Photography: Jake Harm Nam
Australian songwriter and producer Callum MacDonald, best known as a core member of R&B/soul project daste., steps into a new creative chapter this week with the launch of his solo project Monsieur Mellow. While daste. continue work on new material slated for 2026, MacDonald has taken the opportunity to explore a sound that’s been quietly forming for years.
The first taste of Monsieur Mellow arrives via ‘Paris Strut’; a groove-led, jazz-house debut that introduces the sonic world of MacDonald’s forthcoming ep, which is already completed and waiting in the wings. Drawing from funk, disco, reggae, and Caribbean influences, the track is rich in warmth and movement, built to feel lived-in, loose, and instinctive.
Written in the in the wake of touring UK/EU with daste., ‘Paris Strut’ emerged from a period of renewed inspiration on the road. “After returning home from touring Europe with my band daste., the time on the road left me deeply inspired by Caribbean, reggae, disco, and funk. For the first time I felt a clear sense of direction for music that existed outside of the band.” MacDonald explains.
At the heart of the track is a raw, emotive acappella sample from Parbleu’s ‘Pas de Saints Au Paradis’, which MacDonald chops and weaves through understated drums, soft pads, guitar, and bass, allowing each element to bounce off the next and create the feeling of a real band playing together in a room. “This project is about following instinct, world influences, and creating groove-setting music that feels raw and rough around the edges,” he says.
The title ‘Paris Strut’ captures the track’s essence perfectly: a confident, effortless swagger inspired by wandering the streets of Paris, spring in step. It’s that same feeling that sparked the sonic identity of Monsieur Mellow, an outlet for movement, mood, and musical freedom.
With ‘Paris Strut’, Callum MacDonald sets the tone for a solo project driven by feel over perfection, groove over gloss, and instinct over expectation, marking an exciting new direction for one of Australia’s most versatile songwriters/producers.
Stream:
Socials:
https://linktr.ee/monsieurmellow
Credits:
Written by Callum MacDonald & Parbleu
Produced by Callum MacDonald
Mixed by Callum MacDonald
Mastered by Paul Blakey
Artwork by Callum MacDonald
Visuals by Callum MacDonald & Lauren Whitehill
Photos by Lauren Whitehill
Loose Pt. 3 feels engineered for peak-time chaos rather than careful planning — when you started building the track at 140 BPM, did you sense straight away that this one was going to live in the club rather than anywhere else?
Well firstly, thank you, that is exactly what I was going for with this one! It was one of those songs I knew would be perfect for the club as the original tempo was 140bpm. The moment I added drums to the vocal I knew exactly where to take this song. At the same time, it’s important to me that it’s not just a club tool. I always try to make it feel like a proper song as well, something that could work beyond a moment in my set. That’s why I focused a lot on the arrangement, finding the balance between energy and musicality so it could live in a few different worlds at the same time.
You’ve talked about letting the vocals lead the direction of the record — what was it about JAY1 and Ms Banks’ energy that unlocked the sound so quickly for you?
I instantly felt inspired from the flow from both JAY1 and Ms Banks. There’s so much energy and attitude in the vocals that made it really easy for me to build a drop and keep that same energy. JAY1’s tone naturally brought that darker vibe which really shaped the drops, and the way Ms Banks leads into the drop was a perfect way to introduce the listener and keep them waiting for that moment.
There’s a real sense of weight in the bass but bounce in the percussion — how intentional is that balance when you’re designing a track meant to hit big rooms?
The balance is really important for this record… I wanted the weight to come from the rhythm of the bass hitting on the 1’s/kicks, this gave me a lot of room to add the percussion and toms flowing in-between the kicks and with some slight swing on those parts I think it brings a lot of energy and translates really nicely in the club.
You referenced drawing inspiration from Fred again.. and Skrillex live sets — what did those performances teach you about momentum and restraint in modern club music?
Skrillex and Fred again.. play a huge role for me when making club music, and honestly just music in general. Their taste is immaculate from their sound selection and especially how they arrange their songs. I spend a lot of time listening closely to their sets and paying attention to the structure, from the breakdowns to the buildups and drops. They’re really intentional in the sense that they don’t give too much away, letting their songs breathe early on so when the drop comes then you’re ready for it. That sense of momentum and restraint is something I try to bring to my own records. I also think it’s important to reference artists you genuinely love, because it gives you a perspective on what’s actually working.
You’ve been releasing at a relentless pace — how do you avoid repeating yourself while still keeping a signature sound people recognise instantly?
