SNIPPETZ: THURSDAY June 18, 2026
This week’s Snippetz includes: Peter Freebairn, Michael G. Jones, The Story Of The Clash & The Specials, Day Dreamers, Estelle Conley, Figurehead, Smusko, Gia Darcy, 3% and The Terrys, Arthur Stulien, Shock Corridor, Brand of Sacrifice, Quiet as a Mouse, Infinity Song, Zac Cross Band, Bowie Unzipped, Wednesday 13, Sasha Summers, Azure Ryder, The Snuts, Nick Batterham and more.
PETER FREEBAIRN RELEASES REFLECTIVE NEW SINGLE “COMING DOWN” (OUT JUNE 19)
Following recent singles Sweet Emotion and The Girl I Know, singer-songwriter Peter Freebairn returns with Coming Down, available on all major streaming platforms from Friday 19 June through Pop Preservation Society.
Recorded in the same home studio as his previous releases, Coming Down reveals another side of Freebairn’s evolving songwriting. Opening with acoustic guitar and piano before brushed drums gently enter the arrangement, the track unfolds as a reflective meditation on self-doubt, vulnerability and acceptance.
At the heart of the song is the realisation that certainty can be fragile. The lyric “I thought I was street wise, but I was lost” provides the emotional pivot, leading into a chorus that captures the weight of disappointment and self-reflection.
Running just 3 minutes and 18 seconds, Coming Down never outstays its welcome. Instead, it builds patiently through understated arrangements, melodic guitar lines and Freebairn’s heartfelt falsetto, which provides an emotional lift during the song’s recurring title refrain.
Sonically, Coming Down recalls the melodic craftsmanship of Matthew Sweet’s quieter recordings and his work with The Thorns, alongside the reflective side of Crowded House and the emotional directness of Ron Sexsmith. Subtle electric guitar phrases occasionally hint at Noel Gallagher’s more restrained songwriting, creating a sound that feels timeless rather than nostalgic.
Freebairn performs all vocals and instruments on Coming Down, with Paul Boyle providing the song’s brushed drum accompaniment. Together, they create a warm and understated recording that places melody, atmosphere and emotional honesty at its centre.
Coming Down continues an emerging body of work that combines classic songwriting values with deeply personal storytelling. Further releases and live appearances will be announced in the coming months.
LISTEN to “Coming Down” on:
YouTube: https://youtu.be/exEgaU6HmRc (available from 12:00am Friday 19 June 2026 – GMT + 11:00)
Spotify: https://open.spotify.com/artist/3iGAvd1PVtJNmvTKO2kSJ2 (available from 12:00am Friday 19 June 2026 – GMT + 11:00)
Official Website: https://peterfreebairn.com
Facebook: https://facebook.com/PeterFreebairnMusic
Instagram: https://instagram.com/peter_freebairn_music
MICHAEL G. JONES RELEASES CATCHY NEW SINGLE ‘YOU CAN CALL ME OUT’ (OUT JUNE 19)
Following his recent single They Do Us Proud, Michael G. Jones returns with You Can Call Me Out, available on all digital and streaming platforms from Friday 19th June, 2026.
Recorded and produced by TAXIRIDE guitarist-songwriter Tim Wild, You Can Call Me Out reveals Jones’ evolving and diverse songwriting talents.
To avoid being pigeon-holed into a single genre, Jones possesses a versatile palette which includes a variety of musical styles including Pop, Country, Folk, Irish and Rock.
Testament to this is evident in Jones’ previous song releases; Hello World, Irish Dawn, and They Do Us Proud.
Jones explains: “As a songwriter, I don’t want to be restricted to one particular genre. I relish the creative freedom of lyrical storytelling and memorable melodies over the commercial limitations of sticking to a single musical category” .
Jones continues: “My songwriting is largely influenced by some of my favourite artists; Guy Clark, John Prine, Richard Thompson and a dose of Jimmy Buffett to name a few. These artists have inspired me to write a story and create emotions from that. Lyrics can evoke feelings that lie in all of us”.
You Can Call Me Out is a joyful, melodic, fast-paced song about declaring love and adapting to a new relationship.
Including the handling of production duties, Tim Wild also contributed guitars, keyboards, bass and vocal harmonies. Carolyn Oates played the drums, and the track was mixed and mastered by David Carr and Tim Wild at Rangemaster recording studios in The Patch, Victoria.
Facebook: https://www.facebook.com/helmike777/
Instagram: @michaelgjones8865
YouTube: https://www.youtube.com/channel/UCWWXpth4aEk7HGgTdIuV8yg
THE STORY OF THE CLASH & THE SPECIALS: MORE THAN A TRIBUTE, A LIVING CONVERSATION WITH THE MUSIC
On Saturday 27 June 2026, Brunswick Ballroom hosts ‘The Story Of The Clash & The Specials’, bringing together Melbourne’s acclaimed Black Market Clash and Australia’s longest-running regularly performing ska band, Loonee Tunes, for an evening celebrating two of Britain’s most influential musical forces.
The show revisits a pivotal moment in late-1970s Britain when punk, ska and reggae collided. The Clash and The Specials emerged from different cities but often found themselves sharing stages, audiences and a common belief that music could be both entertaining and socially relevant.
Black Market Clash explores the breadth of The Clash catalogue, moving beyond the obvious hits to reveal the band’s musical ambition and restless creativity. Songs such as London Calling, Should I Stay Or Should I Go and Rock The Casbah sit alongside deeper cuts including Straight To Hell, (White Man) In Hammersmith Palais and The Card Cheat, tracing the band’s journey through punk, reggae, dub, soul and rock and roll.
Loonee Tunes, formed in 1982 and recognised as Australia’s oldest ska band still performing regularly, present the music of The Specials with the authority that comes from more than four decades immersed in the genre. Their set revisits classics including A Message To You, Rudy, Gangsters, Concrete Jungle and Too Much Too Young, celebrating the energy and social consciousness that defined the Two Tone movement.
The concert is also part of a broader artistic project being developed by Melbourne musician, promoter and curator Victor Stranges through Pop Preservation Society. Over recent years Stranges has produced a growing series of tribute presentations including Atomic: The Songs Of Blondie, Everyday I Write The Hook: The Songs Of Elvis Costello, Blue Valentines: The Tom Waits Songbook, and Black Market Clash. Rather than presenting these projects as straightforward tribute acts, the aim has been to create curated experiences that explore the stories, ideas and cultural impact behind the music.
An increasingly important part of that vision has been the creation of short companion films and video works produced alongside the live performances. Drawing on archival imagery, original editing, documentary techniques and visual storytelling, these pieces act as artistic extensions of the concerts themselves. Recent examples include companion works created around the music of The Clash and The Specials, reflecting Stranges’ longstanding fascination with the artists and movements that shaped him as both a musician and listener.
“These shows come from a place of genuine admiration,” says Stranges. “The idea isn’t simply to recreate the songs. It’s to understand why they mattered, why they still matter, and to share that experience with an audience.”
Pop Preservation Society is also experimenting with ways to connect the live and physical experience of music. Upcoming projects, including the August presentation of Atomic: The Songs Of Blondie, will explore bundled ticket and vinyl packages, allowing audiences to take home a tangible connection to the music that inspired the performance. The initiative forms part of a broader effort to celebrate both physical media and live music culture at a time when increasingly little of the music experience exists beyond the screen.
For Stranges and Pop Preservation Society, the goal is simple: not merely to stage tribute concerts, but to create events that honour the music through performance, film, storytelling and physical artefacts that reflect the passion of lifelong fans.
THE STORY OF THE CLASH & THE SPECIALS
Black Market Clash & Loonee Tunes Plays The Specials
Date: Saturday 27 June 2026
Venue: Brunswick Ballroom, Melbourne
Doors: 6:30pm
Show: 8:30pm
Tickets available via blackmarketclash.com.au
WATCH BLACK MARKET CLASH: https://www.youtube.com/playlist?list=PLNkSFtV39TsLEt1ppM-C_b8Zh4acX2VRP
WATCH LOONEE TUNES PLAYS THE SPECIALS: https://youtube.com/shorts/USlLRWyHOqM
WATCH THE STORY OF THE CLASH & THE SPECIALS: https://youtu.be/_NeYEmPwRLo
Created by Victor Stranges, this short companion piece combines archival footage, music, imagery and original editing to explore the cultural and musical connections between The Clash and The Specials. Conceived as a companion to the live show, it reflects the same spirit of admiration and curiosity that informs the performances themselves.
