live review, News

Live Review: DOLLHOUSE

DollHouse
Sun 5th Jul 2026
VIVA Melbourne

How often do we look at something and decide what it is before we truly understand it? Tonight, we invite you into the dollhouse. Situated in the heart of the pleasure district, stands its most infamous attraction. A place built on desire, illusion, and the things we keep hidden. 
Quietly calling your name, it knows your desires, and it knows exactly how to lure you in. But no one is ever forced inside. And no one ever truly escapes. 
Behind every door lies temptation. Behind every room, a secret. And somewhere inside, a love story never meant to survive. t is meant to make you feel. To question, and sometimes be confronting. Welcome to the doll house. 

And so begins our invitation to The Dollhouse. The. Viva stage is set, and as red lights illuminate the stage we are greeted by dancers Jao, Chloe, Robyn, Brett, Jason in the first piece ‘ Golden Eye’.

The show is a display of pure grace and strength and each time a performer completes a difficult maneuver the crowd rewards them with loud cheers. Whether it’s Jenny bringing  sexy back or Bre on the telephone, each performer gives a display of sheer agility and grace.

We are also treated to an incredible amount of musical talent with Haze performing ‘ Best I Have Ever Known’ as white petals fall from the sky, creating a tragically breathtaking scene to close out the first act.

Ina and Erica give what is an impressive hoop performance, as Erica shows off incredible skill on the hoop, while blindfolded. This is a display of sheer strength and technical ability, which even without the blindfold is challenging. It’s a flawless performance that is simply stunning.

The second act opens with the baritone performance of Leigh singing  the Hozier number ‘ Take Me To Church’ and the audience collectively holds their breath as Hayden and Hamish dance mournfully to the song. It’s a melancholic start to the second act, and the perfect way to open the next half.

Not to outdo the men, chanteuse Zoe has the audience chuckling with a sexy re-working of ‘ Unfortunate Fools’  the hit made famous by Ursula in the Little Mermaid. She hits the high notes with expertise, bringing a classiness to the piece. She is followed by Anabel with her outstanding performance ‘ Boy Toy’

Singing an original track and a soon to be released single is Brett Beckhurst, who moves the audience to tears with his emotional performance of ‘To Infinity and Beyond” a song that showcases his flawless voice, vulnerability and touching song lyrics. Brett has perfect pitch and amazing vocal control, garnering very loud applause from the audience.

The Dollhouse is a fantastic display of pole dancing that gives the audience a peek into it’s sultry world. Previously reserved for strip clubs, the show takes viewers on a visual ride that breaks the boundaries. It reminds us that dance is sensual, powerful and beautiful and brings it from closed doors to the mainstream, where it belongs.

 

 

News

Interview: PSYCROPTIC

For over two decades, PSYCROPTIC has operated at the vanguard of technical death metal, defined by instrumental precision, structural intelligence and an uncompromising creative ethic. From their Tasmanian origins to commanding stages worldwide, the band have built a reputation on rhythmic complexity, exacting musicianship, and a refusal to plateau.

We caught up with them ahead of the album release for a chat with them discussing all things metal.

 

Psycroptic has a sound that’s instantly recognisable, even as your songwriting continues to evolve. Was developing that identity something that happened naturally over time, or was it a conscious goal?

A:Its definitely something that has just evolved naturally for us. A huge part of it though is due to Joe’s extremely unique approach to the way he plays and writes riffs on the guitar

You’ve managed to evolve without losing your identity—a balance many bands struggle with. How do you decide which elements of your sound are untouchable and which are open to experimentation?

A: I think its all pretty open to experimentation for us to an extent. I mean we will always keep having big thumpiong grooves and epic choruses but we always try and throw a curveball song in on most albums that will be full of things that we’ve never tried before. It keeps it fun and creative for us.

Technical death metal has changed considerably over the years. How has Psycroptic managed to develop its own voice while the genre itself has continued to evolve?

A: To be honest, we just do what we do. We don’t try to keep up with what other bands are doing or even try to stay within the genre of tech death at all. Psycroptic sounds the way it does because it’s the natural expression of the band members when we all come together to write music.

With AI becoming more mainstream, how do you think this will affect the music industry and the metal genre?

A: I think it will affect the music industry as a whole in a massive way, especially in pop music. I feel like metal will almost be the last frontier though when it comes to AI though. Metal fans are die hards and creatives and don’t except bull shit like AI so I think we will all resist it until the bitter end, at least I hope so anyway!!!!

If you could isolate one riff, section or musical moment from The Pulse of Annihilation that best represents where Psycroptic is today, which would it be and what makes it so significant?

A: Joe Haley riffs are way too sick in my opinion to just isolate one riff!!

Your music has become increasingly refined without sacrificing intensity. Is there a conscious effort to make songs more memorable now, or is that simply a by-product of experience?

A: I think around the time when we were writing ‘The inherited repression’ we kind of made the jump to focusing on more structured songs and trying to write with the live setting in mind a bit more than we did before it. That meant that song structures needed to be simplified down a bit and really putting focus on hooks and making songs memorable.

Jason Peppiatt and Jason Keyser bring two distinct vocal styles to the record. How do you decide which voice best serves a particular section of a song?

A: Its really just trial and error and playing around with both our voices to see what works best where. Its definitely been a fun process for us though having the 2 sets of vocals to play with in the studio

Your music walks a fine line between mathematical precision and pure aggression. When you’re writing, do you ever intentionally leave imperfections or unpredictability the music or do you aim for perfection ?

