end, it doesn’t reference the past — it confronts it.
Los Angeles-based producer and electric violinist Lila Kova opens a new chapter with Vivaldi, the debut release on her newly launched imprint Symphotek Records. Inspired by the Third Movement (Presto) of Summer from Antonio Vivaldi’s Four Seasons, the track draws from one of classical music’s most volatile moments — a depiction of a violent summer thunderstorm charged with urgency and dramatic momentum.
Rather than sampling the Baroque master as ornamentation, Kova reconstructs the piece from its emotional core. The violin carries the central melodic theme throughout the track, functioning as the narrative engine rather than a decorative layer. Every violin passage was performed and recorded by Kova herself, preserving the intensity of the original motif while translating it into a peak-time techno structure designed for high-energy dance floors and festival systems.
There’s something deliberate about the way the composition unfolds. The low-end pressure builds methodically. Percussion tightens. Then the violin enters — sharp, insistent, almost cinematic in its sweep. It doesn’t feel nostalgic; it feels immediate. The storm Vivaldi once painted with strings now surges through sub frequencies and industrial kicks.
What elevates Vivaldi beyond novelty is its intent. Kova’s aim isn’t to modernise classical music for trend value, but to create a cultural bridge. By retaining the emotional architecture of the original composition and reshaping its rhythmic language, she invites a new generation of listeners into a centuries-old narrative. The result speaks equally to those immersed in warehouse techno and those who understand the dramatic tension embedded in orchestral writing.
The release also establishes the artistic direction of Symphotek Records. Conceived as a platform for cinematic, narrative-driven techno, the label is built around long-form concepts that draw from orchestral structure and thematic storytelling while remaining firmly rooted in club functionality. In a landscape often dominated by fleeting singles, the imprint signals a commitment to projects with continuity and emotional weight.
Kova’s classical training is not an aesthetic accessory — it shapes her entire production philosophy. As a classically trained violinist based in Los Angeles, she approaches techno with an understanding of movement, crescendo and dynamic restraint. Her hybrid DJ and live performances place the electric violin at the centre of the sonic framework rather than treating it as a visual embellishment. Previous releases on IAMT, Reload and Modular States laid the groundwork, but Vivaldi feels like a defining statement.
It’s the sound of orchestral thinking colliding with modern peak-time energy. A thunderstorm written in the 18th century now rebuilt for the 21st-century dance floor.
As the first release on Symphotek Records, Vivaldi sets a clear trajectory. Further projects are planned throughout 2026, continuing the exploration of cinematic structure within contemporary techno. If this opening statement is any indication, the storm has only just begun.
Bad Bunny brings the fiesta down under this weekend, with his ‘DeBI TiRAR MaS FOToS’ tour bringing his highly anticipated debut to Sydney’s Engie Stadium.
Fresh off the tail of his historic Grammy’s (with his recent Debi Tirar Mas Fotos album earning him Album of the Year) and Super Bowl (or as many have dubbed it, the “Benito Bowl”), Bad Bunny is steadily becoming the biggest international act of our time. The Puerto Rican rapper and singer held nothing back, and where Spanglish translations could only go so far in an English dominated environment, the infectious rhythms and joyful energy paid the balance.
Stepping into the venue, production felt minimal. A simple stage setup with an LED screen backdrop, and on the other end of the stadium the infamous “La Casita” (the house setup that turned the Superbowl into a party in real time) remained dimly lit, serving as the performers B-Stage. Within moments of the show kicking off, it was clear that the set was anything but, with fireworks and strobe lights (Knockout anyone?) lighting up the stadium. Concert-goers became part of the show, with seated patrons donning prop Cameras that served as flashing LEDs as the show went on.
Personally, what stole the show was the cinematic essence of the displays. As someone who has an appreciation for colour grading and well-crafted camera angles, the backdrop transformed the concert from your average screen for the people in the back to still see the show to having “last night was a movie” comments happen in real time – a massive hats off to the camera crew.
