A SOULFUL, REAL-TIME RECKONING WITH THE HIGHS, LOWS, AND HEALING THAT DEFINE A LIFE LIVED OUT LOUD

From child prodigy to cancer survivor, from global stages to mental health collapse, Nathan Cavaleri’s journey is anything but ordinary, and now he’s taking his life story to theatres across Australia this year for Growing Pains – The Nathan Cavaleri Story.

Kicking off with the first announce of what will be an epic national tour (stay tuned) on Saturday 20 June at Kingston City Hall in Moorabbin, Cavaleri’s Growing Pains Theatre tour will journey across regional Australia, moving through to Mildura, Swan Hill, Pakenham, St Kilda, East Gippsland, Wonthaggi, Nunawading, Portland, Hamilton, Ararat, Warrnambool, and Taree, before completing the extensive run at Avoca Beach Theatre on Saturday 28 November.

Tickets are on sale now from www.nathancavaleri.com.

In this deeply personal and emotionally charged solo show, told by Cavaleri through story and song, Cavaleri skilfully weaves music and storytelling into a powerful narrative that traces his life from busking in Campbelltown to the heights of stardom, the depths of anxiety and burnout, and the eventual rediscovery of purpose and passion.

Flipping the script on a regular live music show, Cavaleri explains, “Reliving these experiences on stage is like nothing else. It’s a scary thing putting your heart out there and revisiting some of life’s most sensitive moments in front of a crowd, but when we’re all crying, laughing and blissing out together, it reminds me that beneath it all, we have so much in common. That’s what makes this show feel so profound and cathartic for all.”

By age 12, Cavaleri was at the centre of a bidding war between the labels of Michael Jackson, Prince, and Madonna. By 16, he’d toured the world with B.B. King, played the Kennedy Centre in front of the Clintons during their time in office, and shared stages with icons like Etta James and Bonnie Raitt, all while becoming a familiar face to millions across Australia and the US.

But while the spotlight beamed bright, a much quieter struggle was playing out behind the scenes. At its core, Growing Pains is not about fame – it’s about being human. The ache of identity. The grind of expectation. The fight to come home to yourself.

Raw, funny, and ultimately uplifting, Growing Pains transcends nostalgia. It’s a soulful, real-time reckoning with the highs, lows, and healing that define a life lived out loud.

Tickets to GROWING PAINS – The Nathan Cavaleri Story are on sale now from www.nathancavaleri.com

GROWING PAINS – THE NATHAN CAVALERI STORY

Tickets available from www.nathancavaleri.com

SAT 20 JUNE | KINGSTON CITY HALL, MOORABBIN VIC | ALL AGES
Tickets available from:  https://www.kingstonarts.com.au/whats-on/nathan-cavaleri

FRI 14 AUGUST | MILDURA ARTS CENTRE, MILDURA VIC | ALL AGES
Tickets available from:  https://www.milduraartscentre.com.au/whats-on/growing-pains

SAT 15 AUGUST | SWAN HILL TOWN HALL, SWAN HILL VIC | ALL AGES
Tickets available from:  https://www.swanhill.vic.gov.au/Explore-our-region/Events/Nathan-Cavaleri

SUN 16 AUGUST | CARDINIA CULTURAL CENTRE, PAKENHAM VIC | ALL AGES
Tickets available from:  https://cardinia.sales.ticketsearch.com/sales/salesevent/161794

THURS 10 SEPTEMBER | MEMO MUSIC HALL, ST KILDA VIC | ALL AGES
Tickets available from:  https://www.trybooking.com/events/landing/1582870?embed

FRI 11 SEPTEMBER | FORGE THEATRE, EAST GIPPSLAND VIC | ALL AGES
Tickets available from:  https://events.humanitix.com/nathan-cavaleri-growing-pains

SAT 12 SEPTEMBER | WONTHAGGI UNION THEATRE, WONTHAGGI VIC | ALL AGES
Tickets available from:  https://www.trybooking.com/events/landing/1538522

SUN 13 SEPTEMBER | THE ROUND, NUNAWADING VIC | ALL AGES
Tickets available from:  https://www.theround.com.au/NathanCavaleri

WED 30 SEPTEMBER | PORTLAND ARTS CENTRE, PORTLAND VIC | ALL AGES
Tickets available from:  https://www.portlandartscentre.com.au/Whats-On/Nathan-Cavaleri-Growing-Pains