A; I think we try to be a little unpredictable at times as that keeps things interesting for us and the listeners. We try to always keep things tight though as we’ve kind of always been about that since the beginning.

You’re described as the Vanguard of technical death metal. What other bands do you believe are with you in the vanguard?

A; Hahaha, I don’t know if we’re quite that! I guess the other tech death greats would be I guess Archspire, Origin, Fallujah and then the obvious old ones like Death, Necrophagist and Spawn of Possesion

The album title suggests inevitability and collapse. Were the lyrical themes inspired by current events, personal observations, or something more philosophical about humanity’s cycles?

A; Its always just my personal observations on the current state of the world. I try not to force my opinions down people throats though. I guess I like my lyrics to be left open to interpretation and maybe a bit thought provoking for the listener

The dual-vocal approach creates a conversation rather than just two vocal styles. Do Jason Peppiatt and Jason Keyser approach a song like actors playing different characters, or is it purely instinctive?

A; Its mainly a lot of trial and error in the studio to figure out what sounds best. We had a lot of fun putting all the vocal parts together for this one!!

Joe described The Pulse of Annihilation as the culmination of everything that’s come before. Was there a specific moment during writing where you realised, “This feels like the definitive Psycroptic record”?

A; I don’t know really to be honest, but I think we just really managed to capture all the elements of what has made the ‘Psycroptic’ sound over the last 25 years in this album and we really couldn’t be happier with the end product. It’s the perfect stamp in time for where the band is at this current time!

 

 

On July 17th, PSYCROPTIC enters a decisive new chapter with The Pulse Of Annihilation, their first full-length release for Metal Blade Records. The partnership marks a strategic alignment between one of extreme metal’s most technically formidable acts and a label whose history is intertwined with the genre’s evolution.

 

This August, Psycroptic join like-minded-and-saxophone-wielding US progressive death wizards Rivers of Nihil for a co-headline tour of Australia that brings together two elite bands operating at the highest tier of modern death metal.

Joining them on all dates are Melbourne’s psychologically charged Growth who are on the eve of releasing part two of their highly anticipated album trilogy, Under The Under, and Sydney’s uncompromisingly brutal, Slaughtercult, rounding out a bill that is equal parts precision, atmosphere and outright savagery.

TOUR DATES
Thursday August 13: Magnet House, Perth
Friday August 14: Lion Arts, Adelaide
Saturday August 15: Max Watts, Melbourne
Friday August 21: Manning Bar, Sydney
Saturday August 22: Necrosonic Festival, Brisbane

Tickets On Sale Now at
https://daltours.cc/psycroptic-rivers
live review, News

Live Review: Devildriver/Cradle of Filth

Devildriver/ Cradle of Filth

The Forum

11/07/2026

An excited air fills the venue as the general chatter of punters overrides the ambient playlist from the speakers. Outside the cold winter rains soak the Melbourne streets and a chilling wind drives people to pull their coats tighter. Inside though, the hum of excitement and the beauty of the Forum venue promise one of the biggest double bills of the year. The backdrop reads a giant Devildriver sign in simple black and white text and the drum kit lays ominously still – awaiting the onslaught of fury. Cradle of Filth and Devildriver shirts fill the crowd, interspersed with the occasional battle jacket, patches galore. The fans appear as equally excited for each band, both of whom have extensive back catalogues. A roar erupts as the lights drop. Dez wastes no time bringing the crowd into a frenzy, egging the pit on. Opening with the flawless “Clouds over California” the band shows precision and tightness. They are clearly in a good mood and happy to be on stage and are infectious with their energy. The audio mix shows crystal clarity allowing the double time guitar picking and double kick to explode out over the crowd. Devildriver keep the crowd anticipating new material as they dive into some deep cuts from their catalogue, tearing into  “Not All Who Wander Are Lost”. Once the solos kick in it feels like the band are playing a stadium.

Dez shows infectious enthusiasm, never standing still for long and moving across the stage like a stealthy predatory leopard. The crowd follow along with most of the main floor moving and shouting to songs and eventually a circle pit breaking out in “Meet The Wretched”. Dez confidently controls the crowd commanding the audience to open the middle of the pit. A hint of Coal Chamber style vocals creeping in, mixed into long growls and rapid-fire syllables as they pull songs right back to their very first self-titled release from 2003. All of it sounding as pristine as the vocals across each Devildriver album – ferocious and uncompromising. There is perfect control and perfect sustain. This is underpinned by a heavy low end and furious precision drums. Once settled into their groove, by the fifth song, the band are an unstoppable machine virtually exploding off the stage and mixing technical proficiency with pure energy and rage. “I Could Care Less” bangs out over the speakers. The drumming on “Dig Your Own Grave” shows the insane proficiency of Davier Pérez and the song, while driven by nasty, chunky disjointed guitar, is really an ode to syncopated drumming. The double kick just pounding through in a beautifully mixed squishy sound. There is really no reprieve with Devildriver. It is one onslaught after the other with its speed metal like tracks hardly giving the crowd time to rest, except for the groove in the choruses. Years of experience and perfection all translate into a solid, flawless flood of sound, only interrupted by dual solos. Reminiscent of the unpredictability and overwhelming passion that grew out of the 90’s metal scene this gig harkens back to a time when you didn’t know what to expect. There was a sense of controlled chaos. By the time “Hold Back The Day” rolls out there is no doubt that this tour is celebrating an enormous back catalogue of crushing songs and unashamedly relishing everything about them. While Dez did charm the audience in the beginning of the set, by the middle it was all business. The groove of the music making the crowd heave in a sweaty trance. The mix never falters once, perfectly articulating the subtle and nuanced tones of the chords between the death metal riffs. The band seems to be truly comfortable giving one of the tightest performances of the year. And this is critical for the sound as this band has relentlessly carved out their own genre mixing technicality and groove in equal measure. The only break in the performance comes as the sound of rain pours out the speakers in a slight pause before menacing chainsaw riff after riff rips into the crowd. “Dead in The Water”, “Grinf..ed” and “Cry for Me Sky” and Dez hi-fiving a crowd surfer in the middle of the songs propel the energy even further. Wave after wave of groove and speed as they show their precision and stop dead on a dime. “I was brought up on punk rock not metal, we do not do encores”, Dez states as they rip into their second last song for the evening. Closing with a giant circle pit while Dez shouts “burn it down.”, the band close as they opened- with relentless speed – pinched harmonics echoing across the room. The lighting goes into overdrive. The band play with the intensity and passion of a new band but the technical brilliance of their many years on the road. The melodic opening of “The End of the Line” heralds the final song and riotous applause.

