News

FLYNN GURRY SHARES STIRRING NEW SINGLE + VIDEO ‘BONES’ NEW EP ‘GOLD’ DUE OUT MARCH 13 + ‘GOLD EP TOUR’ STARTS MARCH 20

Harnessing heartbreak into a compelling new creative chapter, today Aussie singer-songwriter Flynn Gurry returns with a brand new single and music video Bones, which also powerfully heralds the release of a new EP Gold, due out on March 13. And to commemorate the upcoming release of Gold, Flynn will also embark on a tour from March to May, set to stun with his unforgettable live show that has previously seen 4ZZZ praise him as “a charismatic performer who knows how to engage an audience”.

 

Kicking off on Friday March 20 in Flynn Gurry’s hometown Warrnambool, Flynn will then trek through Buelah, Halls Gap, Winchelsea, McLaren Vale, Maroochydore, Brisbane, Melbourne, Wollongong, Newcastle, Bathurst, Canberra and Sydney, before closing out on Sunday May 10 iN Freshwater. Tickets for Flynn Gurry’s Gold EP tour are on-sale now.

 

An evocative and gifted storyteller, Flynn Gurry’s knack for fusing whimsical folk-pop with relentless relatability dovetails into an upbeat, earnest and gritty-folk ode to heartbreak on his latest single Bones, with the track notably marking a sonic expansion on his earlier work, as Flynn elaborates, “I am very excited but also quite nervous to be releasing Bones to the world, this song is SO MUCH FUN to play live and I have felt it translate really well on the live stage but do feel this track may surprise listeners from my previous work hence the nerves. The writing inspiration for Bones explores heartbreak through hindsight – one day you realise you’re two people who have stayed too long, given everything you had until there was nothing more to give. Love has become exhaustion. Sonically. artists that inspired the sound of this track are the likes of Kaleo and Nathaniel Rateliff & The Night Sweats.”

 

Co-written by Flynn alongside Naarm/Melbourne-based folk artist Cooper Lower, Bones also saw Flynn team up with producer Joel Quartermaine (Eskimo Joe, Dan Sultan, Meg Mac) and Edwin White (Vance Joy), with mixing courtesy of Phil Threlfall and Andrei Eremin. And further amplifying the gripping subject matter, the accompanying music video for Bones came to life with Flynn joining forces with Dead As Disco’s Dara Munnis and Pat Pierce (Tash Sultana, The Cat Empire, Yungblud, Jimmy Barnes). “The basic synopsis for the video is: a woman slowly gets the ick from her partner as they do normal couple things,” shares Flynn. “He gets her a cup of tea, looks at her lovingly. Every time we see him from her point of view, he is a skeleton. Having dinner, same thing. Couple more moments like that until towards the end of the song she finally packs her bags and leaves.

 

“The Final chorus has coloured lighting and movement on either side of me as I perform the song, then match cut to the same shot of the skeleton performing the song,” Flynn continues. “The concept behind the video came from my manager Pat Pierce and we began workshopping it in the van along the Great Ocean Road on the way to a gig.”

 

Powerfully centred around themes of dreaming, love and becoming, Flynn’s new EP Gold can also be summed up succinctly, as Flynn himself puts it: “the making of me”. Inspired by artists spanning Mumford & Sons through to Vance Joy and Ben Howard, this earnest and energetic collection of songs is as much a coming-of-age sonically as it is Flynn in his most matured and relatable form to date, with its origin story also as expansive as the stunning creations lying within

 

“The writing of this EP was the first time I had collaborated with fellow songwriters,” Flynn reveals. “It started in the Scotland Highlands (Brad Arthur) and was finished in the South-West Victorian town of Warrnambool (Cooper Lower). The track 8am was co-written by Caisha Sprout and Cooper Lower in Melbourne and features one of my favourite Aussie acts at the moment, Lottie McLeod, who is crushing it! A groove that Cooper and I fell into during the writing process of songs like “Gold”, “Shadows” and “Bones” was after we had given our absolute all to the song we would then need a release and the way we did that was by playing the most competitive games of backyard cricket you could expect from two songwriters.”