THURS 1 OCTOBER | HAMILTON PERFORMING ARTS CENTRE, HAMILTON VIC | ALL AGES
Tickets available from:  https://tickets.hamiltonpac.com.au/event/1004:787/1004:991/

FRI 2 OCTOBER | ARARAT TOWN HALL, ARARAT VIC | ALL AGES
Tickets available from:  https://ararattownhall.com.au/event/nathan-cavaleri-growing-pains/

SAT 3 OCTOBER | LIGHTHOUSE THEATRE, WARRNAMBOOL VIC | ALL AGES
Tickets available from:  https://www.lighthousetheatre.com.au/growing-pains-story-nathan-cavaleri

FRI 27 NOVEMBER | MANNING ENTERTAINMENT CENTRE, TAREE NSW | ALL AGES
Tickets available from:  https://manning.sales.ticketsearch.com/sales/salesevent/159553

SAT 28 NOVEMBER | AVOCA BEACH THEATRE, AVOCA BEACH NSW | ALL AGES
Tickets available from:  https://www.avocabeachtheatre.com.au/

RISING: Gil Scott-Heron by Brian Jackson and Yesiin Bey

Forum Theatre

Thursday 28th May 2026

Rising festival really kicked off this week honoring the great Gil Scott-Heron, with an amazing performance by Brian Jackson and Yasiin Bey on stage at the Forum theatre on a cold Thursday night.  A sold out show had the theatre packed from wall to wall with eager fans of poetry, spoken word and hip hop origins.

Images by Matt Gee

Australian pop icons Bachelor Girl take a sparkling walk on the country side with a reimagined take on their 1998 single Blown Away out today, teaming up with fellow Aussie icons Tommy Emmanuel CGP and Ella Hooper to bring this new version to life. The fourth single released from their 1998 debut studio album Waiting for the Day, Blown Away reaches stunning new heights in its reimagined form decades later, also offering another glimpse into the duo’s forthcoming redux album which will showcase an epic array of acclaimed household names bringing their prowess to reimagined Bachelor Girl favourites.

Expanding on the original’s classic 90s-soaked ruminating verses, euphoric choruses and soaring melodies, Blown Away’s 2026 glow-up dazzles with twangs, shuffling percussion and acoustic guitar, injecting Americana flavours while also colliding four of the country’s most renowned musicians. Guitar virtuoso Tommy Emmanuel and Ella Hooper (Killing Heidi) join forces with Bachelor Girl’s Tania Doko and James Roche to breathe brilliant new life into long-time fan favourite track.

“We’ve gone a lil’ bit country/Americana on this third release of our ‘Artist Sessions’,” shares Bachelor Girl’s Tania Doko of the reworked Blown Away. “James and I wanted to extend the collaboration to two artists we’ve shared a long musical history with this time all the way from Nashville to Violet Town. We just couldn’t resist calling in James’ ol ‘boss’ he thrived with on tour back in the 90s – one of the world’s guitar greats, Tommy Emmanuel, along with fellow 90s effervescent front woman who’s gone a LOT Americana herself – Ella Hooper. The original Blown Away is a crowd favourite live, and now this new version of great friends/artists quite simply makes my soul ‘YEEHA!’”

Since teaching himself to play as a toddler, Tommy Emmanuel’s first language has been the guitar. Now over sixty years into his career, Tommyremains a global household name, revered as an international master of the solo acoustic guitar, with a GRAMMY Award win in his wake, a staggering back catalogue and a reputation as one of the most versatile and accomplished guitar players on the planet. Still a globe-trotting touring phenomenon, Tommy routinely enamours with his technical wizardry and signature solo guitar playing style, building a sonic universe time and time again armed with a solitary guitar; and the delight for Bachelor Girl to have Tommy on board lending some acoustic prowess for this reimagining of Blown Away is equally echoed by Tommy, enthusing, “What an adventure to play on “Blown Away”, with my friends BG and Ella Hooper. What a cool move to mix acoustic guitar with such a slammin’ powerhouse track! Thanks for having me on there. I am so honoured.”