Everyday I am always inspired by something new, and it can come from anywhere, any genre, any era, even outside of club music. I listen to a wide range of music and that constant input keeps things fresh and stops me from feeling boxed into making the same type of song. Usually when I start to overthink what I’m doing I can get lost and feel like it’s forced, so keeping the process organic and honest is really important to me, so just working on things that excite me is a lot more sustainable for my creativity. While doing that I think your signature sound starts to evolve, when you’re not forcing anything and doing things naturally people will start to recognise your sound.
Having started producing so young, do you still feel that same curiosity when you open a session, or has discipline overtaken experimentation?
I still feel that same curiosity every time I open a session, and that comes from how I approach each song mentally. Being in the right headspace is what leads me to creating something real and exciting. I listen to my instincts and really trust my own taste, that’s what keeps me motivated every day. I feel like it’s very easy to get caught up with what’s hot, what’s new and trending, and when I focus too much on that personally it leads me to getting burnt out creatively and you could hear it in the music that I would make.
You’ve played everything from Wildlands to Tomorrowland — how does testing tracks live feed back into the way you finish records in the studio?
Testing records live is a huge part of my process. It gives me instant feedback not just in terms of how people react, but how it sounds on a big system. I make all of my music in the box (on my laptop speakers most of the time) so when I can hear it on a big system I’ll know if anything needs to change in the mixdown. It’s great for arrangement purposes too and to know if it mixes well with other songs, or if any sections are lacking energy and need to be reworked.
Looking ahead to 2026, do you see your next chapter being about pushing tempo and intensity even further, or pulling things back and surprising people in a different way?
Looking ahead to 2026 I think the next chapter is really about showing people who I am as an artist and proving that I don’t feel limited creatively. I don’t want to be boxed into one lane or one sound, I want to surprise people but in a way that still feels true to me. Personally for me it’s not about pushing tempo or intensity just for the sake of it. It’s about following what excites me in the moment and trusting my taste. That could be releasing some club focused music, or songs that I would love to listen to in the day, but the goal is always the same. To keep the art as pure as possible, and make people feel a certain way while doing that.
INSTAGRAM | TIKTOK | YOUTUBE | SOUNDCLOUD | FACEBOOK
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Toronto-based rock collective Nameless Friends are tearing into 2026 with their latest single, “I’m Afraid Of Failure”, now out everywhere. The track follows their explosive 2025 double single comeback—“Mary” and *“There’s a Rapist in the White House”—*and previews their highly anticipated sophomore album, The Quiet Part, Loudly, arriving April 15th. With its raucous energy, glitter-soaked chaos, and fearless heart, the song proves once again why Nameless Friends are one of Canada’s most electrifying and genre-defying bands.
Described by the band as “Great Big Sea on speed,” “I’m Afraid Of Failure” is a Celtic punk-fueled celebration of perseverance. It rips through self-doubt with the ferocity of Dropkick Murphys and the irreverent, jump-in-the-air joy of ’90s pop-punk and ska. Lead vocalist and producer Number One explains, “It’s about that feeling when you give enough of a shit that it actually hurts—but you do it anyway. We wanted to capture the raucous, bloody energy of the crowds we’ve played for in Prince Edward Island and Scotland—places where people know how to celebrate and mourn in the same breath.” The result is pure musical adrenaline: a Maritime kitchen party colliding head-on with a punk basement show, all glitter, grit, and unrelenting heart.
Building on the bold foundation of their 2023 debut Blasphemy, The Quiet Part, Loudly promises to take the band even further. Produced with the acclaimed engineer Nyles Spencer (The Tragically Hip, Broken Social Scene, Alvvays), the album draws on cross-Canada touring experiences and delivers a fearless exploration of identity, injustice, and resilience. As Number One puts it, “This album is a love letter with constructive criticism to our home country… choosing to be who you are anyway, even in the middle of a culture war or real, literal violence.”
Hailing from London, Ontario, Nameless Friends feature Number One on vocals and production, Number Three on guitar, Number Five on bass, and Number Seven on drums, with touring keyboardist Number Six rounding out the live lineup. On stage, they’re unforgettable—glitter-soaked, bleach-stained, and radiating a rare mix of righteous anger and pure joy. After selling out iconic venues like Toronto’s Horseshoe Tavern, taking bold public stances on issues like transgender rights and climate justice, and touring across Canada, the UK, and Ireland, Nameless Friends remain a band that combines fearless politics with dangerously fun music.
With “I’m Afraid Of Failure”, they’ve crafted a song that doesn’t just speak to fear—it transforms it. It’s a defiant, joyous anthem for anyone who dares to care, to try, and to keep going, no matter what.