The ominous and mythical backdrop of Cradle of Filth sets a very different tone for the next set. Shrouded in a giant cape Dani Filth strikes a portentous figure. The swooning piano choruses immediately bring the mood into a more sombre and reflective tone. The crowd’s excitement is rewarded with the signature high pitch cries perfected by Dani. An eruption of energy as the stage is blasted in light and the band explode on stage. Dani’s command of the venue is complete and focused. The noticeable difference to the previous set is how dominant the double kicks of Martin “Marthus” Škaroupka are. Perhaps a little too dominant. Huge thunderous kicks that accent the symphonic piano. Cradle of Filth have beautiful, slow mournful guitar leads that punctuate the rapid fire squeals and high pitch vocals. The difference in tone and atmosphere between the two sets meant the two bands contrasted despite both being extreme in nature. As such it was great and unexpected pairing for the double bill. Both bands exhibiting absolute professionalism and commitment, neither compromising, and accentuating the differences while embracing the same passion. Cradle of Filth tear through “To Live Deliciously”; “Demagoguery”; “Nocturnal Supremacy” and “Malignant Perfection”. Dark, violent, and aggressive. Dani Filth is definitely the standout front focus of their set even though he is backed by an amazing theatrical feel from the rest of the band. It is hard to tear your eyes away as he pivots from deep growling guttural bellows to glass shattering highs. By the third song the mood has truly shifted into a dark and a sombre air. Gone are the circle pits and instead a dark blue light floods the hall in an eerie gloomy glow. There is, at first, little interaction with the audience and rather a focus on a deep celebration of the darkness within. The two standouts are certainly the drums and piano who provide a solid foundation on which the other band members can pivot. The whole concert in its blackened death and black metal vibe conjure up images of a funeral procession and the crowd’s own reaction is suitably swooning and entranced in turn. This is less a concert and more of a summoning. The band tear through the songs effortlessly. The harmonised leads between the two guitarists ratcheting up the tension with every melodic crescendo. Dani finally addresses the audience and he doesn’t disappoint. He announces the “The Principle of Evil Made Flesh” and the mood shifts quickly. Blast beats, crushing guitar and the first circle pit of the set erupts. Ferocious and fast the song shows the technical proficiency of the band as they navigate intricate scales and high notes with ease, slipping into ultra melodic solos, blasting double kick and snare and generally picking up the vibe from its more mournful tone. The band reminds everyone of exactly why they are known as one of the best extreme metal bands out there. The band sound fresh, cutting edge and progressive – each lick; each grinding chainsaw riff; each pummelling drum roll; are all crystal clear and heavy. However, Dani addresses the technical issues plaguing the band, although the only evidence of this was Dani leaving the stage occasionally. From the audience perspective the wall of sound is impenetrable. There is a good camaraderie among the band as they work as a tight knit unit. The whole performance feels more settled and focused now by the fifth song.

By the time “Nymphetamine (Fix)” comes on the crowd is swooning from side to side. The slower more rhythmic song welcomes a break in the pace of the entire gig. A standout mention is the soaring high vocal of piano player Kelsey Peters who brings every song to a melodic centre and adds an air of beauty to the set. By the time they play The Screaming of the Valkyries and “White Hellebore”, dedicated to the crowd at the front, the mood shifts again. The guitars dominate and the tempo is generally more upbeat and is one of the best songs of the set. Clear, powerful, varied and interesting the band look confident and relaxed as they power through. The whole concert takes on a more emotional and cathartic element as the music mixes elements of deathcore, death metal, blackened metal and opera into a modern masterpiece. Now the gothic eerie vibes and wave of guitars find the right balance. True darkness has been released. And the piercing vocals herald a call to the underworld. Dani’s quirky humour provides a welcome respite during songs. What works so well is that it feels like an epic mix of theatre, extreme metal, and a spiritual seance. At times Dani feels like he is communicating with the dead during “The Mordant Liquid of Tears”. In that sense his audience interactions are just guiding us on his journey beyond the lands of man and into the spiritual void. The crowd is suitably, eerily, still as they watch mesmerised and the haunting rolling highs of piano cut through the dark sludgy guitar. Unlike Devildriver there is a long spacious interlude before the band bring back the darkness. They return with some of their heaviest songs for the night. “Gilded C..t”, “Cruelty Brought Thee Orchids”, and “Her Ghost in the Fog” which all close the set well.  A strong statement of why and how they helped to pioneer extreme metal through the nineties and into the modern era.