The energy throughout the night was next level. At no point did the stadium stand still, with the floor and stands both exploding with different flavours of Latin dancing throughout the night. ‘NUEVAYoL’ captured this essence perfectly, combing his classic Latin Trap sound with more traditional Latin roots.
Following a hilarious skit from Concho the frog (who surprisingly likes Vegemite, despite his species intolerance to salt and sodium – science people please don’t fact check me), the B-Stage party that many had been anticipating exploded into view, ‘VeLDA’ & ‘Titi Me Pregunto’ sending the crowd into a frenzy that felt less like a large scale concert and more like a street party. Crowd favourite ‘MONACO’ surged through the speakers, with Bad Bunny saluting the audience from the roof while the house party raged on below.
The night felt like it could last a lifetime, through the numerous “BE-NI-TO!” chants and a many heartfelt moments of gratitude from Bad Bunny (Muchos Gracias! I understood that one!), the heartwarming feeling of warmth and community came to a nostalgic high with his much-anticipated title-track from his album, ‘DtMF’. Waves of people clutching onto their loved ones, screaming every word they recognised but connecting with every feeling that the rapper conveyed through the song, putting truth behind the uniting power of music and rhythm.
With the year only just beginning, there are no limits for how much Bad Bunny can accomplish with his already stacked accomplishments only 2 months in. Gaining traction as one of the biggest superstars not only in the international music scene, but the music and entertainment world as a whole, it is clear that Bad Bunny is showing no signs of slowing down. Gracias por la increíble noche, Benito.
The party continues – Bad Bunny’s ‘DeBI TiRAR MaS FOToS’ tour continues tonight for his final show at the Engie Stadium at Sydney Showgrounds.
Photography: Maira Troncoso
Words: Ken Magno
“You Won’t Call” captures that sinking moment when you realise something isn’t right. When did this song shift from being your personal story to something you knew others would feel too?
Connor (Lyricist):
You often get caught in your own world when writing. Memories, personal emotions, and your own experiences swirl around your head, and then lyrics and ideas are extracted and written down.
When I finished the first draft of lyrics and played them for Harry to get his thoughts, it was actually quite difficult, just because of the nature of those emotions and how personal they felt.
But that process of revealing the lyrics to someone you know helps to kind of “let go” of that private lens you view the song through.
Throughout the process, we play drafts and demos to people we trust, and each reaction and everyone else’s way of connecting to the lyrics and song helps us to be more comfortable with sharing.
So I think the song will always be a personal story, but that distinction in my head continues to be broadened the more people listen to it and connect with it themselves. This is the beauty of creating art, and we are so glad that people connect with our music in their own way.
The track moves with that pendulum-like tension that keeps building underneath the emotion. Did the groove spark the song, or did the lyrics shape the rhythm?
On this track, the 6/8 feel and groove definitely laid the foundation for a very raw and musical expression.
The feel and rhythm were one of the first elements to be locked in, and this style of music just has a way of pulling out emotion. So we would say for this one, the groove did spark the song.
There’s a raw punch to the guitars and vocals, but it never feels messy. How do you decide when something is perfectly imperfect versus needing refinement?
Great question. This is always a difficult balance point. We love our layers but we knew that “You Won’t Call” would have to be approached with a lot of care so as to not override the main focal point — the vocals.
The guitar and drums drive the song, but the vocals are front and centre.
When in the studio we take an approach where we throw things out there and record them. We give ourselves heaps of layers to work with in each section, and then we start with very basic instrumentation and layer as we see fit.
We tried very hard on this one to keep the balance right, as we needed the emotion and meaning to maintain the emphasis. At the end of the day, it’s a whole lot of trial and error. We’re really happy with how it’s turned out though.
You handle everything yourselves — writing, recording, producing, mixing. Does having complete control make you more instinctive, or more ruthless with what makes the cut?
It definitely makes you more obsessive over the song. It becomes like a child that you’ve spent so many hours with and have watched grow up.