Black Market Clash Official Website: blackmarketclash.com.au
More Specials (performed by Loonee Tunes) Official Website: morespecials.com.au
poppreservationsociety.com/artists-and-productions
MELBOURNE’S DAY DREAMERS ANNOUNCE SELF-TITLED EP + SHARE BLISTERING NEW TRACK ‘WRECKAGE’
Establishing themselves as one of Melbourne’s exciting new rock forces, DAY DREAMERS take another empowered stride into 2026, announcing a brand new, self-titled, EP project. The DAY DREAMERS collection of sounds captures a period of growth for the group: a maturation in sound, but an elevation in energy and chemistry.
Music that hits hard, music that represents a rebirth of the band, DAY DREAMERS proves an exciting release from the group and as a taste of what is to come, they’ve shared a brand new single, titled ‘WRECKAGE’.
Recorded between Melbourne’s iconic Sing Sing Studios and Zak Rakitic’s home set up, ‘Wreckage’ plays perfectly to the wider EP’s themes of chaos, uncertainty and finding yourself and your tribe through it all. As guitarist Daniel Lee explains,
“With all the chaos, uncertainty, and oppressive violence that’s going on throughout the world right now, we were consciously aware of how lucky we are to get to use what time we have to create and so it should mean more to us than anything we’d done and reflect where we are right now.”
The heavy and alternative influences that have been central to Day Dreamers’ sound to date remain, yet as the listener can hear on ‘Wreckage’, the influences have sharpened and lands with refreshed impact.
Returning in 2026 with their single ‘BAG OF SAND’, fans were given an early hint of how the next Day Dreamers chapter was shaping up. With ‘Wreckage’, the picture receives a new shade, some new texture to keep things going as the band countdown to the release of theDAY DREAMERS EP on July 1.
Recent years have seen Day Dreamers’ profile solidify, with sold out shows in Melbourne and wider touring around the East Coast in 2025 bringing the band to more audiences. Their music has received consistent industry support across both triple j and Triple J Unearthed, while Australian community radio has also boosted Day Dreamers’ profile in an enthusiastic way.
As their catalogue continues to grow, with over 80k streams on Spotify alone, the band’s indie/alternative sound courts more attention. Propelling further into 2026, Day Dreamers anticipate one of their biggest years yet – the release of the DAY DREAMERS EP is the next exciting step.EP LAUNCH
24th of July The Bergy Bandroom Melbourne
Tickets
Day Dreamers: Official Website | Facebook | Instagram | YouTube | TikTok | triple j Unearthed
ESTELLE CONLEY ‘FIONA’ (SINGLE)
Let yourself be whisked away by the enchanting sounds of Estelle Conley, a dreamy folk singer/songwriter hailing from Narrm/Melbourne.
With her heartfelt brand of songwriting and magnetic indie-folk melodies, Estelle’s music will tug at the truth in your heart. Drawing inspiration from the storytelling prowess of ’60s and ’70s folk legends, Estelle is a keen wordsmith. Her work delves into themes of love, friendship, and yearning, with her sound most fittingly described as indie folk with a touch of country.
As Triple J’s Nkechi Anele put it perfectly: “The music so delicately holds your hand as you travel on a journey through hurt and sadness to the other side.”
WATCH VIDEO HERE
Estelle has graced stages across Australia, including at Bondi Festival, Carriageworks, Lazy Bones Lounge, Folkswagon @ Café Lounge, For Folks Sake @ 107 Projects, The Toff, The Last Chance Rock & Roll Bar, Wesley Anne, Shotkickers and more. She’s also had the pleasure of performing alongside and supporting folk artists such as Julia Johnson, Kay Proudlove, Lady Lyon, Quinny, Heather Fiona, Naomi Diane, Sasha March, Burning Grace, Well Into Winter, and Leroy Lee.
In 2025, Estelle released her next EP, in collaboration with Naarm/Melbourne-based artist and producer Rowena Wise.
Her music is the perfect remedy for even the most savage of beasts—like yoga for the ears.
“The music so delicately holds your hand as you travel on a journey through hurt and sadness to the other side.” — Nkechi Anele, Triple J
“Haunting and vulnerable vocal, beautiful melodious guitar parts. Perfect parts classic and fresh.” — Angelika Alana, Awakened Love
FREMANTLE’S FIGUREHEAD CONTINUE TO POWER THROUGH WITH NEW SINGLE ‘HUMAN’
Knocking down the door on 2026 in an impressive way with singles ‘Heart Like A Sunset’ and ‘Shotgun’, Fremantle’s Figurehead have returned with a new single that lands with anthemic weight – ‘Human’.
Buoyed by insatiable melodies and emotive instrumentation, Figurehead have put together a track that soars: a slice of music that blends balladry with bold indie pop, championing humanity and the nuances that make us unique as people existing at this same time, together.
Recorded in 2025 with Dave Parkin (Blackbird Studios) as part of a whole collection of material still to be revealed this year, ‘Human’ represents a stride forward for Figurehead as songwriters and musicians; and stands as an exciting hint of what is still to come.
“From our first live performance of ‘Human’ the crowd chanted the chorus. The powerful simplicity of the lyricism invites listeners to apply their own human experience to the song.” JOE CADDY, FIGUREHEAD
Figurehead have established themselves as a formidable force, building a loyal following both online and in the live arena. Blending alternative rock with contemporary indie pop, their sound balances energy, melody and emotional depth, setting them apart within Australia’s next wave of artists.
In 2025, the band had a strong year, building their catalogue streams to where it now exceeds 76,000 per month on Spotify, notably performances alongside the likes of The VANNS, DICE, Dear Sunday and more; as well as the headliner spot of 2025’s RTRFM Fremantle Winter Music Festival.
To celebrate the release of ‘Human’, Figurehead will be launching the single with a hometown show in Perth, while also supporting The VANNS at their Fremantle show, both in June.
HUMAN SINGLE LAUNCH
SATURDAY 20 JUNE The Bird NORTHBRIDGE
Tickets
Supported by Raymondouu, Tim Schilperoort, West Envy
‘HUMAN’ is released WEDNESDAY 17 JUNE.
FIGUREHEAD: Official Website | Facebook | Instagram | YouTube | Triple J Unearthed
SMUSKO – HOLD ON TO ME (SINGLE) AND LAUNCH GIG
Out of Sydney’s underground alternative scene emerges Smusko, a poetic outsider who exists somewhere between cinematic indie rock and elegant jazz crooning. Drawing sonic influence from late – era Arctic Monkeys, Interpol, and classic mid- century vocalists, Smusko blends smoky baritone vocals, atmospheric guitars, and nocturnal textures into something both elegant and emotionally raw. A mix of old and new, what Sarah Davenport of Triple J describes as “hazy antique charm and a breath of fresh air simultaneously.”
Visually, the project channels the shadowy glamour of Golden Age Hollywood, classic film noir, old timey sepia photography, and late – night city solitude. The result is a world that feels timeless, melancholic, and strangely romantic; like Frank Sinatra wandering through an empty city at 2am.
Watch Hold on to me video https://www.youtube.com/watch?v=RBPvKm3YISgAfter a triumphant first year, Smusko returns with his latest single ‘Hold on to Me’, a song that represents a watershed moment for the project. ‘Hold on to Me’ is Smusko’s most well – crafted song yet, and a quintessential example of the unique convergence of genres that makes him such a singular artist.
As grand as it is soulful, ‘Hold on to Me’ effortlessly drifts between a melodic chorus that feels both timeless and vintage, and a verse that feels like floating gracefully through space. It’s no surprise that this song has become the closer of Smusko’s live sets.
