@themusiccomau.bsky.social

Christian Metal Band Demon Hunter Sues Netflix Over KPop Demon Hunters

Christian Metal Band Demon Hunter Sues Netflix Over KPop Demon Hunters

Christian metal band Demon Hunter has sued Netflix and tour promoters AEG Presents over KPop Demon Hunters – the extraordinarily popular film and plans for a tour – alleging that it infringes on its trademarks. In a lawsuit filed on Tuesday (18 August), the band argued that the KPop Demon Hunters tour announcement is confusing fans of both projects and threatens to “eclipse” their brand, Reuters reports. The band, formed in Seattle in 2000, alleged that the Netflix film could cause confusion and, as a result, drown them out of the marketplace. According to The Guardian, part of the lawsuit includes an email from someone who spent $500 on tickets to a Demon Hunter gig in New York, confusing them for a KPop Demon Hunters show they planned to take their children to. The complaint describes Netflix and AEG Presents’ actions as “wilful ​misconduct,” which now presents the band with an “existential crisis.” A statement in the lawsuit reads, “Simply put, Netflix is no more entitled to use the ​mark KPOP DEMON HUNTERS than it would be to launch a recording artist, live ​touring show and merchandise under the marks KPOP METALLICA, KPOP U2 or KPOP ⁠BLACK SABBATH.” Demon Hunter have asked a California court to block the use of KPop Demon Hunters on music, merchandising and tour promotion. They’re also seeking an “unspecified amount” of monetary damages, per Reuters. Demon Hunter also argued that they’re a “well-known and celebrated metal band,” per The Wrap, and despite releasing albums, touring, and selling merchandise, they allege that the release of KPop Demon Hunters is creating new competition. “Unfortunately, in 2025, Netflix and Netflix Studios – despite almost certainly being aware of Demon Hunter – chose to release a movie titled ‘KPop Demon Hunters’,” the lawsuit reads, citing its “unprecedented levels of success, not only as a film on Netflix’s streaming service, but also via the ‘KPop Demon Hunters’ movie soundtrack album and merchandise.” Demon Hunter registered the band name as a trademark that covers their recorded music and merchandise in 2022. They’ve since applied for trademark protections for live music. Meanwhile, Netflix registered the trademark for KPop Demon Hunters for merchandise purposes and has other applications pending. Since its debut last June, KPop Demon Hunters has amassed more than 500 million views on Netflix. HUNTR/X have also made history as the first K-pop girl band to hit #1 on the Billboard Hot 100, and their song Golden is the first K-pop song to win a Grammy Award. The KPop Demon Hunters soundtrack debuted at #1 on the ARIA Albums Chart last July. It retained the top spot until mid-August.

dlvr.it

'Literally No One Knew Us': Simple Plan On Being The Perennial Underdogs

'Literally No One Knew Us': Simple Plan On Being The Perennial Underdogs

When Canadian pop punk outfit Simple Plan first touched down on Australian shores close to 25 years ago, they likely had no idea what the future held. That first visit took place in late 2002, just seven months since they released their debut album – the somewhat awkwardly-titled No Pads, No Helmets...Just Balls, which initially avoided the Australian charts – and saw them appearing low on the bill of Triple M's M-One festival. Appearing alongside the likes of Nickelback, The Goo Goo Dolls, Garbage, Midnight Oil, and Billy Idol, the North American visitors hadn't even found their name listed on the event poster – though if they had, they might have been included as they were on the festival's timetable, listed as A Simple Plan, like the 1998 film that inspired the moniker. "No one knew us," remembers drummer Chuck Comeau, speaking over Zoom between US tour dates. "Literally no one knew us except maybe 15 people in the front row. Our record had come out, but it didn't do very well at first; it was very under the radar. "We were playing with Nickelback and Default, and it was a little bit more on the kind of… they call it divorced dad rock now, but they didn't call it like that back then," he adds. "It wasn't exactly the perfect fit, but we made some fans on that first festival run, and we fell in love with the country.  "Even though we were going on first, we were like, 'We're going to make an impression.' We were coming on with the Australian flag, we were waving it all around, and we were playing our hearts out. We really wanted to stand out in that sort of, that kind of festival that wasn't exactly our scene, and it turned out amazing." Embedded Content As it turned out, the band were just a little premature in their visit to the country. Following their first trek down under, that debut album made an appearance on the Australian charts, reaching No. 96 before swiftly falling out. In July 2004, however, the record's final single, Perfect, would peak at No. 6, two months before previous single Addicted would hit No. 10, and another two weeks before their second album, Still Not Getting Any..., would arrive.  That album would eventually peak at No. 6 as well, with their debut once more impacting the charts and this time cracking the top 30 in early 2005. This education in chart history all to say that by the time Simple Plan returned to Australia in March of 2005, things had changed and the audiences had finally caught on. "Perfect was the game changer for us in Australia," Comeau remembers. "It was like the trigger that just went boom. All of a sudden it did amazing, and what was amazing is that the label went back and resurfaced every single song that had failed at radio, and all of a sudden they just became big hits afterwards. "So it was very late in the cycle of the first record, but it was such a gift. They had the MTV Video Music Awards back then in Australia, we got to do that, we got to play Rod Laver and all these iconic venues.  "We have so many great memories of the early days," he adds, "but really it was the people, it was the fans that were listening and that embraced the band. There's just that special connection with fans there." Embedded Content At the time of Simple Plan's first visit to Australia, the band were in their early 20s, with all members having played together since their late teens. Having officially formed the group in 1999, their first single (the anthemic I'm Just A Kid) had only arrived months prior to their album's release and M-One festival shows. Needless to say, they were right in the middle of a whirlwind experience that they couldn't have expected to be going in 2026. Living in the moment, they were relishing the highs but well aware of the fact that such success was a rarity which could very well dissipate as quickly as it arrived. "I don't think you can expect a certain trajectory where you for sure know what's going to happen," Comeau admits. "But at the same time you can have a hope and a dream for it. And that's what we were always wishing for; to have that longevity, to be able to have an impact, not to be a flash in the pan with one or two records, but to be able to be a band that will last and that's going to be around for a while. "I had that vision right away when we started playing shows, even though it wasn't massive right away. For example, the first time we did Warped Tour in America, we were playing the fourth stage or the fifth stage, but we had five times more people than all the other bands on that stage. "There was something; there was a buzz," he remembers. "We were able to connect with people in a way that told me that, 'Hey, if we can do this here at this scale, we can replicate this everywhere else in the world, and we can reach people.' The music seemed to connect, maybe it was the way that we were vulnerable with the lyrics, or maybe it was the way that we were honest with our songs and the kind of energy that the music had." Embedded Content By his own admission, Comeau can't quite put his finger on what it is that brought people in and kept them around. However, the thing that is the most baffling is the fact that "it's getting bigger than it's ever been". As it stands, they boast over ten million monthly listeners on Spotify alone, with their most-played song – I'm Just A Kid – closing on 450 million plays. Few of their early contemporaries could likely boast similar numbers, and even fewer could say that their fanbase has only increased. Perhaps it's a social media thing, much like how Deftones exploded in popularity amongst a younger fanbase, or perhaps it's the timeless nature of their attitude, lyrics, and songs? Or perhaps it's a mixture of everything which can't easily be explained? "Since the pandemic, this band has been on this ascending [trajectory] and we have this momentum," Comeau points out. "Maybe it's social media, maybe we got lucky with the I'm Just A Kid challenge or whatever it is. But I also think people are rediscovering their love for the band and the music, and maybe there's a bit of nostalgia in there. But we're embracing it all.  "To be like literally having the best years of our career 27 years in, I mean, I cannot express how grateful I am and how happy it makes me." One of the biggest motivating factors comes from the band members having kids now, and being able to show them that while their dads are in a band, it's not a sad nostalgia-driven cash grab of the glory days of the past. Rather, it's as relevant and resonant as ever. "It's not like, 'Oh yeah, they used to be popular, and they used to do this,'" he says of the band taking their kids on tour. "It's like, 'No, we're doing it now.' I think for everyone in the band, it has become a huge motivation because we want to be able to share all this with our families and keep it going. "It opens up so many doors, it brings us on so many adventures, and it brings us to so many cool places. We're so lucky, so we want it to keep going." Of course, Comeau also points to the band's hard-working nature and perennial status as underdogs which has given them a drive to take their careers seriously, to never settle, and to always keep striving for new heights.  "We never had a number one song around the world, we had to earn it everywhere," he explains. "We never got the Rolling Stone cover, other bands got it, so I think it gave us that mentality of needing to work harder if we want to get what we want. "Even to this day, when we go on stage, we ask people, like, 'How many people are seeing us for the first time?' And it's literally crazy, it can be up to 80% of people that's never seen the band, right? So it's like, 'Hey, we're still making a first impression on all these people.' "We get the luxury of these fans having never seen what we do, so we don't get comfortable," he adds. "We don't take it for granted, we're not just coasting. Every show, we're like, 'No, we're going to prove to you that we deserve to be here.'" Embedded Content Perhaps it's this determination, this continuing rise in their profile, the increasing crowd sizes, and everything else that is part of why Simple Plan are now returning to Australia this December, appearing as one of the headliners of the 2026 edition of the Good Things festival. Simple Plan are no strangers to Good Things (be it the concept or the festival), having performed on the festival's second outing, in 2019. On that edition, they were performing fourth on the bill, behind Parkway Drive, A Day To Remember, and Violent Soho. This time around, only Limp Bizkit are ahead of them on the timetable, giving the band one of their biggest Australian audiences to date. Seven years later, Comeau still looks back on the band's first Good Things experience fondly. "We really loved it," he enthuses. "Look, any excuse that we have to come back to Australia, we take it.  "It's one of our favourite places in the world. We truly enjoy going there, and we love our fans there, they've been so supportive since day one. Not only do we love the country, but on top of that, we get to play really fun and big shows. So it's like a perfect combination. "It's literally one of the only places I would consider living outside of where we live." Simple Plan's first foray onto a Good Things line-up also coincided with Bad Religion doing the same, with both groups visiting for the festival once more this December. It's something which excites Comeau, especially given that – as we speak – he's decked out in a Minor Threat shirt, featuring current Bad Religion guitarist Brian Baker. "They're one of my favourite bands," he gushes excitedly. But if he's this excited about sharing the bill with a band like that, what can equally excited fans be expecting when it comes to Simple Plan's Australian return? "We keep stepping up our shows," he teased. "We keep doing more stuff because, I mean, it's kind of blowing our minds that we're that high on the poster now. "It's amazing, but it's also a little bit more pressure, right? Like, we have to deliver something special. So we're gonna go all out in terms of the production. We want to make something that stands out and that people talk about.  "We've been doing the Bigger Than You Think tour in the US, and it's the biggest thing we've ever done. So we're going to bring that to Australia; we're bringing the whole thing. "We're just going to try to put on the best show that we can, with the most energy. I think that's the key because, yes, the production gets bigger, but at the end of the day, we were always the kind of band that didn't rely on that. So now it's like we're putting on the same energy, the same great show that we used to do with, and, but we're just adding all these crazy, fun things around it. "We're going to do what we do as Simple Plan," he adds. "Which is, give it our all and really make sure that every single person from the front row to the last one is having a good time. Obviously, it's a festival set, so we're going to play all the songs that people want to hear, and we're going to throw in a few curve balls for the hardcore fans." Embedded Content Since the 2019 edition of Good Things, Simple Plan have been back on Australian shores twice more, touring in both 2024 and 2025, with their most recent album – Harder Than It Looks – arriving back in 2022. While touring is their current focus, and while Australian shows are on the way, how are things looking in regard to album number seven? As it turns out, things have been progressing nicely, with a brief window in the touring schedule earlier this year providing a chance to start writing. "We don't have a title yet, but we've written quite a lot of songs already that we love, that we're excited about," Comeau teases. "It's not finished, but t's interesting as a band when you're on your seventh record and 25 years in, you're competing against yourself at this point.  "It's hard to make records that will impact people the same way as the song that they heard when they were teenagers, right? There's something about when you're 17 or 14, whatever, the music hits you in a way that's not going to be the same when you're 35. But we're trying to write something that people are going to love just as much. "And the last record, we worked really hard on it, and our hardcore fans truly love it; they think it's one of our best ones," he adds. "So that's the bar, we need to beat that. Our fans know that we're not the fastest when it comes to records, but when we do make them and when we do put them out, we really feel proud, and usually our fans agree that it was worth the wait. "We're going to probably keep writing in the early beginning of 2027, and then start recording, and hopefully have something out around that year or early 2028." While that's something to look forward to, Simple Plan will first find their way down to Australia for Good Things in December, and it sounds like it'll be hard to find anyone more excited than Comeau himself. "We just can't wait to come back to Australia," he gushes. "There's a vibe there. It feels like Canada, but tropical and nicer, with cooler animals and better-looking people." Tickets to Good Things's 2026 edition are on sale now. Embedded Content GOOD THINGS FESTIVAL LINE-UP: Limp Bizkit Simple Plan Spiritbox Polaris The All-American Rejects Bad Religion (45 + 1 Anniversary) Alexisonfire (Performing Crisis In Full) Grinspoon Millencolin (Performing Pennybridge Pioneers In Full) Bilmuri Ministry (Farewell Australia) Chad Gray (30 Years Of Madnesss – Performing Mudvayne & Hellyeah) MxPx Neck Deep Speed Slowly Slowly P.O.D. The Devil Wears Prada Choirboys In Alphabetical Order: All Them Witches The Black Queen Future Palace Headwreck The Home Team House Of Protection ivri Kami Kehoe Locked Shut LØLØ vianova Voice Of Baceprot Plus The Chaos Of Stage 666! DATES AND VENUES: Friday, December 4th – Flemington Racecourse, Melbourne, VIC (16+) Saturday, December 5th – Sydney Showground, Sydney, NSW (16+) Sunday, December 6th – Brisbane Showgrounds, Brisbane, QLD (16+)