Award-winning entertainer Ella Hooper is no stranger performing and wowing airwaves and crowds with her powerhouse vocals and creative finesse. Blazing a trail at an early age as the frontwoman for Killing Heidi, Hooper ticked off chart-topping hits, sold out tours and a #1 debut album, while also becoming the youngest-ever recipient of APRA’s Songwriter of the Year. A seasoned creative across multiple genres, Ella’s songwriting also spans folk, alt-rock, country and Americana, making her addition alongside the country vibes on Bachelor Girl’s reworked Blown Away the perfect fit; and on a song Ella herself has long adored, as she reveals, “it’s not every day you get to be on a track with a fave formative band and an iconic powerhouse! Blown Away has always been my favourite Bachies song live too, I would arrive right when they were playing this song in their set at the never ending Red Hot Summer tour we were on together and it would set me up for the whole evening, I think it’s a real ‘let’s go girls’ kick the door down track, and I can’t believe how they’ve reworked it for me and Tommy to add our slightly country flavours to.. what an honour and a hoot!”

Slated for an August release, Waiting For The Day: Artist Sessions is a complete reinterpretation of the double Platinum Bachelor Girl album that captivated the world back in 1998. Featuring tracks like Buses and Trains, Treat Me Good and Lucky Me, the album set the tone for the band’s legacy and ongoing success. And in 2026, Bachelor Girl will gift fans a completely reimagined version of the album that put them on the map, joined by some of the country’s finest. “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,” beams Tania Doko. “What started with one, became 13 artists on this 15 track Redux album, and we could not be more chuffed they enthusiastically said yes.”

Bachelor Girl has also announced their Waiting For The Day Redux tour which will kick off in their home state playing at The Vine Hotel in Bendigo on Friday July 31, before moving through Yackandandah, Melbourne, Brisbane, Adelaide, Frankston and finishing off in Sydney at The Factory Theatre on October 18. Tickets are on sale now from www.bachelorgirl.com.

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 APRA Song of the Year in 1999 and remains one of the most played Australian compositions 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 Waiting for the Day album spawned another four releases still on rotation today, including Treat Me Good, Lucky Me, Blown Away and Permission to Shine. With a catalogue defined by exceptional songwriting and soaring vocals, the duo continue to captivate audiences, recently touring alongside legendary acts including Simple Minds, Icehouse and The Corrs.

Blown Away featuring Tommy Emmanuel and Ella Hooper is out today.

Waiting For The Day: Artist Sessions is set for release in August.

BACHELOR GIRL – WAITING FOR THE DAY REDUX TOUR DATES

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

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+

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, SYDNEY NSW | 18+

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

Stream: BLOWN AWAY FEAT. TOMMY EMMANUEL & ELLA HOOPER

Genre-defining Australian producer and one of trap music’s earliest pioneers, What So Not, officially launches a new creative era with the announcement of his new project, I SAW A TRAP DJ AND IT CHANGED MY BIO CHEMISTRY set for release later this year, today sharing the spine-tingling first single, Everest feat. Alina Pash.

Ukrainian multi-genre artist Alina Pash soars on Everest. From ethereal beauty to tribal power, the first taste of this new epic trap revival project is a dynamic and otherworldly warcry with a cinematic ascension driven by What So Not’s clever production, signature dramatic beats and hair-raising synths.

What So Not describes the song as “Elastic threads connecting earth and sky, a hymn to the universe sung from mountain tops.”

Speaking to the collaboration on Everest, What So Not shares, “A friend of my roommate at the time, Alina pulled up to my apartment in LA one day and this record is what we created the first time we ever stepped in the studio. When Alina first heard it, she wrote a mantra in her native language, a call for strength and unity and troubling times. I can’t imagine a better suited performance for this production and what I’d hoped it would become.”

“As a Ukrainian, my roots, my language, my culture – they feel more precious and more fragile than ever right now, when so much is being threatened,” explains Alina. “It has long been my dream to share who we are with the world, to simply say: we exist, we are beautiful, we are here.”

“What moves me about What So Not is his elasticity, the courage to abandon the recipe, to risk, to let in something unfamiliar and let it breathe. We talked before we ever made a sound together, and I understood quickly that we share the same values: life, artistry, the strength of the soul. Creation came naturally after that. When I stepped into that space and felt the freedom to just be myself, to bring my tone, my language, my ideas without hesitation I felt truly inspired. That kind of acceptance is rare and I cherish it. The production is so powerful, and together we created something that feels like a mantra – positive, strong, uniting. After everything my people have been through, after so much trauma and pain, I believe this song can move something in people in a better way. And maybe, for a moment, remind the world that we are here.”