 

 

Live Gallery, live review

Live Review: South Summit

There was something fitting about South Summit closing out the week at Sydney’s Metro Theatre – not just their biggest headline crowd yet, but also six years of grinding away finally landing in one room at once. It didn’t feel like just another gig, it felt like a statement for what they’ve got planned next.

You could feel it as soon as they walked on stage – this band was having the time of their lives, and they wanted everyone in the room right there with them. Watching the Perth boys soak up the size of the night, their biggest headline show to date, there was a genuine joy to it. They kicked off with ‘On The Dash’ and straight away, frontman Isaiah had the whole room in his hand, picking and choosing where to put his time, pulling the energy up and down exactly when the songs needed it.

The Like A Version cover’s become such a staple of many Aussie bands’ setlists these days, but their cover of The Police’s ‘Roxanne’ properly hit in the room. It brought a smile to my face seeing bass player Josh Trindall rip his in-ears out with a very audible “holy fuck” as the whole theatre sang the opening lines straight back at Isaiah.

The tour’s built around latest album Run It Back, but there was zero ego about it – the back half of the set, plus a well-earned encore, was handed straight over to the crowd favourites that got them here in the first place. A highlight of the night was Isaiah wading out into the middle of the crowd for a singalong of ‘Side Lines’, the room just swallowed him up, like it’d been waiting all night to share that moment.

Nights like this have a way of turning into legend – the ones people refelct and brag about being at once the venues get bigger and the names climb higher up the lineup. As I write this, I feel like they’ve already outgrown the mighty Metro Theatre.

live review

Live Review: Vera Blue

Vera Blue
Hamer Hall, Melbourne
July 11, 2026

Vera Blue is back at Hamer Hall four years after her first collaboration with the Melbourne Symphony Orchestra when she performed just before the release of her second album ‘Mercurial’. This time, one month before her third album ‘Modern Rituals’ Is released, she returns to another sold-out crowd, presenting ‘Orchestral Veil’—a stunning reimagining of her catalogue that transforms familiar songs into something completely new.

From the opening notes of ‘Mended’, it’s clear this wasn’t going to be a standard orchestral crossover. The Melbourne Symphony Orchestra, under conductor Leonard Weiss, wraps Vera Blue’s songs in rich, cinematic arrangements by Alex Turley that feels as though they’d always belonged together. Every swell of strings, every brass flourish and every delicate woodwind passage add another layer of powerful emotion, regularly delivering goosebump moments throughout the night.

The setlist moves effortlessly between fan favourites and newer material. ‘Go Lucky’, ‘All The Pretty Girls’, ‘Lie to Me’ and ‘Heart Still Works’ all take on new life with the orchestra behind them, while ‘Private’, ‘Parallel Desire’, ‘Ritual’, ‘In the Corner’, ‘Regular Touch’ and ‘Lady Powers’ feel bigger and more expansive than their recorded versions.

One of the night’s most memorable moments comes with the live debut of ‘Brittle Wings’, from her upcoming album ‘Modern Rituals’, due for release in August. Introducing the song, she admits, “This is quite a moment. When I first heard the arrangement for this show I was mind blown.” It’s a fitting introduction to a song that already feels destined to become a live favourite, with the orchestra elevating its emotion even further.

There are plenty of personal moments between songs too. Before performing ‘Hold’, Vera Blue shares that it was one of the very first songs written for the Vera Blue project, while ‘Settle’ is given extra significance as she celebrates the song’s 10-year anniversary. These little reflections make the evening feel intimate despite the full-scale of the orchestra production.

“This is something that I would have dreamt about as a little kid. I mean, I look at that harp over there! When I was like four years old, I grew up in a small country town and when I was very little, my mum asked me what instrument I wanted to learn. I said the harp. I ended up learning the violin, so I’m just in love with the string section over here,” she exclaims.

Another highlight is ‘Maze’, the most recently released new song from ‘Modern Rituals’. She introduces it as being about “the ritual of return” and how “sometimes it’s important to get lost, to be able to find your way back to yourself again,” Vera Blue delivers one of the evening’s most moving performances.

Throughout the evening, Vera Blue’s voice remains the centrepiece. Effortlessly moving from delicate whispers to soaring choruses with perfect pitch, she never allows the orchestra to overshadow the emotion in her songs. Instead, the Melbourne Symphony Orchestra is an extension of her storytelling, adding colour, tension and warmth without ever stealing focus.

The closing run of songs showcases just how well this collaboration works. ‘Rushing Back’, her hit with Flume, explodes with orchestral energy, while a haunting cover of Massive Attack’s ‘Teardrop’ serves as a haunting encore and one of the night’s most unexpected and beautiful moments.

Tonight, Vera Blue’s music had been carefully reimagined in a captivating and beautiful way revealing details and emotions that weren’t always obvious in their original form. The evening celebrated where she’s been over the past decade while offering an exciting glimpse of where she’s heading next.

