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Living In The Land Of Oz

@litloo.bsky.social

Australian music news from 979fm's all-Australian program. 2-4pm Mondays Melbourne time. Plus new Australian music show I Like Your New Stuff Better Than Your Old Stuff, Wednesday at 10pm. Hosted by Lee-Roy

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'300 Tonnes Of Steel,' Cables, Flights & More: The Numbers Behind AC/DC's 2025 Australian Tour Tomorrow, the most anticipated rock and roll tour of the year begins in Melbourne. AC/DC are back home, and the country has well and truly powered up ahead of their return. * Get To Know The Opening Acts For AC/DC's Australian Tour With the shows about to begin, promoters TEG have unveiled some key statistics about the forthcoming tour and released new, last-minute tickets to all dates. “AC/DC is back on home soil with the POWER UP Tour, and Australia is in for an unforgettable experience,” said TEG Van Edmond promoter Christo Van Egmond. “After 10 years, the band is finally returning, and fans can expect nothing less than full-on, high-voltage rock and roll — this tour is going to absolutely rock!” Just how much will the tour rock? Here’s a breakdown of the numbers… So far, AC/DC has sold between 3.5 and 4 million tickets on their current world tour. Nine shows will take place in Australia, following two recent European tours and a recent North American run. After the Australian dates, the rockers will return to North America and then travel to South America. In late August, the production for AC/DC’s Australian tour was shipped from the UK in 26 sea containers, with the stages shipped in 48 sea containers for the two systems. Taking the production from city to city in Australia, the band have 26 trucks sending the main production across the country and 42 trucks – 21 for each stage system – also on the way. Additional numbers surrounding the tour include 300 tonnes of steel required to build the band’s production, approximately 28 tonnes of PA and speakers across the shows, three days to construct the stage, and one day for the production. Additionally, four hours are needed to break down the production post-show, and one-and-a-half days are required for the stage. The band also have 1,161 cases, carts, and pieces of truss transporting their equipment, which includes lights, audio, video, stage, instruments, wardrobe, and more. During one AC/DC stadium show, 500 kW of power will be consumed. The band will require 13,500 feet (approximately three miles) of mains cable for power, lighting, and audio, as well as 155 crew members – including local personnel – for the tour. The band required the “rough equivalent” of 750 total flights for the shows, with promoters having chartered 737 and A230 aircraft to transfer the band and crew between cities, also featuring domestic and international travel. Last-minute tickets have been released for all shows. Amyl And The Sniffers are special guests on all dates of the tour, with local acts joining in each city. AC/DC will also host local acts The Casanovas (Melbourne), Large Mirage (Sydney), Oscar The Wild (Adelaide), Southern River Band (Perth), and Headsend (Brisbane). AC/DC 2025 AUSTRALIAN TOUR DATES   Wednesday 12 & Sunday 16 November - Melbourne Cricket Ground - TICKETEK Friday 21 & Tuesday 25 November - Sydney Accor Stadium - TICKETEK Sunday 30 November - Adelaide BP Adelaide Grand Final - TICKETMASTER Thursday 4 & Monday 8 December - Perth Optus Stadium - TICKETEK Sunday 14 & Thursday 18 December - Brisbane Suncorp Stadium - TICKETEK Embedded Content

'300 Tonnes Of Steel,' Cables, Flights & More: The Numbers Behind AC/DC's 2025 Australian Tour

11.11.2025 02:22 — 👍 0    🔁 1    💬 0    📌 0
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Living In The Land Of Oz - November 10th 2025 November 10th 2025 edition of 979fm's all-Australian show Living In The Land Of Oz. See the playlist at https://3rim.radiopages.info/living-in-the-land-of-oz/2025-11-10

Listen back to today's show at
www.mixcloud.com/LivingInTheL...

10.11.2025 06:05 — 👍 0    🔁 0    💬 0    📌 0
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ARIA Awards 2025: presenters, performers. | TV Tonight Performers include Olivia Dean, Baker Boy, G Flip Missy Higgins with Amy Shark, Budjerah, King Stingray amongst presenters.
10.11.2025 14:50 — 👍 0    🔁 1    💬 0    📌 0
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GANGgajang Respond After 'Sounds Of Then' Used In 'Hateful Racist' Video Veteran Australian rockers GANGgajang have taken to social media to decry their most iconic song being used to further “hateful racist” viewpoints. Writing on Facebook on Monday, November 10th, the group explained that their 1985 single Sounds Of Then (This Is Australia) had been utilised “without our permission in a hateful racist 30 minute video.” “We will not mention the organisation responsible by name and ask that you do not search them out or give them any attention,” they wrote. “The video has been removed from YouTube and we’re taking every action possible to have it removed from all other platforms and online locations. “It’s deeply disturbing development for us and we ask for your support while we work this out,” they continued. “The band deplores the sentiment in the video and what the organisation stands for.” Embedded Content First released in 1985 as a single from GANGgajang’s self-titled debut record, Sounds Of Then has long been considered one of the most iconic Australian songs, thanks largely due to its vibrant lyrics capturing life in the country, and “This is Australia” chorus line. Despite its beloved nature, the song has clearly been adopted by those who have misconstrued the track’s lyrics to reflect viewpoints not shared by the band. It’s not the first time that Australian acts have had their iconic songs misappropriated in this manner. In late August, the widespread March For Australia rallies saw songs by Cold Chisel and Icehouse (including Flame Trees and Great Southern Land, respectively) used without permission by the artists who first performed them. “No approval was sought, and no permission was given, for the use of their works at the rallies,” said a spokesperson for both acts at the time. Those same rallies also saw the likes of West End Riot and Roll On by Melbourne outfit The Living End being played without explicit permission. “To be absolutely clear, the goals and philosophies of these marches are abhorrent to us, and we don’t support them in any way,” the band said in response. “The Living End's world view is about equality and we aim for our songs to be a positive influence. We believe in a fair go for everyone. Our songs are written to bring people together not to divide them, and especially not to be used in this way. “In summary: Fuck Nazis,” they concluded. Embedded Content

GANGgajang Respond After 'Sounds Of Then' Used In 'Hateful Racist' Video

10.11.2025 04:32 — 👍 0    🔁 1    💬 0    📌 0

Today's playlist
3rim.radiopages.info/living-in-th...

10.11.2025 04:59 — 👍 0    🔁 0    💬 0    📌 0
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TISM To Play Their Breakthrough Album In Full At Sydney Opera House One of Australia’s most iconic venues is about to meet one of the country’s most irreverent bands, with Melbourne’s masked mirthmakers TISM plotting their Sydney Opera House debut. The group – who mark their 43rd anniversary next month – will be hitting up the famed locale on Friday, April 10th. It will mark their the band’s first live appearance since November 2024, when they wrapped up their Death To Art Tour with a massive performance at the Hordern Pavilion, just a few kilometres away. With close to 400 live appearances having taken place across their storied career, this show will mark TISM’s debut show at the Sydney Opera House therefore, they’re ensuring it’s one to remember. The gig itself will be a celebratory one for the band, and will feature a full playthrough of their 1995 album, Machiavelli And The Four Seasons. Embedded Content Released on May 1st, 1995, Machiavelli And The Four Seasons was TISM’s third full-length record, and served as their commercial breakthrough. Harnessing a unique blend of electronic music and pub rock, the group’s subversive nature and satirical lyrics caught the attention of the Australian music public. Peaking at No. 8 on the ARIA Charts, the record went Gold, and even saw TISM take out Best Independent Release at the ARIA Awards that same year. Thanks largely to the success of singles such as (He’ll Never Be An) Ol’ Man River, Greg! The Stop Sign!!, and All Homeboys Are Dickheads, the album was an underground sensation that spilled out into the mainstream, and briefly put TISM on the radar of music lovers across the country. Earlier this year, the album was also the focus of full-length book as part of the Oceania edition of the long-running 33⅓ series of musical essays, and also received an expanded reissue on vinyl and CD, collecting B-sides and demos from the recording process. The forthcoming show will serve as a rare opportunity for the band’s devoted fanbase to hear many of the songs on the record for the first time since its release. It’s also the first time the band have taken a retrospective look at their discography and offered up a full run-through of an album, with such a concept almost seeming at odds with TISM’s own approach to cultural veneration. While follow-up albums such as 1998’s www.tism.wanker.com and 2001’s De RigeurMortis wouldn’t have the same impact as Machiavelli, TISM’s legacy has undeniably continued. Having split in 2004, the group would reform in 2022 for the Good Things festival, and released their first album in 20 years – Death To Art – in 2024, with a national tour taking place in support. Tickets to TISM’s upcoming Sydney Opera House show are on presale from Wednesday, November 12th, with a general sale taking place from 10am on Thursday, November 13th. Embedded Content TISM – Present Machiavelli And The Four Seasons Friday, April 10th – Sydney Opera House, Sydney, NSW