dlvr.it

Dijon Announces Debut Australian 2026 Headline Tour

Dijon Announces Debut Australian 2026 Headline Tour

Dijon Duenas, better known as Dijon, is heading to Australia for the first time later this year. Recently announced as one of the names on this year’s Meredith Music Festival, he’s now announced a handful of headline tour dates. Making his Australian festival debut at Meredith’s Supernatural Amphitheatre on Friday, 11 December, Dijon will also perform at Melbourne’s Margaret Court Arena on Wednesday, 9 December, the Sydney Opera House Concert Hall on Saturday, 12 December, and Brisbane’s Fortitude Music Hall on Tuesday, 15 December. Tour promoters Handsome Tours and Astral People pre-sales open on Thursday, 27 August, at 9 am local time, followed by the general sale on Friday, 28 August, at 9 am local time. You can sign up for pre-sale tickets here and find more ticketing information here. Dijon was previously a member of the alternative R&B duo Abhi//Dijon. He started releasing solo material in 2017. Following a string of singles and EPs, he released his debut album, Absolutely, in 2021 alongside an accompanying film. His second album, Baby, arrived last August to critical acclaim. A month after releasing Baby, Dijon made his acting debut in Paul Thomas Anderson’s film One Battle After Another, sharing the screen with Leonardo DiCaprio. He appeared alongside fellow musicians Teyana Taylor, Alana Haim, and Junglepussy. In addition to his own work, Dijon is a frequent collaborator of singer-songwriter and producer Mk.gee, and has worked with Charli XCX, Bon Iver, Justin Bieber, and Matt Champion. At the 68th Grammy Awards, he was nominated for Producer of the Year, Non-Classical, and Album of the Year for his work on Justin Bieber’s album, SWAG. For his upcoming Australian run, Dijon will be accompanied by a six-piece band – the same line-up that’s appeared during his performances at Outside Lands, Sziget, All Points East, and Forwards Festival Bristol this year. Presented by Handsome Tours, Astral People & triple j DIJON 2026 AUSTRALIAN TOUR DATES   Wednesday 9 December - Margaret Court Arena - Naarm/Melbourne Friday 11 December - Meredith Music Festival - Wathaurung/Meredith Saturday 12 December - SOH Concert Hall - Eora/Sydney Tuesday 15 December - Fortitude Music Hall - Meanjin/Brisbane Embedded Content