Words by Michael Prebeg

Live Gallery, live review, News

Live Review: Deafheaven

July 9th 2026

The Forum, Melbourne.

Deafheaven’s return to Melbourne was something I had deeply looked forward to. As a fan of over 10 years, Deafheaven is an act you cannot miss. Inside the Forum, the Californian five-piece transformed the ornate surrounds into a wall of deafening beauty, where black metal’s ferocity collided with shimmering post-rock melodies and moments of startling vulnerability.

Opening with the cinematic “Incidental I”, the band wasted no time launching into “Doberman”, immediately establishing the crushing intensity that would define the evening. Frontman George Clarke remained an electrifying focal point throughout, stalking the stage with restless energy, throwing himself into every scream while guitarist Kerry McCoy anchored the chaos with soaring melodies that cut cleanly through the distortion.

Material from Lonely People With Power dominated the performance without overshadowing fan favourites. “Magnolia” and “The Garden Route” showcased the band’s continued evolution, balancing blast beats with expansive passages that seemed to suspend time. Meanwhile, “Amethyst” shimmered with an almost dreamlike quality before collapsing into waves of controlled noise.

Older material received thunderous reactions. “Brought to the Water” carried an ominous weight that rippled through the packed venue, while “Sunbather” served as a reminder of the record that forever changed perceptions of modern black metal. Hearing its towering crescendos reverberate through the Forum felt both nostalgic and invigorating.

The emotional peak arrived late in the set. “Revelator” built steadily before giving way to a breathtaking rendition of “Dream House”, its euphoric climax drawing one of the loudest responses of the night. Rather than ending on pure spectacle, Deafheaven closed with “Winona”, allowing its haunting conclusion to linger long after the amplifiers fell silent.

Throughout the night, the band’s chemistry was impeccable. Every transition felt deliberate, every crescendo earned. Even amid overwhelming volume, the intricate guitar interplay and dynamic shifts remained remarkably clear, demonstrating just how refined Deafheaven’s live performances have become.

For a band once dismissed as outsiders within the metal community, this performance was a powerful reminder that genre boundaries have long since become irrelevant. Deafheaven delivered a set that was as emotionally resonant as it was sonically devastating, leaving Melbourne exhausted, exhilarated and completely captivated.

Deafheaven forever.

Behind the lens Marc Stapleberg

Words by Shelby Lane

 

Live Gallery

Live Gallery: Gaerea

Gaerea

Max Watts

10/07/2026

Gaerea brought their atmospheric and moody post-black metal sound to Max Watts on Friday. Infused with catchy hooks and a steady, driving backline the Portuguese outfit did not hold back. Their charismatic front man wooing the crowd into a hypnotic trance as they pummelled through their catalogue with confidence and ease. Unique and multilayered each song delivered a cathartic release of emotions as it weaved its way through deep visceral riffs and melodies.

Behind the lens: Marc Stapelberg

News

PHIL JAMIESON SHARES EFFERVESCENT NEW SINGLE ‘READING KEATS IN BYRON BAY’ + SOPHOMORE ALBUM ’10CHARLIE’ DUE OUT AUG 14

An effervescent outing, laden with crunchy guitars and creamy melodies, today beloved Australian singer and songwriter Phil Jamieson unveils his new single Reading Keats In Byron Bay, a third cut taken from his forthcoming sophomore full-length album 10CHARLIE officially set for release on August 14, and continues to be celebrated throughout 2026 while Phil takes his extensive PJ AIR Tour across the country in 2026.

An affable indie rock gem, Reading Keats In Byron Bay started life as a melody written in Phil’s car. Singing the original idea into a voice memo and noting its melody as Taylor Swift-esque, Phil sent the recording to collaborator Ben Edgar, with the pair ultimately finessing it into its final form. Marking a slight shift in style from previous singles Weekends and Blue As The Sunlight, Reading Keats In Byron Bay also weaves a poignant personal narrative alongside its sunny exterior. “I feel good about releasing this song next,” Phil shares. “Reading Keats in Byron Bay carves out its own space in 10Charlie, particularly when compared with the first two singles. It’s the perfect pre-album palate cleanser; with a resounding meaning that life is short. Grab it’”

Marking his anticipated follow up to his 2022 debut solo album Somebody Else, the upcoming release of 10CHARLIE harbours an album bustling with charisma, melody and stylistic nuance. With its title referencing an aisle seat on a 737 aircraft, 10CHARLIE fittingly diverts across the highs and lows of life throughout its nine tracks; “departing on personal journeys unknown, embracing change, different places and the inevitable turbulence that can come with it, until finally reaching your destination”. 

Opening with the glistening boldness and rollicking heart of a Springsteen showstopper via Get It, 10CHARLIE weaves through effortless warmth and nostalgic lyricism on Reading Keats In Byron Bay, the familiarity of restlessness and surreal journeys on Weekends, vulnerable audacity with Eager Beaver and swooning whimsy on Kissed & Found Your Own. From here, 10CHARLIE delves into textured and emphatic wonderlands on Blue As The Sunlight, heady melodies and magnetic storytelling on Nothin’ To Lose, stripped-back acoustic bliss that builds into an ethereal closer with What Happened To Us? and, ultimately, a return to earth with the soft ambience of closing track The Soft Return.