TISM To Play Their Breakthrough Album In Full At Sydney Opera House

10.11.2025 01:40 — 👍 3    🔁 3    💬 0    📌 0
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Voting Is Now Open For 4ZZZ's 50th Anniversary Hot 100 Brisbane community radio station 4ZZZ already secured impressive celebrations for its 50th anniversary, but it turns out that honouring the milestone will continue until the end of the year. This year, 4ZZZ will move its annual music countdown, the Hot 100, to coincide with its 50th birthday. So, on Sunday, 7 December, the radio station will celebrate the “spiciest, sweatiest” songs of the year, as voted by its listeners. 4ZZZ will keep the focus on the broadcast for the upcoming anniversary Hot 100, with more information set to be announced soon. Voting for the countdown opened on Friday (7 November) and closes at midnight on Sunday, 30 November, with strictly one vote per person allowed. Songs released between 1 November 2024 and 31 October 2025 are eligible to feature in the Hot 100. To have your say, head to the 4ZZZ website. If you’re a 4ZZZ subscriber, you’ll receive extra perks for the Hot 100 voting, with double weight in votes and save your shortlist and edit it another time. A notice about this year’s celebration reads, “The Hot 100 has been a mainstay of 4ZZZ’s identity for decades, beginning in 1976 (one of the first countdowns in the country!) “For one year only, we’re mixing up the date of our annual music countdown to coincide with our milestone birthday. On December 7th, we’re celebrating the 🔥SPICIEST, SWEATIEST TRACKS🔥 of the year– as voted by you, the listener! The birthday celebrations have been a mammoth project, and we couldn’t think of a better way to bring it home than a bit of good old-fashioned democracy.” In late October, 4ZZZ and local acts commemorated the community radio station by holding an epic concert at the Roma Street Parklands. Across two stages, clash-free live music took over for 4ZZZ - ZED50: A Market Day Celebration of 50 Years of 4ZZZ Radio. Acts who performed included The Saints 73-78, Regurgitator, Tropical Fuck Storm, Full Flower Moon Band, Screamfeeder, Platonic Sex, Velociraptor, and many others. 4ZZZ Chairperson Ruth Gardner said of the milestone anniversary and its celebrations: “This is more than a birthday—it’s a tribute to everyone who’s ever tuned in, turned up, or taken part.” Embedded Content

Voting Is Now Open For 4ZZZ's 50th Anniversary Hot 100

10.11.2025 00:43 — 👍 0    🔁 1    💬 0    📌 0
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Chris Cheney Responds After Metallica Paid Tribute To The Living End In Melbourne Throughout their M72 Australian tour, Metallica have paid tribute to local acts during lead guitarist Kirk Hammett and bassist Rob Trujillo’s “doodle” segment. In Perth, they played a snippet of the John Butler Trio’s Zebra, which led to Butler sharing a cover of Enter Sandman last week. In Adelaide, they honoured The Angels by playing Am I Ever Gonna See Your Face Again. So, fans in Melbourne waited with bated breath to hear which local band they’d pay tribute to. On Saturday (8 November), Hammett and Trujillo kicked off their doodle with a teaser of INXS’s Don’t Change, before revealing the local act they’d honour in Melbourne: The Living End. The pair launched into the punk rock classic; the bass and guitar interplay was thrilling, and Trujillo got the crowd shouting when he started singing the lyrics. While The Living End shared footage of the cover on their Instagram Stories on Saturday and Sunday, fans were likely waiting for a cover in return, like John Butler, or a reaction. Lead singer Chris Cheney satisfied fans’ wishes. Taking to social media, he shared a story about when The Living End lost a Battle of the Bands competition to a group that played Metallica’s Enter Sandman and expressed how funny life turns out. Cheney wrote: What even??? 1992 Wheelers Hill High School held a battle of the bands. The newly formed Runaway Boys entered and played (naturally) Rock this town by The Stray Cats. It was pretty good; I thought we might even have it in the bag. The band after us had other ideas. They were called Texas Rose and proceeded to play a super version of ‘enter sandman’ by @metallica which was far more appealing to the audience and judges than our happy days get up and rockabilly licks! They simply stole the show and won. If I wasn’t bummed enough already, the bass player came up to me afterwards with a big grin and said “hehe we beat you!” Ouch! Well guess what mother fucker, Metallica are now covering our song in front of 50,000 people! Stick that in your pipe and smoke it! Funny old life innit.  @thelivingendaus 🤘⚡️⚡️ You can watch the cover and check out Chris Cheney’s reaction below. The Living End began their I Only Trust Rock ‘n’ Roll Australian tour on Saturday. For the shows, the band are highlighting their new album of the same name, as well as honouring their self-titled debut album by playing it in its entirety. Metallica continue their Australian tour in Brisbane (Wednesday, 12 November) and Sydney (Saturday, 15 November). The tour marks their first shows in Australia since headlining Soundwave Festival in 2013 and sees the American metal icons joined by special guests Evanescence and Suicidal Tendencies. Embedded Content Embedded Content Embedded Content

Chris Cheney Responds After Metallica Paid Tribute To The Living End In Melbourne

09.11.2025 23:47 — 👍 0    🔁 1    💬 0    📌 0
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Split Enz Announce 'Forever Enz' 2026 Australian Tour Two months after it was announced that Split Enz would reunite for the first time in nearly two decades to headline New Zealand’s Electric Avenue festival, the band have revealed 2026 Australian shows. This morning, it was announced that Split Enz are one of the headlining acts for next year’s Bluesfest, the Byron Bay festival unveiling its first artist announcement. Along with headlining Bluesfest, the iconic New Zealand/Australian rockers featuring key members Tim Finn, Eddie Rayner, Neil Finn, and Noel Crombie, plus Matt Eccles on drums and James Milne on bass, will reunite for the Forever Enz tour in May 2026. The tour begins at Melbourne’s Rod Laver Arena on Wednesday, 13 May. It continues at Sydney’s ICC Theatre on Monday, 18 May, Perth’s RAC Arena on Friday, 22 May, and the Adelaide Entertainment Centre on Monday, 25 May. A partner pre-sale will take place on Wednesday, 12 November, at 11 am local time, ahead of the Live Nation pre-sale on Friday, 14 November, at 12 pm local time, and will conclude on Monday, 17 November, at 11 am. The general sale begins on Monday, 17 November, at 12 pm local time via the Live Nation Australia website. Embedded Content Formed by Tim Finn in New Zealand in 1972 before relocating to Australia in 1975, Split Enz are behind some of the most beloved hits of the ‘70s and ‘80s, including I Got You, Message To My Girl, Six Months On A Leaky Boat, History Never Repeats, One Step Ahead, and many more. Split Enz disbanded in 1984 and have only periodically reunited for tours and special events, including the 2009 Sound Relief concert, which, coincidentally, was the band’s last show in Australia. This year marks the 50th anniversary of Split Enz’s debut album, Mental Notes, which the band celebrated by releasing the first instalment of a landmark archival project, ENZyclopedia Volumes One & Two. Presented by Live Nation by arrangement with WME SPLIT ENZ FOREVER ENZ TOUR - AUSTRALIA 2026   Wednesday 13 May - Rod Laver Arena, Melbourne Monday 18 May - ICC Theatre, Sydney Friday 22 May - RAC Arena, Perth Monday 25 May - Entertainment Centre, Adelaide Split Enz will also headline Byron Bay Bluesfest in April 2026. Embedded Content