 

Opening with a flourish of warmth via the EP’s very own title track, Gold instantly showcases Flynn’s magnetic delivery and effortless songwriting prowess, bustling with folk hues, driving rhythms and glistening melodies. From here, the Gold EP dabbles between soaring choruses and intimate verses, forged with acoustic wizardry and powerful delivery (Shadows), buoyant folk pop that also deals with the reality of life on the road as a musician (Don’t Stop Dreaming), and a stirring balance of wistful rumination and tranquil arrangements (8am), ultimately leading into the energetic conclusion of hooks and heartbreak via today’s single, Bones.

 

Raised against the coastal backdrop of Warrnambool, Victoria, Flynn Gurry has catapulted from busking on Melbourne streets through to performing with the likes of Ian Moss, King Stingray, Ash Grunwald and Kim Churchill as a solo artist, while also relentlessly enamouring with his sparkling acoustic guitarwork, magnetic pop sensibilities, honeyed vocals and folk-hued charm. Winning triple j Unearthed’s One Night Stand competition in 2024, which saw him perform alongside G Flip, Ruel, What So Not and many more in his hometown Warrnambool, Flynn has since ticked off being a triple j Unearthed feature artist, supported The Dreggs and Pierce Brothers nationally, appeared onstage at the likes of Beyond The Valley Festival, Port Fairy Festival, Queenscliff Music Festival and BIGSOUND, signed with Cult Artists for bookings and Woolstore Music, aka the management company helmed by indie folk icons Pierce Brothers, and inked a deal with ABC Records in 2025.

 

Following his first ever headline tour in 2025, Flynn’s upcoming 2026 Aussie run is guaranteed to bring his trademark knack for “crafting melodies that feel both intimate and expansive”, as described by Rolling Stone Australia, to life; but with some new surprises to equally match the incredible energy and magnitude of passion poured into the brand new EP. “Playing live is where I feel most at home,” explains Flynn, “and to see the songs translate so well on the stage whilst I was sneakily leaking them at shows like my residency at The Espy, Woodford Folk Festival has me really excited about touring this record. Fans can expect a bigger sound and more dynamic than previous live shows. I love to bring the energy for a big ol’ folk dance but also want to make you cry so that’s what I am aiming for.”

 

A timeless artist and storyteller with a sharp sense of identity and modern allure, Flynn Gurry’s music has continued to find him in demand both at home and on overseas stages. But in 2026, another spectacular chapter will take flight via the release of Gold, and, as Flynn concludes, these are songs geared to stay with you long after the stage lights have dimmed.

 

“When I listened to my EP in full for the first time, I really got the sense that I am becoming far more articulate in my sound and what I am trying to say with the music,” says Flynn. “I really had intention to bring energy to the music and the storytelling.”

 

“I feel as though I achieved all of this,” Flynn continues, “so all in all I am really excited for folks to get their ears around it. These songs are SO MUCH FUN to play live and I’m so pumped on the idea of folks being able to take the songs home after they hear them.”

 

Bones is out today.

Gold EP is due out March 13

Tickets for Flynn Gurry’s Gold EP tour are on-sale now

 

FLYNN GURRY – GOLD EP TOUR:

FRI 20 MAR | LIGHTHOUSE STUDIO, WARRNAMBOOL VIC
Tickets: https://www.lighthousetheatre.com.au/flynn-gurry-gold-ep-tour

SAT 21 MAR | WIDE OPEN SPACES FESTIVAL, VIC
Tickets: https://www.eventbrite.com.au/e/wide-open-spaces-festival-2026-tickets-1564957151969

FRI 27 MAR | PAPER SCISSORS ROCK CO, HALLS GAP VIC
Free show

SAT 28 MAR | ALT ROAD WINES, WINCHELSEA VIC
Free show

FRI 03 APR | DOWN THE RABBIT HOLE, MCLAREN VALE SA
Free show

FRI 10 APR | SOLBAR, MAROOCHYDORE QLD
Tickets: https://tickets.solbar.com.au/outlet/event/adfe113d-3036-43d2-9f7d-254c7f80f484

FRI 24 APR | THE RETREAT HOTEL, MELBOURNE VIC
Tickets: https://www.eventbrite.com.au/e/flynn-gurry-gold-ep-tour-tickets-1981660114748