dlvr.it

ICYMI: Luke Girgis Pulls Back The Curtain On The Brag Media In New Book

Luke Girgis Pulls Back The Curtain On The Brag Media In New Book

Luke Girgis is a disruptive figure in the music industry, swooping in with his partner Sam Benjamin to take over beloved industry publications including Tone Deaf, The Brag and The Music Network and resurrecting the Australian version of Rolling Stone to create Australia’s most successful music media exit with The Brag Media. Becoming a ubiquitous force at the turn of the decade, his crash or crash through style was a shot in the arm for the profile of Australian music media, building an operation that resulted in the business’ eventual sale to Vinyl Group in 2024. Girgis went on to become CEO at Providoor after a controversial exit from Vinyl later in 2024, turning the ailing food delivery operation around before exiting in December last year to concentrate on his growing artist management business and investment portfolio. This month, he released his first book, detailing the systems and strategies he has learned across his time in business, creating a short but punchy guide for entrepreneurs looking to take advantage of AI transformation. The book, Death To The Org Chart, is an implementable method to automating and simplifying systems to allow workers more time to concentrate on decision making and action. “It [the concept] started at Providoor because I didn't know anything about hospitality or e-commerce, so I was breaking down the workflows just so I could learn and understand,” explained Girgis. “Just as I became competent in that, AI technology came out. I realized I had already broken down the business into such incredible micro-workflows that when open-source technology came out, I was able to just bring it in and replace a lot of these micro-level workflows we were doing. That just opened up capacity for so much of the team.” Girgis’ path to the systems-first model outlined in his book came from his experience running The Brag Media, in an endless struggle against rising costs and squeezed margins. “Towards the end at The Brag Media, I spent most of my weeks trying to figure out how to become more efficient because we had incredible revenue but a very poor margin—around 4%,” he revealed. “Everywhere I looked in the business, I couldn't figure out how to gain material efficiency. We made small improvements around the edges, but nothing significant. We would get a massive new $300,000 contract in, and suddenly I'd need to hire more contractors to deliver it, swallowing up the revenue. It was a nightmare.” “I decided I never wanted to be in that situation again with any business or revenue stream. I committed to really scrutinizing overheads and cost of goods before taking on any new business. That was the lens I brought to Providoor. Since it was an existing business that I could look at with a fresh pair of eyes.” Reflecting on his own time building The Brag Media, Girgis said that his initial attraction to the media space was through managing bands and thinking he could do a better job managing media brands using the same principles after watching companies like Vice go through exponential growth. He drummed up funding from his friend and mentor Benjamin and brought in editor and running-mate Poppy Reid, embarking on a journey that he says was problematic from early on in the business. “Unfortunately, we bought right where the bubble burst. By the time we sold The Brag Media, Vice was worth $300 million, down from $5.7 billion. We really jumped on the wrong wave. The whole ecosystem of what Google and social media did to publications made it impossible to run the business like I was managing bands. Originally the thesis was strong, but it fell apart a few months into the business.” Girgis credits the eventual success of The Brag to his friend and investor Benjamin, dedicating his book to him. “There is no chance The Brag Media would have survived or been successful without Sam's unwavering support of Poppy and me, as well as his leadership and mentorship. I remember he said he wanted to put up $1 million in The Brag Media to [get it to] break even. We agreed on a plan and he signed off on it. A few months in, I saw the writing on the wall and didn't believe in the plan anymore. I told him we had to pivot and do X, Y, and Z. He said, 'Mate, if you do that, you're going to burn through all the money and it won't work.'” Despite his investor's protests, Girgis embarked on the new plan, pivoting to a fast-growth, high-spend strategy and Benjamin reluctantly backed the new plan. “I think I burnt through all of our cash in about six or seven months when it should have taken us about 18 months to two years. He let me make the mistake, and I lost a lot of his money by spending far more on The Brag Media than we should have. I thought I was done and that we were going to pack up shop. Then he said, ‘Well, I've just spent $800,000 teaching you a lesson, so now go and apply the lesson and let's actually make this business work’. I think publishing is almost impossible to make successful, but somehow we limped over the line.” The Brag Media sold to Vinyl Group in 2024 for a reported $8 million plus a further $2 million performance payment for Girgis, who was to stay on with the business to steer the media division under CEO and fellow startup founder Josh Simons. The relationship soured quickly, with Girgis exiting in June 2024 after a “business review”. He subsequently sued Vinyl Group for $2 million alongside compensation for lost remuneration, bonuses and share options. Vinyl has since lodged a counterclaim against Girgis for misconduct, which he strongly denies. Girgis declined to comment on the ongoing situation other than to confirm that the court proceedings were still on foot. Not one to live in the past though, the lessons he learned in the media business were the birth of his new book. At Providoor, Girgis refined the method outlined in Death To The Org Chart, taking on a business that he reports was losing $400,000 a month with thirty employees to a sustainable break-even position. In what was a massive turnaround, Girgis said his next biggest lesson was one that came with the confidence to back his own judgement. “If a process or job doesn't make sense to you, it's likely unnecessary or bullshit,” he said. “There are so many jobs out there that look complicated, convoluted, and super important for whatever reason. No matter how many times they're explained to me, I still don't get them. Any time those workflows, tasks, or roles have been eliminated, I haven't regretted it once. If I don't understand it, it can probably go.” “That's the problem with imposter syndrome: you go into media having never done it, you manage artists having never managed them, or you manage a kitchen and e-commerce site having done neither. When you don't understand something, it takes a long time to get over imposter syndrome because you assume you don't understand it because you're an idiot. I am an idiot, but I also don't regret getting rid of things I don't understand. That's my biggest lesson.” Girgis explained that the advent of AI coding has enabled the customisation of software and systems like never before, with his own house-made artist management CRM and contract management workflow an example of how, even without technical coding skill, simplistic previously human-driven tasks can be automated to create more time. “Our artists have never made more money,” he said frankly. “I feel like every hour an artist manager spends doing admin is literally an hour stolen from an artist's career, because they get no benefit from you updating spreadsheets, running your to-do list, or chasing these contracts. All of that does not actually affect the bottom line. Once I alleviated all of that admin from our business, our artist managers were able to focus purely on revenue and strategy. Not one artist on our roster who hasn't made significantly more money this year than in any of the previous three years. There is not one exception.” Through his method, the book’s confrontational title was born, placing systems and tasks at the centre of business strategy rather than job titles and humans. According to Girgis, the biggest thing holding businesses back is thinking that they are unique and cannot be systemised. “We don't think micro enough. We look at an artist management business, for example, and think, 'There are so many different nuances about every single one of my artists—what they like, what they don't like, what the brand wants, what the artist is willing to accept, and how every deal gets rolled out. It IS truly unique—even the way I run my artist management firm is so different from any other artist manager because their roster, how their artists work, and their staff are completely different from mine.'” “If, however, I go micro and ask, ‘What do I actually do?’ A deal comes into my inbox, I respond with questions, I get those answers, I negotiate them further, we get a contract, we send it to the lawyer, and the lawyer gives us a markup. You can even break down what the lawyer is doing and ask if we can automate that. If you break down all the micro-steps of what you do, there is at least some part of your business whose workflows are not unique, and those are the things you can automate. But if you think too macro, you'll always think you're too special to receive help.” Girgis is quick to point out though, that automation only works when there is truly a task that can’t be better handled by a human. His own audiobook, for example, is narrated by famed reader Scott Brick. “I just like his voice, and I wanted to work with him. So I hit him up, and since I don't think I'm ever going to write another book in my life, I thought I might as well get the GOAT. The art I could achieve out of the human voice of Scott Brick [Scott Brick], as a fan of his, brought me far more joy than if I had a perfect AI version.” With the debate on around AI replacing humans and a potentially looming upheaval of the workforce, the ethical debate over the use of AI is raging, but for Girgis, the red line is simple. If the AI can do the work and the sources the AI have been trained on are permissive and compensated, then it’s simply a technological evolution worth jumping on. He is more skeptical, however, on whether the ethics of compensation is achievable, saying that as an artist manager, while he supports IP protection and manages his artists with that in mind, he doesn’t truly believe that it is viable in the long term. “I don't think there is anything we can do to stop the IP theft by AI. I think all this championing in Parliament is a bit like the fight against global warming in Australia. We're only 20 million people in the whole world. I drive an electric car and I love it, but if everyone in Australia drives an electric car, we're not going to put a small dent into any global warming metric when you've got countries like India, Africa, Russia, and China ignoring it if they choose to. It wouldn't make a dent. That is the case with AI. If we have a super-strict IP law that protects Australian artists, it's not going to matter when open-source models hit around the world.” An ominous pointer from someone whose previous media business The Brag relied on its creation of IP, Girgis sees the ailing media industry as retreating into a territory where it is uninvestable, but will not disappear. “Multinational media operations starting from scratch are going to be very hard to do. The big multinationals are having their equity hammered, and those massive global brands will be sold for pennies on the dollar in the next few years. However, if you have a local media business, you can turn it into a very healthy small business. There is a lot of value in that for both the industry and the owner.” Phew. Death To The Org Chart is available from August 20. Pre-order your copy here.

dlvr.it

ICYMI: New Study Links Big Album Releases To A Rise In Fatal Car Accidents

New Study Links Big Album Releases To A Rise In Fatal Car Accidents

For years, police and road safety organisations have done their best to publicise the risks involved in dangerous driving. From drinking, speeding, and using mobile phones, motorists are well across the dangers. However, a new study seems to indicate a high-profile New Music Friday also needs to be added to that list. The study – spearheaded by Harvard Medical School researchers Drs Vishal Patel, Christopher Worsham, Michael Liu, and Anupam Jena – is fittingly titled Smartphones, Online Music Streaming, and Traffic Fatalities and specifically seeks to answer the question of whether the use of smartphones to stream music is associated with increases in traffic fatalities. To investigate, the team utilised a registry of fatal motor vehicle accidents in the US and specifically focused in on the ten days before and after the ten most-streamed albums released between January 1st, 2017 and December 31st, 2022, as per Spotify’s data. Looking at records such as Taylor Swift's Midnights, Red (Taylor's Version), and Folklore (the first, ninth, and tenth most-streamed records from this period), and the likes of Drake's Certified Lover Boy and Scorpion, Bad Bunny's Un Verano Sin Ti, Harry Styles’ Harry’s House, and Kendrick Lamar's Mr Morale & The Big Steppers, the researchers determined the lion’s share of these streams occurred on release day – typically a Friday – with streams being lower on the five days either side. Taking into account other variables such as the time of the year, public holidays, and other similar factors, the findings revealed that on the day of major album releases, US traffic fatalities had a relative increase of 15.1% when compared to similar days, while streams on those same days increased by roughly 43%. “This is equivalent to approximately 182 fatalities in the US attributable to the release days of the 10 included albums,” the team concludes in their findings. The study also points out that, “Excess fatalities occurring on album release days were higher among drivers who were younger and male and among crashes where a single occupant was involved, the weather was clear, alcohol was not involved, and vehicles were manufactured with infotainment systems.” Effectively, the findings revolve around the notion that release days result in higher rates of distracted driving. However, while the team are careful to point out that this correlation does not imply causation, Patel explained to Gizmodo that the “alternative explanations don’t hold up well”. So, how can these findings be used? As Patel explains, it would be prudent for streaming platforms to offer users warning reminding them to set up their music prior to driving, while other measures – including vehicle design and lawmaking – could also adapt to respond to an increased desire for streaming music while driving. Simply, Patel tells the publication that asking someone else to handle the music – when possible – is a crucial step. “If someone’s in the passenger seat, hand it to them,” he told Gizmodo. “That was the closest thing we found to a protective factor: the increase showed up almost entirely among drivers who were alone. “And if a song comes to mind mid-drive, it will still be there when you park,” he added. Read the full findings of the study here.