Smusko will launch ‘Hold on to Me’ with a headline show at Metro Theatre on June 24 as part of Monster Children’s x Debaser’s month – long residency series.
This release builds on the impressive momentum that Smusko built in 2025, having released two commanding singles, supporting The Slims, Euan Hart, Clay Western, Cloning (Perth), showcasing at SXSW Sydney, receiving recognition from Triple J, FBi Radio, ABC RAGE, PBS Radio and 2SER, as well as sold – out headline shows, and recognition through the Australian Cinematography Awards and Canberra Short Film Awards for his visual work.
GIA DARCY shares music video for new single ‘What’s To Blame?’ ft. Sam McGovern
Set to join Ed Sheeran in new Orange Amps campaign
Australian pop singer-songwriter Gia Darcy has shared the music video for her latest single ‘What’s To Blame?’, featuring Perth musician Sam McGovern. Directed by frequent visual collaborator Renata Dominik and cinematographer Alexander Leeway, the striking clip brings to life the track’s theme of emotional distance in a relationship. Watch HERE.
Gia has also been selected as one of 7 artists globally to join the #PlayItHome campaign – a worldwide cultural initiative supporting local communities and emerging talent, as part of the campaign for global superstar Ed Sheeran’s collaboration with Orange Amps. Last week, Gia invited fans to a pop up busking set in Circular Quay, filmed and set to be released as part of the campaign in the near future – find out more on Ed Sheeran’s socials HERE, and stay across updates from Gia Darcy HERE.
Talking about the music video for ‘What’s To Blame?’, Gia says “We wanted to build a world around the song right in the heart of Sydney, following two people who are living in the same city but experiencing it completely differently. Even when they’re moving through the same spaces, their perspectives never quite line up, which is really what the song is about.”
As the video unfolds, that distance becomes more and more obvious until it reaches a turning point on a rooftop overlooking the city, where Sam and Gia stand back-to-back while the camera circles around them. “That technique creates this feeling of being caught in the whirlwind of a relationship that’s slipping out of sync. Even though we’re physically in the same place, we’re still unable to see things through each other’s eyes. To me, that’s the heart of ‘What’s To Blame?’, the realisation that sometimes relationships don’t fall apart because of one big moment, but because two people slowly stop meeting each other where they are.”
A change of pace from her usual optimistic-pop shimmer, ‘What’s To Blame’ swaps synths for an acoustic guitar, and loved-up lyrics for glimmers of uncertainty left unspoken. Listen HERE. The new single is the second song lifted from Gia’s upcoming three-track mini EP, which explores how mental health manifests within relationships, and the insecurity, the disconnect, and the anxiety that shape how we love.
Opening with gentle guitar strums, Gia’s distinctly sweet vocals sing It’s the little things that seem to add to a million, before meeting Sam in harmony for the emotional chorus: No, we’re not speaking the same love language day to day / Bad habits or DNA, what’s to blame?
After writing the song with long-time collaborator Ross Newhouse, Gia felt the lyrics called for two perspectives and enlisted Sam McGovern to help tell the story. “I’ve always loved the tone and emotion in Sam’s voice, and I think the blend of our voices works perfectly together. We then took the track to producer Liam Quinn (Rita Ora, Keith Urban), who helped bring the whole vision to life.”
Fresh from supporting fellow Australian pop princess Charley at her packed-out Melbourne show last month, Gia’s past few months have been a whirlwind. Her previous release ‘Illuminate’ was aired across commercial and community radio, as well as played on triple j’s pop show Prism and triple j Unearthed’s Crush. The track earned comparisons to Kylie Minogue and saw Gia join the likes of Maddy Rowe (Nova), Nic & Loren (HIT), and Gordie (KIIS) on-air to talk about her music.
Gia Darcy has continued to build momentum as a confident and emotionally articulate pop artist. Her 2024 EP Crash Test received Australia-wide support, including a triple j Unearthed TOPS first play, subsequent triple j airplay across multiple singles, and a triple j Song of the Week. Gia has amassed almost 2 million Spotify streams, experienced a viral moment on YouTube Shorts with 2.7 million views, and delivered standout live performances including a Rolling Stone In My Room session, a television appearance on Sunrise, and a headline East Coast tour. With a growing online audience, including over 25k followers on TikTok, Gia’s distinct blend of honest storytelling and emotionally resonant pop continues to connect deeply with listeners.
‘What’s To Blame?’out now
Connect with Gia Darcy Instagram | Facebook | Website | TikTok | Spotify | Apple Music | Unearthed | YouTube
3% JOIN FORCES WITH THE TERRYS ON NEW SINGLE “ALL GUCCI” – OUT NOW VIA 1788 RECORDS / BELIEVE
First Nations collective 3% and Aussie faves The Terrys share the rap/indie-rock collab we didn’t know we needed, “All Gucci”, out now via 1788 RECORDS / Believe. The new track arrives alongside a music video that’s equal parts flex and self-reflection.
On “All Gucci”, The Terrys bring their signature full-band indie-rock, while Nooky and Dallas drift with laid-back but pointed bars, trading the harder-hitting bite 3% is known for. The result is something that sounds like a sunny afternoon but feels like a confession. Anchored by acoustic guitar and an unhurried pace, with a ‘no worries’ whistle weaving in and out and feel-good harmonies swelling underneath a hook that lingers.
“We have a long standing relationship with the Tezzas. My cousin Scrappy was good mates with ‘em and I kicked it with ‘em a few times. Pre-3% we tried to get a track going but the timing didn’t exactly align. Fast forward, 3% was starting to form and Tasker was producing the first album and joined The Terrys around that time. We always spoke about working together aside from being actual fans of each other’s art. We were all good mates and to us it made a lot of sense. ‘Ghost of Bendigo’ was received well from both sides of the fan bases and was really evident when we would play it live together. We had this song sitting on the album and we’d just finished the Rolling Sets circuit with The Terrys, so I shot it over to Finch and he jumped on it straight away. Tasker added some extra sauce on the song and it really brought it to life. This is the first but definitely not the last 3% x Terrys collab.”
Nooky further explains, “The song is about not taking shit too serious and that the finer things in life are not always the high end luxury shit, it’s about being comfortable in who you are. Not conforming to the image that fills your feed constantly on what success is. It’s about finding happiness in the times and your relationships. Dallas put it best when he said ‘tryna to please these strangers while I’m fabricating myself. Money doesn’t make you rich and clothes don’t make the man.”
3% x The Terrys – “All Gucci” – Official Music Video
Directed by Jamin Tasker and Samuel Irving, the video mirrors the track’s central theme: what money buys rarely satisfies. It sells the fantasy before pulling the rug – designer fits, a Ferrari through city streets, penthouses and yachts on harbour sunsets – giving way to the reality of a suburban backyard and a Hills Hoist. The gap between the dream your feed keeps serving you and actual life has never looked so familiar.
“All Gucci” follows 3%’s most urgent release to date, “Welcome 2 Country”, delving into the true history of a Welcome to Country and the cascade of ironies that it carries within today’s context. As so-called Australian society continues to prove, the group are building one of the country’s most essential catalogues of Blak power, pride and protest – backed by ARIA wins, four NIMA nominations, triple j and Rolling Stone praise and a live run that’s taken them from Vivid Sydney and Dreamtime at the ‘G to supporting Denzel Curry on a national tour.
It also trails The Terrys’ self-titled 2025 album and its deluxe edition The Terrys (For The People). From a shared trailer house in Gerringong to BBC Radio 1, three triple j Hottest 100 entries and a #1 ARIA debut, The Terrys have built one of Australian indie-rock’s most loyal fanbases the old-fashioned way, currently taking their live show across regional Australia through August.
Money it don’t talk, it barely whispers, but “All Gucci” lingers.