Split Enz Announce 'Forever Enz' 2026 Australian Tour

09.11.2025 20:56 — 👍 1    🔁 1    💬 0    📌 0
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Split Enz Lead Massive Bluesfest 2026 Line-up Reveal After teasing and a significant build-up of hype on social media, Bluesfest has unveiled its stacked first artist announcement for next year’s program. Leading the charge are New Zealand/Australian music icons Split Enz, who will perform Down Under for the first time in 20 years next Easter. Split Enz will be joined by another 34 legends from Australia and across the globe, including the genre-defying Earth, Wind & Fire, and ska punk heroes Sublime. Elsewhere, the line-up confirms that, along with their already-announced, in-demand Australian tour dates, Counting Crows will perform at Bluesfest 2026. Celtic punks The Pogues also appear on the line-up, alongside Marcus King Band, The Black Crowes, Buddy Guy, Kenny Wayne Shepherd Band, and others, with Jerry Harrison (Talking Heads) and Adrian Belew (King Crimson) bringing their show, where they’ll perform Talking Heads’ classic Remain In Light in its entirety, to Australia for the first time. Representing Australia at Bluesfest 2026 is yet another diverse array of artists, from punk rock (The Living End) to soul (Xavier Rudd) to hypnotic indie-folk (The Dreggs), rock and roll (The Southern River Band), and festival favourites (Pierce Brothers). You can check out the full artist announcement below. Embedded Content Returning for its 37th edition, Bluesfest will be held at its home of Byron Bay over next year’s Easter Weekend: Thursday, 2 April, to Sunday, 5 April. Tickets to Bluesfest 2026 are available now via the festival website. “Our Bluesfest announcement today is a pearler - it’s a beauty. 7 Tours announced AND Bluesfest,” said Festival Director Peter Noble OAM. “Split Enz will be doing their first Australian show since 2006, right here at Byron Bay Bluesfest. Yep, here we go! With 25 platinum and seven gold albums to their name across Australasia, Bluesfest fans will be the first to see them play in Australia following their triumphant return show in New Zealand,” Noble continued. “And that’s just the start. Split Enz will be delivering hit after hit after hit. Think I Got You, Message To My Girl, Six Months In A Leaky Boat. Legendary Rock and Roll Hall of Fame band Earth, Wind & Fire, think Shining Star, After the Love Has Gone, September - it’s no wonder Earth, Wind & Fire have sold more than 100 million albums, making them one of the best-selling artists of all time. “All up, the artists in this announcement have collectively sold around 180 million albums. The Black Crowes - 30 million, Counting Crows – 20 million, Sublime – 20 million – and the list goes on. Between them, they’ve earned 58 platinum and 43 gold albums, plus an extraordinary number of awards, including nine GRAMMYs for Earth, Wind & Fire and nine GRAMMYs for the greatest living bluesman, Buddy Guy. “Who would have thought we’d see Buddy Guy return after what was billed as his farewell tour just a few years back? When the opportunity came to present him again - well, I took it.” Embedded Content Noble also discussed “major improvements” punters will find at the festival site. He added that the Bluesfest main stage will have a “bigger venue footprint,” while across the ground, there’ll be new seating zones and undercover areas for campers and chairs, situated both indoors and outdoors. Bluesfest 2026 will also arrive with more buses in more areas. Noble concluded, “This is just the first announcement. Enjoy this one - and we can’t wait to see you at Byron Bay Bluesfest 2026, Easter Weekend.” Earlier this year, Bluesfest held its 36th edition of the event, with Noble confirming on the ground that what was once the festival’s final outing would return in 2026. And what a line-up the team has booked for next year. BYRON BAY BLUESFEST 37TH FESTIVAL EASTER 2026 – APRIL 2 - 5 APRIL 2026 FIRST ARTIST ANNOUNCEMENT: SPLIT ENZ  EARTH, WIND & FIRE • SUBLIME  THE BLACK CROWES • BUDDY GUY  COUNTING CROWS • THE POGUES • MARCUS KING BAND JERRY HARRISON & ADRIAN BELEW “REMAIN IN LIGHT” THE LIVING END • XAVIER RUDD MENTAL AS ANYTHING • MARK SEYMOUR  KENNY WAYNE SHEPHERD BAND ROBERT RANDOLPH • TAJ FARRANT SKEGSS • THE DREGGS • SOUTH SUMMIT THE SOUTHERN RIVER BAND • 19-TWENTY CHAIN • BACKSLIDERS • PIERCE BROTHERS ÁINE TYRRELL • RAY BEADLE • STEVE POLTZ • DANIEL CHAMPAGNE • NIK WEST (exclusive) • ROSHANI • ANGELIQUE FRANCIS (exclusive) JOVIN WEBB (exclusive) • Z-STAR BEN CATLEY • LAID BACK COUNTRY PICKER (exclusive) Embedded Content

Split Enz Lead Massive Bluesfest 2026 Line-up Reveal

09.11.2025 20:56 — 👍 2    🔁 2    💬 0    📌 0
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John Laws, Australian radio’s ‘Golden Tonsils’ who dominated airwaves for six decades – obituary Unapologetically provocative broadcaster’s ability to connect with his audience significantly influenced talkback radio At his peak, the Australian talkback legend John Laws was one of the highest-paid radio broadcasters in the world. Over his more than six-decade career, it seemed at times that everything he touched turned to gold. He was dubbed the “Golden Tonsils” by his fans for his rich, melodious timbre. Everything from his golden microphone and chunky golden rings to his skyrocketing ratings and the advertising revenue he generated glowed. Laws, who has died aged 90, began his career in regional Victoria as an 18-year-old and grew to inspire a huge and devoted audience, but also condemnation for his role in the “cash-for-comment” scandal and other controversies. To his loyal listeners, Laws was a voice who heard their concerns and spoke up for them. He became immensely influential, securing the friendship of politicians and stars. Continue reading...

John Laws, Australian radio’s ‘Golden Tonsils’ who dominated airwaves for six decades – obituary

09.11.2025 09:52 — 👍 5    🔁 1    💬 5    📌 1

This week's edition of Jeff Jenkins' all-Australian column "Howzat!" is now on-line at www.livinginthelandofoz.com/howzat.html

09.11.2025 00:32 — 👍 0    🔁 0    💬 0    📌 0
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Presenters & Performers Confirmed Ahead Of 2025 ARIA Awards We’re less than two weeks away from the 2025 ARIA Awards, and today, performers and presenters have been added to the itinerary. Joining the already-confirmed British superstar Olivia Dean, making her ARIA Awards performance debut, are homegrown musicians such as Alex Lahey, Teen Jesus And The Jean Teasers’ Anna Ryan and Neve van Boxsel, Baker Boy, G Flip, Spiderbait’s Janet English, Keli Holiday, Kita Alexander, Missy Higgins, Thelma Plum, Touch Sensitive, You Am I, and Young Franco. Embedded Content In addition to the performers mentioned above, the 2025 ARIA Awards will be home to an epic showcase of Australian R&B, with this year’s nominees for Best Soul/R&B Release – Boy Soda, Larissa Lambert, PANIA, Jerome Farah, and Jacotene – set to join forces alongside a 15-piece band for an unforgettable performance. Presenters Tim Blackwell and Concetta Caristo will also be in illustrious company, with performers, journalists, and entertainers joining them on stage to present 29 awards to artists throughout the evening. Additional presenters include Amy Shark, Budjerah, Dom Dolla, Josh Pyke, Kacey Musgraves, Kate Ceberano, Kaylee Bell, King Stingray, Kobie Dee, Meg Washington, Melanie Bracewell, Mia Wray, Sosefina Fuamoli, Tim Nelson and Sam Netterfield (Cub Sport, 2charm), Tyra Banks, and Vidya Makan. The award ceremony will be held at Sydney’s Hordern Pavilion on Wednesday, 19 November. You can watch the evening unfold from 5 pm AEDT on Paramount+. Channel 10 will also air the Red Carpet from 7 pm AEDT, followed by the award ceremony after Big Brother. Embedded Content ARIA CEO Annabelle Herd commented on the performers and presenters, explaining that the line-up spotlights “a part of our story, one that’s deeply local but heard all over the world.” “Diversity, emotion, raw talent and constant evolution all make Australian music so powerful, and that’s exactly what we’re celebrating in this incredible line-up of artists,” Herd said. “Each performer and presenter joining the stage represents a part of our story, one that’s deeply local but heard all over the world.” Herd added, “With Spotify’s partnership, the Hordern Pavilion will once again be the beating heart of Australian music’s biggest night, connecting fans, artists, and the industry in a true celebration of the amazing achievements this industry is capable of.” Spotify AU/NZ Managing Director, Mikaela Lancaster, added: “AusMusic month is underway, and Australian music has never sounded louder or prouder. “This year’s ARIA Awards line-up is stacked with incredible performers and presenters who embody everything that makes our industry so special - creativity, community, and a fearless drive to share our stories with the world. Spotify is proud to support the 2025 ARIA Awards. It’s going to be a night to remember.” Embedded Content

Presenters & Performers Confirmed Ahead Of 2025 ARIA Awards

08.11.2025 23:04 — 👍 0    🔁 1    💬 0    📌 0
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Amyl And The Sniffers Score Their First Grammy Award Nomination Amyl And The Sniffers have scored their first-ever nomination for the Grammy Awards, joining the illustrious company of Tame Impala, who receive their sixth nod. * Kendrick Lamar & Beyoncé Win Big At 2025 Grammy Awards With U Should Not Be Doing That, Amyl And The Sniffers were nominated in the stacked Best Rock Performance category. They join Linkin Park (The Emptiness Machine), Turnstile (NEVER ENOUGH), Paramore’s Hayley Williams (Mirtazapine), and Yungblud for his Ozzy Osbourne tribute, Changes, recorded live from Villa Park for Black Sabbath’s Back To The Beginning farewell concert. For that performance, Yungblud was accompanied by rockers Nuno Bettencourt, Frank Bello, Adam Wakeman and II. Meanwhile, Tame Impala have received their second nod in the Best Dance/Electronic Recording category—at this year’s Grammy Awards, Kevin Parker took home his first Grammy following Justice’s win in the category for Neverender, featuring Tame Impala. This year’s Best Dance/Electronic Recording nominees also include Disclosure & Anderson .Paak (No Cap), Fred again.., Skepta & PlagueBoyMax (Victory Lap), Kaytranada (Space Invader), and Skrillex (Voltage). The nominees for the 2026 Grammy Awards were announced this morning through a live stream on the official Grammys YouTube channel. Next year’s awards will be held on Sunday, 1 February, at the Crypto.com Arena in Los Angeles. The ceremony will be broadcast on CBS and available to stream on Paramount+. The 2026 Grammy Awards top nominees are Kendrick Lamar, who’s nominated for nine awards including the big ones: Record of the Year, Album of the Year, Song of the Year, and Best Rap Album, followed by Lady Gaga, with seven nominations to her name including Record of the Year, Album of the Year, Song of the Year, and Best Pop Vocal Album. The complete list of Grammy nominees is available to view here. Embedded Content Embedded Content