Featuring Sophie Ozard on backing vocals throughout the album, collaborations with Davey Lane, Rob Muinos and Ben Edgar, and producing courtesy of Oscar Dawson, 10CHARLIE, with Phil as the pilot, invites the listener “to strap in and take flight”. The end result is a truly compelling journey through reflection, introspection, elevation and acceptance, and one that also firmly showcases Phil’s evergreen prowess as a powerful innovator and boundless creator.


“I feel a mix of trepidation and heightened anxiety with the release of 10CHARLIE,” Phil shares of the upcoming release of 10CHARLIE. “I find this true of most releases though. I don’t know of any artist who doesn’t feel that way.”

“This album is much more personal than the first record,” adds Phil. “In times of intense turbulence, I’ve written what I’ve needed to hear,” he says. “It’s a balm for my soul, especially songs that were written after my friend passed away (Blue As The Sunlight, Reading Keats and Eager Beaver). They ended up in the mix in the last three months or so and whilst they’re quite happy in a sonic manner, there’s some lyrical stuff there that means a lot to me. The Soft Return is meditative and long, it’s something I can drift into. For better or worse, it’s intimate because it’s what I needed for myself.”

A highly acclaimed singer, songwriter and guitarist, Phil Jamieson has spent over 30 years fronting one of Australia’s most successful and beloved bands, with his ongoing tenure as the frontman for Grinspoon ticking off generational-defining lyrics and melodies etched into the minds of rock fans, both young and old, 13 ARIA Award nominations and a win for Thrills, Kills & Sunday Pills, six consecutive Top 10 albums and a legacy for their live performance that continues to this very day. As a solo artist, Phil’s expansion of his sonic palette, adding shades of pop, acoustic and alternative to his firmly established rock brush, has seen him elevate into an artist that is equal parts honest, inventive and armed with a steadfast sense of self that permeates every facet of his solo creations. 

Continuing on from the seeds planted by his solo debut album Nobody Else, 10CHARLIE is a celebration of confidence, chemistry and creative identity, and fans across Australia can witness this new material live in action as Phil continues his mammoth PJ AIR Tour in 2026. A 44-date tour in total cris-crossing across the country, PJ AIR will continue this weekend in Adelaide, and across New South Wales and the ACT, Victoria, Queensland, Tasmania, the Northern Territory and Western Australia well into September.


Reading Keats In Byron Bay is out today.

10Charlie is due out on August 14.

PHIL JAMIESON – PJ AIR Tour

with special guests Ricky Albeck* and Nici Ward^
Tickets from www.philjamieson.com.au/

FRI 10 JUL – ED CASTLE, ADELAIDE SA*

SAT 11 JUL – PORT LINCOLN BREWING CO, PORT LINCOLN SA*

WED 15 JUL – CABARITA BOWLO, CABARITA SA*

THU 16 JUL – ELTHAM HOTEL, ELTHAM NSW*

FRI 17 JUL – WOOPI BREWING CO, WOOLGOOLGA NSW*

SAT 18 JUL – BELLINGEN BREWERY, BELLINGEN NSW*

SUN 19 JUL – FINNIAN’S, PORT MAC NSW*

THU 23 JUL – LA LA LA’S, WOLLONGONG NSW*

FRI 24 JUL – MILTON THEATRE, MILTON NSW*

SAT 25 JUL – FUN TIME PONY, CANBERRA ACT*

THU 30 JUL – HAMILTON STATION HOTEL, NEWCASTLE NSW*

FRI 31 JUL – FLOW BAR, OLD BAR NSW*

SAT 01 AUG – THE WHALERS, MOSMAN NSW*

SUN 02 AUG – AVOCA BEACH THEATRE, AVOCA BEACH NSW*

FRI 07 AUG – THE DECK TRARALGON, TRARALGON VIC*

SAT 08 AUG – LIVE AT THE BUNDY, BUNDALAGUAH VIC*

SUN 09 AUG – SOCIAL CLUB, BALNARRING VIC*

THU 13 AUG – CROWBAR, BRISBANE QLD*

FRI 14 AUG – SHOTKICKERS, MELBOURNE VIC*


SAT 15 AUG – HEAPS NORMAL HEALTH CLUB, SYDNEY NSW*


THU 20 AUG – THE ROYAL OAK, LAUNCESTON TAS*

FRI 21 AUG – FORTH PUB, FORTH TAS*

SAT 22 AUG – ALTAR BAR, HOBART TAS*

THU 27 AUG – MOJOS BAR, FREMANTLE WA^

FRI 28 AUG – FROTH CRAFT BREWERY, BUNBURY WA^

SAT 29 AUG – THE RIVER, MARGRET RIVER WA^

SUN 30 AUG – INDIAN OCEAN HOTEL, SCARBOROUGH WA^

SAT 05 SEP – ALICE SPRINGS BREWING CO, ALICE SPRINGS NT*

THU 10 SEP – TANKS ART CENTRE, CAIRNS QLD*

FRI 11 SEP – THE WAREHOUSE, TOWNSVILLE QLD*

SAT 12 SEP – MAGNUMS, AIRLIE BEACH QLD*

Stream: READING KEATS IN BYRON BAY

News

BACHELOR GIRL SHARE REIMAGINED VERSION OF ‘PERMISSION TO SHINE’ FT. GUY SEBASTIAN

One of the most iconic releases in Australian pop history, Bachelor Girl’s 1998 ARIA Award-winning debut studio album Waiting For The Day is set to receive the ultimate glow up in 2026, with the enduring duo today announcing their upcoming redux release, Waiting For The Day: Artist Sessions, officially set to be unleashed on Friday August 7. Showcasing an array of acclaimed household Australian names (15 tracks, 15 illustrious artists) teaming up with Bachelor Girl on their forthcoming new outing, today the pair also unveil a sublime reimagined version of their anthemic track Permission To Shine, featuring fellow Aussie luminary Guy Sebastian.

