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News: The Hu Announce New Album Hun Out July 24. New Single “Lost Soul” (Feat Jonny Hawkins Of Nothing More) Out Now
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News: SHEWITA SHARES RADIANT NEW SINGLE “GEMINII”
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News: HYBRID THEORY (Portugal): The Ultimate Linkin Park Tribute Announce Their 6th and Biggest Ever Australian Tour
Portugal’s Hybrid Theory: The Ultimate Linkin Park Tribute Tour – A Show by Fans, for Fans
This December, HYBRID THEORY, the renowned Portuguese tribute to Linkin Park – returns to Australia for their sixth tour and their biggest and most ambitious to date.
The distinctive look, sound and feel of Linkin Park isn’t easy to replicate.Hybrid Theory are the only Linkin Park Tribute that do the band they respect and admire complete justice and its obvious to everyone who has seen them in concert that that they truly love what they do.
Their setlist is full of all the LP bangers you would want to hear – In the End, Numb, Somewhere I Belong, Faint, What I’ve Done, One Step Closer, Given Up, Papercut, Burn it Down, Crawling, Points of Authority, Breaking the Habit, Bleed it Out and loads More.
Hybrid Theory December 2026 Australian Tour Dates
Saturday 5th December FREMANTLE, Metropolis
Wednesday 9th December BRISBANE, Eatons Hill (All Ages)
Friday 11th December SYDNEY, Enmore Theatre (All Ages)
Saturday 12th December MELBOURNE, PICA
Sunday 13th December ADELAIDE, Thebarton Theatre (All Ages)
Tickets
Presale: Thursday 21st May, 10amLocal –
General Public On Sale: Monday 25th May, 10am Local
Live Review: Audrey Hobert at Forum Melbourne
Rising American indie-pop singer/songwriter artist Audrey Hobert lives up to the online hype as she plays the first of two sold out shows at the Forum in Melbourne with all her messy and awkwardness-by-design humour that’s full of hyper-specific lyrics and diaristic storytelling.
From the moment Hobert opens with ‘I Like to Touch People’, the atmosphere is gloriously unhinged. The track lands instantly with a crowd that already knew every lyric. Hobert stalks the stage with nervous energy, and sudden bursts of unpredictable theatrical movement to add to the excitement.
‘Drive’ follows and her conversational vocals remain front and centre amongst the band’s shimmering guitars and rhythm section that leans into all the chaotic moments.
Before her track ‘Wet Hair’ Hobert gives a raw, theatrical stream-of-consciousness monologue about growing up craving validation and stardom, being made to feel undesirable as a girl, then reclaiming power and self-worth as an adult who finally realises she was never “a three” at all. The song perfectly encapsulates Hobert’s relatable and honest appeal. On paper, many of her lyrics read like fragmented diary entries or discarded voice notes but live they become communal experiences. The audience screams every line back at her with almost alarming intensity.
Looking around the room Hobert marvels at the blue starry ceiling of the Forum and comments how she feels as though something medieval is going to happen. “It just feels so religious. Hopefully you can have some kind of a religious experience here tonight,” she laughs.
“It’s nice to speak to something higher because sometimes things aren’t going your way, and you need to will it to be so, and sometimes all you can do is get on your knees and pray, you know what I’m saying?” She says, before launching into ‘Bowling Alley.’
Mid-set highlight ‘Thirst Trap’ showcases her versatility and explodes with jittery energy. Hobert bounces across the stage throwing shapes somewhere between interpretive dance and complete collapse before a saxophonist joins in and dives onto the stage for a big solo at the final moments if the song to elevate it even further.
By the time ‘Sex and the City’ arrives, the room has fully surrendered to her world. The song’s sharp observational humour hits especially hard with the predominantly young audience, many of whom treat the chorus like a cathartic confession. Hobert’s stage banter throughout the evening remains intentionally awkward and rambling but still remaining authentic.
“I really didn’t ever see this happening for me. It’s not something I really ever wanted, and if I wanted it, it was really deep down and buried. I have a lot of fun,” she reveals she says before he next song ‘Phoebe’ which she encourages a huge singalong moment.
She closes the main set with a song about not liking famous people called ‘Chateau’. The track unfolds slowly and confidently, its final moments drenched in reverb and crowd singalongs. As the lights dim, it feels less like the end of a concert and more like the end of an over-sharing late-night conversation with several hundred close friends.
Hobert returns for an encore of ‘Sue Me’, delivering it with chaotic confidence and the audience jumps around wildly shouting every lyric at the top of their lungs. She then launches into ‘Silver Jubilee’, one of the evening’s most euphoric moments.
Without even telling the audience what to do next, everyone already knows that the final reprise of ‘Sue Me’ requires everyone in the audience put their phones away. In an era where concerts often feel filtered through dozens of glowing screens, the sudden absence of phones changes the atmosphere entirely and it transforms the show into something genuinely memorable – no cameras, no endless documentation, no immediate upload cycle. Just several thousand people existing together for four minutes inside Audrey Hobert’s strange, funny and deeply human universe.
Words by Michael Prebeg
News: Melbourne International Jazz Festival Reveals First 2026 Artists: Dee Dee Bridgewater, Tigran Hamasyan, The Bad Plus, Aja Monet and Kris Davis Trio
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News: ALWAYS LIVE TAKES VICTORIAN VIBES TO BENDIGO
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News: Great Southern Nights again lights up venues, stages and communities with live music across NSW
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Live Gallery: The Waterboys
The Waterboys
Palais Theatre
May 16th 2026
The Waterboys are a rock band formed in 1983 in London by Scottish musician and songwriter Mike Scott. The band’s membership, past and present, has been composed mainly of musicians from Britain and Ireland, with Scott being the only constant member. Over a four-decade career, the band has drawn on multiple styles of music including punk rock, rock and roll, folk music (in particular Irish and Scottish music), Celtic soul, noise rock, country music, rhythm & blues and chamber music.