Amyl And The Sniffers Score Their First Grammy Award Nomination

07.11.2025 23:19 — 👍 1    🔁 1    💬 0    📌 0
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Spicks & Specks: Nov 9 | TV Tonight Guests: Miss Kaninna, Tommy Little, Don West, Geraldine Hickey, Justine Clarke and Montaigne.
08.11.2025 04:57 — 👍 1    🔁 1    💬 0    📌 0
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January 1996 @ The Tote:
Rex /w Bambi Kino + Jericho, Mississippi Barry's Big Fluffy Combo /w Chapter 14 + High Pass Filter, Sunset Strip /w Testeagles + The Midget Stooges, Musket /w Chiairoscuro + Late Mail, Asteroid B-612 /w The Saucermen + The Sub Zeroes

07.11.2025 06:06 — 👍 1    🔁 1    💬 0    📌 0
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January 1996 @ Arthouse:
Cinnabar /w Spewburp + Altered Ego + Undertoe, Brian /w Cheezlekane + McGarrett, Mindsnare /w Crank + Caustic Soda + Self Reliance, One Inch Punch /w Crank + Silpheed + Fahrenheit 451, Bodyjar /w Crank + Trevor + Myside, Tinker's Will

07.11.2025 06:03 — 👍 1    🔁 1    💬 0    📌 0
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Friday Flashback: YTT: At home with the Minogues | TV Tonight A young Kylie and Danielle Minogue at home preparing for their 1986 duet, "Sisters Are Doing it For Themselves."
07.11.2025 17:19 — 👍 1    🔁 1    💬 0    📌 0
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Paul Kelly Thrives As Australia's Iconic, Resolute Storyteller On 'Seventy' It's a statement that could apply every time we need to buy a new calendar, but it's been a rather big year for Paul Kelly. In the last few years alone, the venerated musician has wrapped up his biggest tour to date, playing arenas around the country; he's released a sequel to one of Australia's most beloved and resonant songs; he's nabbed a pair of ARIA Award nominations for 2024 record Fever Longing Still; and now, he's released his new album, Seventy. Speaking to The Music, Kelly concedes that maybe a bit of downtime should finally be on the cards. "I'm looking forward to – around next May or June – taking a bit of a break," he admits. "It's been a busy time; a couple of records in the last two years and a big tour. And now we've got the Red Hot Summer Tour coming up.  "But that was sort of always the plan, just to get these records out, do a lot of shows, and then take a break for a while." Put simply, if anyone in the Australian music industry deserves a break, it's Kelly. After all, Seventy marks his 30th studio album in 44 years, and with close to 50 years spent performing around the world, one could forgive him for taking his time to release new music. Embedded Content As he speaks days out from the album's release, Kelly admits that all these years in the game haven't dampened the level of excitement he feels at sharing a new record with the world. "I always feel excited," he admits. "This is sort of my favourite part of my job, that little period between the records done and before it comes out. It's like sitting on a secret." That secret, Seventy, is arguably one of the year's finest records. At its core, it's a record based around the importance of storytelling, Kelly's mastery of the concept, and the cultural and societal resonance of such a practice. Opening and closing with two parts of the track Tell Us A Story, it instantly leans into Kelly's bread and butter as a musician – crafting tales that speak to the heart and soul of its listener. By his own admission though, it's hard to say whether Kelly views himself as more of a musician or a storyteller, first and foremost. "I'm not a musician like, say, everyone in my band is," he notes. "I wouldn't really be that much good in someone else's band. I'm a pretty basic guitar player, very basic piano player, but I've got a knack for making up melodies. "So I would call myself a songwriter more than a musician, but broadly, of course I'm a musician.  But I'm not really a highly-skilled musician. "I know a few chords," he laughs, "and it's funny how many songs you can write with the same chord over and over again." You'd be hard-pressed to find an Australian music fan that would agree that Kelly isn't a highly-skilled musician, however, solely based on the vague definition of terms. But an album like Seventy helps to showcase just how strong his songwriting skills truly are. Like most songwriters, Kelly admits there's no real code to crack when it comes to the songwriting process – it's all about tackling the opportunity when a song presents itself. "Writing a song is always uncertain," he explains. "I might be all day trying to write a song, playing around on the guitar or piano and coming up with ideas. And then you don't necessarily get a song – the song always comes at you sort of sideways "So you've got to be working away at it for that to happen. You've just got to turn up and then hope it happens. It's hard to plan songs, but often the way I do a song is just playing an instrument, playing around, and getting some chords that feel good, but most of the time songwriting is being stuck.  "Nothing much is happening, then every now and then something happens and you think, 'Great, we're off,'" he adds. "Then you're hunting down a song. But it's sort of out of your control." Embedded Content Across the record's 13 songs, Kelly's songwriting sees him approaching varied topics. There's life, there's death, there's everything in between.  There's the joy of discovery new paths as yet untravelled, a track written to and named for his granddaughter, and there's myriad sources that inform the works, whether it be The Lord Of The Rings, and anthem of French resistance, the Japanese television series Shogun, and a book by Dutch psychiatrist Bessel van der Kolk. Two songs of note, however, aren't written by Kelly, though their seamless way of fitting into the record underlines his literate and poetic approach to the record. Those songs – The Magpies, named for a work by New Zealand poet Denis Glover; and Sailing To Byzantium, named for a work by Irish poet W. B. Yeats – use their source material in full and are set to music by Kelly and his band. But what was it about their work that impacted Kelly enough to utilise them for the record? "I started writing, putting poems to music about 12 years ago and realised this is another way to write songs," he explains. "Especially when you put other people's words to music, because for me, words are the hardest part. So when you've got a set of words that you already think are really good and you put music to it, I mean, half your job's done. "I find melody and music pretty, pretty easy, but words are always the slowest and hardest part. So to have a great set of lyrics to start with, you're well on the way.  "I've loved a lot of Irish poetry over the years, so Yeats has always been a favourite of mine. Some poems, you look at them straight away and it's like a song lyric. Glover's is very much like a song lyric, especially with the funny little repeating line where he tries to imitate the sound of the magpie; 'Quardle oodle ardle wardle doodle.' "It was exciting for me when I realised I could start with the words first and write songs because I found a new way to write songs," he adds. "And for any writer who has managed to find a way to break their own habits, it's all you can ask for." Embedded Content One of the most notable pieces of songwriting on the record comes by way of Rita Wrote A Letter. A sequel to Kelly's enduring classic How To Make Gravy, the song was teased by way of a public notice in the August 11th edition of The Age newspaper in Melbourne which made mention of the passing of Joe, the main character in Kelly’s song. In How To Make Gravy, Joe writes to his brother, Dan, while incarcerated ahead of the family’s traditional Christmas meal. Joe used to make the gravy for the occasion, but in the song, he makes it in prison. He also asks Dan to look after his wife, Rita, and their children. If the original bittersweet piece of writing that tugs at the heartstrings of all who have experienced loss and longing during the festive season, surely its embrace by the general public would give Kelly some level of pause when it comes to continuing the story? "Oh, no, not at all," Kelly says swiftly. "I've been wanting to write one for a long time. About five or six years ago I thought, 'I'd like to write a sequel to that song more from Rita's point of view,' because she just gets a passing mention in the original. "So I wrote it down, five or six years ago, Rita Wrote A Letter. I just wrote it down in my notebook and thought, 'Well, that's the title. There's a song title right there.' I scratched away, then came back to it over the years. Nothing  much happened until my nephew Dan came over the house with that piano riff that became the basis of the song.  "I started singing along to it and then that's when the words came," he adds. "I hadn't realised that I was going to kill Joe off, but the very first lines I wrote were, 'I really don't know how I'm talking/Six feet down under the ground,' and I thought, 'Oh, here we go. Am I really going to follow this up?" Pairing a level of Shakespearean darkness and light in his writing, the result is a track that does find itself a little more light-hearted than the original presents itself as. Though it's fine to write a sequel to a beloved song, the real test is bringing it to the people. "We started playing it at the arena shows we did in August and September, and it's been going down really well," he admits. "I did have some apprehension about how people would receive it, because I know a lot of people feel quite attached to the original song, the characters and, I thought people were going to be upset that I've killed Joe off.  "But I can't worry about that. If they get upset, I can't do much about that. And if they don't like it, they don't have to listen to the song. But I sort of realised pretty quickly, 'Well, I haven't really killed Joe off 'cause he doesn't shut up.' "Rita gets to her side of the story, but it's only in the chorus. Most of the song is Joe talking, and he is still talking as the song fades out. So I haven't really killed Joe off at all – he just keeps on going." Embedded Content While Seventy itself references the current age of its creator, it's also a full-circle album of sorts. The album cover, shot by Dean Podmore, is an homage to a 1988 Jon Lewis portrait of Kelly, while an upcoming one-off show at Melbourne's Corner Hotel is where Kelly – a regular of the bar at the time – received the inspiration for his hit song Dumb Things. Though the album has its roots in the past, it still looks forward with ease, capturing Kelly crafting work which, while varied and unique, is wholly representative of the journey he's taken us all on over these past decades. "I sort of see the record as a bit of a pair with last year's record, Fever Longing Still, which is also very varied," he explains. "I still like the album as a concept, and one of the things I really like about making an album is crafting the sequence and choosing the songs. We've got a diverse group of songs musically, but I always enjoy finding the connections between them and then making an album. "I understand that people are just going to listen to songs any which way, but I still want to make albums that if people do take the time to listen to in sequence from start to finish, they'll be rewarded in a way that's different from just hearing songs individually. "We've got the little bookends on this one, Tell Us A Story, and that sort of encompasses all the storytelling within the record," he continues. "There are a lot of songs that connect to each other. Happy Birthday, Ada Mae is sung to a child, and then the last verse mentions a bird, and then the next song is called The Magpie.  "So I'm always trying to make these little connections between the songs, and that's sort of what I'll continue to do." Paul Kelly’s Seventy is out now. Tickets to his upcoming show at Melbourne’s Corner Hotel are on sale from 11am on Sunday, November 9th. Embedded Content Paul Kelly – Down On The Corner Tuesday, November 11th – The Corner Hotel, Melbourne, VIC

