Memphis May Fire, Blessthefall and Sienna Skies
24/4/26
Northcote Theatre, Melbourne.
Texas melodic metalcore heavyweights Memphis May Fire team up with Phoenix’s post hardcore/screamo outfit Blessthefall for their highly anticipated Australian tour. Opening the night was Sydney’s Sienna Skies.
Photos by Ben Loy.
Maximo Park
170 Russell
25th April 2026
After 13 Years, 3 months and 24 days, Maximo Park have finally returned to Melbourne to put on a world class performance, Now honoring their 20th anniversary of their debut album A Certain Trigger. To honor the milestone, the band will perform tracks from the Mercury Prize-nominated record alongside fan favorites from their expansive catalogue, spanning eight albums and twenty electrifying years.
Behind the lens,
CJay Perros
Maximo Park
The Beths, Roundhouse, Sydney
24th, April, 2026
Support: Womb
On Friday night Sydney’s Roundhouse came alive as New Zealand’s indie heavyweights The Beths took the stage, with fellow Kiwi outfit Womb. Josh Pike went along to capture the night.
Womb opened bathed in a heavy violet wash and harsh white lights, which amplified their minimalist yet huge wall of sound.
By the time The Beths emerged, the room had shifted. Where Womb dealt in atmosphere, The Beths snapped everything into focus. Their set was tight, urgent, and relentlessly melodic—proof of a band that has honed its live show into something both polished and deeply felt. Elizabeth Stokes’ vocals cut cleanly through the mix, carrying both vulnerability and bite, while the band locked in around her with precision.
And the heaving crowd was loving every minute of it.
The Beths
Womb
Ruby Fields
The Croxton Bandroom
April 24
Ruby Fields delivered a magnetic, no-frills set at The Croxton Bandroom on April 24, proving exactly why she’s built such a loyal following.
From the moment she stepped on stage, there was an easy confidence about her, equal parts laid-back and razor sharp. Backed by a tight band, the set leaned into both the rawness of her earlier material and the more polished edges of her recent releases. Tracks like “Dinosaurs” and “Ritalin” hit especially hard live, with the crowd shouting back every word, turning the room into something closer to a communal release than a standard gig.
What stood out most was the balance between grit and charm. Ruby’s vocals carried that signature roughness, never overworked or overly refined, which made everything feel immediate and honest. Between songs, her casual banter cut through any sense of distance, funny, slightly chaotic, and completely unpretentious.
The Croxton itself felt like the perfect setting, intimate enough to feel connected, but still buzzing with energy. The lighting stayed simple, letting the music do the heavy lifting, and it paid off. There was no need for spectacle.
By the final stretch, the crowd was fully locked in, riding every high and quieter moment with her. It didn’t feel overly rehearsed or packaged, just a genuinely solid live performance from an artist who knows exactly what she’s doing.
Words and images by Monique Pizzica
Australian pop icons Bachelor Girl return with the second taste of their forthcoming redux album, Waiting For The Day: Artist Sessions, today unveiling a hypnotic reimagining of Blind, featuring the unmistakable vocals of internationally celebrated Australian artist, Darren Hayes.
Following the acclaimed release of Treat Me Good with Jessica Mauboy, Blind takes a bold sonic turn, transforming the original into brooding, atmospheric electro pop; layered with tension, restraint and emotional depth.
“Blind might just be the most transformed tune from its original big sister on Waiting for the Day,” shares Tania Doko. “I just love the haunting electro vibe James has produced, and it inspired what we coined ‘the girl in the cupboard’ out of me… I’m restrained, a bit tormented and sing/whisper deep betrayal almost through my teeth. It’s all about space and minimalism. Perhaps it’s a metaphor for not needing to shout to be heard (anymore), sometimes saying less, with conviction, is powerful enough.”
A deeply personal and long-awaited collaboration, the track unites Bachelor Girl with Hayes, a friendship forged over decades of shared experiences in music.