Toronto-born singer-songwriter Julian Hunt is back with his latest single, “Marine Drive”, a dreamy, nostalgic track that explores the delicate tension between memory and moving forward. Written during a move to Vancouver, the song draws on vivid personal snapshots—“my red eye flight,” “high like kites,” and “time for our biggest mistakes”—painting a picture of moments that linger long after they’ve passed. Julian says the track’s looping structure mirrors the way certain memories resurface again and again, with Vancouver’s Marine Drive serving as a touchstone for reflection and possibility.
Musically, “Marine Drive” blends lush dream-pop textures with 80s-inspired synths, airy keyboards, and sparkling electric guitars, all anchored by gentle programmed drums. Julian’s layered vocal stacks add warmth and intimacy, highlighting his self-taught piano skills and flair for storytelling. Following the buzz of his debut single “Sharks In The Pool”, featured in Zillions Magazine and on Radio One Vancouver, “Marine Drive” solidifies Hunt’s reputation as a bold, reflective voice in contemporary pop—melding cinematic nostalgia with modern production in a way that feels both personal and universal.
Nova Scotia-born Awolk, the project helmed by singer-songwriter Jesse Thomas, is back with Wild Rose, a six-track EP that marks a turning point in both sound and storytelling. Crafted with Toronto-based producer and engineer Eli Browning, the record captures a stripped-back, studio-band energy that feels natural and unforced — intimate, yet expansive. It nods to the atmospheric folk and indie roots that first defined Awolk while signaling a readiness to explore new emotional terrain. As Jesse puts it, the EP runs “from the first track to the last” with a sound that complements what came before while boldly “looking to the future.”
From the opening notes of the title track, listeners are drawn into a perspective often overlooked in adventure-driven music: the person waiting for a loved one to return. “Wild Rose” isn’t about chasing thrills; it’s about longing, patience, and the quiet power of anticipation. This theme continues on standout track “Someone,” which Jesse describes as an exploration of “life’s ultimate risk”: the courage to love and be loved even when the outcome is uncertain. Both tracks showcase a careful attention to detail — delicate guitar lines, layered harmonies, and lyrical storytelling that lingers long after the music ends.
The heart of Wild Rose, however, lies in its deeply personal moments. “Into the Void” stands out as the EP’s most raw and intimate track, born from Jesse’s experience navigating his mother’s sudden, life-altering illness in 2021. With lines like, “See the road, there it goes. Where it runs, you got no place to lay your head,” and “Everything a family falls back on, every oath and every memory,” the song captures the weight of uncertainty and the strength found in shared familial bonds. It’s a reminder that Awolk’s music is never abstract — it’s rooted in lived experience, processed through melody and memory.
Since the project’s 2018 self-titled debut, Jesse Thomas has seen Awolk grow into a beloved fixture of the Canadian indie scene, amassing millions of streams, touring extensively across the country, and developing a reputation for performances that resonate deeply with audiences. Wild Rose is both a reflection and a declaration: a set of songs that matter to him, a bridge between past and future, and a glimpse of what’s to come in 2026. With its intimate storytelling, emotive arrangements, and quiet power, Wild Rose reaffirms Awolk’s place as a project unafraid to explore life’s complexities while still offering moments of beauty and hope.
SOCIALS
There’s a moment in every DJ’s evolution where tracks stop being written as standalone songs and start being built as weapons — tools designed to bend energy, shift rooms, and push a set somewhere unexpected. For Australian producer Arky Waters, ‘UGETME?’ feels like that moment.
Out now via Mammal Sounds Records, ‘UGETME?’ is a ferocious collision of jungle and modern drum & bass, engineered for maximum momentum. It doesn’t ease in or flirt with restraint. Instead, it throws you straight into the chaos — rapid-fire breaks snapping against dark bass pressure, every element locked into forward motion. The track moves with the urgency of something designed to be played loud, late, and without hesitation
Arky has been steadily carving out his space across recent releases ‘Holdin On’ and ‘Ay Papi,’ but ‘UGETME?’ marks a noticeable shift. Where earlier tracks hinted at club energy, this one commits fully to the dance floor. It draws from the raw spirit of classic jungle — those unruly, old-school breaks — while hitting with the precision and intensity expected from contemporary DnB.