Paul Kelly Thrives As Australia's Iconic, Resolute Storyteller On 'Seventy'

07.11.2025 05:16 — 👍 0    🔁 1    💬 0    📌 0
Preview
Beddy Rays Cover A Song That Shouldn't Be Touched... And It's A Roaring Success Beddy Rays have gone and covered the song that shouldn’t be covered: Cold Chisel’s Khe Sanh. And with the nation’s eyes on them, the rockers understood the assignment and smashed it. For their cover on triple j’s Like A Version, guitar and harmonica solos were abound, with the group ditching the piano intro for a punchy guitar instead. With guitar and bass riffs at the forefront, Beddy Rays brought a fresh, punk rock twist to an Aussie classic that would have Beddy Rays and Cold Chisel fans alike proud of their take on the song. The only issue? The cover is so good that punters might just beg Beddy Rays to cover Khe Sanh every night. Discussing their song choice, the band explained that you have to choose a “big” track if you’re going to perform for Like A Version, and for their return to the triple j studios, they presented a version of one of their favourite Australian songs. Beddy Rays also described Khe Sanh as being from a “golden era” of Australian rock music. Lead singer Jackson “Jacko” Van Issum added that Khe Sanh is one of those songs he “grew up with”—a song that blasted in the car on drives with his dad; a song he recalls hearing on Cold Chisel’s greatest hits album. Guitarist Lewis “Lewy” McKenna also outlined his personal relationship with the track, which included Khe Sanh “going down a treat” at his dad’s 50th birthday party. You can check out Beddy Rays’ Like A Version and their interview about the track below. Yesterday (6 November), Beddy Rays announced a massive regional tour for early 2026 in support of their latest album, Do What You Wanna. Tickets are available now via the band’s website. Do What You Wanna showcases a sound that nods to the early eras of punk and indie rock icons like Green Day and Weezer while embracing the melodic expansiveness of bands like Catfish and the Bottlemen. It’s a natural evolution for the Queensland rockers, though, not straying too far from the slapstick indie-rock they’re known for. Beddy Rays Do What Ya Wanna - Regional Tour 2026 Wednesday 8 January – Edge Hill Tavern – Cairns, QLD Thursday 9 January – Dalrymple Hotel – Townsville, QLD Friday 10 January – McGuire’s Hotel – Mackay, QLD Friday 16 January – Solbar – Maroochydore, QLD Saturday 17 January – A & I Hall – Bangalow, NSW Wednesday 29 January – La La La’s – Wollongong, NSW Thursday 30 January – The Marlin – Ulladulla, NSW Friday 31 January – Fun Time Pony – Canberra, ACT Friday 13 February – Torquay Hotel – Torquay, VIC Saturday 14 February – Pelly Bar – Frankston, VIC Friday 21 February – Darwin Railway Club – Darwin, NT Friday 28 February – Middies Festival – Albany, WA Saturday 1 March – Dunsborough Tavern – Dunsborough, WA Embedded Content Embedded Content