“ALL GUCCI” OUT NOW VIA 1788 RECORDS / BELIEVEvBUY/STREAM HERE | WATCH HERE
3%vWEBSITE | INSTAGRAM | YOUTUBE
THE TERRYSvWEBSITE | INSTAGRAM | YOUTUBE | TIKTOK
ATHUR STULIEN Announces New Album Heart On The Run Led by Focus Track “Tennessee”
Norwegian country-pop artist Arthur Stulien returns with his most personal and accomplished project to date, Heart On The Run, arriving June 12 and led by the emotionally resonant focus track Tennessee featuring fellow Norwegian country artist ERLEND. Following a breakthrough year that saw him emerge as one of the most exciting new names in Nordic country music, the album captures the push and pull between ambition and belonging, exploring what it means to chase your dreams while remaining connected to the people and places that shaped you.
Blending heartfelt storytelling with polished modern country production, Heart On The Run showcases Arthur’s growth as both a songwriter and performer. Across the album, he leans into themes of love, distance, resilience, nostalgia and self-discovery, creating a collection of songs that feels equally at home on country radio, streaming playlists and festival stages. Rooted in authenticity and driven by memorable melodies, the record highlights why Arthur continues to connect with listeners across Scandinavia and beyond.
“Tennessee” It is a heartfelt modern country ballad about chasing dreams, missing home, and the places that shape us.”
Built around warm acoustic instrumentation and emotionally charged vocal performances from both Arthur and ERLEND, Tennessee stands as one of the album’s defining moments. The track reflects on the sacrifices that often accompany pursuing a dream, balancing the excitement of new opportunities with the longing for familiar faces and hometown memories. It is a song that speaks to anyone who has ever found themselves caught between where they are and where they came from.
Hailing from Kristiansand, Arthur first captured national attention as a finalist on The Voice Norway 2024, introducing audiences to his distinctive blend of contemporary country-pop and timeless storytelling. Since then, he has continued to build momentum at an impressive pace. His breakthrough single Play It Again has surpassed 1.29 million Spotify streams and earned him the prestigious title of European Country Single of the Year, establishing him as one of the region’s most promising country artists.
That momentum has only accelerated over the past year. Arthur was recently featured on TVNorge/HBO Max’s Sistemann Ut, while his latest releases have attracted strong support across streaming platforms. Most notably, Hate To Break Your Heart secured editorial placement on New Music Friday Norway, New Music Friday Suomi, and En God Dose Country, helping introduce his music to a growing international audience.
Away from streaming, Arthur’s reputation as a live performer continues to soar. He recently celebrated a sold-out headline show at KRS Live in Kristiansand, marking a significant milestone in his career and demonstrating the strength of his rapidly growing fanbase. This summer, he will take that momentum to Seljord Country Festival, widely regarded as the largest country festival in the Nordics, where he will perform alongside some of the biggest names in the genre.
Following a breakout period that has seen him become a The Voice Norway finalist, earn European Country Single of the Year, secure major Spotify editorial support and sell out headline shows in his hometown, Arthur Stulien is entering a new chapter with Heart On The Run. The album serves as his most complete artistic statement to date, showcasing the songwriting, authenticity and modern country sensibilities that continue to position him as one of the most exciting emerging voices in Nordic country-pop.
https://www.instagram.com/arthurstulien
SHOCK CORRIDOR ANNOUNCE SELF-TITLED DEBUT ALBUM (12 AUG)
+ SHARE NEW SINGLE ‘SPIT TAKE’ (17 JUN)
LISTEN TO ‘SPIT TAKE’ HERE
Shock Corridor returns with “Spit Take”, a dark and volatile new single that pushes the Naarm/Melbourne six-piece further into abrasive and dance-oriented territory head of the release of their debut self-titled album due on August 12th. Following a run of recent releases exploring uncertainty, connection and emotional unease, “Spit Take” arrives as the band’s most aggressive offering yet. A restless collision of electronic dance music, alternative rock, dark-wave and trip-hop that captures the tension of trying to enjoy yourself while the world quietly unravels around you.
Driven by heavy sub bass, fractured backbeats and dissonant synth textures, the track unfolds like a fever dream moving through the rooms and staircases of a crowded house party. Beneath it, lies an undercurrent of dread, with the band drawing attention to the apprehensions and nervousness that sit beneath nights spent dancing, drinking and searching for genuine connection amidst collective uncertainty.
Set “at the end of the world,” “Spit Take” reflects on modern desensitisation and emotional fatigue. The title itself plays as a dark joke, a reference to how little surprises us anymore, with catastrophe and uncertainty becoming increasingly normalised. Throughout the track, fragments of manipulated instrumentation, warped violin loops, shrieking tape textures and oceanic waves of reverb and distortion create a constantly shifting sonic environment that feels both claustrophobic and euphoric.
In true Shock Corridor fashion, the chaos is balanced with moments of strange beauty and emotional release. Melodic horns and soaring violins emerge through the noise, while cryptic vocal samples drift in and out of focus like overheard conversations in another room. Lyrics such as “now we’ve broken early morning, there you were with your arms outstretched” gesture toward fleeting optimism and intimacy amidst collapse, grounding the track in the band’s ongoing fascination with love, mortality and human connection.
> LISTEN TO ‘SPIT TAKE’ HERE <
WATCH ‘SPIT TAKE’ LIVE FROM ODDANY GALLERY
“Spit Take was our attempt at a party track. In a lot of ways, it’s just the slivers of apprehensions and nervousness that dwell under a night out, which in true Shock Corridor fashion we chose to emphasise and bring to the forefront lyrically. In doing so it, to us, has an “end of the world” feeling to it. Like the songs before it, Spit Take exists in the Anthropocene and doesn’t shy away from the feeling of uncertainty over our own mortality and how long we truly have left. The song is set between rooms and staircases of house party where everybody’s aware of this looming fear. Just like real life.” – Shock Corridor
Sonically dark yet intensely energetic, “Spit Take” expands Shock Corridor’s world-building into more chaotic and confrontational territory. Combining aggressive electronics with the band’s signature melancholic atmosphere, the single captures both the escapism and anxiety that define contemporary nightlife and modern existence alike.
“Spit Take” continues to establish Shock Corridor as one of Naarm’s most compelling emerging acts. A band unafraid to merge emotional vulnerability with sonic intensity, transforming existential uncertainty into something immediate, physical and deeply human.
It’s the third offering off of their self-titled debut that was recorded over seven days at Soundpark Studios with producer Dan Luscombe (The Drones, Amyl and the Sniffers, Courtney Barnett, Floodlights), before being mixed by Aaron Cupples (Spiritualized, Tropical Fuck Storm, Kirin J Callinan).
SHOCK CORRIDOR LIVE DATES
FRI 28 AUG
THORNBURY THEATRE, MELBOURNE
TICKETS HERE
FRI 04 SEPT
OXFORD ART FACTORY (GALLERY), SYDNEY
TICKETS HERE
SAT 05 SEPT
GANG GANG CAFE, CANBERRA
TICKETS HERE
FRI 11 SEPT
HOTEL METRO, ADELAIDE
TICKETS HERE
FRI 18 SEPT
BRIDGE HOTEL, CASTLEMAINE
TICKETS HERE
SAT 26 SEPT
JUNK BAR, BRISBANE
TICKETS HERE
BRAND OF SACRIFICE Return With Explosive Double Single ‘Seeing Red’ & ‘This Place Wasn’t Meant For Us’
STREAM HERE | WATCH The Visualizer For ‘Seeing Red’ HERE
Canadian deathcore titans Brand of Sacrifice have returned with a devastating double single, ‘Seeing Red’ and ‘This Place Wasn’t Meant For Us’, marking the band’s first new music since late 2023 and the opening strike of a major new chapter. Arriving with the scale, precision, and emotional force that have made Brand Of Sacrifice one of heavy music’s most singular modern bands and serious contenders for the modern deathcore crown, the two tracks feel both newly sharpened and deeply connected to the sound, scale, and conviction that the band are known for.