dlvr.it

ICYMI: Nominations Are Now Open For 2026 SA Music Awards

Nominations Are Now Open For 2026 SA Music Awards

The South Australian Music Awards are calling on all artists, bands, music industry professionals, and music fans to show their love for the state’s booming music scene. Nominations for this year’s SA Music Awards are now open. Artists and bands can submit nominations for themselves, but if you just love the music coming out of South Australia, you can put forward a nomination for local talent or someone you believe deserves recognition for their work. This year’s awards will be revealed on Tuesday, 10 November, at the Adelaide Entertainment Centre, so save the date. Artists, bands and other members of the local music industry will be nominated across 34 award categories, which are unveiled across two streams: the industry-voted awards, judged by an independent panel of judges, and the People’s Choice awards, voted by the public. You can check your eligibility and nominate yourself or someone else here. The SA Music Awards contain major awards, such as Best Song, Best New Artist, Best Group, Best Release (EP/Album), and more, plus industry awards that cover music festivals, photography, venues, artist managers, and other nominations, as well as the People’s Choice awards, which comprise genre-voted winners. At last year’s SA Music Awards, pop singer Aleksiah and hip-hop group Dem Mob took home four wins apiece in the Major, Industry, and People’s Choice categories. In addition to Aleksiah and Dem Mob, Oscar The Wild and Ella Ion each claimed two awards. The former won Best Group and the People’s Choice Rock Award, while the latter won the Best New Artist and People’s Choice Folk Award. The Adelaide Beer & BBQ Festival also won two awards: Best Large Music Festival and Best Regional Music Venue, Festival or Music Event (for its Limestone Coast Beer & BBQ Festival). Other winners included Effie Isobel, Lion Arts Factory, TOWNS, LOLA, and more. The Music’s Emily Wilson attended the awards and wrote up this stunning recap - revisit last year’s event here.

dlvr.it

ICYMI: King Stingray Are Playing A Free Concert On A Remote Outback Runway

King Stingray Are Playing A Free Concert On A Remote Outback Runway

The Queensland outback town and coastal locality of Burketown is coming back to life in October, with the airport set to reopen and celebrate the reopening with a free community concert right on the tarmac. Durack Civil and Burke Shire Council are presenting the event, named Runway Under the Stars. King Stingray, Dream Thieves – with Durack’s own Operations Manager Jarryd Dewar behind the kit – and the DMC Boys will perform on the Burketown Airport runway on Saturday, 10 October, as part of the free community event. The event is also supported by QCrush, Wirtgen, Austek, iOR, Cement Australia, Coates, Downer Group, ASCT, and the Carpentaria Land Council Aboriginal Corporation. Before the planes take off from Burketown Airport, the local community will be treated to a one-night-only celebration, with an open-air stage on the tarmac, delicious food, and family fun all on offer. The airport reopens after devastating flooding in 2023, and to thank the community for their support, Durack Civil and the Burke Shire Council have put together the exciting event. Runway Under the Stars will take place at the Burketown Airport runway from 3 pm on Saturday, 10 October. It’s free to attend, and camping is available – RSVP your attendance here. In a statement, Durack Civil Director James Durack explained that the project to revive Burketown Airport became more than just another job. “Our teams are in remote communities every week of the year, and you learn fast what an airport means to townships like Burketown,” Durack said. “Burketown is home to friendly and giving Queenslanders who have come through the hardship of disaster with an incredible show of resilience - so this unforgettable night of music, food and fun is the least we could do to mark such a recovery milestone. “We invite everyone to join us in celebrating not just a reopening, but a redevelopment that is designed to help Burketown withstand the test of Mother Nature long into the future.” Burke Shire Council CEO Zac Revere added, “The airport is one of the most essential pieces of transport infrastructure in the shire. It really drives our economy, but it also does a whole lot more than that,” Revere said. He continued, “The floods have impacted the psyche of our community. That’s why we’re so excited to give everyone the chance to come along and mark this milestone together. “Our community can rest assured that they won’t be left in the lurch and we can head into the wet season with some security around the future.” Embedded Content

dlvr.it

ICYMI: Live Nation's Ones To Watch Returns With Holly Hebe, Jem Cassar-Daley & Eli Wan

Live Nation's Ones To Watch Returns With Holly Hebe, Jem Cassar-Daley & Eli Wan

Live Nation’s Ones To Watch series returns next month, taking over The Outpost in Brisbane’s Fortitude Valley, aligning with this year’s BIGSOUND. Ones To Watch, backed by American Apparel, has secured a new cohort of talented Australian artists to join the growing roster of stars the series celebrates. The program returns to BIGSOUND on Thursday, 3 September, and will feature three performers: Holly Hebe, in an exclusive performance, as well as Eli Wan and Jem Cassar-Daley. Fans interested in attending the Ones To Watch showcase can enter this competition to win a double pass. Entries close on Thursday, 27 August, and winners will be contacted on Friday, 28 August, via email. You can find out more about the competition here. Holly Hebe, hailing from Melbourne, is a rising pop singer-songwriter who’s proven to be one of Australia’s brightest talents. She recently cemented her first-ever ARIA #1 on the Australian Album Charts with the release of her latest EP, Mood Ring, just six years after making her musical debut. Meanwhile, Brisbane local Eli Wan made his debut last year with the unforgettable single, pixeldust+18. Through his prolific rise, Wan has revealed that he’s inspired by the likes of Porter Robinson and The Avalanches, while his music evokes warmth and plenty of excitement. Raised between Korean and Australian cultures, his music follows the theme of “both seen and unseen” in the digital age. The upcoming showcase has also secured award-winning Gumbaynggirr Bundjalung indie-pop artist Jem Cassar-Daley. Since making her debut in 2022, Cassar-Daley has built an impressive body of work, culminating in the forthcoming release of her first full-length album, tattoos used to come off in the pool, later this month. In a statement, Live Nation Australia Promoters Emily Taylor and Paul Lynch expressed excitement about the forthcoming Ones To Watch line-up. “ONES TO WATCH is about finding emerging artists we genuinely believe in and giving them opportunities to connect with new audiences at important moments in their careers,” the pair said. They continued, “BIGSOUND takes that opportunity to another level, giving artists the chance to perform in front of some of the most influential people from across the music industry. “We’re incredibly excited about this year’s line-up — Holly Hebe, Eli Wan and Jem Cassar-Daley are three artists we’re really excited about, and we can’t wait to see them take the stage. It’s also been great to continue building our partnership with American Apparel® and work together to create more opportunities for upcoming Australian talent.” Ones To Watch provides the music industry and fans opportunities to see some of the country’s most promising emerging talent perform in intimate venues across the country. The North American edition of the showcase has spotlighted artists such as Dua Lipa, Olivia Rodrigo, and Halsey, while in Australia, Ones To Watch has platformed acts including Miles Nautu, Gazal, Lara Buchanan, DEVAURA, DRIZZ, Lotte Gallagher, Chanel Loren, J-MILLA, Adrian Dzvuke, Forest Claudette, Teenage Joans, Carla Wehbe, Mariae Cassandra, Loren Ryan, Dem Mob, and many others.

dlvr.it

ICYMI: Laneway Festival Director Jessie Parker Steps Down After 16 Years

Laneway Festival Director Jessie Parker Steps Down After 16 Years

After 16 years with Laneway Festival, Jessie Parker – who’s been the General Manager / Festival Director for the past six years – has stepped down from the long-running travelling event. Parker announced her departure on LinkedIn yesterday (17 August), announcing that she’ll be leaving the role at the end of the month. “After 16 years with Laneway Festival, and six incredible years at the helm as General Manager / Festival Director, it is time for me to wrap up this chapter and step down at the end of this month,” Parker wrote. In 2010, Parker joined the Laneway team as an Event Assistant. She moved through the ranks of the festival team, eventually becoming its General Manager and Festival Director of Australia and New Zealand. “Reflecting on where it all started back in 2010 as an Event Assistant, I never could have imagined the wild, rewarding journey ahead,” Parker continued. “To go from managing resident comms and running accred around the site, to leading six simultaneous touring events across Australia and New Zealand has been the privilege of a lifetime.” Parker’s announcement arrives during an incredible time for Laneway Festival. Last year, the event won the inaugural ARIA Award for Best Festival and was crowned the Music Event of the Year in New Zealand earlier this year. “The true highlight has always been the work behind the scenes,” she wrote. “Championing our industry through my work on the Australian Festivals Association board and the NSW Music Festivals Roundtable has been deeply meaningful during a transformative era for live music. “More than anything, I am endlessly grateful for the people. The crews, suppliers, venues, artists, and team members I met early on - many of whom I’m still lucky enough to work alongside today, are what made this job so special.” While Parker announced her departure from Laneway Festival and expressed so much gratitude for the numerous opportunities she experienced, she didn’t reveal what’s coming next in her career. However, Parker did note, “As I turn the page, I am excited for what comes next and fully open to new opportunities. Thank you to everyone who has been part of this ride!” Laneway Festival returns to Australia and New Zealand in 2027. But last week, it was announced that the event won’t be stopping in Adelaide and Perth next year. Laneway organisers promised that further information regarding the 2027 editions of the festival in Brisbane, Sydney, Melbourne, and Auckland will arrive soon. Presumably, this will include venues and dates, with the full line-up to follow shortly after. Earlier this year, Laneway celebrated its 21st birthday, with Chappell Roan headlining the event, joined by international names such as Wet Leg, Wolf Alice, PinkPantheress, Geese, Lucy Dacus, and more.