Beddy Rays Cover A Song That Shouldn't Be Touched... And It's A Roaring Success

07.11.2025 04:19 — 👍 1    🔁 2    💬 0    📌 0
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Manifesting & Joking On Tour With Pearl Jam: Teen Jesus And The Jean Teasers Embrace Their ‘GLORY’ Era Teen Jesus And The Jean Teasers singer Anna Ryan has been manifesting some out-of-this-world goals, and, so far, it’s worked. From touring with huge international names to headlining the group’s “dream” venue in Melbourne next year, it’s a good time to be the singer of one of Australia’s hottest bands. This week, the Canberra four-piece release their hotly awaited second album, GLORY, after hitting the road with Pearl Jam and Foo Fighters and selling out their own headline shows. Opening up about the Australian tour support slot for Pearl Jam, Ryan says the band “couldn’t believe it.” “First of all, that they had asked us, that’s just silly,” they laugh. “That’s silly that they would do that! And then, when we played those shows, they made us feel so comfortable. I remember not really being that nervous for the shows because of the environment that they had made for us.” Recalling how frontman Eddie Vedder would introduce the group at the Australian shows and encourage punters to come in early, Ryan adds, “You just don’t expect that from the biggest band in the world. You don’t expect that sort of treatment, but they really did care about us and really looked after us, which was so nice.” Embedded Content And then, Pearl Jam invited Teen Jesus And The Jean Teasers to join them on tour in America, not long after Ryan made a joke about touring with the Seattle rockers again. Ryan muses, “I remember when our management called us up and they were like, ‘Guess who’s [going to America?]’ and I remember making a joke, being like, ‘Haha, imagine we get to go back on tour with Pearl Jam because they loved us so much.’ “And then our managers were like, ‘They loved you so much. They want you to come on tour in America.’ I remember being like, ‘This is ridiculous! Who’s in charge? Someone’s making a big mistake!’” Embedded Content Remembering that along with their bandmates, Teen Jesus And The Jean Teasers had “worked really hard” for an opportunity like that one, Ryan continues, “A lot of the time throughout our career, people have always been like, ‘Oh, you’re so lucky to go and travel and do these things and do all this stuff with a band.’ “And it’s like, when people say it’s all come down to luck, it’s a little bit annoying,” she admits, “Because it’s not luck. Like, we’ve put in a lot of time and effort into this band, and so it’s really nice when we get rewarded with these awesome shows and festivals. It’s like, ‘Damn, we did it. We did a good job.’” The treatment they received from Pearl Jam, and Eddie Vedder in particular, made Ryan appreciate them even more. “They went the extra mile, like taking the time to talk to us after shows, checking in on us, leaving us bottles of champagne, little notes, and we even got up on stage with them a couple of times! We sang a song with them, like, are you kidding me? What’s going on?!” Embedded Content All of those experiences—the wild, on-the-road tour stories, and the quieter, personal moments of reflection—powered Teen Jesus And The Jean Teasers on their new record. GLORY is an album brimming with empowering energy that explores themes of infatuation, disgust, and self-acceptance. Musically, the songs are widescreen indie-rock you can strut to, sing along to, and cry to. It proudly captures messy nights out, mascara smeared, and a phone battery on 1%. It’s eye rolls and Cher Horowitz-level sass. For album #2, Teen Jesus And The Jean Teasers teamed up with Australian-born, London-based Grammy Award-winning producer Catherine Marks (boygenius, Manchester Orchestra, Rise Against) and made a record that’s “completely us.” Together, the band and Marks holed up in a home studio on the Central Coast for five weeks, only coming up for air to tune into Married At First Sight and spend time with family. In addition to Marks, GLORY was mixed by Grammy Award-winning Oli Jacobs (Kendrick Lamar, beabadoobee, Taylor Swift) and mastered by Ruairi O’Flaherty (Sabrina Carpenter, Lana Del Rey, Bleachers). On their new album, the band – Anna Ryan (they/she; vocals/guitar), Scarlett McKahey (she/her; guitar/vocals), Jaida Stephenson (she/her; bass) and Neve van Boxsel (she/her; drums) – have discovered their new greatest strengths. “We’re so excited to get this album out,” Ryan tells The Music. “I would say, on everyone's behalf, [GLORY is] the most proud of our music that we’ve been, and yeah, I think you can just tell how much we’ve grown as a band with this album.” Embedded Content The recording process for GLORY couldn’t be more different to their debut album, I Love You, and the songs mark a significant level-up from what the band had created before. For their debut album, Teen Jesus And The Jean Teasers essentially put out a majority of the songs they’d written over three to four years. Some were written while the group was still teenagers, while others came later, when their songwriting skills and experience had sharpened. That process made for a bit of a “disjointed” release, Ryan shares, and GLORY was more intentional. “It’s definitely different to I Love You because it’s a little bit more intentional from us,” they begin. “When we did I Love You, it was sort of wrapping up everything that we had ever written, basically, and just getting music out there. “It was sort of a little bit disjointed, like, there’s some songs from when we were, like, 17 years old, and then some songs we had just written. But that’s how it had to be, I think, for the first album. It had to just be [about] getting our music out there, and we were super happy with how it turned out.” Embedded Content They continue, “But with GLORY, we went into the studio for five weeks with countless demos and then had to decide which songs were going to be on the album and just worked through everything. It was the most intense five weeks. Picking all the songs to the album, working them out, recording them all in five weeks… everything is quite aligned on GLORY, like, it’s a whole journey from start to finish.” Since the release of their debut EP, Pretty Good For A Girl Band, in 2022, Teen Jesus And The Jean Teasers have made the triple j Hottest 100 twice (Girl Sports at #55, I Used To Be Fun at #52) and dropped their debut album, I Love You, in 2023, which landed at #6 on the ARIA Albums Chart, teaming up with Softcult and The Linda Lindas for the album’s deluxe edition, I Love You Too, in 2024. While the band have made waves with their music, Teen Jesus And The Jean Teasers are passionate advocates for women, non-binary people, and young people globally. They’re also ambassadors for Green Music Australia’s No Music On A Dead Planet campaign, performed during the Rising Tide campaign on Parliament House, opened up about the issues facing Australia’s live music industry before Parliament, and proudly support the Michael’s Rule initiative, which empowers international acts to book Australian artists on their tours Down Under. All the issues they support come to light on GLORY. Embedded Content On album opener WATCHING ME LEAVE, the band bring a Margaret Atwood-level twist to The Police’s Every Step You Take when they explore one person’s romantic gaze being a threat to someone else. Meanwhile, TURN AROUND delves into the contradictions of confidence and nerves, BAIT finds Teen Jesus And The Jean Teasers writing from the perspective of a terrible person: an ego-driven music industry man who believes he’s God’s gift to Earth, and DAYLIGHT is their clearest love song. Then, album highlight MOTHER “is for every beautiful, magical lady who’s been caught in the crossfire of a man pretending to be good. It’s about the built-up rage of watching incredible women being mistreated by inadequate men, over and over again, since the beginning of time.” In other words, it’s a feminist anthem. Teen Jesus And The Jean Teasers premiered MOTHER, BAIT and UNSCARRED at the album’s lead single BALCONY launch shows: three intimate gigs along the East Coast, which started in Melbourne in July. Ryan remembers the evening fondly. “It was awesome,” she says. “When we started playing MOTHER at that show, I remember someone filming me in the front waiting for me to start singing, and I had sat down because Scarlett starts this song, which is so awesome. “This guy was filming me, and then I saw him go like this [Ryan points forward with a confused look]. And then he was like, ‘Wait, you're not singing [laughs].’ And yeah, Scarlett just absolutely crushes it. “It’s so awesome to see everyone’s reactions to it, because it is quite different to what we’ve done before. It’s a bit of a journey when playing it, too. [The song starts off] very chill, just Scarlett, and then picks up, picks up, picks up, and then I just go crazy by the end of it— I’m just screaming, and it literally does feel a little bit like therapy! It’s definitely a lot of fun to play.” Embedded Content DAYLIGHT couldn’t be more different to the dynamics of MOTHER. A clear love song, Ryan bears her soul on the track. “That one definitely is one of the ones that is undeniably a love song, like, you can’t paint it in any other light; that’s just how it is,” they share. “And I think that’s fine, like, we didn’t want to say no to anything, I guess, on the album. “I think, in the past, we’ve been very aware of, like, ‘Oh, we don’t want things to be too cheesy,’ but with this one, we were sort of just like, letting everything that needed to happen, happen. It’s a love song I wrote literally about my partner, who I have been with forever. You know, albums have to have a cheesy song [laughs]. Okay, let me have this one!” Teen Jesus And The Jean Teasers fans will have the opportunity to experience GLORY songs live at Laneway Festival in February 2026. At Laneway, they appear on a line-up alongside hyped-up international acts such as Chappell Roan, Wolf Alice, Wet Leg, Role Model, Lucy Dacus, Alex G, Geese, and many others, plus fellow Australian artists like The Belair Lip Bombs and Armlock. “It’s so nice to be [performing] at Laneway and to be playing alongside all these crazy artists, like just total icons, which is awesome,” Ryan says. “I can’t wait—it’s exciting!” And Ryan admits to being the most excited about seeing Chappell Roan bring her gothic fairytale fantasy stage to Australia. “I’m such a huge fan,” they share, “I feel like every song that I’ve learned that’s not our own songs recently is a Chappell Roan song. So, I’m definitely a big fan.” Embedded Content After Laneway, Teen Jesus And The Jean Teasers will perform a headline tour in April and May, where the band will perform at one of Ryan’s “dream” venues. “My dream venue in Australia is probably the Forum,” they tell. “It’s such a beautiful venue. We’ve played there [as a support act]… it looks like a painting!” Aside from the excitement of headlining the Forum, the band are excited about “curating a big performance” for fans that they’ve never witnessed before. “We want everyone to have the best time possible,” Ryan says. “We’re gonna put a lot of detail into the show and really plan it out and make sure it’s the best version of it that it can be. Playing all the new songs is super exciting, because we worked so hard on the album, and the finish line is getting to play them for everybody.” GLORY is out now via Community Music / Mom + Pop. Presented by triple j and Live Nation Australia TEEN JESUS AND THE JEAN TEASERS GLORY TOUR DATES   Friday 1 May - The Gov - Tarndanya/Adelaide (Lic/AA) Saturday 2 May – Magnet House, Whadjuk Noongar/Perth (18+) Thursday 7 May – Princess Theatre, Meanjin/Brisbane (Lic/AA) Friday 8 May – Forum, Naarm/Melbourne (18+) Saturday 9 May – Roundhouse, Gadigal Land/Sydney (Lic/AA) Thursday 21 May – The Loons, Ōtautahi/Christchurch (Lic/AA) Friday 22 May – The Tuning Fork, Tāmaki Makaura/Auckland (Lic/AA) Saturday 23 May – San Fran, Te Whanganui-a-Tara/Wellington (Lic/AA) + PERFORMING AT LANEWAY FESTIVAL 2026 Saturday 7 February – Southport Sharks, Yugambeh Jagun/Gold Coast Sunday 8 February – Centennial Park, Gadigal Land/Sydney SOLD OUT Friday 13 February – Flemington Park, Naarm/Melbourne SOLD OUT Saturday 14 February – Adelaide Showgrounds, Tarndanya/Adelaide Sunday 15 February – Arena Joondalup, Whadjuk Noongar/Perth Embedded Content

Manifesting & Joking On Tour With Pearl Jam: Teen Jesus And The Jean Teasers Embrace Their ‘GLORY’ Era