Working with Jonti Wild (Bring Me The Horizon), assisted by Kenz Lawren, paired with Lucille Croft as creative lead, What So Not was thrilled to bring Alina to Australia to film the visuals for Everest, explaining, “Alina grew up in the Carpathian mountains of Ukraine, so when she came here to perform this song, we wanted to show her ours. The title Everest, Alina’s upbringing, and having just played a show with Australia’s very own Hermitude, everything pointed us towards the Blue Mountains for the shoot. And filming the visuals while on tour here in Australia truly brought the imagination of the song to life.”

To mark a fresh beginning of this revival era, What So Not wiped his social platforms entirely – replacing years of archived content with a singular narrative-driven post introducing the themes behind the project: reclaiming artistic identity, cultural nostalgia with a modern lens, creative evolution, and the emotional impact of the electronic music movement that helped shape a generation.

The launch arrives as both a personal reflection and a broader recontextualisation of the trap and bass music era that transformed global dance culture throughout the 2010s. Long regarded as one of the defining producers behind the rise of cinematic trap and forward-thinking bass music, What So Not helped pioneer a sound that reshaped festival stages, internet music culture, radio programming, and electronic music’s crossover into the mainstream.

“This exact record here is me at my core. I wrote it in a flow state, everything happening like magic. I knew it was something so special that for almost 10 years I didn’t dare try and say it was ‘done’ and release it,” explains What So Not. “For a long time I found myself running away from a sound I helped create. In my journey to always do the ‘next’ thing, I think I neglected my thing. I feel like I’m coming back to myself, taking ownership of my story and reconnecting to a beautiful community that came together from all corners of the globe to change it for the better.”

“I think I’m coming back to a childlike form of myself, how I used to think and create from a place of joy and playfulness. Sometimes music is meant to be messy, raw and unpolished. I SAW A TRAP DJ AND IT CHANGED MY BIO CHEMISTRY embraces the 2016 nightclub energy of phones down chaos. And maybe a stupid tweet the next morning like the title of this EP!”

Drawing inspiration from cultural moments spanning iconic collaborations and early SoundCloud culture, and the explosion of globally influential trap and bass music, the project reflects on an era that fundamentally altered how electronic music was consumed and emotionally experienced online.

While What So Not’s career evolved toward larger crossover stages, live instrumentation, songwriting, and collaborations with artists such as Daniel Johns, the emotional DNA of that early movement remained foundational to his creative identity. I SAW A TRAP DJ AND IT CHANGED MY BIO CHEMISTRY revisits that influence through the lens of artistic maturity, combining the emotional intensity and unpredictability of early trap culture with years of sonic experimentation across drum & bass, analog production, cinematic songwriting, and global rhythmic influence.

“I feel like I’m finally writing the music everybody wants from me, but on my own terms, on my own time, with the tools of a lifetime chasing ‘what’s next’.”

Since his breakthrough in 2013 with tracks like High You Are (Branchez Remix) which has amassed more than 158 million Spotify streams alone, What So Not has built a legacy defined by innovation, emotional depth, and forward-thinking production. His sound and artistic identity have consistently pushed electronic music into new territory while maintaining the emotionally charged and cinematic sensibilities that first set him apart.

From the emotive pull of Gemini to his iconic reimagining of RÜFÜS DU SOL’s Innerbloom, What So Not carved out his place during electronic music’s most transformative era not by following trends, but by defying them through a genre-blurring and emotionally immersive creative vision. More than a decade later, he continues to bridge nostalgia and reinvention, creating music that resonates deeply with longtime fans while introducing a new generation to the emotional DNA of that era.

Everest feat. Alina Pash is out now.

I SAW A TRAP DJ AND IT CHANGED MY BIO CHEMISTRY EP is set for release later this year.

Stream: Everest feat. Alina Pash

Watch: Everest feat. Alina Pash

KT Tunstall

Northcote Theatre

24/5/2026

On the twentieth anniversary tour of Eye to the Telescope, KT Tunstall remains as powerful and playful as ever. From the start, she makes an endearing joke that captivates the largely loyal audience. Her upbeat attitude continues to shine throughout the set. Her joie de vivre is on full display when she states that she was “lucky to get famous for playing happy songs.” The positivity from her and her band pulsates through the audience. She has the presence of a woman truly allowed to do what she loves for a living with fans that she genuinely enjoys. 

The mid-sized venue is befitting. KT comments that intimate, live music is irreplaceable regardless of how technology advances. As she cues lights to channel David Bowie and invites the crowd to sing along, it’s easy to be swept up in her belief that intimate crowds are the way forward.