dlvr.it

ICYMI: 'I Left With An Album': Robert Forster’s Ten-Year Splendour Bender

'I Left With An Album': Robert Forster’s Ten-Year Splendour Bender

It’s a long, long distance between Australia and Scandinavia, so the fact that iconic singer-songwriter Robert Forster is flying three musicians from Sweden to back him on the national tour behind his recent ninth album Strawberries – aside from the logistical challenges also not an inexpensive undertaking – speaks volumes of the rapport that he’s built with his new bandmates.  It’s the same trio that backed Forster while recording Strawberries in Stockholm in late-2024, the whole affair orchestrated by Peter Morén – best known as one-third of indie rock trio Peter Bjorn And John – who made a strong connection with The Go-Betweens’ co-founder following a chance backstage meeting at the 2016 instalment of the Splendour In The Grass festival. “I met [Peter] at Splendour in 2016,” the singer recalls. “I was very aware of – and liked – Peter Bjorn And John and I had a couple of their records, and Peter was into The Go-Betweens and what I do. “We just met there and chatted, he’s a lovely guy. Then he emailed me a short time after and he just said, ‘If you're ever coming over to Scandinavia or over to Europe, do you want to do a week of shows? I’ve got a booking agent who could get us some shows and I could put together a band and we could rehearse in Stockholm’, and it just sounded great.  “So I went over a year later – I was busy doing other things – so it started in 2017,” he adds. “And bang, from the first rehearsal, the first show, it was obvious that the connection with Peter and the two other musicians was special to me. It just worked and it was just really fun and they were great.  “And so it's just sort of this thing that just sort of came about where every couple of years we'd play, or Jonas [Thurell] and Magnus [Olsson] – the bass player and drummer – would play with me, with my wife Karin [Bäumler] and Scott Bromley from The John Steel Singers, when we did the Inferno tour in Europe in 2019. “Anyway, so it just was always in my mind I want to record an album one day with these guys, because they said we can get musicians in Stockholm, and that they can organise things so I didn't have to worry about it, and I trusted them.  “And it's the same with them coming out for the tour, it was, like, ‘I want to tour Australia with this band!’ I don't want to go out and do an acoustic tour of Strawberries – as much as that would work, and be good, and be great – but I just wanted it to be with the band, just like I wanted the album to be with the band. And so both of them have come true, which is wonderful.”  Embedded Content The eight-track album that Forster and his new Swedish mates crafted – his ninth solo album, to go with the nine he made with The Go-Betweens over their journey – has been racking up serious acclaim, such as UK bible Mojo’s five-star review calling it “perhaps the most uncomplicated and joyous of them all” (high praise indeed when discussing such a lauded canon). The songs were pretty much ready to go when Forster landed in Stockholm for his three-week foray, the singer prepped and ready to take his new team through his road-tested recording routine. “We just did it all in a week of rehearsing, a week of recording, a week of mixing, and I left with an album,” he beams. “It was really a wonderful experience. I really love the album, I really do. “I’d sent them a demo, and they were very good at working out their parts and coming up with things and learning, so when I arrived we could just go straight into the practice room and start playing the songs. I had two days with Peter right at the start where I went over to his apartment and we just played through everything, like the whole eight songs, just sort of so he and I were on the same page. “It's the way that Grant [McLennan] and I used to work in The Go-Betweens too, although a shortened version. It’s just I like to play with the other guitar player first so the two guitars are already ready and there's someone else that knows all the songs in the practice room with me. I was the same with Grant and a lot of other people like David McCormack that I've worked with through the years – that's what I like to do.” Forster has recorded in many exotic locales over the course his near-50-year career – including, but not limited to, the UK, rural France, Berlin, and the Pacific Northwest – but even he’s not sure if the physical locale of his labours influences the finished product in any way. “I don't know,” he ponders. “I mean, obviously, you're working in a particular studio and you're working with Swedish musicians, different musicians, so it has to. But I just like going into another town with songs, it’s a romantic idea with me. I do think some of the location leaks onto the record, even if only in my head. If I'm believing it is, then that's good.  “I've done it on a number of occasions and I always enjoy it. And there's a part of me that's a bit of a tourist – you know, I’m in Brisbane all of the time and I've recorded albums in Brisbane, but it's nice to just sort of be doing it somewhere else and walking down a different street and the weather's different… I find that really invigorating.” Embedded Content As conversation turns to the relaxed and upbeat vibe that permeates much of Strawberries, it becomes apparent that – as Forster alluded to – even if geography only plays a passing role in a song’s creation, who you’re making the music with can have a far more pronounced impact.  "I think the guys can take the songs to that conclusion, that aesthetic,” Forster offers of the album’s relatively playful mood. “I’m about to talk clichés about Swedish musicians, but they're very pop-orientated, they're very detail-orientated. They're very, very competent. But I think what works with us is that they've got all those qualities, but my material can be quite varied and wild.  “And somehow they can sort of go with the curves of what I'm doing, and they're very on the money. And so it's just sort of the coming together of my songwriting and their musicianship that really works. “And live it’s incredible, because of what they do for those songs. We toured in Europe and Ireland and the UK last September and October for three weeks and showed what they can do – and this goes right back to when we started in 2017 – and what they do with those songs from Strawberries, they can do with solo songs of mine or Go-Betweens songs. They give it the same sort of feel and flair, and that's what's really great.”  Forster seems totally cognisant of how random it is that he’s forged such a strong connection with people from such a disparate musical world, all courtesy of one sliding doors backstage interaction. “It’s been so rewarding, and just the story of it all coming out of Splendour is amazing,” he smiles. “Peter just invited me into his world, and he just picked these two musicians because he knew they’d work. There’s a lot of players that he knows, Stockholm is much like Brisbane in that it's a really firm scene of people, and most people know each other. There's a lot of interchanges between all the bands, shared lineages. “Brisbane's so far away, and sort of geographically isolated in a way, that the people in the sort of punk bands know the people that are doing the more poppy stuff, and know the people doing the more experimental stuff and the people doing the more dance stuff. Everyone sort of knows each other.  “And it's the same in Stockholm. They all have been around Peter and they all came through when they were young – really young – in the late-‘90s, when they were late-teenagers or getting into their 20s and their first serious bands. So they sort of know a lot of other players around town – the people running the studios and practice spaces – they’ve just got it all down, which is really great.  “I have a real sense of discovery when I'm there in Stockholm, just being with them and hanging out and the people you meet. There’s a lot of other characters that you get to meet there, and it's really great. It really plugs you into the city. “They’re taking you everywhere and you're walking through the streets, or you're in practice rooms, you're in the studio, whatever, or you go to eat somewhere, and they know it all backwards. So you're off the tourist track, and you're just sort of experiencing the city in a little bit of a deeper way.” Embedded Content While Forster’s previous solo album The Candle And The Flame (2023) was an intensely personal affair – dealing as it was with the fallout of Bäumler’s cancer diagnosis and subsequent successful treatment – Strawberries is written at more of a remove, containing unrelated vignettes featuring fictional characters battling the ups and downs of modern day life.  Such matters are seldom black-and-white – songs from Strawberries such as Such A Shame and the title track seem too detail-heavy and authentic not to have real-life origins – yet the new album is clearly a less personal affair than its predecessor. Whether it was a straight-up reaction to that previous piece, it’s hard to say. “It could have been,” Forster admits. “It could have been a kick-off, because it took me a long time to work out anything that I wanted to say, because we were going through such a thing here at home with the diagnosis and the amount of time that health issues took up in our family and just the emotional cost and everything.  “So I didn't even think of really songwriting, there wasn't space. It took me a while to sort of come back to how I was going to do it, especially with the lyrics. With the music I knew that would be an onward journey, but lyrically, what am I going to say?  “And it just sort of started with a couple of songs – All Of The Time was a really early one where I just started to come up with this sort of sideways thing, and then I just started to notice that I was writing these vignettes, as you call them, and it just became a lot more narrative-based, about other people.  “But then I found this wonderful thing I could channel feelings or say things through these other people that were close to how I thought or felt.  “The songs all came together in a really productive songwriting period in late-’22, ’23, early-’24 – there was about 18 months there where I wrote about six songs, which is more songs than I've written that I like in a short period of time than, oh God, like 20 years or something? 30 years? I don’t know.” Embedded Content The two-year gap between the two albums is indeed the quickest he’s followed up a solo album since his early excursions in the mid-‘90s. “But it was strange with The Candle And The Flame, we sort of had it finished but it didn't come out for almost a year because of just timing and stuff with the record company,” he puzzles, “so there's actually a bigger gap between The Candle And The Flame and Strawberries than it seems.  “But it was a real burst of songwriting, and I just suddenly realised that I had the album written. These eight songs just really welded together. And I was actually thinking of recording a year later, but I got in contact right at the start of ’25 with the guys in Stockholm and just said, ‘Look, I'm ready, do you want to do it in September?’ And they went, ‘Yep, we can all free up a couple of weeks’, and so it happened.” Forster’s realisation that he can use characters to express his own emotions seems analogous to his recent first foray into the fiction realms with excellent debut novel Songwriters On The Run (2026).  Long a respected music journalist due to his award-winning long-form writing for The Monthly – which he parlayed into literary collection The 10 Rules Of Rock And Roll: Collected Music Writings 2005-2009 (2009) and his memoir Grant And I: Inside And Outside The Go-Betweens (2016) – Songwriters On The Run is also clearly imbued with, and given such potency by, Forster’s own hard-earned life experience. “There is a clear connection,” he offers. “They're both the same, and I can see that the biggest comparison between the songs on Strawberries and Songwriters On The Run is just the sort of mixture that goes into what I'm saying, which is basically stuff that's close to me, and then there's stuff that I've seen – you know, it's not been me in the middle of an event, but I’ve been there to witness it. “Say in rock’n’roll, I've seen bands, I've seen venues, or I've seen other groups or whatever and I'm obviously not in them, but I know what's going on – you get a lot of material that way. And then there's stuff that's just unknown that I just make up. So those three things I swirl around in my songwriting and I swirl them around in the book, I think.  “Because I think there’s times that I’ve been really autobiographical, but I think you can wear people out with that. I think it can become so ‘I, me, me, me’ orientated that you just start to become oppressive in a way, so I try to create a world.  “That's what I'm doing is creating a world, and I can do it in songs, and I've now discovered that I can do it in fiction.”  Embedded Content Strangely, Songwriters On The Run began its life as a Forster solo song, a fictional narrative that refused to stop playing out in his mind long after the track had already been committed to tape. “That wasn’t meant to happen,” he marvels. “I wrote the song in 2009 and it didn't come out until 2015 with an album called Songs To Play that I did up at Mount Nebo. There are two songs I've written in my career – the other one's [the title track to 1990 solo debut] Danger In The Past, and then there's this one, and I've written about 250 songs I'd imagine – but it wouldn’t let me go. From 2009 until 2015 I thought a lot about this song, and I basically concocted the book in my head.  “It was like a mind puzzle. It was, like, ‘Why are they in jail? Why are they trying to get out of jail? Where are they running to?’ I wrote the three verses of the song and I thought it was done forever, but then it just started to percolate.  “And I just started to think over the years, you know, well it couldn't happen in a big town, maybe they were in a small town and local cops bust them and that's why they've got to go all that distance, why they're on the run because they've got to run not from Chermside over to Indooroopilly – there's not really a book in that – it’s from Rocky and they're going down to Melbourne. “And then maybe their managers had something to do with it? It just started to go all through my mind, and then when I wanted to write a book, which was after Grant & I came out, I set myself two months at the start of 2017 and I went, ‘I'm going to try and write a story’. At first I had a couple of ideas that were more literary, and then I thought of this song.  “It’s like I've got this really full-on plot in my head I've been thinking about for years, and I could get it going. I could make that, I could write it. Just telling this crazy story, but the song sparked it. It's all off the song.”  Embedded Content Has Forster had the chance to reflect on the current equilibrium in his career, having now released as many solo albums as he made during his lauded stint guiding The Go-Betweens? “Yeah, I think about that a lot,” he concedes. “I really see the symmetry in that. And I think over a career that's gone so far, I don't think that's too much work. I quite like the fact that it's not 25 albums deep or something. I mean, some artists you look at their Discogs and it just goes on forever, which is great, but I always wanted it sort of contained. I like the fact that it's not too many albums.  “I never saw any of this coming, you know, like Grant's passing or what I was going to do as a solo artist. All of it's just enfolded right in front of my eyes – I never even thought I’d be a solo artist! I never thought I'd be a novelist back in my 20s and 30s either, so it’s just happened before my eyes.  “But I'm very, very happy with the way it's gone and it's going.” Tickets to Robert Forster’s upcoming Australian tour are on sale now. Embedded Content Presented by Frontier Touring Robert Forster – The Strawberries Tour ​Australia – September 2026 Thursday, September 10th – City Recital Hall | Sydney, NSW (Lic. All Ages) Saturday, September 12th – The Thornbury Theatre | Thornbury, VIC (18+) Thursday, September 17th – The Princess Theatre | Brisbane, QLD (18+)