Listen to ‘Seeing Red’ & ‘This Place Wasn’t Meant For Us’ HERE
Watch the visualizer for ‘Seeing Red’ HERE
Shop the accompanying ‘This Place Wasn’t Meant For Us’ merch capsule HERE
Since their formation in 2018, Brand of Sacrifice have built a world around a lethal combination of force and feeling. Across every era, their sound has carried the feeling of standing at the edge of something enormous, where beauty, violence, grief, and transformation all collide in the same frame. With the two new tracks released today, Brand of Sacrifice reconnect with the atmosphere and emotion of early releases The Interstice, their 2019 debut EP, and their 2021 Billboard-charting, Juno-nominated sophomore album Lifeblood. The result is a continuation of the band’s formative instincts: visceral heaviness, cinematic unease and emotional immediacy, sharpened through the force and command of the band they have become.
’Seeing Red’, sees the band come out swinging with one of their most direct and overwhelmingly brutal tracks to date. Built for devastating impact, the track is arguably one of the heaviest in the band’s catalog but underneath the brutality is something more human. The track speaks to the desperate search for agency when everything feels unstable, turning the guttural chaos of the music into something listeners can connect to on an emotional level.
Its companion, ‘This Place Wasn’t Meant For Us’, leans into the band’s gift for atmosphere and tension. Hauntingly eerie, cinematic, and slow-burning before the earth finally gives way, the track pulls the listener deeper into the darker, moodier sonic world-building side of Brand of Sacrifice.
Speaking on the new singles, vocalist Kyle Anderson shares:
“Seeing Red” and “This Place Wasn’t Meant For Us” mark an incredible moment for us as our first new material since 2023. While these songs push Brand of Sacrifice forward, they also reconnect with elements of our past, drawing inspiration from the atmosphere and emotion of The Interstice and our sophomore release Lifeblood. We wanted to strip things back and focus on something more visceral, and honest while capturing a sense of nostalgia without simply repeating ourselves. We’re very proud of these tracks and can’t wait for everyone to experience this next chapter with us.”
Watch the visualizer for ‘Seeing Red’ here: https://www.youtube.com/watch?v=XiPDfBZZcsc
Today’s new tracks follow the band’s 2023 EP Between Death and Dreams and standalone single ‘Purge’, which also marked their signing to Nuclear Blast Records after their incendiary independent rise. That chapter expanded Brand of Sacrifice’s emotional and thematic range, with Anderson moving away from the anime themes of previous releases and looking inward to explore the darker trenches of the human condition while the band continued to stretch their sound into increasingly cinematic territory.
With ‘Seeing Red’ and ‘This Place Wasn’t Meant For Us’, Brand of Sacrifice pull the atmospheric world building and cinematic violence of their formative work into the present with the same level of brutality and a closer examination of the human condition. Every detail feels sharpened by the band they are now: heavier in impact, broader in theme and atmosphere, and more direct in intent. It is the sound of a band stepping into their next chapter with total command of the world they have built.
ABOUT BRAND OF SACRIFICE
Since their inception in 2018, Canadian deathcore unit Brand Of Sacrifice have carved out one of the most distinctive identities in modern heavy music. Inspired by the thematic and artistic world of Kentaro Miura’s Berserk, the band have built a sound designed to feel cinematic in scale and immersive in execution, fusing orchestral arrangements, ethereal atmosphere, electronics, crushing heaviness, and melody into a world that feels both brutal and expansive. Their 2021 sophomore album Lifeblood became a breakout moment for the band, charting on Billboard and earning a Juno Award nomination for Metal Album of the Year. The release helped Brand of Sacrifice amass a dedicated global fanbase, pushing them beyond 70 million streams and onto high-profile tours with acts including August Burns Red, Spiritbox, We Came As Romans, Thy Art Is Murder, and more. The band continued expanding their sound with 2023’s Between Death and Dreams EP and the standalone single ‘Purge’, the latter arriving alongside their signing to Nuclear Blast Records. Known for their massive choral soundscapes, punishing breakdowns, cinematic visuals, and devoted fan community known as The Branded Ones, Brand of Sacrifice have become one of heavy music’s most captivating live forces, with appearances at major international festivals including Wacken Open Air, Graspop, Brutal Assault, Summer Breeze, Download Festival, Welcome To Rockville and Sonic Temple. Now, with ‘Seeing Red’ and ‘This Place Wasn’t Meant For Us’, Brand of Sacrifice begin their next era with two tracks that reconnect with the atmosphere and emotion of their past while pushing into something more expansive, finessed and immediate.
Find Brand Of Sacrifice Online Facebook | Instagram | X | Youtube | Website
QUIET AS A MOUSE upcoming 2nd album ‘Nostalgia is fine…but…’
New Album ‘Nostalgia is fine…but…’ released digitally on Friday 29 May
Quiet as a Mouse is singer/songwriter Alex Moran. QAAM is where Alex aims to show his personality, honesty, maturity, intimacy and lyrical strength as a songwriter and playing in a sandbox of genres such as indie, alternative rock, grunge, punk, emo and alt country.
Alex was born in London and moved around a lot in his teen years and has lived in Leamington Spa, Stanthorpe, Warwick, Hobart, Adelaide, Edinburgh (for 13 years) and now Brisbane, since 2019.
New Quiet as a Mouse album ‘Nostalgia is fine…but…’ see’s Alex at his most honest, intimate, raw and romantic whilst still having the swagger, energy and strong lyrical songwriting of his previous releases. ‘Miss Melody’ was the 1st single which was released on Friday 27 February alongside b-side ‘French Bullet Blues’. The music video for ‘Miss Melody’ was shot by Alex from a visit to Hong Kong and Beijing in April 2025.
The beautiful and cinematic music video for album track ‘Peter Pan’ shot at sunset on the stunning Peregian Beach at the Sunshine Coast in Queensland, Australia will be released 22 May.
QAAM have previously supported Hinds, The Orwells, Palma Violets, The Big Moon & The Orielles in the UK. As well as worked with both Grammy Award winning producer Liam Watson (The White Stripes ‘Elephant’) and Marcus Mackay who produced Frightened Rabbit & Snow Patrol’s early work. They have gained a lot of positive UK press coverage and radio airplay and the recording of their debut album ‘Is It Funny When It Hurts?’ was funded and supported by the Scottish Government.
“Melodic indie pop-rock with a decidedly ’90s flavour, aided by the fact singer-songwriter Alex Moran’s vocals are somewhere between Dave Grohl’s and Neil Young’s” – The Courier Mail, QLD, Australia
“Is It Funny When It Hurts? Is a debut full of relaxed confidence and is a leap forward for the band.” The Skinny, UK
“Is It Funny When It Hurts? Gets a big thumbs up, we applaud the edgy guitar sound and thought provoking lyrics reminiscent of Pixies and Idlewild.” The Metro
The Daily Record called Alex “a genius and a prophet” and said of the ‘British Flag’ EP “like The Smiths, Orange Juice and Brian Jonestown Massacre; its knowing, fragile and indie-tastic.” They also mention QAAM’s first single ‘An Accident Waiting To Happen (Awoo Woo Woo)’ calling it “one of the best songs they have heard in over ten years.”
“Quiet as a Mouse are no strangers to the BBC Introducing Mixtape. We featured their free download track An Accident Waiting To Happen (Awoo Woo Woo) in February and the single Casketcase in June. Despite alarm bells ringing from the word “Christmas” in the title, this track comes from their splendid debut EP British Flag which was actually released in August. In any case, the groove and performance on this track are simply irresistible – the band’s strongest work to date. Roll on 2015.” Tom Robinson BBC 6 Music
“Quiet as a Mouse are fast becoming one of Scotland’s hottest prospects…’Home Is The Hardest Place To Find’ is a soaring anthem packed full of melody…it reminds me of Snow Patrol’s edgier moments.” The Sun
“They’re picking up a wee buzz about themselves.” Vic Galloway BBC Radio Scotland
“This (QAAM upcoming 2nd EP) is the indie genre churning out one of its finer offerings of the past few years.” The Metro
“Some bands don’t even achieve such a great track as ‘An Accident Waiting To Happen (Awoo Woo Woo)’ let alone give it away for free. It’s a contender for Scottish single of the year.” The Daily Record
“There is enough in Alex Moran’s band’s armoury to sink a battleship…New single Casketcase is a heady mix of Weezer and Nirvana, its Goth for the new millennium…I love this band.” The Daily Record
‘Home Is The Hardest Place To Find’ was selected by The Herald’s Martin Williams as the 51st best song of 2013 and 27th best Scottish song of 2013 calling it “Majestic offkilter alterno-indie.”