07.11.2025 00:31 — 👍 0    🔁 1    💬 0    📌 0
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‘It’s Different This Time Around’: Hatchie Resets And Revitalises For New Album, ‘Liquorice’ When Harriette Pilbeam broke out with her debut Hatchie EP, 2018’s Sugar & Spice, she was 25. Already a veteran of the Brisbane indie music scene (she’d played in Go Violets and Babaganouj), she’d written a handful of dream-pop earworms about young love, steeped in sounds openly evoking her favourite bands: The Sundays, Cocteau Twins, and The Cranberries. Three albums, seven years and innumerable tours later, Pilbeam is 32, lives in Melbourne, and has just spent much of the past two years not being Hatchie; recovering from the burnout of riding the buzz-band cycle until she couldn’t anymore. Returning with her new third LP, Liquorice, Pilbeam is thinking of this album, and this period, as taking Hatchie into a new phase.  “It’s different this time around,” she says. “Being in my 30s, I’m taking things a little more seriously in my life external to the project. It’s not the #1 thing in my life anymore because it just can’t be.  “It’s not sustainable with rent and health insurance and everything like that. And if I want to have kids it’s probably in the next few years. So, I want a solid job. Build up a more comfortable, normal life.” Embedded Content Walking around on the edge of the city on a drizzly Melbourne day (yes, yes, aren’t they all), Pilbeam often turns to the word “sustainable” when talking about her hopes for her career.  “I wrote this album while living my life,” she offers, “rather than putting my life on hold to do the album, which is what I’d done in the past.” Arriving at this place —a “zen point” where she stopped caring so much about expectations, both external and internal— has been hard. After bestowing her solo project with the childhood nickname she had, growing up as the youngest of four on Brisbane’s North side,  Pilbeam has always felt hugely close to Hatchie. “It’s always felt like an extension of me, a reflection of me and my imagination”.  So, getting to the point where she can have some distance and perspective on the project has, she admits, only come as a result of “a lot of inner work and therapy and journaling”. It marks a stark change from how she felt with the second Hatchie album, 2022’s Giving The World Away. “I was very concerned with doing what I thought people wanted me to do,” Pilbeam recounts.  “Impressing my future self or proving something. Proving that I could do more. I was very focused on more and better and growth and progress. Playing bigger shows so I could make it my career.” “With the early stuff getting critical attention as quickly as it did,” she continues. “It made me feel like I could do more… I got a taste of it. We played at Primavera and Pitchfork Festival, we played in all these foreign countries that I never expected to visit.  “So then I was like: ‘fuck yeah, it’s just gonna keep getting better, let’s keep going! Kick it into overdrive!’” Embedded Content Giving The World Away was an album pushing in that direction, sonically striving, out to sound huge and glossy. It was written in lockdown, when touring logistics were far from front of mind. Pilbeam and her musical/life partner Joe Agius figured it was “now or never” to make a huge statement.  Setting their “sights on something that was massive and really in-your-face”, they moved to Los Angeles, and worked with pop producers Jorge Elbrecht and Dan Nigro. “I did tick a lot of the boxes that I wanted to tick creatively,” Pilbeam recounts. “I always knew that I wanted the albums to sound bigger as I went along.” But, through the period of making Giving The World Away, she felt like “everything was leading to something else: That when it came out, we’d start touring, then we’d be able to do this and da-da-da-da. It wasn’t really focused on the present moment.” That ambition did, she acknowledges, motivate her to “reach further and try harder”, but that striving eventually led her to getting stuck “stuck in [her] own head in a bad way”; wondering why an ambitious album wasn’t furthering her meteoric rise.  “At the end of that time, I wondered: ‘do I actually feel satisfied by this?’” she muses. “I think I had to take some time to redefine what success means to me.” Embedded Content Admitting that “she was cracking under the pressure” she’d placed upon herself, Pilbeam decided to take a break.  “I was definitely suffering as a result of making it my whole life,” she recounts. “None of it was from people that I work with telling me that I had to do anything. It was all me telling myself that. “The way the music industry works now is to create this incredible pressure to strike while the iron’s hot. To really lean in when you’re getting a response from the public. Because there’s definitely a fear that if you slow down, you’ll lose the momentum. But, still, it was all me.  “When I told my label and my management that I needed a break between albums, they were all like ‘OK, cool,” she adds. “Nobody said ‘Actually we’ve got this timeline, and you signed a deal…’ It was chill.” The result of this reset is Liquorice, an album that connects back to the beginnings of Hatchie, for both artist and listener.  “I wanted to go back to the types of songs I started writing originally with this project. I wanted it to be more guitar-focused and more song-focused,” Pilbeam says. “It was a lot more following my instincts, doing what felt right. Writing as much as possible without planning anything. “It made it way more enjoyable, because I wasn’t concerned about what other people thought. I was just like: ‘I love these songs. I love playing them. I wrote them for my own enjoyment’.” Embedded Content Produced by Melina Duterte of Jay Som (who has produced records for boygenius, Lucy Dacus and Living Hour), it’s an album filled with lovelorned lyrics and classic dream-pop sounds, especially on the guitar-swept single Only One Laughing.  This means that it not only sounds like classic Hatchie, but like so many of the artists that first inspired the project. Which is something that fans have long embraced. “There’s a massive part of my fanbase, and you can see it by the demographics of the people who come to the shows, who is doing it for the nostalgia factor,” Pilbeam says. “I get so many people coming up to me at shows, so excited, saying ‘I saw The Sundays and the Cocteau Twins in the ’90s, and when I found your music I felt like you were really tapping into that spirit!’ Which is really cool.  “I’m still shocked that there are so many people giving me that tick of approval.” Hatchie’s Liquorice is out now. Embedded Content

‘It’s Different This Time Around’: Hatchie Resets And Revitalises For New Album, ‘Liquorice’

07.11.2025 01:29 — 👍 0    🔁 1    💬 0    📌 0
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John Butler Does 'Enter Sandman' After Metallica Teased 'Zebra' Cover After Metallica paid tribute to John Butler at their recent Perth show, the Australian blues star has returned the favour by honouring the metal titans. Taking to Instagram while on tour across Europe and the UK, Butler shared a snippet of a unique take on the hit Metallica single, Enter Sandman. Playing a custom Indian slide guitar called a Chaturangui, Butler made the most of the stringed instrument’s fascinating tones – light and dark, airy yet powerful – to put a bluesy, expressive twist on a metal classic. “@metallica Enter Sandman, but make it John Butlery,” he teased on Instagram. Butler added, “It’s taken me a minute to pull my shit together after Metallica covered my song Zebra last weekend in Perth/Boorloo… I thought I’d tackle one of their lesser-known tracks. I hope you like it. 🖤⚡️Chaturangui (guitar) custom-made by @timkillcustom.” You can watch the cover below. Embedded Content Metallica’s lead guitarist Kirk Hammett and bassist Rob Trujillo played a snippet of Zebra during their “doodle” intermission in Perth on Saturday (1 November). On Wednesday (5 November), Metallica continued their tour in Adelaide and played a mash-up of INXS’s Need You Tonight and The Angels’ Am I Ever Gonna See Your Face Again. Following Metallica’s rendition of Zebra, Butler wrote, “Metallica are performing in Boorloo/Perth tonight… I’ve just woken up in London to several texts/vids of them performing Zebra wtaf!?? This is a spin out!! RESPECT🙌🤘♥️.” Embedded Content Metallica will continue their Australian tour in Melbourne on Saturday (8 November), followed by dates in Brisbane (Wednesday, 12 November) and Sydney (Saturday, 15 November). The tour marks their first shows in Australia since headlining Soundwave Festival in 2013 and sees the American metal icons joined by special guests Evanescence and Suicidal Tendencies. John Butler recently wrapped a tour of Australia in support of his latest album, PRISM, a record that’s “contemplative and explosive, joyous and free, funk-filled, cinematic and unapologetic.” PRISM follows the release of Butler’s recent albums, Running River and Still Searching. All three records are part of his “Four Season” roll-out: the latest marking Season Three of the release schedule. Embedded Content