“We were hell bent on including our fellow artist buddy Darren Hayes onto the ‘Artist Sessions’ album – our history and friendship spanning decades through shared experiences of being in duos, and our touring together,” Doko continues. “When I sent the new Blind to Darren with just my vocals, he called me immediately, enamoured with it. He recorded his parts in his LA studio, and his MJ-esque adlibs are in my top 3 moments of this entire record!”
Hayes says the decision to join the project was instant and rare.
“I get invitations to collaborate with other artists and most of the time, whether it’s timing or simply that I don’t feel like I can bring anything to the project, I politely decline,” says Hayes. “When Tania sent through the demo of their re-imagined version of ‘Blind’, I called her up immediately. And I’m not a phone person. The song was so exciting and inspiring I had to be a part of it. I think the track is incredibly modern and meticulously produced. As a genuine fan of the band, it’s surreal to be a part of this recording.”
Doko adds that Hayes’ contribution elevates the track far beyond a reinterpretation. “His fresh interpretation is unmistakably Darren, where he doesn’t just sing existing parts, but also creates ‘insatiable’ new hooks people won’t be able to forget. More evidence of why Darren is the internationally acclaimed artist and songwriter he is. Lucky us.”
Set for release this June, Waiting For The Day: Artist Sessions is a bold reimagining of Bachelor Girl’s double Platinum debut, featuring an all-star lineup of collaborators across its 15 tracks.
“We (somewhat audaciously!) began to ask some of our favourite Aussie artists and friends if they would lend their voices and/or instrument to our bucket list project,” says Doko. “What started with one, became 14 artists on this 15 track Redux album, and we could not be more chuffed they enthusiastically said yes.”
With Blind, Bachelor Girl continue to push their legacy forward, reinterpreting beloved songs through a contemporary lens while deepening their emotional impact for both longtime fans and a whole new generation.
The duo will be hitting the road for their Waiting For The Day Redux tour which will kick off in their home town of Melbourne at Brunswick Ballroom on August 8, before moving through Brisbane, Adelaide and finishing off in Sydney at The Factory Theatre on October 18. Tickets are on sale now from www.bachelorgirl.com.
Blind featuring Darren Hayes is out today.
Waiting For The Day: Artist Sessions is set for release in June.
STREAM: BLIND FEATURING DARREN HAYES
BACHELOR GIRL – WAITING FOR THE DAY REDUX TOUR DATES
WARM UP SHOWS
FRI 31 JULY | THE GOLDEN VINE HOTEL, BENDIGO
Tickets available from https://humanitix.com/
SAT 1 AUG | THE STAR HOTEL, YACKANDANDAH
Tickets available from https://humanitix.com/
MAIN TOUR
SAT 08 AUG | BRUNSWICK BALLROOM, BRUNSWICK VIC | 18+
Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets
SUN 23 AUG | THE TRIFFID, BRISBANE QLD | 18+
Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets
FRI 28 AUG | THE GOV, ADELAIDE SA | 18+
Tickets available from www.oztix.com.au | | All Oztix Outlets
FRI 04 SEP | CUBE 37 FRANKSTON ARTS CENTRE, FRANKSTON VIC | ALL AGES U15s W ADULT
Tickets available from https://artscentre.frankston.vic.gov.au/Home
SUN 18 OCT | THE FACTORY THEATRE, MARRICKVILLE NSW | 18+
Tickets available from https://www.factorytheatre.com.au/ | (02) 7208 4482 | Century Box Office
Renowned for his ongoing work with some of Australia’s most revered hip hop royalty, Darwin-hailing singer-songwriter Marlon (a.k.a. Marlon Motlop) today unveils his debut solo single, the captivating Blood In The Water, also accompanied by a sleek music video as the talented artist looks ahead to the release of his debut album later this year.