What makes ‘UGETME?’ stand out isn’t just its aggression, but its intent. Arky wasn’t chasing nostalgia or genre revivalism. The goal was practical and very DJ-minded: bridge the gap between jungle’s chaotic soul and the relentless drive of hard DnB without sacrificing energy in a live set. Jungle, as much as it’s loved, can sometimes pull momentum down when mixed alongside heavier modern tracks. ‘UGETME?’ solves that problem by refusing to let the intensity drop for a second
That mindset speaks to a broader shift in how Arky is approaching his music. He’s thinking less about singles and more about storytelling inside a DJ set — how tracks function as chapters rather than isolated moments. ‘UGETME?’ feels like a peak-hour statement, a track designed to spike adrenaline and hold tension rather than release it too early.
Sonically, it lands somewhere between the atmospheric lift of Bicep, the club-forward experimentation of Skrillex, and the gritty UK edge associated with acts like Overmono — but it never feels derivative. Instead, it reflects an artist confidently blending influences into something functional, physical, and unapologetically high-energy
Importantly, ‘UGETME?’ also acts as a window into what’s coming next. As the latest taste of Arky Waters’ forthcoming debut album, it hints at a project that’s likely to lean heavily into immersion and movement — music built for rooms, systems, and shared experience rather than passive listening.
There’s no wasted space here, no ornamental excess. ‘UGETME?’ does exactly what it sets out to do: hit hard, stay intense, and keep the story moving. For Arky Waters, it feels less like a single and more like a declaration — a clear signal that his focus is locked firmly on the dance floor, and he’s not planning to let the energy dip anytime soon.
‘UGETME?’ is out now via Mammal Sounds Records
Stream:
https://bfan.link/arkwaters-ugetme
Socials:
Credits:
Written & Produced by Arky Waters
Mixed by Doug Wright
Mastered by Suture Mastering
Artwork & Photos by Arky Waters
Visuals by Version Khan
Returning for a brand new year of country music goodness out on the gorgeous Newcastle Foreshore, HOWLIN’ COUNTRY is prepared to usher in a whole new wave of memories for music fans and the local community alike on Saturday 14 February.
Headlined by US country superstar LAINEY WILSON and featuring Newcastle’s own global country icon MORGAN EVANS, on a lineup stacked with talent including US performers KAITLIN BUTTS and FLATLAND CAVALRY; and Australian favourites ADAM NEWLING and TYLA RODRIGUES, this year’s edition of HOWLIN’ COUNTRY was positioned early as one of the most anticipated large-scale music events this side of 2026.
With the lineup now complete with the addition of more stellar talent including Alabama Country-Soul artist KASHUS CULPEPPER, PAUL DEMPSEY – who will be bringing SHOTGUN KARAOKE to the event, Melbourne’s SWEET TALK, Brisbane’s THE WET WHISTLES, Ballarat’s LEWIS LOVE and local Novocastrians, GRAND PRICKS and SHARNEE FENWICK; Attendees can now start planning their day at HOWLIN’ COUNTRY, with set times now released.
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Scotland’s No.1 electronic music festival returns to Tisno’s The Garden Resort from 16 – 20 July 2026 for 5 days and 5 nights of unmissable music featuring 999999999, AZYR, Ben Klock, Ewan McVicar, Restricted, Mall Grab, Hannah Laing, Trym, Yanamaste and more
Following the sold out success of its previous and fast becoming legendary Croatian outings, the next edition promises even more high-impact production, world-class sound and forward-thinking programming across the techno and wider electronic spectrum on the idyllic shores of the Adriatic Sea.
Set across four open-air stages, Terminal V Croatia is a seamless blend of music, travel and culture with a like minded community from all over Europe and beyond. The sun kissed days and starry nights combine beachside dance floors, secluded woodland spaces and immersive production in one of Europe’s most iconic festival locations. From sunrise sets by the water to late-night and moon lit sessions, Terminal V Croatia offers a complete electronic experience for serious music lovers.
The 2026 lineup features a powerful mix of global heavyweights, legends, underground icons and cutting-edge new talent. Among them are long time Berghain mainstay Ben Klock, breakout Scottish trailblazer Hannah Laing, hard dance brilliance from the revered Restricted, the electrifying Scottish house artist Ewan McVicar plus uncompromisingly hard grooves from 999999999 and real eclectic rawness from Aussie star Mall Grab, euphoric and hybrid sounds from Héctor Oaks, Ellen Allien and Biianco who will explore every shade of sound plus many more.
Each year, indelible memories are made across the various settings including the legendary and open-air Barbarella’s Discotheque, regularly voted one of the best clubs in the world by DJ Mag, the atmospheric Olive Grove, the high-energy Main Stage, and the ever-popular Beach Stage. Each offers its own distinct sound and visual identity as you plot your own adventure through day and night.