FRI 01 MAY | TOWRADGI BEACH HOTEL, WOLLONGONG NSW
Free show

SUN 03 MAY | STAG & HUNTER, NEWCASTLE NSW
Free show

THU 07 MAY | LITTLE ALBERT’S, BATHURST NSW
Tickets: https://www.eventbrite.com/e/1981664271180

FRI 08 MAY | SMITH’S ALTERNATIVE, CANBERRA ACT
https://www.smithsalternative.com/events/flynn-gurry-95188

SAT 09 MAY | GOLDEN AGE CINEMA, SYDNEY NSW
Free show

SUN 10 MAY | BOMBIES, FRESHWATER NSW
Free show

Stream: BONES

Watch: BONES

Pre-save: GOLD

News

News: Lord Of The Lost – Announce Local Supports for Australian Tour – Feb 2026

German Goth Metallers
LORD OF THE LOST
Announce Local Supports for Australian Tour – Feb 2026
German Goth Metal pioneers LORD OF THE LOST, are just days away from landing on Aussie shores for the first time ever. Their tour kicks off in Brisbane on Thursday, February 19.

Proudly joining them on all shows are Melbourne industrial titans, Witchgrinder.

And now the killer line up of local supports for each show has been revealed

AUSTRALIAN TOUR DATES:
Thursday, Feb 19: Crowbar, Brisbane
with Aeon Nexus

Friday, Feb 20: Max Watts, Melbourne
with Ots
VIP SOLD OUT!

Saturday, Feb 21: Crowbar, Sydney
with Besomora
VIP SOLD OUT!

Sunday, Feb 22: Lion Arts Factory, Adelaide
with Nakatomi Plaza

TICKETS & INFO: 
www.hardlinemedia.net

SPECIAL DISCOUNT CODES – SUPPORT LOCAL MUSIC
Use code WITCH or SUPPORT to get a $10 discount off your ticket price.
A portion of the proceeds goes to the band of your choice.
These are regular tickets for the entire show and help out the support bands!.
Disocoutn Codes are limited, so get in quick!!

*LIMITED VIP MEET & GREET INCLUDES
– Early access to the show and merch stand**
– Get a photo on your phone/device with LORD OF THE LOST
– Australian tour poster to get signed
– Exclusive VIP lanyard/laminate
– Bring along 3 personal items to get signed
**VIP TICKET INCLUDES ENTRY TO THE SHOW
(Melb and Syd VIP SOLD OUT!!!)

Lord Of The Lost have also recorded a greeting for their Aussie fans – check it out here
www.youtube.com/shorts/uqwsDrO9Bus

**********
ABOUT LORD OF THE LOST
LORD OF THE LOST – A name that over the last 15 years has embedded itself into the top tier of dark and heavy music. Without stagnation the genre-fluid band from Hamburg continues to explore their many facets while showing everyone that boundaries are only meant to be broken. Juggling elements of Metal, Industrial, Glam, Rock and Pop, the group have continued to reinvent itself over and over again, both musically and visually, which over the years has led to rising national and international success.

This band just gets bigger and bigger, with their last 4 albums all smashing the German top ten national album charts, with 2022’s “Blood & Glitter” reaching the #1 position and staying there for 7 weeks. Live, the band are a visual and aural experience and have appeared at all the major festivals and touring not only once, but TWICE supporting IRON MAIDEN on their Summer tours. Lord Of The Lost cannot be missed.

Check them out live right here, featuring multi million selling German Superstar BLUMCHEN on guest vocals performing “Herz an Herz – She’s Got The Look”
www.youtube.com/watch?v=j4QeRSffwA4

Do not miss these shows! Whoever gets to experience LORD OF THE LOST live, bears witness to so much more than just a concert. Their performances exude endless energy; the crowds give off the vibe of a more family-like community due to the close-knit connection the band maintains with their fans from all over the world. It is for certain that concert attendees will always be left with an experience they won’t forget.

ABOUT WITCHGRINDER
Influenced by the early industrial scenes with lyrics inspired by classic horror and sci-fi flicks of the same era, Witchgrinder’s darkness is absolute and their stage presence commands attention.

The much respected band released their latest album, Nothing Stays Buried, in 2024 and have proved themselves again and again on multiple headline tours across the country and having played with and impressed the likes of Ministry, Rob Zombie, Ghost, Wednesday 13, Powerman 5000, Sevendust, Drowning Pool and Static X.