dlvr.it

ICYMI: Bugs Detail Pair Of 'HEAD NOISE' Headline Shows

Bugs Detail Pair Of 'HEAD NOISE' Headline Shows

Queensland indie rockers Bugs have announced a pair of very special shows ahead of the release of their forthcoming album, HEAD NOISE, set for release on Friday, 28 August. The album launch shows will take place on Thursday, 10 and Saturday, 12 September, at Brisbane’s Crowbar – a venue that’s been an integral part of the band’s history. The band will be accompanied by a stacked list of special guests and provide surprises for fans. Tickets to both shows will be available from Thursday, 20 August, at 8 am AEST. You can find tickets here. On Thursday, Bugs will be joined by Ball Park Music’s Sam Cromack, plus local acts Supernew and Dirty Harry. On Saturday, they’ll be accompanied by Melbourne singer-songwriter Suzi, Dune Rats will perform a DJ set, and Brisbane outfits Talk Heavy and VOIID will also take to the stage. The shows mark Bugs’ first live shows since their benefit concert, Saving A Bug’s Life, which took place last October. That concert was in support of bassist Jordan Brunoli, who was diagnosed with stage four colorectal cancer last year and, over the weekend, said he is entering the final chapters of his life. Peers such as Dear Seattle, Beddy Rays, Sly Withers, The Buoys, TOWNS and many others showed support for Brunoli, leading to a sold-out Tivoli. Discussing his experiences over the past year, and working on a new record, Brunoli said, “After a year’s worth of treatment, there are no more viable medical options for me, and I have begun to enter the final chapters of my life. That’s why the release of ‘HEAD NOISE’ means so much to me. “The two-year writing and recording journey somehow encapsulates so many moods, wins, losses and melancholic discussions… throughout all of which I could count on the fact that I was doing what I love, with those who have my back.” HEAD NOISE follows 2016’s Growing Up, 2019’s Self Help, and 2022’s Cooties. Also in 2019, the band covered Mallrat’s Charlie for triple j’s Like A Version, which made it to #91 on the 2020 Hottest 100, and #25 on 2023’s Hottest 100 Like A Versions of All Time. Bugs have played numerous headline shows over the years, plus performed at Falls Festival, supported Grinspoon on tour, and sold-out tours across the country, making them one of Australia’s most beloved bands. HEAD NOISE will be released on Friday, 28 August. Pre-order/pre-save your copy here. BUGS HEAD NOISE Album Release Shows   Thursday 10 September - Crowbar - Brisbane, QLD w/ Sam Cromack - Supernew - Dirty Harry Saturday 12 September - Crowbar - Brisbane, QLD w/ Dune Rats DJs - Suzi - Talk Heavy - VOIID

dlvr.it

ICYMI: Trophy Eyes Announce 'Chemical Miracle' Tenth Anniversary Australian Tour & Vinyl

Trophy Eyes Announce 'Chemical Miracle' Tenth Anniversary Australian Tour & Vinyl

Newcastle punk rockers Trophy Eyes are celebrating the tenth anniversary of their beloved second album, Chemical Miracle, today announcing a tour and new vinyl edition to honour the milestone. Originally released in October 2016 via Hopeless Records, Chemical Miracle is home to singles including Chlorine and Breathe You In – to date, still some of the band’s most popular songs. The album received rave reviews upon its release and debuted at #8 on the ARIA Albums Chart. Chemical Miracle marked a defining moment for Trophy Eyes, establishing the Newcastle upstarts as one of Australia’s most exciting new bands. The record blends soaring melodies, raw punk energy, and deeply personal songwriting – heard again throughout their catalogue, welcoming new fans. Now, the band is celebrating the album that helped change the trajectory of their career. The tour begins at Melbourne’s The Croxton Bandroom on Friday, 9 October. It continues at Adelaide’s The Gov on Saturday, 17 October, Sydney’s The Metro on Friday, 13 November, and concludes at Brisbane’s The Triffid on Saturday, 14 November. Tickets are available from 12 pm today via Trophy Eyes’ website. In addition to the tour, Trophy Eyes and Hopeless Records are commemorating the tenth anniversary of Chemical Miracle with a new vinyl release and deluxe digital edition, dropping on Friday, 13 November. You can pre-order/pre-save the album here. Frontman John Floreani said of the milestone achievement: Ten years. It’s difficult to put into words what Chemical Miracle has come to mean to us. When we wrote it, we were just trying to make sense of where we were in our lives. We never imagined those songs would find a place in so many other people’s stories too.   To mark the anniversary, we’re releasing a special Chemical Miracle 10-Year Anniversary Edition record on 13th November - a chance to revisit some of your favourite songs, as you’ve never heard before.   We’ll be celebrating with a handful of Australian shows, playing the album from beginning to end. As a thank you, an exclusive vinyl variant will be available ahead of its release at these shows.   We don’t get to celebrate milestones like this without you. Thank you for giving this record a life far beyond what we ever expected.   We can’t wait to experience it together again. TROPHY EYES “Chemical Miracle” 10-Year Anniversary Tour   Friday 9 October – The Croxton, Melbourne Saturday 17 October – The Gov, Adelaide Friday 13 November – The Metro, Sydney Saturday 14 November – The Triffid, Brisbane Embedded Content