Beyond the dancefloor, Terminal V Croatia delivers non stop action from daily boat parties, sunrise afterparties and a range of daytime activities such as water sports, exploring local Croatian culture and cuisine.
With its carefully curated lineup, world-class production and breathtaking setting, Terminal V Croatia 2026 cements itself as an essential summer odyssey for techno fans worldwide.
Presale tickets go live on Thursday 29th January at 9AM GMT / 10AM CET / 8PM AEDT followed by general sale on Friday 30th January at 9AM GMT / 10AM CET / 8PM AEDT
Sign up now:
https://terminalvcroatia.com/
PHASE ONE LINEUP (A–Z)
2HOT2PLAY
999999999
ACOR
ALARICO
ALARICO X BEN KLOCK
ALYCIA BEZGO
ARMAN JOHN
ANETHA
AZYR
BAD BOOMBOX
BASSWELL
BELLA CLAXTON
BENNETT
BEN KLOCK
BEN TECHY
BIIANCO
CERA KHIN
CHARLIE SPARKS
CLAIRE O’BRIEN
CLOUDS
CLUB ANGEL
CRUSH3D
DART
DAVID LÖHLEIN
DEXPHASE X SKRYPTION
DJ HYPERDRIVE
DR G
EFFY
ELLI ACULA
ELLEN ALLIEN
EMILIJA
EWAN MCVICAR
FASTER HORSES
FRANCK x JOKESONYOU
FUKHED
FUMI
GUMJA
HANNAH LAING
HÉCTOR OAKS
HELENA LAUWAERT
JAZZY X JOWI
JOKESONYOU
KIM SWIM
KiNK
KLOUD
KYLE STARKEY
LAMMER
LORCAN KELLY
MAC DECLOS
MALL GRAB
MORAITOV
MISCHLUFT x PEGASSI
MIJA
MISS BASHFUL
NATTE VISSTICK
NIKOLINA
NICOLAS JULIAN
NOVAH
ODYMEL
OLLIE LISHMAN
ONLYNUMBERS
ØTTA
PATRICK MASON
PEGASSI
PETERBLUE
PUSMUS
RESTRICTED
SAM ALFRED
SIM0NE
SHDW
STEF MENDESIDIS (live)
STÜM
SUPERGLOSS
TJADE
TOMMY HOLOHAN
TOXIC MACHINERY
TRYM
TWOFACED
VENDEX
WOLTERS
YANAMASTE
YASMIN GARDEZI
YASMIN REGISFORD
PLUS MUCH MORE TBA
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CINEMATIC’ feels obsessed with romance as something slightly unreal. When you were writing it, did Like An Actress already exist in your heads, or did that idea surface later once the song was finished?
We knew that we wanted to do an EP after our second album, but we didn’t know the themes or the form that it would take. We like to let the songs dictate the emotional depth of each release, and Cinematic had this incredible joy and metaphor to it, which felt like a natural theme across all the tracks of the EP.
You’ve said the song feels nostalgic while it’s still happening. Do you think that’s about the way love works now, or more about how you both tend to process emotion?
Nostalgia is such a powerful emotion! It’s obviously a feeling of love & longing for the past, but smothered with a rich tapestry of senses. Love is the only thing I can think of that works similarly & feels alike! Love’s super physical & vivid but full of hope and fear and everything in between – at least in our experience!
The imagery in ‘CINEMATIC’ is very vivid — sneaking into places, kissing in the streets, that rush at night. Do those scenes come first when you’re writing, or do they grow out of the feeling?
The sneaking-in part was a very real experience! We built off that, every other line had to have the same gravitas, and movie scenes were the perfect building blocks for the song.
This EP leans much more into live instruments and a band feel. Was that a conscious reset for you creatively, or did it happen naturally as the songs started coming together?
It was more a result of our new environment and collaborators – we’ve both recently relocated to Sydney, so we’re working with some fantastic new people who have very different ways of working than in Aotearoa. And quite hilariously, when you relocate, your stuff is kinda in random places around your house – it just so happened that my acoustic guitar was always leant up against the couch, & would be the first thing I reached for with ideas.
You’ve mentioned the live show shaping the writing this time. Were there moments where you suddenly knew a song worked because you could already picture it on stage?
Definitely! Cinematic was a major one – as was Suckerpunch. Both have these huge senses of euphoria which gives you the feeling of being on stage. You know it’s a hit when you’re singing it in your living room pretending to hold a mic hahah.