Wahtc their incredible video for Queen Of Sin here
https://youtu.be/od1jczUoCdg
music, News

MOLER UNLEASH NEW SINGLE ‘ROKY’ FROM FORTHCOMING ALBUM ’69’ — OUT MARCH 6 + ANNOUNCE LAUNCH SHOWS

Aussie indie rock icons Moler roar back into 2026 with Roky, a blistering new single lifted from their long-awaited forthcoming album 69, out March 6. It marks only the band’s second full-length album since their ARIA-nominated 1997 debut Golden Duck, and finds Moler sounding louder, sharper and more irrepressible than ever.

 

The album’s latest taste, Roky, grew from guitarist JJ McCann’s riff ideas inspired by the legendary Roky Erickson, which bassist and vocalist Helen Cattanach then reshaped into the song’s driving bass line. Sonically, the track threads shimmering alternative textures influenced by My Bloody Valentine and Deerhunter, while nodding to post-punk guitar lineage via John McGeoch-style phrasing and a glam-leaning, tribal stomp rhythm.

 

Lyrically, Roky explores unrequited love in the digital age, questioning how intimacy, desire and expectation collide when romance moves online. Is connection real, or curated? Are lovers ever villains when reality doesn’t match the screen? As the chorus asks: “Could you be my bloody Valentine?”

 

Recorded at Soundpark Studios with Andre ‘Idge’ Hehir, mixed by Helen Cattanach and Miguel Alonso, and mastered by longtime Moler collaborator Lindsay Gravina (Magic Dirt, The Birthday Party), Roky captures the band in full, unfiltered flight. “It’s exciting to be starting the year with another new song,” says drummer Dave Peacock. “It’s one of my favourite tracks to play live from the recent album sessions.”

 

A raw collision of fuzzy guitars, riot grrrl attitude and 70s–90s punk rock spirit, 69 is nostalgic yet forward-looking — a fierce, hook-packed statement from a band who very clearly aren’t done yet. As Dave Peacock shares, “For me, this album is about a band that don’t feel they’re done just yet. We still enjoy playing together and making music.”

 

Across 69, Moler’s songwriting is shared and instinctive, with each track first sparked by an individual member before being shaped collectively in the room. Album opener AI (Helen) sets the thematic backbone, interrogating artificial intelligence, human connection and self-awareness, while I Just Need (James) arrives dream-formed and intimate, inspired by a lucid vision of Alex Chilton and later transformed into a poignant duet. Crimson (Helen) flips classic rock desire on its head with lustful confidence, while Springtime (Dave) captures a sun-soaked, beer-in-hand moment of seasonal release, short, punchy and built for sing-alongs. Elsewhere, Let Yourself Go (Helen) leans into self-acceptance via a funky blues pulse, and Fun (Helen) — the first song written by the new lineup — channels post-lockdown urgency and underground grit. Proper Remote (James) spirals into paranoia and hallucination, Sonic Waiver (Helen) sketches a dark, Orwellian dystopia, while Roky (Helen) dissects unrequited love in the digital age with hypnotic intensity. Closing track Come Around (Dave) offers a weary, bittersweet comedown — a breakup song reshaped in the studio into the perfect final exhale.

 

Formed in St Kilda in the early-to-mid 1990s, Moler unveiled Golden Duck in 1997, earning ARIA nominations and international acclaim before disbanding in the early 2000s. After reforming in 2018 and releasing their Work EP in 2019, the band have steadily rebuilt momentum — sharing stages with Ash, Regurgitator, Custard and Magic Dirt, and receiving airplay across Australia, Japan and the US, including Little Steven’s Underground Garage on SiriusXM.

 

Now joined by JJ McCann (The Drones, Nunchukka Superfly), Moler’s current lineup feels both renewed and resolutely true to form. “As the new guy, I’m stoked to be part of Moler’s daring endeavour to create their first full-length album in decades,” says JJ McCann.

 

Fans can expect a loud, energetic and attention-grabbing live show, with Moler set to road-test 69 alongside classics from across their catalogue.  Helen Cattanach declares “It’s been brilliant writing, recording and playing Moler shows again, especially catching up with the old Mole Patrollers and meeting some new ones.”