Last night they performed to a sold out crowd in Melbourne at the iconic Palais Theatre. Accompanying them was artist Ella Hooper who performed with Lucy Grash; who helped showcase Ella’s new county sound.
Behind the lens,
Cjay Perros
Ella Hooper
The Waterboys
Interview: IMPERATOR on new Exhumed album
“There are no gods here — only the machine.”
27 Magazine caught up with the “Commander in Chief” of futuristic dystopian machine music, IMPERATOR (Giuseppe Scaturro), to chat about his new project and capture some behind-the-scenes moments in his Sydney studio.
“IMPERATOR emerges from the ashes of SNVFF with a sound that feels feral, futuristic, and unapologetically raw. Blending industrial DnB with environmental textures and bleeding-edge tools, the project pushes into territories both mechanical and deeply human. This is an artist standing at the edge of their own abyss and choosing to step forward.”
1. Given the legacy you built with the industrial duo SNVFF, how did the sound and vision for IMPERATOR begin to take shape? Was there a specific moment where you knew it was time for a new creative chapter?
SNVFF was a necessary crucible – loud, chaotic and full of lessons I needed to learn. By the end of that era I was already drifting into darker territory, obsessing over the precision and brutality of neurofunk drum & bass. I could feel that shift in my body long before I had the technical ability to execute it.
I locked myself in my studio and tore everything down to rebuild from scratch. No boundaries, no expectations, just pure, unfiltered creation. That’s where IMPERATOR was born. It now feels like the truest expression of my artistic instinct: sharpened, deliberate and impossible to ignore.
It’s like conjuring something feral, bloody-nosed, teeth coming in, already screaming to evolve. I’m standing at the edge of an entirely new universe with this project and I’m hungry to keep pushing further.
2. Exhumed conjures futuristic industrial DnB landscapes. Beyond the genre itself, what specific influences whether film, literature or other artists helped you manifest that distinctive sound?
A lot of the DNA in Exhumed comes from the worlds I disappear into. Video game soundtracks, cinematic scores and artists who reshape sound into something visceral. But truthfully, my influences are far stranger and less predictable than any simple list. Inspiration strikes from anywhere: the metallic groan of distant construction, the low-frequency hum of a subway, the uneasy silence of a forest, or some buried noise in my mind finally clawing its way out.
Those accidental, environmental and subconscious textures shaped Exhumed just as much as any direct musical reference. I’m collecting ghosts of sounds and stitching them into something mechanical, hostile and unmistakably alive.
3. When you sit down to create a new track for IMPERATOR, what does that initial spark look like? Do you start with rhythm, sound design, or melody? And can you share a bit about your preferred tools and software?
For me the initial spark rarely begins with a neat pre-packaged idea. Most of the time it ambushes me. Some instinctive hit that pulls me back into Ableton. I usually begin with the beat and bassline because that’s where the pulse is. Once the foundation feels alive, I build the world around it. Melodies tend to come last, they’re the final piece after the visceral core has been fully fed.
A major part of my recent process has involved resampling artificially generated vocals paired with lyrics I write myself. I know it’s controversial and I understand why people are cautious. But for me it’s never been about replacing anything human. It’s about expanding the palette of what’s possible.
I’d hit a creative wall for almost four years. Trauma completely shut down my ability to write and I felt disconnected from the craft that once defined me. Experimenting with AI-driven tools became a bridge back into making music. Not a shortcut, but a way to unlock ideas I couldn’t access at the time.
People fear AI because they assume it erases the human element, but that’s not how it feels to me. It feels more like a new instrument. One capable of pushing sound into unfamiliar territory. Technology has always changed the way artists create.
For me AI isn’t about replacing human expression. It’s a collaborator that helped me reconnect with creativity. I understand if that makes some people hesitant to engage with the project. I genuinely respect that perspective. But my intention has always come from an honest place, reconnecting with creativity in a way that feels exciting, meaningful and genuinely fun again.
4. Now that Exhumed is out what’s next on the horizon for IMPERATOR? Can fans expect a tour, music videos or another release already in the works?
For now I’m keeping IMPERATOR in the shadows underground, unpolished and exactly where it should be. I’m still testing the waters while willingly diving into the River Styx. This project scares me in a way that feels alive and there’s always the possibility I could slip back into the void just as quickly as I emerged. That uncertainty is part of its heartbeat.
A live experience is absolutely calling to me. I already know how it would look, how it would breathe, but there are no official tours or music videos announced yet. What may surface soon is a proper release ritual: something intimate, intense and not easily forgotten.
And believe me, Exhumed is only the first ripple. If people want more I have entire worlds waiting beneath the surface. This is only the beginning.
5. Having established the sound world of Exhumed, where do you see IMPERATOR evolving on the next project?
There are no boundaries for where this sound can go. IMPERATOR was never meant to stand still. What I can say is this – the next chapter will be heavier, harsher and far less forgiving. I’m pushing into territory that feels almost alien, raw, unrestrained and completely out of this world.
This is a passion project in the deepest sense. Built from obsession, grief, tension, experimentation and catharsis. Not a search for purity, but a search for expression. A way of turning pain, memory and pressure into sound.
If Exhumed was the opening strike what comes next will be the rupture.
Exhumed releases June 1 exclusively on Bandcamp
Follow IMPERATOR
Instagram @imperator.au
(Interview and Photography by Josh Pike)