An undisputed Australian classic, Permission To Shine was originally released as a promotional single for Waiting For The Day and swiftly found its place as a fan-favourite, with its empowering lyricism and sonic warmth beaming from start to finish. Decades after its release, Bachelor Girl’s reimagined version of Permission To Shine finds new life with the additional sparkle of Guy Sebastian on vocal duties; a creamy and affirming update coated with gospel, soul and hints of R&B. A seamless expansion of Tania Doko and James Roche’s rousing original, the longevity of this particular Bachelor Girl hit also firmly shines a light on the foresight of the late A&R American legend Clive Davis. The release comes paired with a groove driven remix delivering an infectious contemporary sound.

“When Tania & James gave me a call about joining them on Permission To Shine, I couldn’t say no!  What a song! Bachelor Girl’s songs were part of the soundtrack to so many of our childhoods, and Permission to Shine is one of those Aussie classics that everyone knows and loves,” shares Guy Sebastian. “It was a real privilege to record this vocal with Tania and revisit a song that’s stood the test of time. And let’s be honest – Tania’s voice is just insane. Getting to sing alongside a voice like that was pretty special. The message behind this song feels more relevant now than ever, and hopefully we’ve honoured what people love about the original while giving it a fresh new chapter.”

“Permission To Shine feels fresh again because of Guy’s marvellous input, adding his soulful believability and male perspective. He’s a phenomenal communicator,” says James Roche of the new reworked version of Permission To Shine. 

“Permission was an important release for us back in 2000,” adds Tania Doko, “our fifth single to cement our ‘Waiting for the Day’ album, and would be the surprise gift that kept on giving for years to come. We owe much to the late A&R legend Clive Davis in NYC, signing us to Arista in the U.S, and for being the ‘golden ears’ he was. He handed us a cassette tape with the demo of Permission to Shine (written by Bridget Benenate) for us to put our own spin on. What incredible foresight from Clive to know instinctively that this little ‘no frills’ acoustic demo would be so right for us, and then, to predict that the song itself would make such a profound difference to so many. Over 26 years, if we had a dollar for every person who has shared that this 4 minute ‘lil pop song had saved them…well, it’s a humbling privilege as an artist.”

Tapping Guy Sebastian to collab on such an important track in the Bachelor Girl back catalogue was also a no-brainer, as Tania elaborates, “Apart from his ridiculously good acrobatic vocal skills, Guy sings feelings, not just notes. He’s a ‘double threat’ in that sense – skills and heart – for days. So, the question really was: “Why wouldn’t we ask him?!” It needed to be an artist who would embody this lyric that speaks to the human condition, leaving us with the reassurance and hope we’re looking for. Guy’s vocal is innately that ‘feel good balm to the soul’.

“We were also stable mates at BMG back in the early 00s when he won Oz Idol, and James produced the title track of Guy’s 2006 album ‘Closer to the Sun’. We’ve watched from the wings his extraordinary career trajectory and have great respect for the vocalist/artist/writer/producer he has become. Beautiful family, too…!”

Joining earlier reworked singles, including Blown Away with Tommy Emmanuel and Ella Hooper, Blind with Darren Hayes, and Treat Me Goodwith Jessica Mauboy, the release of Permission To Shine today also accompanies the long-awaited announcement of the official release date for Bachelor Girl’s forthcoming redux album, Waiting For The Day: Artist Sessions – Friday August 7. Reworking the entirety of their breakout debut album Waiting For The Day, each reimagined version in 2026 simultaneously honours and powerfully expands the entire original 15 tracks into stunning new heights. Developed, produced and realised independently over 2 years, the album brings together an extraordinary collection of Australia’s biggest music names in a celebration of collaboration and creative independence.

Opening with insatiable hooks and buoyant, breathless charm on Blind featuring Darren Hayes, Waiting For The Day: Artist Sessions weaves in jaunty modern sheen (My World featuring Sheppard), heart-wrenching acoustic bliss and soaring vocals (Gotta Let You Go featuring Jack Jones), slinky bass lines and moody elevation (Mad About You featuring NERVO), to glistening pop (Treat Me Good featuring Jessica Mauboy). While each song on Waiting For The Day: Artist Sessions feels familiar in its own right, each track unfurls like a powerhouse chameleon, also spanning the magnetic might of Suze DeMarchi on a propulsive new version of Don’t Hold Back, beloved songstress Delta Goodrem on the stripped-back yet equally charming Buses And Trains, WILSN on the sunny yet sultry Someway Somehow, and Courtney Act on the dance floor-ready Lucky Me. And just when you thought this redux version couldn’t get any more jam packed with star power, Tommy Emmanuel and Ella Hooper join forces on the acoustic stunner Blown Away, Jon Stevens rocks the amped up This Must Be Love, Michael Paynter flies on the dynamic powder keg Don’t Believe You, and Kaylee Bell adds stunning serenity to You Are Afraid. And spinning the original title track into a mesmerising outro, complete with shimmering strings and an emphatic vocal outing from Tania Doko herself, Waiting For The Day: Artist Sessions ends on a spine-tingling note; equal parts familiar but future-facing, and an unforgettable homage to the original. 