Whether in conversation with the audience or in her lyrics, KT’s rocker edge and unique phrasing keep her from becoming too saccharine. Likewise, her genuine pep makes her nostalgic outfit fittingly iconic of the 2000s rather than overwrought. Her audience also embraces the retro vibe, holding up old cassettes, CDs, and other archaic merch with faded autographs as proof of long-term fandom.

Enduring fans certainly represent much of her audience. For such fanatics, the highlights of the experience are the details about the making of the album. Each story is short but insightful. Her brief reminiscences are remarkably conversational and intimate. Less die-hard fans may not be as enthused about the deep cuts and creation stories, but her hits are well known and humour is self-deprecating enough to please the general public, even if the vamping between songs is fittingly geared towards diehards. 

The Germein Sisters are a fitting opener for KT. Their shared indie pop rock classification ensures a seamless listener experience. Their varied influences, however, shift them solidly into a complementary role rather than positioning them as a carbon copy of KT’s more straight-cut pop rock performance. While KT leans towards straightforward rock, the Germein Sisters skew more country/bluegrass. They cite their father, a New Orleans Jazz musician, as influencing their unique sound. The acoustic set-up in this tour further highlights the differences between them and KT. Beyond the music, the Germein Sisters complement KT in attitude. They engage well with the audience and thread the needle between too much talk and not enough audience engagement like seasoned pros rather than a typical opening act. 

Anniversaries (and anniversary tours) inherently encourage a juxtaposition of eras. KT paints the early 2000s as a rosy time. The stories she mentions are largely supportive. The celebrity encounters she shares are light and friendly. Yet it is unfathomable that, as a young female performer twenty years ago, her encounters in the industry were universally positive. Regardless, KT chooses to pass on the encouragement she experienced. In particular, she highlights up-and-coming women in the industry. Unsurprisingly, the Germein Sisters are an all-female band. KT also leaves time in the encore for her guitarist to showcase a song from her new album. Without making a show of it, she gives time, space, and attention to women working to make it big as well.

Written By: Kate Himonas

The Buzz Lovers

170 Russell, Melbourne

27/5/26

Direct form Spain, The Buzz Lovers make you feel like you have travelled back to the early 90’s with Kurt Cobain and Nirvana right in front of you. Photographer Ben Loy was there to catch their first of two Melbourne shows and what a night it was.

Supported by Alice In Chains tribute band Alice Remains.

The global celebration of music making is back, with Make Music Day taking place on Sunday 21^st June around Australia and the world.

Originating in 1982 as Fête de la Musique in France and now taking place in a thousand cities across 120 countries, Make Music Day is a musical free-for-all celebrating music in all its forms. People are encouraged to band together and play in free public concerts in many different locations and online.

“Make Music Day is a massive celebration in other countries, but it’s just starting to get traction here in Australia. This year we want to change the message and ask people to think a little more about the role music plays in our society” says Emma Bienvenu, Project Officer for the Australian Music Association and organiser of Make Music Day in Australia. “We are all very familiar with the community, cultural, social and mental health benefits of being involved in playing sports. We want people to remember that making music and enjoying the music of others brings many of the same benefits and can often be more inclusive and accessible”.

Rock bands, songwriters, ukuleles, community bands and choirs, schools and individuals from all genres are already signed up to be part of the musical offerings at Make Music Day events across Australia and online, both on the day and in the lead up to June 21^st.

Several local councils around the country are continuing to lead the charge, recognising the significance of music in their communities and aiding in the form of grants, free access to community performance spaces and in some cases, funding full calendars of free events for the residents to enjoy.

The City of Adelaide is once again staking its claim as Australia’s premier live music destination city, they’ve organised a full Make Music Day takeover of the city with over 360 performers playing in 40 venues, from 11am to midnight.

The City of Moreton Bay in Queensland are turning up the volume at their galleries, museums, libraries and beyond with a month-long music trail featuring free events, live performances, jam sessions, workshops, and more, with 38 events planned in the lead up to and on Make Music Day.

“Our advocacy at the Australian Music Association begins with music education and continues right through to the end result, supporting and encouraging people from all walks of life to play and enjoy music in all forms, at all skill levels” Emma continues, “Make Music Day is one of the biggest and most exciting days on our annual calendar for this reason. It reminds people how much joy music brings”.