 

With 69 on the horizon and Roky leading the charge, Moler are embracing the future — loud, melodic, hardworking and glam, just as they’ve always been.

 

Roky is out now.
Album 69 out March 6.

 

 

Stream: Roky

Pre-save: 69

 

 

MOLER – UPCOMING LIVE DATES 2026:
SAT 21 FEB | Desert Highways, Reservoir VIC | FREE All Ages In-Store, 2PM

FRI 13 MAR | Theatre Royal, Castlemaine VIC | with Redd Kross & The Hard-Ons | 18+
Tickets: www.oztix.com.au

SAT 21 MAR | The Tote, Collingwood VIC | 18+
Tickets: www.thetotehotel.com/gig-guide

News

News: TOM MISCH ANNOUNCES SOPHOMORE ALBUM FULL CIRCLE

TOM MISCH
ANNOUNCES SOPHOMORE ALBUM
FULL CIRCLE
PRE-ORDER/PRE-SAVE HERE
OUT FRIDAY 27 MARCH VIA BEYOND THE GROOVE / AWAL RECORDINGS

+ SHARE NEW SINGLE & VIDEO
“SISTERS WITH ME” TODAY
BUY/STREAM HERE | WATCH VIDEO |

(Thursday 29 January) – Tom Misch’s long-awaited sophomore album Full Circle finds the London-based artist, songwriter and producer at his most personal and honest. The new album explores the stories and moments that have shaped him over the last four years: family, friendships, nature and celebrates the work of finding his way back to himself. Made during time spent between London, Cornwall, Portugal and Nashville, Full Circle will be out Friday 27 March via Beyond The Groove / AWAL Recordings and was born from a period of necessary pause which gave Tom the space to rebuild his relationship with music.

Since first emerging in 2012 through his early SoundCloud releases, Tom Misch’s music has helped define a generation of bedroom producers and artists. Across two Beat Tapes and his critically acclaimed debut Geography,which charted at #8 and is now BPI certified Gold, Tom has established himself as a singular British voice in music. Geography’s success also led to sold-out shows worldwide, including London’s Brixton Academy, while his instinctive approach to collaboration has remained central, from EPs with long-time creative partner Loyle Carner, to the Ivor Novello–nominated What Kinda Music with Yussef Dayes which entered the UK Official Charts at #4. More recently, his Supershy alter ego has offered another outlet for exploration, extending his curiosity into club-focused territory. His album Happy Music saw an outpour of support here in Australia from Triple J, Double J, a feature album from SYN FM and further community radio love from fbi radio, PBS FM and so much more. However, behind the scenes of this success, Tom was facing periods of extreme anxiety that forced him to slow down, step away and turn inward. Tom sought reconnection through surfing, nature and time away from the studio – experiences that helped shape the emotional language of Full Circle. When he returned to making music, it was without pressure or expectation, working with a close circle of friends and new collaborators, and focusing on songs that tell the truth.

Across Full Circle, Tom has deliberately moved away from production-led music-making, stepping out of Logic Pro to focus on classic song writing that works when played on piano or guitar, or expanded with a full band. That shift toward songcraft, rather than studio technique, became the defining starting point for the album. Tom worked closely with artist and songwriter Matt Maltese, who co-wrote a number of songs on the record, alongside Ian Fitchuk, who developed much of the material in Nashville and Adam Jaffrey, a key collaborator during the album’s earliest stages. Tom used a vintage U47 microphone throughout, allowing his vocals to be forward and full body. While much of the album was run to tape with a clear intention to achieve specific sounds inspired by the warmth and clarity of ’70s hi-fi records. Sonically and creatively, the project draws from the songwriting and textures of artists like Fleetwood Mac, Joni Mitchell, Neil Young, John Martyn and John Taylor balancing classic fidelity with an intimate, understated feel. There was also a commitment throughout to capturing live takes, minimising comping, and preserving the raw spontaneity of performance. Quiet, double-tracked vocals and low-fi touches nod to J.J. Cale’s subtle approach, all in service of something classic and alive in the moment.
News