Opening with a sultry bassline set against the sound of ocean waves, Blood In The Water surges with oscillating swagger, flitting between humid beats, driving pianos and jangly percussion, effortlessly helmed by Marlon’s polished vocals and sparkling hip hop production. Inspired by some of Marlon’s early musical influences, including Michael Jackson, Stevie Wonder and Red Hot Chili Peppers, also forged alongside more modern elements of Miguel, The Weeknd and Frank Ocean, Blood In The Water also shines with thought-provoking lyricism, as Marlon explains, “Blood in the Water speaks to the age-old analogy of “out of sight, out of mind” making reference to the human habits of not acknowledging and speaking to things that do not affect us. As humans, many of us walk, play, live in multimillion dollar cities, and walk past homelessness, drug and alcohol abuse, and disadvantage. More often than not, it is the disadvantage of my people, Aboriginal and Torres Strait Islander people that we remain to be silent on, in a system designed to break them.”
Penning his debut solo track in a small room in his childhood home, Blood In The Water also saw Marlon join forces with another Australian powerhouse to ultimately let this vulnerable yet passionate song take full flight. “After writing the song on my acoustic guitar in my childhood home in Darwin, I made the call to friend/brother and mentor Daniel Rankine aka Trials, to bring the track to life,” shares Marlon. “We spent one session recording instrumentation/vocals and T turned it into what we have today. He’s a superstar, and for me, he’s the most efficient producer I’ve created with, and allows my concepts/ideas to shine.”
Also armed with an accompanying music video, Blood In The Water’s sharp sonic aesthetic and lyrical content is mirrored via striking visuals. Directed by Richard Coburn (Hilltop Hoods, A.B. Original, Funkoars, Elsy Wameo), and produced by Coburn and Marlon, the video flits between moody coastal imagery, fiery hues and visceral red accents in perfect symmetry with the magnetic instrumentals and powerful emotion beating at the song’s very core. “I storyboarded the idea and pitched this to Richie Coburn who I met through shooting the The Gift video with Hilltop Hoods,” explains Marlon. “We did it over about three shoots and the fire scene was shot in the middle of winter during Adelaide’s wettest day in 25 years. We managed to incorporate some cool settings of the ocean, fire, and Adelaide City streets to align with the concept of Blood in the Water.”
“I really wanted there to be some abstract visuals in the clip to leave enough space for listener interpretation,” adds Marlon, “which was signified by the red cloak beings with no face throughout the clip. For me these represented empty/lost souls within our universe. Richie did a great job incorporating this into the final product.”
Hailing from the tropics of the Larrakia in Darwin, Northern Territory, Marlon’s transcendent pivot from a professional AFL career into revered singer-songwriter has seen him co-write songs with a horde of hip hop icons, also sharing stages with some of the greats in the process, passionately flying the flag for his musical influences as well as the story of his cultural history and identity. Whether teaming up with Urthboy, featuring on A.B. Original’s powerful 2023 single YES, 3%’s single Blak Australia Policy, Birdz & Frank Leone’s 2025 collaborative EP GIRA, or wowing on the emotive 2025 Hilltop Hoods single The Gift, Marlon’s rich vocals and socially-conscious lyricism has also seen him turn heads onstage at WOMADelaide, Bass in the Grass and Party In The Paddock, as well as previously supporting the likes of Xavier Rudd, Pete Murray and Hilltop Hoods.
“Touring with Hilltop Hoods for their national tour last month was unbelievable,” shares Marlon. “I’m forever grateful for the support from the entire Hoods family, the vibe, and atmosphere they set allowed me to just perform freely and do what I love. The crowds were insane, their fanbase is something special and the whole guest party was an awesome vibe, amazing talents and amazing people.”