On one hand, doing everything yourself is fantastic because it gives you the time and space to really bring every aspect to where you want it to be. You can be absolutely meticulous and spend as much time as you want on every aspect, which we definitely do.
But on the other hand, it becomes a struggle to say things are done. Because we’re so particular about the sound and feel of the song, it can be easy to overdo it — to overproduce, overmix, or record too many parts.
Because of this, every now and then while creating, we take a couple of days away from the process and then listen with fresh ears before continuing onto the next section. It helps a lot to keep things on track and not go too far.
The bottom line is we are definitely less ruthless and slower than the traditional process, but we are always extremely proud of the work we put out, and always content in the sound of every release.
You grew up around everything from classic rock to traditional Greek music. Where do you feel your heritage naturally seeps into LamBros, even when you’re not consciously trying to reference it?
We think it’s played a big role in shaping our style creatively and on stage. Greek music is extremely emotive, passionate and expressive, and there is often a dance associated with any given genre of traditional music. The passion and cultural significance of the music was something we grew up with, and it has bled into how we see our own music.
Traditionally at Greek functions and events, everyone knows exactly what to do when certain songs come on. The music can’t be ignored, and when it is played, it immediately becomes the focus. It incites joy, and it is always the centre of attention. When you hear zeibekiko or kalamatianos, people’s ears prick up and they start dancing immediately. And if you’re not dancing, you’re most certainly watching.
Similarly for us, our songs are more than just a cool sound or a mood. They are more than a playlist filler or background music. They stand up on their own with their own stories and connections. Our music is impossible to ignore, which was not intentional, but definitely a product of our musical education and upbringing.
From a musical and technical standpoint, Greek music features unique scales, odd time signatures, distinct feels and grooves, and a whole set of unique instruments like the bouzouki.
These are all elements we ourselves have learnt over the years, and form another part of our technical musical education. From hitting the Greek drums until our hands are red, or blazing through scalic runs on the bouzouki, these experiences are baked into our performance style, and influence our playing, writing, and energy on stage and in the studio.
So our culture has definitely formed a large part of our subconscious, and it joins together with our own Australian culture, and the cultures of a host of other countries around the world that we have studied and experienced to make our own distinct “LamBros”-coded sound.
The video plays with repetition and emotional frustration. Did directing and shooting it yourselves change the way you see the song now?
For us, the video is a natural extension of the song, and we hope that it might provide another way for people to think about “You Won’t Call.” Directing and shooting it was a lot of fun, and helped us to hone in on certain themes of the song — exasperation, feeling stuck and pent-up, finding clarity about how you feel.
Busking in Manly’s Corso was the beginning. What did those early days teach you about reading a crowd and earning attention in real time?
It taught us so much about entertainment, audience engagement, and working a crowd. Honestly, busking was pivotal to forging our on-stage dynamic. It’s a wild experience because when you’re busking no one is obliged to watch you. In fact, they didn’t even know you were going to be there. They can leave anytime they want, and they don’t have to interact in any way.
So when someone stops to watch a full set, video on their phone, or leave us a tip, it really hammers home that you must be doing something right. It means a lot.
We had no expectations initially when we decided to go busking all those years ago. We just wanted to have some fun and test out some material live, but the response from the outset was honestly overwhelming.
We learnt so much so quickly about how audiences react to things, and we learnt to read when we were pulling an audience in or losing their interest. It allowed us to naturally read an audience and adjust our level or set to fit. Live music is most definitely a two-way street, and the audience plays such a huge role in extracting the best out of the performer, but the performer has to give them something to cheer about first.
Blues carries a long emotional history. What does making blues now mean to you, and how do you keep it feeling alive rather than nostalgic?
We listened to a lot of blues growing up, and we learnt from a young age just how pivotal the genre was in the progression of modern music. When we were kids, blues was vocals and guitar, or vocals and harmonica. It was simple, but meaningful. Listening to the music painted such a crystal-clear gateway into the world of the artists.