News: Enter Shikari (UK) announce biggest Australian tour to date, this May

ANNOUNCE BIGGEST AUSTRALIAN HEADLINE TOUR TO DATE
THIS MAY

WITH SPECIAL GUEST GRANDSON
TICKETS ON SALE MONDAY 2ND FEBRUARY VIA DESTROY ALL LINES

 

Few bands in alternative music have carved a path as influential as Enter Shikari. From DIY foundations to arena-level innovators, the UK quartet have spent nearly two decades genre-mashing punk, electronic, post-hardcore, pop and metal with outspoken messaging that champions unity, progress and resistance in an increasingly fractured world. This May, they return to Australia for their first headline tour since 2022, following last year’s festival appearances at Knotfest that reaffirmed their status as one of the most captivating live bands in modern music.

Presented by Destroy All Lines, Enter Shikari’s Australian headline run will kick off in Perth on May 14 and will continue to travel through Adelaide, Melbourne, regional Victoria, Newcastle, Sydney, Brisbane and the Sunshine Coast, with fellow genre-defying provocateur grandson joining as special guest across all dates.

The band are eager to return, with frontman Rou Reynolds sharing: “In May we’ll be heading back to Australia, our home away from home. We cannot wait to return and continue to explore, befriend, and create chaos, and in some towns and cities we’ve never been to before..”

The announcement arrives at a pivotal moment for Enter Shikari. In 2023, the band claimed their first-ever UK #1 album with A Kiss For The Whole World, a record bursting with energy, colour and meaning. The release cemented a creative peak that began with 2020’s Nothing Is True & Everything Is Possible (UK #2), and confirmed Shikari’s place at the very top of alternative music’s food chain. What followed was a global victory lap, including a UK arena tour in February 2024, culminating in a landmark headline performance at London’s Wembley Arena. That moment was later immortalised as Live At Wembley, released last year as both a full-length concert film and double LP. Festival main stages followed, with sets at Download, Reading & Leeds, alongside the band’s biggest German headline show to date: their own outdoor event in Cologne.

Even with global demand at an all-time high, Enter Shikari remain fiercely intentional. They played just one UK show in 2025 – a 3,000-capacity warm-up at Watford Colosseum – which quickly sold out. Now, as 2026 settles in, the band are said to be quietly shaping their next chapter, a collection that will eventually become their eighth studio album.

Each visit to Australia has seen their crowds grow louder and more devoted, a true testament to a band whose message and momentum continue to resonate. Tickets for their Australian tour this May will be available from 10am local time on Monday 2nd February via Destroy All Lines.

ENTER SHIKARI (UK) Australian Tour May 2026
with special guest GRANDSON

May 14th – Metropolis, Perth, WA
May 16th – Hindley Street Music Hall, Adelaide, SA
May 17th – The Forum, Melbourne, VIC
May 19th – Pier Bandroom, Frankston, VIC
May 21st – King St Band Room, Newcastle, NSW
May 22nd – The Enmore, Sydney, NSW
May 23rd – The Tivoli, Brisbane, QLD
May 24th – Coolum Blackflag Brewing, Sunshine Coast, QLD

 
Live Gallery

Live Gallery: CKY

CKY, Crowbar, Sydney.

24,01,2026.

Support: Atticus Chimps.

CKY finally returned to Australia’s east coast after a 14-year absence, tearing into a packed Crowbar on Saturday night. Anticipation crackled through the room as the lights dimmed and the crowd erupted into chants of “CKY! CKY!” What followed was a high-energy set that barely let up, with the band’s trademark oddball onstage antics proving just as entertaining as the music itself.

Support on the night came from Atticus Chimps, whose grungy sound set the tone early and primed the crowd for what was to come.

CKY

 

   

 

Atticus Chimps

 

News

Live Review: CKY

CKY

Max Watts

Friday 23 Jan 2026

CKY (abbreviation of Camp Kill Yourself) is an American rock band from West Chester, Pennsylvania. The lights go down at Melbourne’s Max Watts, and a chant “CKY, CKY,CKY” comes over the loudspeakers, and out saunter, Chad Ginsburg, Mike Leon on guitars and Jess Margera as the crowd takes up the chant. Wasting no time, the band are straight down to business, opening with Rio Bravo. 