Recording back in Aotearoa with Josh Naley, did being in a familiar place change how open or honest the writing felt?
Yeah Josh is great – it’s nice to have a collaborator that’s been across literally every project we’ve ever put out. There’s a nice grounding to writing in Aotearoa, and with Josh that helped recontextualise some of the wilder ideas we had over in Australia.
Like An Actress circles around themes you’ve explored before — love, loss, identity. Did those ideas come out of real conversations between you, or did the music open those doors on its own?
We’re always talking about our lives to each other – our challenges, joys & everything! It’s natural that lyrically our stories are often touching on those core subjects because our friendship is at the root of Foley – but which conversation or theme we write about 100% depends on the mood of the music. The first lyrics will always depend on how we’re feeling about the chords or melodies we’re constructing on the day.
After the response to ‘HONEY’ and That’s Life, Baby!, did you feel any pressure heading into this EP, or did working in a more organic way actually quiet that noise?
Not pressure, but we definitely had an intention to continue to write experimentally, and figure out what our relocation & life changes had done to the music. That’s Life, Baby! was such a pivotal record because we felt we finally unlocked the Foley sound or very intricate, experimental pop – and wanted to dive further into it, and see what other boundaries we could push!
You’ve worked with some heavy hitters on the technical side. When a song is already emotionally complete, how do you know when polishing it helps — and when it might risk sanding something away?
Haha these have been the best mixes and masters Foley’s ever had! We stumbled across Pedro Calloni who’d written with some of our favourite contemporaries, and he instantly heard what we were going for. Foley’s always been a collaborative project and we always find bringing other creatives on board helps & lifts our songs, and hasn’t ever hindered them!
Right now, does Like An Actress feel like a stepping stone into whatever comes next for FOLEY, or more like a snapshot of exactly where you are at this point in time?
A bit of both! It’s definitely a snapshot of right now – and we’ve made pains to show that in all the imagery, press photos, lyrics – lots of movement metaphors, bright colours, deep blues & some visual nods to our musical upbringings. It’s been awesome crafting this & I’m sure the next one will be a blast too.
Foley: Facebook | Instagram | YouTube | Tik Tok | Triple J Unearthed
These New South Whales today announce a string of Australian headline tour dates from March through to May in support of their fourth studio album GODSPEED. Band pre-sale available through Discord, Patreon, and Bandsintown now. General on-sale Tuesday, 20 Jan, 11:00 AM AEDT via tnsw.co/tour.
The tour marks the first national live shows since their latest album GODSPEED, which landed #4 on the ARIA Australian Album Charts and #9 on the ARIA Vinyl Charts, and was praised locally and internationally across triple j, Apple Music, NOVA, Rolling Stone ANZ, Kerrang!, The Line of Best Fit, CLASH and 10 Magazine among others for their kind of raw energy that can berate authority and blow your haircut off in equal measure.
A reputation shaped by extensive touring – including last year’s live podcast tour which celebrated 500 episodes of their cult series What A Great Punk – These New South Whales assert themselves as a once-in-a-generation Australian punk proposition. Starting March 19, These New South Whales will hit Maroochydore’s Solbar before embarking on a huge 17-show run of regional and capital venues across the country. All tour routing details listed BELOW.
Produced by Ben Greenberg (Depeche Mode, Drab Majesty, Show Me The Body), the follow-up to their ARIA and AIR Award-nominated LP TNSW is a gear switch. With GODSPEED, the group firmly pushes back. As personal as it is politically charged and a damn good time, there’s defiance in the face of doubt, a refusal to be shaped by outside expectations. It’s not about surrendering to the chaos anymore – it’s about cutting through it. This time, TNSW have a clarity in the voice, a rejection of bullshit, a sense of recklessness and an insistence on trusting instinct over influence. The mission statement is laid out within the first thirty seconds, as vocalist Jamie Timony bellows, “The choice is yours / Godspeed.”
As a band in conversation with a continually shifting hellscape, whatever comes next is anyone’s guess, but the meaning of GODSPEED can be found in the here and now. Switched on and sick of it all, it’s a reminder that salvation has no blueprint. Trust yourself and see. It’s direct, galvanising and, above all, an irresistibly good time. TNSW in a nutshell.