You’ve touched on an interesting topic though because blues is often thought of as nostalgic, but I don’t think a lot of people realise just how much blues is baked into what we listen to every day.
From the scales, melodies, song form structures, and lyrics, blues is the foundation of modern music. Similarly, as LamBros, we really draw from the origins of the genre and the marvellous artists that have made their mark on the blues, and fuse it with our own influences and style to make a very modern blues sound.
Your live shows are known for improvisation and unexpected moments. How much unpredictability do you intentionally leave open when you step on stage?
It kind of depends on the show, to be honest. We have a large enough repertoire that we can definitely chop and change sets on the fly, and we are musical enough to adjust sections and musical moments. None of it is ever planned — it’s honestly just feeling the moment and the audience and going where we feel.
When someone leaves a LamBros show after hearing “You Won’t Call,” what’s the one feeling you hope they carry home with them?
Dread. Nah, just kidding.
We hope they feel entertained, joyful, and like they want to share what they experienced with someone else. We also hope they carry a LamBros T-shirt home with them.
LAMBROS – UPCOMING SHOWS:
SAT 28 FEB | FRESHWATER BREWING CO. SYDNEY NSW | ALL AGES
Free Entry, information available at https://freshwaterbrewing.com.au/pages/live-band
SAT 7 MARCH | 7TH DAY BREWERY, SYDNEY NSW | ALL AGES
Free Entry, information available at https://www.7thdaybrewery.com.au/
SAT 13 MARCH | TOWRADGI BEACH HOTEL, TOWRADGI NSW | ALL AGES
Free Entry, information available at https://towradgibeachhotel.com.au/whats-on/
SAT 14 MARCH | DUCLIE’S COTTAGE, MERIMBULA NSW | ALL AGES
Free Entry, information available at https://www.dulcies.com.au/events-1
SAT 21 MARCH | PLEASURE CLUB, SYDNEY NSW | 18+
Free Entry, bookings available at https://www.oddculture.group/venue/pleasure-club
Written by Jaydn Reti (Vocals/Writing)
“Speak Slow” feels emotionally heavy but restrained at the same time. When you were writing it, did you know straight away it would live in that slower, more spacious space, or did it evolve into that mood?
I definitely knew it would be a slower song. From the very first verse I wrote, that was apparent. However, I had no idea how moody — and, should I say, desperate — it would end up feeling. Like writing any song, it’s almost always an evolution, so you could say it naturally grew into that eventual vibe.
The song explores power imbalance and creeping self-doubt in a relationship. Was that drawn from experience, or more a reflection on patterns you’ve observed over time?
A little bit of both. Most people have had a relationship fall apart at some point. For me, this song came from observing people close to me, but I definitely drew from my own experiences to shape the emotional delivery and lyricism. A lot of it also came from asking myself the age-old question: how would it feel to be in someone else’s shoes?
There’s a real sense of tension in the track — like it’s holding something back. Was that dynamic intentional in the arrangement, or did it naturally come through as the song developed?
The feeling of a track is always quite organic for me. I’ve found that when I try to force a topic, issue, or emotion, the music suffers for it. I’m not a fan of forcing anything. Writing with intent and purpose is important, but it just doesn’t seem to work if I overthink it. Funnily enough, the real meaning behind our songs is often revealed to me toward the end of the writing process. It’s a quirky way of working, but it seems to suit me.
You worked with Jackson Deasy on production. What did he bring to “Speak Slow” that maybe pushed the song further than you originally imagined?
Jackson is so integral to everything Garden Eyes do, and we’re incredibly grateful. He actually co-wrote this one with me, as well as our last release, “Fever Dream.” I had the bones of the song written — rhythm guitar, bass, melodies, and lyrics — before recording, but before we touched any of that, he took me through a detailed pre-production process. He wrote the drums, added additional guitars, and developed backing vocals. Without Jackson, the songs would still exist, but they’d feel incomplete. He really helped round out our sound.