Make Music Day invites musicians, councils, music retailers, venues, schools, community groups and music lovers across Australia to come together and celebrate the joy of making music in every corner of the country. Whether it’s hosting a street performance, opening your doors for a community jam, supporting local artists with gear and resources, or simply creating a space for people to connect through music, every contribution helps build stronger, more vibrant communities. From small towns to major cities, Make Music Day is a chance to champion creativity, support grassroots culture and remind Australians that music belongs to everyone – so register your event, get involved and help make this year’s celebration the biggest yet.

For more information and to register your event, please visit https://makemusicaustralia.org.au/. Free promotional support for all events, big or small can be arranged by contacting Emma at emma@australianmusic.asn.au.

Make Music Day is presented in Australia by the Australian Music Association with support from the NAMM Foundation and Music Australia.

Entering sharp new sonic terrain as they approach the release of their eighth studio album, emo-metalcore icons Sleeping With Sirens have stunned fans with a surprise drop of a brand new single Paralyzed, releasing the fresh track ahead of their upcoming new record An Ending In Itself, due out on June 12 via Rise Records.

Showcasing a powerful expansion on their trademark sound, Paralyzed finds Sleeping With Sirens leaning into their heavier roots without sacrificing their trademark modernity and flair. Fresh on the heels of previous single Forever/Always, Paralyzed showcases the band’s most crushing new entry to date from their forthcoming album, with caustic and palpitating verses, soaring choruses, and throwback alternative and metal nods that reflect an amalgamation of shared influences, as frontman Kellin Quinn elaborates, “Paralyzed is one of the heaviest songs on the new record. We had a blast making it and really leaned into the bands that shaped and inspired us growing up – artists like Thrice, The Used, and Haste The Day. It’s aggressive, emotional, and captures a side of us we’ve always loved exploring.” 

Produced by Will Yip (Turnstile, Circa Survive, Movements), Paralyzed offers a towering peek further into what lies in wait on album #8 for Sleeping With Sirens, with the new record set act as both a homecoming and a reckoning for the band, reviving the restless spirit of their classic sound with the nuanced experience of recent years, and also marking their first album to be released with Rise Records since 2013’s Feel. Described by Kellin as both a culmination and a continuation, An Ending In Itself will also complete the recent emotional and thematic arc of How It Feels to Be Lost and Complete Collapse while reconnecting with the spirit that first propelled the band forward, capturing lightning in a bottle, Sleeping Sirens-style, like never before across the space of twelve tracks.

“It feels like a final chapter to the last couple of records,” Kellin shares “But it also has a lot of our second record, Let’s Cheers to This, in it. That energy where we weren’t trying to fit in anywhere and we just made the record we wanted to make.”

“A lot of what this record is about is not giving up hope,” adds Kellin, “and finding faith in the middle of hardships.”

Poised at the crossroads of post hardcore, pop and alternative rock, Sleeping With Sirens have spent fifteen years sharpening their signature sound, constantly stupefying airwaves and fans alongside releasing seven studio albums, one EP and one live album. With thousands of shows under their belts, Sleeping With Sirens have also become infamous for their future-forward perspective, as well as for their magnetic live performances and a deep connection with their audience that has catapulted the quintet into a generational global fixture.

A band now in command of gold and platinum certifications, chart success, millions of streams, sold out shows and a long-term commitment to trusting their intuition along the way, Sleeping With Sirens ultimately offer catharsis against the uncertainties of life, rallying with moments of calm and chaos armed with the urgency of punk, melodic ambition and vulnerability. Whether helping to define the early mid-2000s Warped Tour era or redefining new creative frontiers to this very day with long-time fans and an entire new surge of younger audiences in tow, Sleeping With Sirens are truly an immersive force to be reckoned with; and their most recent sonic outings further elevate the pursuit for meaning in a world gone mad.

The brand new release of surprise single Paralyzed is a resounding declaration of sonically transcending the past, present and future in a way only a band like Sleeping With Sirens can. A haymaker coated with raw emotion and oscillating dynamics, part confessional portal and instantly daring to become a fan-favourite, Paralyzed is another home-run primer ahead of the hotly-anticipated release of An Ending In Itself.

Paralyzed is out now.
An Ending In Itself is due out June 12.
Exclusive colored vinyl with signed inserts, and a zine CD featuring 24 pages of behind-the-scenes photos and handwritten lyrics are available to pre-order now here.

Stream: PARALYZED
Watch Visualizer: PARALYZED