Growing up in Darwin surrounded by guitars, Marlon’s musical journey began at a young age, singing and learning the guitar from his father alongside his siblings. “My dad was a student studying music in Darwin and would teach myself, my older and younger brother how to play every night,” explains Marlon. “It was tough, and a structured regime, but I’m so grateful for it because it showed the foundation of music and how to apply that to your everyday life through the principles of repetition and consistency. Around all of that, my family BBQs were singalongs, my whole family back home love music and from a traditional perspective, it’s been in our DNA for a very long time.”
“Now, I just love to write and perform,” Marlon continues. “There’s nothing like being on stage and risking it all to connect with a room, festival or arena full of strangers, it’s the best. And I’ve come to realise that for me, the music isn’t solely about me, or what I want. In some strange way songs that come to me (like Blood In The Water) feels like they’ve been handed down from somewhere, and the best part for me, is knowing how to get out of the way and letting the music shine.”
While his talents extend far beyond the creative realms, drafted at the age of 17 to the AFL and ticking off a successful career playing both at the AFL level and in state leagues, Marlon has powerfully returned to his early passion, swapping footy for the guitar; and the rest is quickly becoming history. With nods to his earlier musical icons, Marlon’s sonic creations also thrive with thought-provoking and melodically-moving lyricism, amplified further by his soulful vocals and ultimately challenging the status quo, capturing the story of his ancestral homelands and the challenges of Aboriginal Australia.
“It feels like a lot of hard work and deep listening has brought me to a place where I feel no pressure or anxiety, but just pure excitement to share my first solo work with the world,” Marlon concludes about the release today of his debut solo single. “Blood In The Water started in a tiny room back in my childhood home in Darwin years ago, and I’m excited to see how and if the world resonates with it.”
Blood In The Water is out today.
Presented by Live Nation
The legendary New Zealand band Split Enz reunite and will return to Australian stages in May 2026 for their long‑awaited Forever Enz arena tour. This marks the band’s first national tour in nearly two decades and brings together core members Tim Finn, Neil Finn, Eddie Rayner, and Noel Crombie for a celebration of their extraordinary musical legacy.
The tour will feature special guests Vika & Linda, joining Split Enz across all Australian dates.
With a catalogue that shaped the sound of a generation, spanning I Got You, Six Months in a Leaky Boat, Message to My Girl, and more. Split Enz will deliver a career‑spanning set in their trademark theatrical style.
Presented by Live Nation by arrangement with WME
Ticket information available via livenation.com.au
Wednesday, May 13th
Rod Laver Arena, Melbourne VIC
Thursday, May 14th
Rod Laver Arena, Melbourne VIC
Saturday, May 16th
Entertainment Centre, Brisbane QLD
Monday, May 18th
TikTok Entertainment Centre, Sydney NSW
Tuesday, May 19th
TikTok Entertainment Centre, Sydney NSW
Friday, May 22nd
RAC Arena, Perth WA
Monday, May 25th
Adelaide Entertainment Centre, Adelaide SA
Today, Ghanaian-Australian auteur Genesis Owusu returns with “LIFE KEEPS GOING”, the latest single from his upcoming album REDSTAR WU & THE WORLDWIDE SCOURGE, out Friday 15 May via OURNESS. The track arrives ahead of the Australian leg of ‘RED STAR WU’S PIRATE RADIO’ tour this May, with his ferocious live show set to break floors across Newcastle, Canberra, Brisbane, Sydney, Melbourne, Adelaide and Perth – snap up your tickets now.
“LIFE KEEPS GOING” is a club cut propelled by a gritty DnB throughline, punctuating the track with force and movement. Across formidable verses, Owusu muses on time and the motions of life, choosing to find strength and inspiration in their relentless, disobedient nature. The accompanying music video was filmed in Ghana’s expansive Black Star Square – built for independence, steeped in national unity – the perfect stage for a song that carries exactly that weight.
Owusu says: “The world hasn’t ended yet. We’re still moving, we’re still jumping, we’re still living, and so we shall continue. Through rain, shine, exploitation and warfare. We, the people, will always stubbornly persist, and hopefully persist hand in hand.”
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