You’ve already pulled over 120,000 streams across just three tracks, which is impressive for a band still early on. Has that early support changed your mindset at all, or are you still approaching things the same way?
It’s definitely encouraging to see people connecting with what we’re putting out. It has shifted our mindset in a positive way — our goals were quite small at the beginning. With the recent support, we’ve been motivated to push further and aim higher. That said, we’re still approaching things the same way: stay professional, tight live, and consistent. We’re just setting our sights a little higher now.
Supporting Bloom and Avoid on their recent Australian run must have been a big moment. What did you take away from those shows that’s sticking with you now?
It was a huge confidence boost. Everyone involved was incredible, and it confirmed that this is something we’re serious about. Getting two support slots instead of the usual one was also a great experience. It allowed us to notice patterns playing different rooms to similar crowds. At both shows, almost nobody knew who we were. By the end of our set, we had people coming up to us saying they loved our sound and were going to check us out — something our ‘For Artists’ stats backed up afterwards. We’re definitely hoping for another opportunity like that.
There’s a clear emo and post-alternative thread running through your sound. Who were the bands that first made you want to start Garden Eyes?
Citizen and Movements were huge for me when I first started writing. I remember watching the 2017 YouTube video of Movements at Chain Reaction over and over, thinking, “This is what I want to do.” Over time, artists like Paramore, Normandie, and The Story So Far helped shape our sound, but Citizen and Movements were the original spark.
On triple j Unearthed you’ve drawn comparisons to artists within that modern emo space. Do you feel aligned with that lane, or are you already thinking about stretching into something different?
Modern emo definitely feels like our roots. At least for the first record, I think that’s where our sound will sit. Beyond that, it’s hard to say. We’d love to break further into the indie rock scene, but I don’t think that would drastically change our core sound. Music is always evolving. For now, our first record — and probably the one after that — will live in this space. Anything beyond that, I can’t make promises.
Your songs feel emotionally direct — there’s no hiding behind abstract lyrics. Is vulnerability something that comes naturally to you, or does it take intention every time?
It’s interesting because during the writing process, I never felt like there was anything particularly vulnerable about it. It wasn’t something I considered until I started sharing the songs. I’ve always loved emotionally rich music, so that’s what I wanted to create. Even though the lyrics are vulnerable, I’ve rarely felt afraid to share them. There’s something almost dissociative about expressing emotions through art. I suppose that means it comes naturally to me.
With momentum building, are you thinking about a larger body of work, or are you enjoying letting each single exist in its own world for now?
For now, we’re happy rolling out singles. Of course we’d love to release an EP or album — that’s the dream. But the current music landscape doesn’t always support that pathway early on. If we build more momentum, a larger body of work is definitely possible. Until then, we’re focused on consistent releases and getting in front of as many people as we can.
Delighting Australian music lovers with the news of its return, Groovin The Moo is excited to share the incredible crop of local and international artists who are set to make its special one-off show in Lismore an unforgettable event.
BAKER BOY proudly stepped into a new creative era with the release of his sophomore album DJANDJAY in 2025 – a powerful fusion of culture, nuance and unbridled pride in his art and self. The charismatic performer is one of Australia’s most commanding and with DJANDJAY propelling Baker Boy forward, Australian music fans get to see one of our best rappers excelling in a new, bold spotlight.
Fierce hip hop multi-talent DENZEL CURRY makes his long awaited return to Australia for Groovin The Moo, having headlined the regional tour in 2023. A wildly entertaining performer with a range of influences that speak to a love of music that varies from hip hop to jazz; alternative to punk, and more, Curry has pioneered his own lane of excellence that a whole generation of artists have found their own similar identity within.
DOPE LEMON brings his tight nocturnal grooves to Lismore, the solo project of ANGUS STONE set to hypnotise and charm at Groovin The Moo in 2026. Touring the world off the back of his 2025 record GOLDEN WOLF, the return of Dope Lemon to Australian fans is one that cannot be missed.