dlvr.it

Mundi Mundi Bash 2026 Restricts Entry Due To Torrential Rain

Mundi Mundi Bash 2026 Restricts Entry Due To Torrential Rain

Patrons with one-day early entry or standard vehicle entry tickets will no longer be admitted to this year’s Mundi Mundi Bash, the festival’s founder and organiser, Greg Donovan, announced today (19 August). The news wasn’t delivered lightly, with the festival team devastated to turn patrons away. But, due to torrential rain and unsafe site conditions, there’s no longer “sufficient camping capacity” to accept additional ticket holders beyond the two- and three-day early entry campers. This year’s Mundi Mundi Bash takes place from tomorrow (20 August) until Saturday, 22 August. Donovan’s announcement arrived after heavy rain forced organisers to pause entry to the festival site this afternoon, the ABC notes. Earlier today, organisers confirmed that roll-in to the festival remained “on standby and the gates are closed.” Patron vehicles were no longer permitted to enter the grounds “until further notice,” with the festival crew “assessing conditions following several days of rain.” In a statement, they added, “If you are in Broken Hill or in transit, please remain where you are and do not travel to Mundiville until we confirm that roll in is open. Traffic control is in place in Silverton to enforce this. “We will provide another update as soon as the assessment is complete. Please continue to monitor our official social media channels, the Bash App and Bash FM 99.9, and share this update with anyone planning to arrive today.” The ABC also noted that Wilangee Road, which is used to access the festival, had closed “to all vehicles except four-wheel-drives.” The festival, located 40 kilometres north-west of Broken Hill, has sold out and was expected to welcome 15,000 punters to its grounds. “Our site team has now completed a thorough assessment of site conditions. Regrettably, we no longer have sufficient camping capacity to accept any additional ticket holders beyond our 2 Day and 3 Day Early Entry campers,” Donovan’s statement began. It continued, “We can accept only these ticket holders until 5pm today, and again from 7am tomorrow. However, with further rain forecast overnight, we recommend arriving today if you can do so safely.” Donovan added that the festival grounds are now closed to entry “for patrons with 1 Day Early Entry or Standard Vehicle Entry tickets who were planning to camp onsite or attend the festival as day-trippers. “Any of the few remaining 2- and 3-Day Early Entry campers who have not yet entered are now welcome, and our camping marshals are on hand ready to direct you into a suitable campsite.” Donovan informed fans that he makes “many complex and difficult decisions” as part of his role, “but this has been the most gut-wrenching decision I have ever had to make, and it sits heavily on my shoulders. I am profoundly saddened and upset that this has happened.” He added that it’s been “an incredibly challenging time” for the event team and its volunteers, who have worked tirelessly in difficult situations “across a sodden site.” Donovan also outlined the severity of the weather conditions and how they’ve impacted the festival’s ability to go ahead. “The rain experienced over an 11-day period is close to, and will likely exceed, the all-time Broken Hill August rainfall record of 74mm, set in 1973,” he said. “This follows an already very wet winter, with double the average rainfall falling across June and July. “The site held up well following a 42mm rain event on 8 and 9 August and was ready to welcome this year's Bashers,” he continued. “However, further rain during the Roll In period has had a significant impact because the ground was already saturated. As a result, approximately 25% to 30% of the site is now unsuitable for camping over the coming days, particularly with the further rain now forecast for Thursday.” Donovan stated that while it’s been a “necessary” decision, “it is not the experience we ever wanted for our Bashers. “As an organiser who always puts our patrons first, I have thought deeply about those who were excited to attend and who put so much effort into preparing for and travelling to the festival,” he wrote, empathising with patrons’ disappointment, frustration, and heartbreak. He continued, “While we must now focus on delivering a great, albeit muddy, festival for those onsite, our hearts and thoughts are with everyone who can no longer be here to enjoy the Bash with us this year. “From the bottom of my heart, I would also like to thank our crew, volunteers, contractors and every person involved in the event. They have worked extraordinarily hard throughout this challenging period, and I am incredibly grateful for their commitment and determination.” Donovan concluded the statement by sharing that one-day early entry and standard entry vehicle pass holders will receive communications from Oztix next week “with details regarding refunds of festival and activity tickets and vehicle entry passes.” This year’s edition of the Mundi Mundi Bash features a line-up of impressive homegrown talent, including The Teskey Brothers, Jon Stevens, John Butler, Boy & Bear, Baby Animals, Jessica Mauboy, The Whitlams, and many others. Embedded Content

dlvr.it

Rob Thomas Apologises After Hitting Matchbox Twenty Bandmate With Mic Stand

Rob Thomas Apologises After Hitting Matchbox Twenty Bandmate With Mic Stand

Matchbox Twenty frontman Rob Thomas has profusely apologised to his bandmate and best friend, Paul Doucette, after accidentally hitting him in the head with a microphone stand. On Sunday (16 August), the US rockers made headlines after Thomas swung his microphone stand on stage at the Illinois State Fair, but what should have been a typical on-stage antic went wrong. According to footage shared by fans, the metal pole attached to the stand came loose and flew around the stage, striking Doucette, who then departed the stage. Addressing the audience, Thomas said of the incident, “Every night I’m over there, and I’m throwing this goddamn thing around… Oh, I went; it nailed him.” Looking to the side of the stage to his bandmate, Thomas’ face grew concerned as he continued, “Yeah, it nailed him hard. My best friend in the world, and I think I almost killed him, and I feel really bad about this.” Asking the crowd for some time so the band could figure out the situation, he added, “By the way, it felt like a really good idea right up until now. I feel like an ass.” Doucette then returned to the stage, telling Thomas before the audience, “I don’t know how many times I’ve told you about swinging that fucking thing. I knew it was only a matter of time. It’s been 30 years. Now, admittedly I’ve been in the back for the first half of that, and maybe I’ve gotta go back there because obviously it’s safer.” An apologetic Thomas responded, “I’m so sorry. I’m gonna keep apologising to you, like, all month.” You can see footage of the incident and Thomas’ reaction below. Since the show, Doucette has had some fun with Thomas. He took to Instagram to share a video of his broken in-ear monitor being pulled out and quipped, “So, here’s what’s happening right now. “Rob took me the fuck out with his swinging the fucking mic stand during that show, and I have bits of my in-ear, which he fuckin’ smashed, that are now in my ear… that is not fun.” After the last pieces of the in-ear monitor were removed, he jokingly growled, “Fuckin’ Rob!” Matchbox Twenty’s most recent album, Where the Light Goes, was released in May 2023. The band returned to Australia in February 2024 for their first shows in nearly 12 years. Embedded Content Embedded Content

dlvr.it

MTV Video Music Awards Drop Best Rock Category After More Than 35 Years

MTV Video Music Awards Drop Best Rock Category After More Than 35 Years

MTV has recently announced the nominees and genre categories for this year’s Video Music Awards, but music fans who have looked closely have stumbled upon a missing category that’s pretty glaring: Best Rock. Looking at Billboard’s breakdown of the award categories, genres including Pop, Hip-Hop, R&B, Alternative, Dance, Latin, K-Pop, and Country are all represented. Now, there’s a possibility that rock could be announced soon, along with Afrobeats, which is also missing. However, it doesn't look likely, with the rest of the nominees already announced. Best Rock Video is a category that’s undergone many changes at the MTV Video Music Awards. In 1989 – the category’s inaugural year – the category was named Best Heavy Metal Video, a reflection of how ubiquitous the genre was at the time. From 1990 to 1995, the category was named Best Metal/Hard Rock Video, followed by Best Hard Rock Video in 1996. In 1997, it became Best Rock Video, and after MTV changed all category titles to remove “Video,” it simply became Best Rock. Over the years, the award has gone to artists including Metallica, Linkin Park, Limp Bizkit, Soundgarden, Korn, and many others. For the first time in over 35 years, a rock/metal award hasn’t been included in the genre categories. However, MTV is casting a wide net with its Best Alternative category, which includes the likes of Geese, Noah Kahan, Olivia Rodrigo, Sombr, Tame Impala, twenty one pilots, and a showing of nu-metal thanks to mgk’s collaboration with Fred Durst, FIX UR FACE. At this year’s Video Music Awards, Madonna – fresh off the release of her dance-oriented record Confessions II – leads the charge with eleven nominations. She’s followed by Taylor Swift, with nine nominations to her name; Ariana Grande and Sabrina Carpenter with seven nods apiece; Bruno Mars, PinkPantheress, and Zara Larsson with five; LISA with four; and Shakira, Tate McRae, and Yung Lean, each with three nominations. First-time nominees include viral Boston hitmaker Stella Lefty, Noah Kahan, Don Toliver, Kali Uchis, Olivia Dean, Tucker Wetmore, and more. The 2026 Video Music Awards will be held at Los Angeles’ Peacock Theatre on Sunday, 27 September – airing in Australia the following day. In the US, it will air on CBS and MTV, with a livestream on Paramount+. Fan voting across 13 categories is now open, with the Best New Artist vote staying open during the show. You can cast your vote here. Embedded Content

dlvr.it

New Trailer & Poster For Oasis Documentary Film 'Don't Look Back In Anger' Arrive