“Inspired in part by the shimmer of Teenage Fanclub and the heaviness of Nirvana. This blend seems to have won them a few admirers, mohawk-haired Scottish music impresario Jim Gellatly among them.” Edinburgh Evening News
Album Pre Order/Save link: https://quiet-as-a-mouse.ffm.to/nostalgiaisfinebut
Quiet as a Mouse Youtube: https://www.youtube.com/quietasamouseuk
Quiet as a Mouse Linktree: https://linktr.ee/quietasamouse
Spotify Album link: https://open.spotify.com/album/0rAEKFBBCsupeW6Q2OxeWX
Contact: Alex Moran on (Email): alexmoranmusicaus@gmail.com
INFINITY SONG Expand Their Signature Soft Rock SOUND On Self-Titled Album Ahead of Their Australian Tour
Listen To INFINITY SONG HERE
Out Now Via Roc Nation Distribution
Sibling-powered soft rock band Infinity Song have released their highly anticipated self-titled album, INFINITY SONG, via Roc Nation Distribution, ahead of their September Australian & NZ Tour. Marking a bold new chapter for the group, the album finds the Boyd siblings embracing their individual influences while further refining the rich songwriting, dynamic arrangements, and effortless vocal chemistry that have become their hallmark.
The Detroit-born, New York-based quartet has carved out a singular space in modern music, blending pristine four-part harmonies, virtuosic musicianship, and emotionally resonant songwriting into a sound that feels both timeless and distinctly their own. Drawing from soft rock, soul, folk, and pop, INFINITY SONG captures the band at its most confident and fully realized, spotlighting the creative chemistry and personalities that have made them a magnetic force onstage and online.
Recorded between Los Angeles and New York, INFINITY SONG expands the band’s sonic palette while remaining rooted in the warmth and intricacy that define their sound. The album builds on the momentum of recent singles ‘Hurricane’ and “One Foot Out,” while focus track ‘Sayonara’ stands as one of its defining moments, pairing soaring vocal interplay with rich instrumentation and emotional depth.
Check out the visualizer for ‘Sayonara’ here: https://www.youtube.com/watch?v=VDn94VAkC58&list=RDVDn94VAkC58&start_radio=1
“We grew up studying music together, performing together, and learning how to listen to one another,” shares Infinity Song. “This album gave us the space to lean into our individual strengths while pushing ourselves as musicians. We wanted every arrangement, harmony, and guitar part to serve the songs, and we’re proud of how expansive the record became without losing the intimacy that’s always been at the heart of Infinity Song.”
The release arrives amid a remarkable period of momentum for the group. After years of cultivating a devoted audience through performances at Central Park’s Bethesda Fountain and amassing millions of views across social media, Infinity Song has emerged as one of music’s most exciting live bands. Their recent NPR Tiny Desk debut offered a national showcase for the musicianship and chemistry that have long captivated fans, while appearances everywhere from Madison Square Garden to major festival stages have continued to expand their reach.
The band’s ascent has been accompanied by notable individual achievements, including Momo Boyd’s burgeoning solo career and recent BET Award nomination for her work on Baby Keem’s ‘Good Flirts’ also featuring Kendrick Lamar, further underscoring the breadth of talent within the Boyd family.
Renowned for performances that feel equally at home in concert halls, festival fields, and intimate listening rooms, Infinity Song continues to earn a reputation as one of the most compelling live acts of their generation. The band is currently in the midst of an expansive international run, including appearances at Newport Folk Festival, Outside Lands, BRIC Celebrate Brooklyn!, and POP Montreal, alongside headlining dates across North America, Australia, New Zealand, the United Kingdom, and Europe.
INFINITY SONG TRACKLIST:
01. Michigan
02. Many Rivers Interlude
03. Sayonara
04. One Foot Out
05. Hurricane
06. Running Away
07. Soldiers Interlude
08. Break Out
09. All Of My Friends
10. Stranger Danger
11. Deja Vu
12. Blossom
INFINITY SONG AUSRALIAN AND NZ TOUR DATES:
September 9 – Rosemount Hotel – Perth, AU
September 11 – Max Watts – Melbourne, AU
September 12 – Manning Bar – Sydney, AU
September 13 – Crowbar – Brisbane, AU
September 16 – The Tuning Fork – Auckland, NZ
Tickets on sale now from: https://www.octoberpresents.com/infinitysong
INFINITY SONG ONLINE: Instagram | TikTok | YouTube
ZAC CROSS BAND UNLEASH NEW SINGLE ‘GIVE ME A BREAK’
2026 Group / Duo of the Year CountryTown Award nominees Zac Cross Band are back with a vengeance on their blistering new single ‘Give Me a Break’. Following on from the success of their previous release ‘Promise’ which cracked the Top 10 on the AMRAP Airplay Charts and landed editorial playlist support across Apple Music’s New In Country, Aussie Country and Country Risers, the Queensland outfit continue to carve out their lane with a track that’s equal parts cathartic and chaotic.
A gritty, tongue-in-cheek anthem wrapped in crashing guitars and modern country swagger, ‘Give Me a Break’ captures the feeling of life kicking you while you’re already down – only instead of spiralling, Zac Cross Band throw their hands in the air and laugh through the madness. It’s angsty, empowered country rock with dirt under its nails and a grin on its face.
“‘Give Me A Break’ was never intended to be a serious song,” shares frontman Zac Cross. “It was written to kind of be sarcastic and make light of when things are just going wrong for you and you’re looking up at the sky like ‘c’mon!’. We all go through those periods when nothing seems to be going your way. Even the little things like someone snagging the last parking spot or you getting a flat tire in the middle of nowhere, and it’s raining, and your spare tire is flat too, and there’s no phone service or your jack is buggered and then your car battery dies! But, you’re not mad, you just have to laugh. It’s a ‘if you don’t laugh, you’ll cry’ kind of song. We’ve all been there.”
Recorded on the Gold Coast with acclaimed producer Jared Adlam (Lee Kernaghan, James Johnston) at Machine Lab Recording, the single continues the long-running creative partnership that has helped shape the band’s signature collision of country storytelling and rock intensity.
“Recording this song was probably the most excited we’ve been at the studio for a long time,” Zac explains. “I think now that the album has been out for a while and that collection of works is done, we don’t have to make whatever song we’re working on fit into a certain spot within the project or sound a certain way. This time it just felt like there were no expectations and we could just do whatever we like.“
The release arrives as Zac Cross Band continue an unstoppable rise through Australia’s country scene. Since launching onto the circuit, the four-piece have become festival favourites at events including Gympie Music Muster, Tamworth Country Music Festival, Baralaba Bash and Country Fest Queensland. They’ve shared stages with massive acts including The Wolfe Brothers, Jon Stevens and Dragon and kept the party going at the official Midland afterparty, following the US giant’s international tour.
This year the band garnered recognition as nominees for Group/Duo of the Year at the 2026 CountryTown Awards off the back of their debut album The Music Lives On. The band are now gearing up for a massive touring run across Queensland.
“We’ve had a little time off from touring as my wife and I have just got back from a big trip through the States but now we’re back and ready to rumble,” Zac says. “We’re kicking off ‘ZCB Live ROUND 2’ at the end of May and are looking forward to packing out the rest of the year with as many shows as we can. We live for playing live shows and can’t wait to party with everyone.”
Away from the stage, the band continue balancing full-time work with the relentless demands of life on the road, all while remaining heavily involved with the Our Rainbow House Foundation – a charity close to their hearts that supports orphaned children in Zambia. Alongside ambassador Kasey Chambers, Zac Cross Band have proudly performed at the organisation’s annual fundraiser for the past four years.
At its core, ‘Give Me a Break’ is exactly what Zac Cross Band do best – turning life’s messiest moments into something loud enough to scream along to with your mates. Equal parts pressure valve and pub-floor anthem, it’s a reminder that sometimes the only thing left to do is laugh, crack another beer and keep rolling.