For those who love a bit of line dancing or are keen to get involved, Groovin The Moo welcomes KATH EBBS, presenting the popular queer line dancing phenomenon, COWBOY COUNTRY.
Breakthrough artist MAPLE’S PET DINOSAUR has become one of Australia’s most exciting new artists to watch. Going viral on TikTok with songs like ‘LEGO’ and ‘CHORUS’, the teenager from Newcastle has blown up in the last year thanks to spots on festival bills alongside TOOL, GARBAGE and more.
One of the Northern Rivers’ best, MATT CORBY, joins the GTM lineup fresh off the release of his long-awaited fourth studio album, TRAGIC MAGIC (scheduled to drop in March 2026). Corby’s voice has captivated Australian audiences for many years, his music becoming a staple on the life soundtrack for many Australian music fans. The six time Platinum selling artist brings the soul and seasoning to each record he touches and as a live performer, Corby is one of one.
Hailing from the Central Coast, NINAJIRACHI’s ascent in becoming one of the country’s most recognisable names in EDM was marked by the release of her critically acclaimed debut album, I LOVE MY COMPUTER in 2025. Earning the most ARIA nominations of any artist that year (winning three), the record dominated in many fields, nabbing the producer the Australian Music Prize, Australian Album of the Year at the 2025 J Awards, and more.
Blistering rock comes through courtesy of Gerringong’s finest, THE TERRYS; Sunshine Coast heroes THE CHATS; firebrand acts who have been leading the charge in creating new waves of chaos on stages around the country and overseas.
Another globally renowned and beloved Australian artist, TONES AND I brings her unmistakable sound and relentlessly uplifting live energy to Groovin The Moo this May. Having spent most of the last 18 months touring her BEAUTIFULLY ORDINARY album, performing in arenas and releasing chart climbing hits with the likes of David Guetta and Teddy Swims, Tones is spending the beginning of 2026 pouring back into audiences at home – we can’t wait.
Along with Byron Bay-based Corby, local talent from the Northern Rivers region is celebrated on this year’s Groovin The Moo lineup, with Lismore’s homegrown heroes THE COLLIFLOWERS and the talented ANGEL WHITE – a 17 year old Indigenous singer-songwriter currently making waves from her home in Murwillumbah – completing the lineup.
Along with the official artist announcement, Groovin The Moo have teamed up with local music retailer PLANET MUSIC to run the PLANET MUSIC HOMEGROWN HERO competition, where local artists are encouraged to enter and submit their music for a chance to perform. For more details, visit the Groovin The Moo website.
Information regarding camping and shuttle transportation will be provided online, with Groovin The Moo fans now able to register their interest in both camping and shuttles via the official festival sign-up form.
Groovin The Moo Lismore will take place at Oakes Oval, Widjabul/Wia-bal Country, from 11am to 10pm and will be an all-ages event.
EVENT DETAILS
Groovin The Moo Lismore
Oakes Oval, Widjabul/Wia-bal Country
9 May 2026
11am to 10pm
All ages
TICKET INFO
General Admission from $125 + BF
Cream Of The Crop VIP $190 + BF
Mini Moo’s (Under 12) free when accompanied by a ticket-holding parent or guardian
Ages 12–17 $90 + BF when accompanied by a ticket-holding parent or guardian
MobTix for Aboriginal and Torres Strait Islander and Affordability tickets for select Concession Card holders available to request $90 + BF
Lismore Locals will have exclusive access to the ‘Homegrown Groovers’ presale, simply check ‘I’m a Lismore Local’ in the presale sign up form.
LINEUP
(A-Z)
BAKER BOY
DENZEL CURRY (US)
DOPE LEMON
MAPLE’S PET DINOSAUR
MATT CORBY
NINAJIRACHI
THE CHATS
THE TERRYS
TONES AND I
(A-Z)
ANGEL WHITE
THE COLLIFLOWERS
HOMEGROWN HERO SLOT
KATH EBBS PRESENTS COWBOY COUNTRY
It’s the news fans have been waiting for: following the release of his acclaimed fifth studio album, Deadbeat, Tame Impala – the visionary project of Kevin Parker – is returning to Australia, today announcing four huge arena shows in Brisbane, Melbourne, Sydney and Perth this October.