GODSPEED TOUR DATES
Sat 28 Feb – Pirate Life Eleventh Birthday @ Pirate Life Brewery – Yartapuulti / Port Adelaide (TIX)
Thu 19 Mar – Solbar – Murukutchi-dha / Maroochydore (TIX)
Fri 20 Mar – The Brightside – Brisbane, Meanjin (TIX)
Sat 21 Mar – Mo’s Desert Clubhouse – Bundjalung / Gold Coast (TIX)
Fri 27 Mar – Indian Ocean Hotel – Boorloo / Scarborough (TIX)
Sat 28 Mar – Froth Craft Brewery – Goomburrup / Bunbury (TIX)
Sun 29 Mar – The River – Wooditjup / Margaret River (TIX)
Fri 10 Apr – Royal Oak Hotel – Palawa Country / Launceston (TIX)
Sat 11 Apr – Altar – Nipaluna / Hobart (TIX)
Thu 23 Apr – Hamilton Station Hotel – Mulubinba / Newcastle (TIX)
Fri 24 Apr – Gumball Festival – Wonnarua / Hunter Valley (TIX)
Sat 25 Apr – Mary’s Underground – Eora / Sydney (TIX)
Sun 26 Apr – La La La’s – Woolyungah / Wollongong (TIX)
Fri 1 May – Barwon Club – Djilang / Geelong (TIX)
Sat 2 May – Theatre Royal – Djandak / Castlemaine (TIX)
Sat 9 May – Pelly Bar – Marr-ne-beek / Frankston (TIX)
Sat 16 May – Howler – Naarm / Melbourne (TIX)
Tickets are on sale
Tuesday, 20 Jan, 11:00 AM AEDT
via tnsw.co/tour
GODSPEED LP is out now, buy/stream it here.
TRACKLIST
INTRO
INSTINCT
MISS HER
R.I.P. ME
BIG MACHINE
NOBODY LISTENS
PIG
BIRDBRAIN
BE WHAT YOU WANNA BE
ECSTACY
GODSPEED
Stay connected with These New South Whales:
23 Profile | Website | YouTube | Instagram | X | Facebook | TikTok
Stages include Area V where Sara Landry presents Eternalism, Klangkuenstler, Hangar, with the likes of Fantasm, 999999999, I Hate Models, Greenhouse with Robert Hood, Chlär (Live), Yanamaste through to East End Dubs and Patrick Topping, The Terminal featuring Mall Grab, Ben Hemsley, The Lab with emerging Scottish artists and new for 2026, The Block.
Ahead of its return to the Royal Highland Centre & Showground, Edinburgh, on 18–19 April 2026, Terminal V has revealed the stage lineups and day splits for its 2026 edition, alongside a new host of artists that have been added to the line up.
The latest additions include a mix of new school disrupters and legends with Biianco, Natte Vistick, Patrick Topping and Prunk all bringing different flavours of house, trance and techno, while The Lab stage is a dedicated platform for emerging Scottish artists and future-facing sounds with the lineup yet to be announced.
Now firmly established as one of Europe’s leading techno festivals, Terminal V 2026 will welcome over 100 artists across six stages, with 40,000 attendees expected across the weekend.
Each stage is designed with a clear purpose, allowing different parts of the electronic spectrum to exist without compromise, from peak-time headline techno to foundational house, from high-pressure intensity to emerging local voices. Together, the stages form a complete ecosystem where every sound has room to exist properly, and the whole site is steeped in the famously high spec production, light and sound that makes this one of Europe’s leading events.
AREA V is where scale, focus and headline energy come together. The flagship stage returns as the focal point for peak-time techno and on Saturday, Sara Landry brings her UK Festival exclusive of Eternalism, with Clara Cuvé, Novah, Fumi, Adrián Mills and Alex Farell. Sunday sees a powerful close led by Klangkuenstler, alongside Anetha X Patrick Mason, DJ Gigola X ØTTA and Ueberrest and a world exclusive b2b of SPFDJ X SIM0NE.
Expect relentless, high-intensity techno built for pace and endurance at HANGAR. Across both days, this stage delivers uncompromising pressure, featuring artists including 999999999, I Hate Models, Fantasm, Vieze Asbak, Winson and more representing the hardest edge of the Terminal V spectrum.
GREENHOUSE is a stage rooted in history, groove and musicality which on Saturday sees raw, stripped-back techno inspired by the genre’s early forms, with Robert Hood, Chlär (Live), Alarico, Clouds X Tommy Holohan. On Sunday, a shift toward deeply rooted tech house music, led by Patrick Topping, East End Dubs, Traumer, Prunk and La La.
THE TERMINAL is for high-energy sets built for emotional release rather than genre boundaries. Think fast transitions, big moments and no holding back with artists including Mall Grab, Ben Hemsley, Will Atkinson, Morgan Seatree, DJ Gigola, Pegassi and Spray across the weekend.