John Butler Does 'Enter Sandman' After Metallica Teased 'Zebra' Cover

07.11.2025 00:31 — 👍 0    🔁 1    💬 0    📌 0
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Reuben Kaye @ QPAC, Brisbane The crowd last night at Reuben Kaye’s enGORGEd show left QPAC Concert Hall with the buzz of a group of freshly corrupted co-conspirators. In on the joke and blushing between laughter, Kaye had the audience hanging on every naughty word as he made his way through a series of songs and comedy portions, underpinned by Camerata, an 18-piece band made up of Queensland’s Chamber Orchestra as part of Melt Festival. enGORGEd was originally commissioned by Adelaide Cabaret Festival in 2023, created with Kaye’s long-term Musical Director and co-writer, Shannon D. Whitelock (The Muse, Never Date A Songwriter, Oprahfication). The Queensland audience was treated to three new songs, each of them inspired by current events and a plethora of unbelievable life experiences that were only believable because they were attached to the equally unbelievable Kaye. Costume changes, cheeky audience participation, and more than a few references to cocaine and Swedish interns in the green room—Kaye was an undeniable hit. He kindly joined the audience milling around in the stalls in intermission, taking photos and talking to the many people of mixed demographics, desperate to see and talk to him. Followers of Reuben Kaye will know he’s left-leaning in his political views, and so it was not surprising to see these observations and frustrations seep into the show. If the audience didn’t have an appetite for political commentary, it was not obvious, as these jokes about presidents and billionaires were met with laughs, cheers and groans and all the right reactions.  Kaye even told a story about how he received significant backlash earlier in his career over a joke he made on a TV show (“I love Jesus, I love any man who can get nailed for three days and come back for more”), which saw himself and his family requiring protection from police and special forces, and his stand-up shows needing to be swept through with bomb sniffing dogs before he started. If these events bothered him, he did not let on, and they were simply added to the layered tapestry of a remarkable life and became fodder for the songs that he played in the show, including You’re Not Going To Get Me. After every storytelling session that led to a song, I was shocked, time and time again, at his musical chops. It’s so rare to see a genuine triple threat like Kaye, and it’s clear to see how he has booked out three of the four spaces at QPAC already with hits The Kaye Hole (Cremorne Theatre), Jesus Christ Superstar (Lyric Theatre), and now enGORGEd at the Concert Hall. Kaye could have easily had an exclusive career in opera, theatre or music… if only he wasn’t so funny and had so many sordid jokes and stories to tell. Despite the seemingly non-stop laughs from the audience, it was the slower ballads that stole the show for me. Sorry was a song for the boys in his early childhood who beat him up on account of being his bright, unique self, and what it felt like to have these non-men apologise to him later in life. It was a spectacular craft to see Kaye move through hilarious and explicit stories, to stories that had us, the audience, holding our breath as we processed the heartache of these fragile moments. Kaye didn’t hold back in his thoughts when it came to current events, to the surprise of absolutely no one. He had the audience in fits when he said Elon Musk looks like a shaved Hitler with the aspect ratio off. Mark Zuckerberg wasn’t safe either, with Kaye joking that he looks like an NFT who wants to be a real boy.  Towards the end of the first act, Kaye performed I’m Rich, a song he wrote from the perspective of these billionaires. There were more than a few references to Trump and the many whims of the wealthy, speculating on the wild things they might request to buy and pay for. Some of these included paying Judi Dench to sit on a toilet to warm the seat for him, or inviting over the Dallas Cowboys and ordering his butlers to get the “good lube”. At every punchline and juncture, the audience and Kaye were on the same page, and as the stories shifted in seriousness and fun, there was a clear through line that encouraged the audience to reflect on and challenge the status quo. Good art is supposed to evoke a spectrum of emotions, ideas, and share a connection, and Kaye is a skilled artist in this regard.  His love for cabaret as an art form was clear to see last night, and he mentioned more than a few times that cabaret was the oldest form of theatre, and one that many genres draw from. The act of breaking the fourth wall mid-performance to talk to the audience or share a story (relevant or not) feels like it was created for Kaye and shows like this. On more than one occasion, he would riff with an audience member or a member of the orchestra, or admit he had forgotten a lyric and wanted to take it from the top. His honesty and candour made him so irresistible to watch, and there was a true disappointment when the show was over and he left the stage. Kaye received a standing ovation for his one-night-only show, which ran over time on account of Kaye wanting to share every detail of his present and past lives, with the audience greedily snapping up every hilarious anecdote. In the Concert Hall’s 43 years of existence, I dare say it has never seen a show even close to enGORGEd, with its delicious depravity having no brakes and all speed as Kaye prowled on stage. Melbourne will receive the enGORGEd show next at the Melbourne Recital Centre on November 28 and 29, and then at the Sydney Festival on January 16 at the Sydney Opera House.

Reuben Kaye @ QPAC, Brisbane

06.11.2025 23:34 — 👍 0    🔁 1    💬 0    📌 0
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Jan 1996 @ Punters Club:
Acuff's Rose /w Lisa Miller Trio + Stug, Working Class Ringos /w Blue Devil + Dust, Hoss /w Seminal Rats + Mace, Rupture, Beanflipper /w Magnacite + Undinism, Chris and Tim (Autohaze), Life Drill /w Volvox, Kizmet /w Wendy's Rule + MPI, Coal House Walkers, Creme of Tartar

06.11.2025 06:49 — 👍 1    🔁 1    💬 0    📌 0
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January 1996 @ Public Bar:
Hugo Race & Friends, Kerry Simpson Veve /w Malcolm Hill, Fizzleheads /w Quadbox + F Mongrels, Dreampoppies, Headbelly Buzzard, Swank /w Ergot Derivative + Cinema Prague + John Browns Body, Rowland S Howard, Hub /w Holocoustic (Jo & Jerry of Holocene)

06.11.2025 06:52 — 👍 1    🔁 1    💬 0    📌 0
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January 1996 @ Continental:
Renee Geyer, Louis Tillett & Charlie Owen /w The Paradise Motel Motel, Ray Pereira's Bongo Fury, Dan & Al

06.11.2025 06:55 — 👍 1    🔁 1    💬 0    📌 0
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RÜFÜS DU SOL Announce Exclusive Australian DJ Set As RÜFÜS DU SOL ready themselves for a long-awaited homecoming after months based overseas as one of the country's biggest electronic exports, they've added one final date to the itinerary. Set to launch their Australian Inhale / Exhale tour in Perth tomorrow, RÜFÜS DU SOL will be busy over the next few weeks performing massive arena shows around the country. But now, they’ve also expanded their homecoming celebrations with an exclusive DJ set at iconic Melbourne venue, The Wool Store. Taking place on Friday, November 28th, the upcoming set will see long-time creative partners and founding members of RÜFÜS DU SOL, Jon George and James Hunt, returning to the decks to offer up an immersive, more club-focused counterpart to their Australian tour plans. The extended set will see the pair exploring their sonic identity, weaving together a fluid musical journey that charts their musical journey from their underground roots to a globe-trotting present. Joining them on the night will be SG Lewis and Samantha Loveridge, with the former also on the bill for the group’s current Australian tour plans. RÜFÜS DU SOL’s upcoming DJ set also takes place just months after The Wool Store announced its return and that it would be holding a series of events in honour of Untitled Group's tenth birthday celebrations. The historic historic venue, located in the western suburb of Footscray, was built in the 1940s and played a vital role in Australia’s post-war wool boom. In 2018, Untitled Group transformed the heritage-listed warehouse into a European-style warehouse rave, and swiftly turned it into one of the most unique and revered electronic music venues. Tickets to the forthcoming gig go on sale from 12pm AEDT on Wednesday, November 12th, with a pre-sale launching 24 hours earlier. Embedded Content RÜFÜS DU SOL [DJ Set] With SG Lewis & Samantha Loveridge Friday, November 28th – The Wool Store, Melbourne, VIC

RÜFÜS DU SOL Announce Exclusive Australian DJ Set

06.11.2025 05:31 — 👍 3    🔁 1    💬 0    📌 0
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New Countdown book coming | TV Tonight A Complete Episode Guide book is to be launched in November.
06.11.2025 15:30 — 👍 0    🔁 1    💬 0    📌 0
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Crowded House To Headline Sydney's New Concert Series, Golden Hour Sydney’s most iconic shoreline is readying itself to receive a brand new concert series in 2026, with one of Australia’s biggest names leading the charge. Dubbed Golden Hour, the event is described as an annual concert series which revels in “celebrating the magic of live music outdoors at summer’s end.” Taking over Bondi Beach on the evening of Friday, February 20th, it’ll turn the iconic location into one of the biggest celebrations of local music on offer. For its inaugural outing, organisers have secured two of Australia’s most vital names, with Crowded House and Thelma Plum leading the charge. They’ll also be joined by a handful of other artists, who will ostensibly be announced at a later date. Crowded House, who celebrated their 40th anniversary earlier this year, have remained one of the country’s most beloved and revered bands across their sporadic life. The group – who were inducted into the ARIA Hall Of Fame back in 2016 – are still riding high off the back of last year’s album, Gravity Stairs. Thelma Plum, meanwhile, has spent over a decade carving out her station as one of Australia’s most respected and celebrated First Nations musicians, with 2024’s I'm Sorry, Now Say It Back becoming her second consecutive album to chart within the ARIA top ten. Embedded Content “Golden Hour was created to celebrate the magic of outdoor live music in a way that feels grounded in place and community,” said Adelle Robinson, Managing Director of event organisers, Fuzzy. “It’s about uplifting the voices that define who we are, including First Nations artists whose stories and creativity continue to shape Australia’s cultural landscape.” “An iconic band deserves an iconic location, and what better combination than Crowded House and Bondi Beach,” said Waverley Mayor Will Nemesh in a statement. “I’m proud that another major event is making its home in Waverley, strengthening Council’s commitment to the cultural life of this special part of Sydney,” he added. “Golden Hour not only brings a world-class concert to our doorstep but also creates opportunities for local creatives, businesses and service providers, delivering lasting benefits for the community.” Tickets for the debut edition of Golden Hour go on sale from 12pm AEDT on Thursday, November 13th, with an early access sale and artist pre-sale launching as 12pm on Wednesday, November 12th. A Bondi local presale (that is, for those who reside within the Waverley Council LGA) kicks off earlier that day, at 10am on Wednesday, November 12th. Embedded Content Golden Hour Crowded House Thelma Plum With more to be announced Friday, February 20th – Bondi Beach, Sydney, NSW

Crowded House To Headline Sydney's New Concert Series, Golden Hour

06.11.2025 04:34 — 👍 1    🔁 2    💬 0    📌 0

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