SHOW DATES:
Saturday 20th June – Rugby Races – Roma, QLD
Saturday 4th July – Buxton Bush Camp – Buxton, QLD
Saturday 15th August – Rainbow Connection Fundraiser – Emerald, QLD
Saturday 22nd August – Coal & Country Festival – Moura, QLD
Saturday 5th September – Hound & Stag Brewing Co – Gold Coast, QLD
Saturday 26th September – Twin Hills Races – Twin Hills, QLD
Saturday 24th October – Tav Goes Country – VOL 2 – Agnes Water, QLD
Saturday 21st November – Pentland Races – Pentland, QLD
Saturday 5th December – Tieri Town Party – Tieri, QLD
CONNECT WITH ZAC CROSS BAND www.zaccrossband.com
BOWIE UNZIPPED STARRING JEFF DUFF – 10th ANNIVERSARY FAREWELL TOUR 2026
“I don’t think it’s overstating the case to say that, had Jeff Duff hailed from a country in the top half of the world, he could now be as acknowledged and acclaimed as David Bowie or Lou Reed or Iggy Pop”. – Glenn A Baker.
Iconic Australian singer Jeff Duff has been singing David Bowie’s songs for many years, receiving glowing support from Bowie’s official website BowieNET and having a personal connection with the man himself. *
Jeff Duff’s unique and powerful take on the Bowie songbook—formalised in the Bowie Unzipped show—leaves audiences in absolute awe. Now, after 10 years of Bowie Unzipped and 10 years since Bowie’s passing, Jeff and his incredible Bowie Unzipped band are embarking on a final farewell run throughout 2026.
Book your tickets now to witness the grand finale, featuring Jeff Duff’s spectacular interpretations of hits including:
• Ziggy Stardust
• Starman
• Young Americans
• Let’s Dance
• China Girl
• Heroes
• Space Oddity
• Golden Years
• The Jean Genie
• Under Pressure
With an amazing band featuring…
GLENN RHODES on Keyboards
JAK HOUSDEN on Guitar
JUSTIN DUGGAN on Drums
(*Jeff’s personal connection to Bowie is well documented. Bowie frequented Duffo’s own shows when Jeff was performing in London in the late 70’s and early 80’s. Ironically, when Jeff returned to Australia in the late eighties, Bowie tracked him down when he discovered they were living next door to one another in Elizabeth Bay in Sydney…a perfect example of serendipity!)
“Duffo started big with ‘Starman’, followed by ‘China Girl’ which sounded better than Bowie or Iggy Pop! If you closed your eyes, you could believe it was Bowie on stage. Jeff Duff is legend!”. – Faster Louder Magazine.
BOWIE UNZIPPED STARRING JEFF DUFF 10TH ANNIVERSARY FAREWELL TOUR AUGUST 2026
Fri 28th Brunswick Ballroom
https://moshtix.com.au/v2/event/bowie-unzipped-starring-jeff-duff-10th-anniversary-farewell-tour-2026/196541
Sat 29th The Capital Theatre, Bendigo, 8pm
https://boxoffice.gotix.com.au/WebPages/EntaWebShow/ShowCalendar.aspx
Sun 30th Echuca Paramount Theatre VIC 4pm
https://www.echucaparamount.com/movie/bowie-unzipped-starring-jeff-duff
WEDNESDAY 13 Drops Live-Single “Look What The Bats Dragged In”
Un-Alive from Pol’and’Rock 2025 Out September 25, 2026 via Napalm Records
Today, dread rock superstar WEDNESDAY 13 gives us the first taste of his forthcoming triumphant live album, Un-Alive from Pol’and’Rock 2025 out September 25, 2026 via Napalm Records. Kicking things off with a particularly raucous live rendition of the Transylvania 90210 classic, “Look What The Bats Dragged In”, they sound as incendiary as ever. The roaring crowds are inescapable, as Weds and co barrel through this high-octane ripper with devilish delight.
WEDNESDEY comments:
“Oh my God, look at what the bats dragged in. There’s no better way to start a WEDNESDAY 13 show than with this graveyard banger. The Poison parody title is still admired to this day. ‘Look What The Bats Dragged In’ was the first track from the first WEDNESDAY 13 album, it’s fast, furious and never fails to get the audience in a frenzy. This track sets the pace for the whole live album.”
Check out the official music video for “Look What The Bats Dragged In”
A career spanning set of both WEDNESDAY 13 and Murderdolls hits, the band journeys through Mr. Motherfucker’s extensive catalogue on Un-Alive from Pol’and’Rock 2025. With Murderdolls classics like “Summertime Suicide” and “197666”, Weds takes us from the beginning through his solo catalog, featuring Transylvania 90210 hits “Look What The Bats Dragged In” and “Bad Things”, The Dixie Dead’s “Too Fast For Blood”, Horrifier’s “Good Day To Be A Bad Guy”, and a plethora of bangers from Mid Death Crisis including “In Misery”, “When The Devil Commands”, and “Rotting Away”. A bloody good time from beginning to end, this album is meant to be heard with the windows down, your accelerator through the floor, and bats on the moonlit horizon.
Pre-order your copy of Un-Alive from Pol’and’Rock 2025
https://lnk.to/W13-Un-AlivefromPolandRock2025/napalmrecords
Un-Alive from Pol’and’Rock 2025 Tracklisting:
1 Blood Fades To Black (Un-Alive from Pol’and’Rock 2025)
2 Look What The Bats Dragged In (Un-Alive from Pol’and’Rock 2025)
3 Too Fast For Blood (Un-Alive from Pol’and’Rock 2025)
4 Rotting Away (Un-Alive from Pol’and’Rock 2025)
5 I Want You Dead (Un-Alive from Pol’and’Rock 2025)
6 When The Devil Commands (Un-Alive from Pol’and’Rock 2025)
7 Summertime Suicide (Un-Alive from Pol’and’Rock 2025)
8 197666 (Un-Alive from Pol’and’Rock 2025)
9 There’s No Such Thing As Monsters (Un-Alive from Pol’and’Rock 2025)
10 In Misery (Un-Alive from Pol’and’Rock 2025)
11 Good Day To Be A Bad Guy (Un-Alive from Pol’and’Rock 2025)
12 Nowhere (Un-Alive from Pol’and’Rock 2025)
13 I Walked With A Zombie (Un-Alive from Pol’and’Rock 2025)
14 Bad Things (Un-Alive from Pol’and’Rock 2025)
15 I Love To Say Fuck (Un-Alive from Pol’and’Rock 2025)
SASHA SUMMERS RELEASES SOPHOMORE SINGLE ‘BELLADONNA (THIS IS HOW YOU DIE)’
Melbourne-based artist SASHA SUMMERS announces her sophomore single Belladonna (This Is How You Die), out today Thursday 18 June. Dark, propulsive and visceral, the track is a collision of distorted guitars and confessional storytelling; an alt-rock battle cry for anyone who has ever felt underestimated, hollowed out by a relationship, and then found their footing again.
Co-written with Benjamin Stewart of Slowly Slowly and produced at his studio in Fitzroy, Belladonna arrived in a single 25-minute writing session in the winter of 2024. SUMMERS describes it as a song she almost felt possessed writing – a lyrical outpouring rooted in a years-long heartbreak, the grief of losing someone central to your world, and the specific restlessness of two people who could never quite stop finding each other. Bleary late nights moving through Melbourne’s dive bars, clubs and secluded alleyways underpin the song’s imagery; the feeling of being simultaneously at home with someone and slowly losing yourself to them.
Belladonna builds toward a bridge that Summers counts among her favourite lyrics she’s written: “I’ll save myself this time. Final girl, Walter White.” It’s the moment the song turns, with grief giving way to agency, collapse giving way to the door slamming shut. “It’s giving underdog rising up and I love that” Summers says of the lyric.
“This one in particular will always be one of my favourite songs I’ll ever write. I don’t think that’s something that will ever change over time. This song and that studio hold a very special place in my heart,” Summer says of the track.