2026 brings a brand new stage to Terminal V Festival – The Block – with a secret guest lineup – stay tuned.
With a significant site investment and a clearly defined vision across every stage, Terminal V 2026 continues to refine its identity not by expanding aimlessly, but by giving each sound its own space to exist with real narrative and intent.
Secure your Terminal V Festival 2026 weekend tickets with ZERO booking fees, saving up to £16.50 on a weekend ticket or weekend payment plan ticket for a limited time only: https://www.skiddle.com/
For a group of four this would be a saving of £66 on weekend tickets. Tickets are limited and exclusive to Skiddle. Available now until midnight on Sunday 11th January, 2026. Payment plans are also now live for day tickets.
TERMINAL V FESTIVAL 2026
STAGE / DAY SPLITS
SATURDAY 18TH APRIL
A-Z (artist order)
AREA V – SARA LANDRY PRESENTS ETERNALISM
SUNDAY 19TH APRIL
AREA V
ANETHA X PATRICK MASON
KLANGKUENSTLER
ØTTA X DJ GIGOLA
SIM0NE X SPFDJ
SOMEWHEN
UEBERREST
+more tbc
HANGAR
999999999
I HATE MODELS
KLOFAMA
LOLA CERISE
NATTE VISSTICK (new addition)
ONLYNUMBERS
NEGITIV
RAXELLER
GREENHOUSE
EAST END DUBS
LA LA
PATRICK TOPPING (new addition)
PRUNK (new addition)
TRAUMER
+more tbc
THE TERMINAL
BENWAL X HELENA LAUWAERT
DJ GIGOLA
MAIN PHASE
MALL GRAB
MORGAN SEATREE
PEGASSI
SPRAY
+more tbc
THE LAB
LINE UP TO BE ANNOUNCED.
THE BLOCK
BRAND NEW STAGE FOR 2026. SECRET GUEST LINE UP.
Scotland’s No. 1 electronic music festival, Terminal V, has revealed the full stage and day splits alongside confirmation of a £1 million investment into the festival site
18th-19th April 2026
Royal Highland Centre & Showground, Edinburgh
Website | Stage Photography | Photography | Artwork | Instagram | Facebook | Tickets
Tickets: https://www.skiddle.com/
Aminé brought the last leg of his aptly titled Tour de Dance to Sydney’s Metro Theatre last Saturday, and dance he did. In the midst of a 40-degree heatwave, Aminé brought the heat to a new level with an effervescent energy that made the Metro come alive.
The artist had me hooked from the start as the house lights dimmed and the theatre was lit by a Keith Haring–esque illustrated sequence of visuals that captured the vibrancy of the rapper’s music. A strong first look at the level of energy the artist would bring. The phrase “Nothing beats an Aminé holiday” lit the screen as he took the stage making the first of many references to the pursuit of a never-ending summer, the core motif of his latest album, 13 Months of Sunshine and a vibe that the artist delivered with every track.
Opening the show with Arc de Triomphe, the second single from the album, the dance-heavy production of this summer anthem matched the fire of Aminé’s energy and got the crowd jumping.
The artists stage presence and charisma is incredibly undeniable, as he promises to make the audience feel sexy and confident throughout the show. “When I say you’re beautiful, you say ‘I know,’” he cheered, hyping up the crowd as they chanted back at him.
A major highlight of the night for me was New Flower! A self-reflective track that features Leon Thomas, chronicling Aminé’s life pre-virality and his journey chasing his dream. The bridge is a key turning point of the song, and its meaning was amplified by Aminé’s vibrant stage presence:
“And when the sun hits your skin
I hope you know you belong where you been
And we’ll grow, that’s for sure, but in the end
We’ll be back in the ground once again”
Hearing these words echoed with adoration by his fans was a beautiful celebration of how far the artist has come and if I wasn’t sold already by his warmth and electricity he really had me with his sincerity.
Underneath Aminè’s charm and free spirited performance there is a level of heart and passion that really moves you. The title track of his album, 13MOS really heroes this, a tribute to his Ethiopian heritage and the short thirteenth month, Pagume. Aminé’s performance of the track was ignited with a sense of passion and energy overlayed with a rhythmic dance beat that really makes you want to move.
The show closed with a stellar run of his biggest hits, ending with Reel It In, Spice Girl, and the viral Caroline – the perfect culmination of a 60-minute show filled with nonstop dancing and major summer energy. If I wasn’t a fan of Aminè before, i certainly am now.