Kevin Parker has emerged as one of the most influential voices of the last decade. Marking a bold new musical chapter, Deadbeat (listen here) arrived in late 2025 led by three killer singles: ‘Loser’, ‘End of Summer’ and ‘Dracula’ – the latter earning Parker his biggest debuts yet at US radio, and landing in at number three on this year’s triple j’s Hottest 100, almost 20 years since Tame Impala’s first appearance in the poll. As a newly six-piece touring band, Tame Impala kicked off the Deadbeat tour with 12 sold-out shows across North America last October and November, with a UK/European tour set to begin this April. From July, Tame Impala will return to the USA and Canada, kicking off a huge area run featuring guests Djo and Dominic Fike.
Conceived across multiple locations over several years, Deadbeat was largely created between Fremantle and Parker’s studio, Wave House, in Injidup, WA. Deadbeat sounds like the work of an artist with a levelled-up mastery, crafted with a newfound embrace of spontaneity for the renowned perfectionist. How that manifests is a distinct minimalism and crunch, with timbres and textures that add an ineffably new dimension to the sound, as well as a richer, more playful vocal range than ever.
With a ‘Dracula’ remix featuring Jennie of BLACKPINK out now, February saw Parker awarded a GRAMMY for Best Dance/Electronic Recording for ‘End of Summer’ – his first solo win, following his 2025 trophy in the same category for ‘Neverender’, his collaboration with French dance pioneers Justice.
Joining Tame Impala on all dates is one of the most exciting names in Australian music right now: fast-rising electronic artist, songwriter and producer Ninajirachi. Raised on NSW’s Central Coast, Nina had a massive 2025 following the release of her debut album I Love My Computer, which took out top honours at the Australian Music Prize, NSW Music’s Breakthrough Artist Prize, two J Awards (including Album of the Year), and three ARIA Awards.
Frontier Members can get early access to tickets via the Frontier presale, which starts Wednesday 25 February (9am local time) – see website for full information. Tickets go onsale to the public from Friday 27 February (11am local time).
Across four previous albums – InnerSpeaker (2010), Lonerism (2012), Currents (2015) and The Slow Rush (2020) – Tame Impala has headlined multiple festivals and arenas around the globe. The Slow Rush debuted at #1 in multiple territories and became Tame Impala’s highest-charting album to date in the US, UK, and Canada, landing in the top 10 in 14 countries. As a writer and producer, Parker has collaborated with Dua Lipa, The Weeknd, SZA, Lady Gaga, Travis Scott, Mark Ronson, Gorillaz, Thundercat, Kali Uchis, 070 Shake, Rihanna, Miguel, A$AP Rocky, and many more. Tame Impala’s ‘The Less I Know The Better’ is part of the Billionaires Club with over 2 billion streams and the project has racked up numerous gold and platinum certifications globally.
Sure to be one of the most exciting tours of the year, don’t miss Tame Impala’s triumphant return to Australia this October!
TAME IMPALA
+ special guest Ninajirachi
DEADBEAT TOUR
AUSTRALIA – OCTOBER 2026
Presented by Frontier Touring, Chugg Entertainment and Laneway Presents
FRONTIER MEMBER PRESALE
via frontiertouring.com/tameimpala
Runs 24 hours from: Wednesday 25 February (9am local time)
or until presale allocation exhausted
TICKETS ON SALE
Begins: Friday 27 February (11am local time)
ALL SHOWS LICENSED ALL AGES
Saturday 10 October
Brisbane Entertainment Centre | Brisbane, QLD
ticketek.com.au
Wednesday 14 October
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
Monday 19 October
Qudos Bank Arena | Sydney, NSW
ticketek.com.au
Saturday 24 October
RAC Arena | Perth, WA
ticketek.com.au