“Chaos has ensued, the apocalypse has arrived in distorted guitars wearing lace. The forecast says there’s stormy weather ahead and lots of rain as exes are about to start weeping all over town.”
For fans of Lana Del Rey, Nessa Barrett, Mazzy Star and Portishead, Summers positions herself as an artist who trusts instinct above strategy. She is a storyteller who writes her own rules and doesn’t apologise for doing it dramatically.
Follow SASHA SUMMERS https://www.instagram.com/sashaasummers
AZURE RYDER DELIVERS NEW SINGLE‘I DON’T NEED YOU ANYMORE’
DEBUT ALBUM EVEN FLOWERS CAN BRUISEOUT 25 SEPTEMBER
Following the announcement of her debut album, Even Flowers Can Bruise, set for release on 25 September, today Azure Ryder returns with new single ‘I Don’t Need You Anymore’ and hints of live shows on the way.
She says of the single; “It’s easy in this world to think that our worth is held in the hands of another, I know on my journey I have put my trust in everyone else around me before I even considered trusting myself, handed them my heart and hoped they would handle it with care, confessed to them my dreams and believed only they could make them come true. So if they disappeared I thought I would too, but as I chose myself, I found my voice in the whispers of my bones and I knew only I could hold my own.”
Azure Ryder has built a reputation for her distinct vocal style and honest songwriting. Her music blends elements of folk and country with a melancholic and deeply nostalgic ‘vintage’ feeling dream pop, with a focus on emotion and cinematic-storytelling.Even Flowers Can Bruise is a debut album that explores vulnerability, relationships, and personal growth
‘I Don’t Need You Anymore’ is the second single to be released from the album, following on from ‘North Star’which introduced the next phase of her sound and writing.
Azure Ryder is a Sydney-born singer-songwriter who has steadily built an audience through a series of EP releases including Running With The Wolves, Crazy With The Light and Ladder to the Moon. Her work has earned strong support across streaming and media, highlighting her emotive songwriting and distinctive vocal tone. As a live performer, she has toured nationally and supported artists such as Teddy Swims, Angus & Julia Stone, Matt Corby, and Alexander Stewart.
With Even Flowers Can Bruise, Azure steps fully into her own light. Both delicate and powerful, her music continues to bloom in unexpected ways — reminding us that even the softest things can carry strength, and that beauty and resilience often grow side by side.
THE SNUTS announce fourth album Joy In Short Moments and release new single ‘Defibrillator’ out now
Album out 23rd October via Happy Artist Records / Virgin Music Group
The Snuts announce their fourth studio album Joy In Short Moments, out 23rd October via Happy Artist Records in partnership with Virgin Music Group. The Scottish band have also shared their new single ‘Defibrillator’, out now. Listen HERE. Pre-order and pre-save the album HERE.
‘Defibrillator’, an upbeat drum-filled future summer anthem, was inspired by the concept of a living wake – the idea of inviting your loved ones to a celebration of your life while you’re still there to be part of it. It is a song about choosing to show up for the people around you, letting go of ego, and finding joy in the collective. Produced by Cochrane and Scotty Anderson, it arrives as the lead track from an album that took two years and a great deal of real life to make.
Speaking on the new single, frontman Jack Cochrane says: “I wanted to write a track that detailed a conscious decision to live and love more. To take life less seriously and dilute ego as often as possible. ‘Defibrillator’ is a song that celebrates the collective and trivialises the sludgy worries of being alive.”
Joy In Short Moments is the sound of a band stepping back from the noise. Where previous records were made in a state of perpetual movement, this one was written from the other side of it – after Jack Cochrane moved back home, became a father, and began asking the questions that constant touring had kept at bay. The result is The Snuts’ most grounded record, and their most direct.
Speaking on the album, Cochrane says: “After three records of constant motion, I felt pulled back towards real life. Success, failure, parenthood and loss all found their way into these songs. Joy in Short Moments is the sound of reconnecting with what matters and learning to find meaning in the small things whilst navigating the questions; Who am I? Where should I be? Where am I going? What makes it all worthwhile?”
The Snuts have established themselves as one of the most successful breakthrough bands of recent years. Their debut album W.L. entered the UK charts at Number 1 in 2021, followed by Top 3 second album Burn The Empire in 2022. Their independently released, self-produced third record Millennials reached Number 2 on the UK Albums Chart, making them the first act since One Direction to achieve three Top 3 albums in three consecutive years. The band have also sold out headline tours across Japan, Australia, Europe and North America, and recently headlined their first Scottish arena show at Glasgow’s OVO Hydro.
Connect with The Snuts Website | Instagram | Facebook | TikTok | YouTube
NICK BATTERHAM RELEASES SOUNDTRACK TO NEW RONE INSTALLATION HOME
BATTERSAM ALSO SET TO PLAY RARE SHOW IN JULY
RONE • HOME is a new installation inside Chadstone Shopping Centre, as part of the Light To Night festival, running from 11 June to 12 July.
Rone has constructed an entire house and backyard from scratch, creating an evocative time capsule of suburban life.
Nick Batterham has composed and recorded the soundtrack to this new installation, having made soundtracks to previous Rone projects including TIME at Flinders Street Station in 2022-23 and EMPIRE at Burnham Beeches in 2019.
“The soundtrack has a romantic nostalgia that plays to the beauty in decay theme within Rone’s work. A melancholic sadness that feels ok to sit with.
“Inside the installation, individual instruments play from household items, like the violin emanating from the oven and viola from the television, which gives a sense of the humans that occupied the home.”
The Home soundtrack comprises two pieces, “As The Days Progress” and “In Moonlight Hours”.
With Batterham as pianist, “As The Days Progress” features beautiful performances by Zoë Black, Sarah Curro, Chris Moore, Josephine Vains and Dan Beasy.
“It dances between major and minor key, with melodic lines repeated by alternating instruments. This makes for a conversation within the house as the rooms interact, a home being the sum of the people who live there.”
“In Moonlight Hours” accompanies nighttime within the installation. Its more whimsical and relaxed mood is brought to life with woodwind performances by Michael Pisani and Kim Tan.
Composed and recorded by Nick Batterham The soundtrack CD is available at the show and streaming everywhere online, and via Bandcamp.
https://soothesounds.lnk.to/RoneHome
https://nickbatterham.bandcamp.com/album/rone-home
Free entry to the installation must be pre-booked: https://www.chadstone.com.au/light-to-night/home-exhibition-by-rone
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LA PETITE MORT
Last month, Nick released an instrumental track titled “La Petite Mort” featuring the exhilaratingly expressive cello of maestro David Berlin and an equally emotive piano performance by Georgina Lewis.
As the title suggests, the music describes the tension between intimacy and mortality, the coexistence of love and death, a transition between emotional states.
Composed and recorded by Nick Batterham
https://soothesounds.lnk.to/LaPetiteMort
https://nickbatterham.bandcamp.com/track/la-petite-mort
NICK BATTERHAM & BEN MASON – Merri Creek Tavern Sunday 12th July
https://www.trybooking.com/DMOWX
Friendship, heartbreak, strange observations, small triumphs, bad jokes and beautiful melodies… Two of Naarm’s most beloved songwriters come together for a winter evening of new songs at Merri Creek Tavern.
Nick Batterham will perform with Nick Murray and Jethro Woodward, bringing his unforgettable mix of wit, vulnerability and heartbreaking melodic brilliance. Ben Mason writes songs that feel like stories told across a kitchen table late at night — warm, funny, and deeply human. Old friends playing new songs. Come warm your hands.
Saturday 12 July, 5pm start.
FIRST SNOW (Music for Piano and Strings)Last October, Batterham released his debut album of contemporary classical compositions, First Snow (music for piano and strings). The sold-out launch concert at Tempo Rubato featured Zoë Black, Chris Moore, Josephine Vains and Georgina Lewis, performing the album plus a selection of my compositions from Rone soundtracks.
https://soothesounds.lnk.to/FirstSnowMusicforPianoandStrings
https://nickbatterham.bandcamp.com/album/first-snow-music-for-piano-and-strings