The crowd, awash with nostalgia shout al0ng to top favorites – Attached at the Hip, Sporadic Movement and Escape From Hellview, barely taking a breath as they pump out song after song.

Ginsburg is a fun front-man to watch – he’s energetic, excited and charismatic – he amps up the crowd at every opportunity, fist pumps and leg kicks get the already excited crowd into an almost frenzied like state. The crowd are loving it, and he doesn’t let up, clearly enjoying seeing his songs sung back to him. Adding to the energy is bass player Mike Leon, who is dynamite to watch.

Stopping mid- set to ask if anyone remembers Bran’s Asian Freestyle, a fan is dragged on stage and to the amazement of the crowd raps the entire song in expert fashion. It’s hilarious, unplanned and unscripted but is really funny. Fans jaws drop as he absolutely nails it, not taking a breath. It’s politically incorrect and these days would probably get the band cancelled, but with this audience and in the right context it’s a hit.

At the end of Close Yet Far, the lights go down and the band sort of walk off stage in what might be the end of the show, but it’s a bit unclear as thirty seconds later they’re back- in what was the shortest encore break ever.  Finishing up with  crowd request Plastic Plan (Half), Bite It You Scum (GG Allin cover)  and All My Friends Are Dead the night comes to an abrupt halt.

CKY are an exceptionally fun band to watch, that engage with their audience, get people pumped up and deliver a solid set list over an hour and a half long. They’re inexcusably politically incorrect, sing songs that would likely get anyone else cancelled and are extremely talented musicians that are simply enjoyable to watch. The rest of the tour continues.

 

TICKETS ON SALE NOW

Jan24 SYDNEY CROWBAR Tickets

Jan25 BRISBANE CROWBAR Tickets

 

 

 

 

 

News

News: A Message From BATTLE BEAST

To Our Dear Fans in Australia

We love you, and we’ve been waiting a very long time to finally come and see you.

We know many of you were looking forward to these shows with Noora, and we want to be clear and open with you. While we had hoped to complete these dates together, her departure ultimately came sooner than that. We will always love and respect Noora and fully support her decision to begin a new chapter in her life and career.

As you’re no doubt aware, we’re now joined by the incredible MARINA LA TORRACA on vocals. Marina is not only an exceptional singer with the range, power, and stamina required to deliverBATTLE BEAST’s demanding material — she also brings classical training and extensive live experience from her work with Phantom Elite, Exit Eden and many others

You’ll be among the very first fans in the world to experience this new era of Battle Beast live, and we promise to make these shows some of the most powerful and memorable of our career.

We can’t wait to see you.
— BATTLE BEAST

BATTLE BEAST March 2026 Australian Tour Dates
Tuesday March 10th PERTH, Magnet House

Wednesday March 11th ADELAIDE, Lion Arts Factory

Friday March 13th MELBOURNE, Max Watts

Saturday March 14th SYDNEY, Manning Bar

Sunday March 15th BRISBANE, Crowbar

Tickets on sale now  from: https://thephoenix.au/battle-beast/

 

Live Gallery, live review

Live Review: David Byrne

David Byrne
Sidney Myer Music Bowl
January 23, 2026

David Byrne walked onto the Sidney Myer Music Bowl stage with effortless confidence, flashing a bright orange jumpsuit that matched his perfectly choreographed band. Within moments, the entire ensemble appeared to float across a vast LED moon, suspended in space and set upon the lunar surface. It established the tone for the night: surreal, playful, and unmistakably Byrne.

From the outset, he shaped the show around connection. Before launching into And She Was, he joked, “I keep being reminded I shouldn’t be laughing at my own jokes,” fully aware he would continue doing exactly that. The crowd adored him for it. Not a single person expressed anything but joy and admiration — Byrne’s gravitational pull was undeniable.

During T Shirt, the screens fired off designs like “Make America Gay Again” and “Melbourne Kicks Ass,” each earning louder cheers than the last. Byrne absorbed it all with the grin of a cheerful veteran performer who still seems genuinely delighted by the world’s oddities.

The emotional high point arrived with This Must Be the Place (Naive Melody). When he sang “heart stops,” the entire Bowl erupted out of a moment of breath‑held silence — a sudden, overwhelming release of feeling. Byrne let the energy settle before offering what felt like the thesis of the night: “Right now, love and kindness are the most punk thing you can do.” Moments later, before Love Is Here, he reminded everyone that love and kindness are a form of resistance.