“It feels like we threw a party and everyone showed up!” shares James, of Waiting For The Day: Artist Sessions. Tania admits, “It’s been a truckload of work to co-ordinate 15 artists, but mammoth projects do take a little ‘crazy’, a lot of time and meticulous attention to detail. Extremely thankful to our team, the artists, their teams, our families, band, umpires…linesmen(!)… everyone involved supporting us to turn the virtual impossible into a new, real life celebration of our first ’song babies’.”

“Jess Mauboy and Delta Goodrem were our first two special guest recordings we recorded in Sydney,” Tania continues, “and the PIPES on these two women to experience in the actual studio…they just blew our hair back.”

“They both were the sparks that became a roaring flame for this album,” James reveals.

“And to record Suze DeMarchi in studio was another pinch me moment,” adds Tania. “Don’t Hold Back is a heavy, brooding song and I might’ve broken a rib from laughter as she’d close her eyes to get in the moment, only to screw up lyrics and utter profanities I cannot repeat here… Her unmistakable and mesmerising tone is exactly the style of rock vocal only Suze can bring to the table. “Courtney Act face-timing me LIVE from Brighton, UK as the vocals were being recorded. Embodying ‘Lucky Me’ with personality in droves like no one else could. She SOLD me and I totally bought THAT car with ‘I got a great car it’s a red convertible, made by Mattel’. Get ready for the visuals!”

Tania Doko and James Roche of Bachelor Girl have proven their enduring, beloved status in Aussie music culture. Their debut Buses and Trains earned James the APRA Song of the Year in 1999 and remains one of the most played Australian compositions on Australian radio since its release. The iconic hit also made waves in Asia, Scandinavia, Europe and the US, including a signing by legendary A&R Clive Davis, Arista records. Their critically acclaimed ARIA-winning 1998 album Waiting for the Day spawned another four releases still on rotation today, including Treat Me Good, Lucky Me, Blown Away and Permission to Shine, with the album also ultimately setting the tone for Bachelor Girl’s legacy of deep, sophisticated and premium pop. From self-producing their debut album in James’ lounge room through to ticking off five ARIA Award nominations, and a win for Producer of the Year at the 1999 ARIA Awards, winning the PPCA Award for Most Broadcast Australian Artist in 1999,and Tania also acknowledged by Triple M’s top 300 ‘Greatest Singers of All Time’ for her performance on Buses & Trains, Bachelor Girl also continue to captivate audiences, recently touring alongside legendary acts including Simple Minds, Icehouse and The Corrs.

Alongside the upcoming release of Waiting For The Day: Artist Sessions, Bachelor Girl are set to stun fans live in action in 2026 with their Waiting For The Day Redux tour, kicking off in their home state playing at a SOLD OUT Golden Vine Hotel in Bendigo on Friday July 31, before moving through Yackandandah, Melbourne (SOLD OUT), Brisbane, Adelaide, Frankston (SOLD OUT) and finishing off in Sydney at The Factory Theatre on October 18. Tickets are on sale now from www.bachelorgirl.com.

As for what fans can expect of these upcoming Bachelor Girl shows? “A deliciously feel-good celebration of the songs fans embraced, with modern, surprising twists,” Tania beams. “Backstories and unforgettable moments during the making of the ‘Artist Sessions’. Cream of the crop fellow musicians in our lineup, an organic and electronic reimagining, and maybe even some special surprises guests, in the flesh.”


Permission To Shine featuring Guy Sebastian is out today.

Waiting For The Day: Artist Sessions is due out on August 7.

BACHELOR GIRL – WAITING FOR THE DAY REDUX TOUR DATES

FRI 31 JUL | THE GOLDEN VINE HOTEL, BENDIGO | ALL AGES U18s W ADULT | SOLD OUT

Tickets available from https://events.humanitix.com/bachelor-girl-live-at-the-golden-vine-hotel-bendigo/tickets

SAT 1 AUG | THE STAR HOTEL, YACKANDANDAH | ALL AGES U18s W ADULT

Tickets available from https://events.humanitix.com/bachelor-girl-yackandandah/tickets

SAT 08 AUG | BRUNSWICK BALLROOM, MELBOURNE VIC | 18+ | SOLD OUT

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 I SOLD OUT
Tickets available from https://artscentre.frankston.vic.gov.au/Home

SUN 18 OCT | THE FACTORY THEATRE, SYDNEY NSW | 18+

Tickets available from https://www.factorytheatre.com.au/ | (02) 7208 4482 | Century Box Office

Stream: PERMISSION TO SHINE FEAT. GUY SEBASTIAN

Pre-save: WAITING FOR THE DAY: ARTIST SESSIONS

Live Gallery

Live Gallery: Deafheaven

Deafheaven

The Forum

09/07/2026

Deafheaven brought their intricate guitars, smooth melodies and crushing riffs to the Forum where they put on a spellbinding display of professionalism and musicianship. The band took the audience on a journey of ultra-aggressive punchy riffs interspersed with black metal inspired leads and blast beats and smooth intricate post-rock ambience. All of it effortlessly blended together in a wall of sound that left no room to breathe and had the room heaving with energy and excitement.

Behind the Lens: Marc Stapelberg

MUSIC ARTS MEDIA