Between songs, Byrne’s stories unfolded like sharp, affectionate observations. He spoke about Italians singing to their neighbours during lockdowns, introduced his band by floating their names across a star‑filled screen during Independence Day, and laughed off a rogue scream of applause. He teased the audience about judging by appearances, quizzing them on who among them had astrophysics degrees — and who had been home schooled. He recounted being mistaken for Norman Bates at the Jazz Festival, insisting that appearances reveal very little. And before My Apartment Is My Friend, he described witnessing someone throw potatoes at someone else, confessing, “No one seems to be handling this the same way as me,” as he introduced his apartment on the backdrop as his “safe haven.”

A tribute to Arthur Russell paved the way for the eruption for Psycho Killer, the Bowl transforming into a choir as thousands sang back in harmony. Before the encore opener Everybody’s Coming to My House, Byrne reflected, “Despite all that stuff, people really like being with other people.” Under a perfect Melbourne summer night, the truth of that line felt amplified.

The final songs carried a striking irony. Everybody’s Coming to My House — a song that once played with the tension between welcome and unease — suddenly felt open armed and communal, thousands of voices rising together under the summer sky. Moments later, Burning Down the House turned the Bowl into a jubilant frenzy, its chaos transformed into pure celebration. Byrne remains avant garde, uplifting, endearing, cheerful, funky, and endlessly inventive. A performer who brings people together not through nostalgia, but through sheer creative force.

If love and kindness are a form of resistance, Byrne offered Melbourne something brighter and more vital than rebellion: a reminder that joy can be its own kind of revolution.

Words and images by Joshua Braybrook

News

News: Jen Mize & The Rough N’ Tumble are back.

Jen Mize & The Rough N’ Tumble are back.

‘DOUBLE TALK’
the first single from their sophomore album is out now.

The 8-piece 2023 QMA winning outfit impressed music lovers right around the country with their sensational self-titled debut released in 2023.  Serving up an innovative mix of soulful blues, funk laden roots and Americana with swagger, substance and feel, ‘Double Talk’ kicks right back in where the band left off.

Jen Mize grew up with a loose unit for a father. ‘My dad, Dan, was a bit of a known entity in Las Vegas in the early eighties. Dad was the kind of guy who would walk up to the toughest fella in the bar, and with no provocation ask him if wanted to step outside just to see who was tougher. He admittedly got his ass handed to him more than once, but that was just who he was. A cowboy (with a way with the ladies) who might of had a few screws loose’ reflects Mize.

‘How he ended up with my saint of a mom no one has ever understood, but by the time I came along he was turning out to be a pretty great dad.’ Mize continues ‘Dad wanted to prepare me for the potholes of the world. So, he warned me off guys like him.’

When talking about how Double Talk came into the world Mize says ‘They say ‘write what you know’, and ‘you don’t have to have a good memory if you never tell a lie’… I really feel like when I’m doing that, lyrics and melodies pour out of me at a furious speed that I can barely keep up with. After writing the verse and chorus of this one, I felt it was time to open it up to the fellas in the band for a possible cowrite so, into the dropbox folder it went in hopes that someone would bite.’

After hearing Jen Mize’s initial draft of Double Talk Jeremy Edwards wanted in. ‘Maybe it was the Stones of it all.’ says Edwards ‘Maybe it was the killer chorus melody. Maybe I wanted a chance, now as the father of a teenage lad, to lay a few things out clear and straight for my son.’   Jen was thrilled – she says of Edwards “I feel like the universe sent me Jeremy Edwards as a gift. Like I must have done something right in this life or the one before. I couldn’t conceive of a better-suited collaborator for making our music, for good times, vibes, laughter, skill set and dedication to our vision.”

The second verse of JM & Rough N’ Tumble’s first single from their upcoming new album flips the narrative to a male perspective. A floored male, warning his son against making the same mistakes he made and coming clean about a few, let’s admit, wayward decisions. Again, it’s the strength of the writing when Mize and Edwards combine, that brings out the gold. That includes when they’re singing together full tilt.

MUSIC ARTS MEDIA