New Trailer & Poster For Oasis Documentary Film 'Don't Look Back In Anger' Arrive

A new trailer and an official poster for the highly anticipated documentary film about Oasis have finally landed. The documentary feature film, Oasis: Don’t Look Back In Anger, arrives in IMAX and cinemas across Australia and New Zealand on Thursday, 10 September. Later this year, following its cinema release, the documentary will stream exclusively on Disney+. The new trailer, which dropped today, follows a short teaser that was released last month. It tracks brothers Liam and Noel Gallagher’s triumphant reunion tour, Oasis Live ‘25, but also explores the challenges behind their return to the stage. The pair ponder whether they can share the stage again, what it will feel like to perform, and admit they didn’t think their tour would have such an impact on fans. It’s a teaser of what’s to come, including time spent in rehearsal, backstage, and onstage, as well as the first joint interview with Noel and Liam in over 20 years. Check out the trailer and new poster – a picture of the brothers, hand in hand, walking on stage together to ecstatic fans – below. Embedded Content The film will receive its world premiere at the 83rd Venice International Film Festival, which takes place from 2 – 12 September this year. Oasis: Don’t Look Back In Anger was created by BAFTA and Oscar-nominated writer, producer and director Steven Knight (Peaky Blinders) and directed by Dylan Southern and Will Lovelace (Shut Up and Play the Hits, Meet Me in the Bathroom). Knight said of the project, “The Oasis world tour united generations, cultures and countries and spoke to a broken world about reconciliation. ‘Don’t Look Back In Anger’ is not only your ticket to the show – it’s a backstage pass and a seat at the table when Liam and Noel sit down together for the first time in 15 years and tell it how it is and how it was.” When the Live ‘25 tour touched down in Australia, The Music’s Christopher Lewis reviewed the band’s first (of three) Melbourne shows. Lewis wrote, “This wasn’t late-era Oasis desperately trying to grasp the remaining sand in their hands and watching it slowly slip through their fingers. This was an imperious band revisiting their legacy.” You can read the review here. Embedded Content

dlvr.it

Why Earplugs At Gigs Are Surging: Inside Australia's Live Music Hearing Trend

Why Earplugs At Gigs Are Surging: Inside Australia's Live Music Hearing Trend

Have you noticed that people seem to care about wearing earplugs more than ever? Whether it’s wearing them in bed to tune a snoring partner out, on a flight, noise-cancelling, or at concerts, more and more people have their chosen kind – and brand – of earplugs. At gigs, you can now witness a sea of punters wearing earplugs. Maybe you’ve heard a horror story, or experienced one of your own, from not wearing earplugs at an especially loud gig (or a major pop concert with screaming fans), resulting in temporary tinnitus. Maybe you’re in the music industry, playing shows or keeping said gigs running smoothly from the sound desk or backstage, and ear protection has become a necessity. Maybe you’re working the bar at a music venue and need your hearing to stay on point for your day-to-day life. Maybe you saw the film Sound of Metal on Amazon Prime, which featured the drummer of a heavy metal band losing his hearing and going on a journey to rediscover his sense of self. Whatever your reasoning may be, it’s nice to see people prioritising ear protection in a loud environment. And it’s quite a recent development in human behaviour. Google Trends backs what we’ve all seen with raw data. Two decades ago, you wouldn’t have seen anyone bar one or two careful punters wearing earplugs to a gig or music festival. From 2004 to today, plenty has changed. Earplugs on Google Trends In a graph of search interest over a specific time period, Google Trends shows the data on a relative scale from 0 to 100: zero suggests insufficient data, 50 indicates half the popularity, and 100 signifies the peak interest during a time period. Earplugs on Google Trends The search was at 15 in September 2005, followed by a dead zone for months until April 2006, when it sat at 17. After a quiet period of figures hovering from the 5-10 range, the figures jumped up – not very high; under ten – and then down to zero throughout mid-to-late 2007. From 2008 to December 2015, the figures didn’t get very high, staying around the number of 10. 2017 until March 2020, the numbers were in the mid-to-high teens, then consistently in the low teens, closer to 10 during the height of the COVID-19 pandemic and subsequent restrictions on social gatherings. The numbers started to climb steadily in 2021 before rising rapidly in 2023. By February 2024, interest in earplugs reached a rare peak of 100, with the surrounding months quite high (around the 70 range), all while Taylor Swift and Matchbox Twenty landed on our shores in February. Meanwhile, other massive tours stopped in Australia that year, including Olivia Rodrigo, classic rock revivalists Greta Van Fleet, punk band High Vis, a co-headline tour with raucous outfits Dune Rats and FIDLAR, plus British heavy metal icons Iron Maiden. Another peak of 84 was witnessed in November 2024, and again in November and December 2025 (90 and 89, respectively), when Metallica, AC/DC, Oasis, Jelly Roll, and Ricky Martin all brought arena- and stadium-level shows to Australia. Since then, the numbers haven’t dipped below 60; in May 2026, the figure went up to 84. And with Harry Styles, Lily Allen, Erykah Badu, Foo Fighters, Ed Sheeran, Good Charlotte, Kesha, BABYMETAL and many others stopping in Australia this year, it’s little wonder why looking for earplugs has gotten popular again. Popular Search Queries People who searched for earplugs also searched for queries such as Loop Earplugs, Best Earplugs, Sleeping Earplugs, Noise Cancelling Earplugs, Earplugs To Block Out Snoring, Custom Moulded Earplugs, and Earplugs For Kids. With the emergence of Loop, which launched in 2016, a brand born from wanting to bring something new to the market—something that actively targeted live music and nightlife experiences—delivered not just any earplugs. Loop doesn’t just protect your ears, but the products are also comfortable and very stylish. What happens when you pair ear protection with fashion? A popular product that actually gets used, and we’re happy to see it. Earplugs on Google Trends Earplugs on Google Trends Looking at the data, those searches and the spikes in interest make sense. With Australia and the world opening back up following restrictions to curb the COVID-19 pandemic, people were ready to get back into the world, whether they were going to concerts or travelling overseas. Plus, with so many resources at our fingertips, who wouldn’t want to tune out their snoring partner if they could? Or get earplugs that feel comfortable, or fit their kids’ ears? Over on Reddit, it’s clear that conversations about earplugs at concerts have become extremely popular – check out this thread on r/Music. In it, punters discuss their experiences with and without earplugs, expressing relief to not have ringing in their ears the following day, while others even shared that they felt less tired when they wore ear protection. The Music recently caught up with Sarah Swann, a lecturer in the Department of Audiology and Speech Pathology at the University of Melbourne. She also works at the Melbourne Hearing Care Clinic, part of the University’s offerings, where she runs the musicians’ hearing care clinic. Her work primarily focuses on managing tinnitus and sound intolerance, as well as musicians’ hearing care. At Audiology Australia, Swann is the chair of the Musicians Hearing Group, a special interest group that allows audiologists “to share their expertise with each other and facilitate networking in their areas of interest.” Before transitioning into the audiology profession 15 years ago, however, Swann was a trained, professional classical flautist. Discussing the changes in people’s behaviour regarding frequently wearing earplugs and other forms of ear protection, Swann points out that she’s noticed “a shift in attitude” for a “younger cohort.” Swann witnesses young people in particular “wanting to protect themselves, wanting information about how overexposed they are, asking about the different forms of hearing protection and when they should be using them and what they should be using.” She remarks that, in 2026, people are “a lot more comfortable” wearing earplugs, especially at gigs and other public events, and that professional musicians are also wearing ear protection more often. “Musicians professionally wearing protection, it’s a lot more readily taken up,” Swann tells The Music. “Whereas, the old guard of musicians, a lot of them – I shouldn’t generalise, but a lot of the old guard had a bit of a negative attitude towards wearing hearing protection when they’re performing and playing and rehearsing because it changes their experience of the music around them, which is absolutely a fair point and it’s something we’re well aware of as an issue with wearing plugs. “But the attitudes have definitely shifted because of how horrific sound-induced, sound intolerance and tinnitus can be, how impactful it can be, and I think that’s a lot more readily talked about nowadays than it used to be,” she adds. “So, I think that’s part of the reason, because it’s discussed more openly and there are well-known musicians who openly discuss their issues with noise-induced hearing loss, sound-induced hearing loss and tinnitus. I think that has brought people around to the idea.” Plus, she notes, there’s a lot more information out there about “gold-standard” hearing protection, which Swann says is custom-made to fit your ear, and filtered. “It’s easier to find that information and to find reports that are basically validating their decision to go and get that,” she says. In February 2024, Taylor Swift brought her Eras Tour to Australia. If you don’t remember the madness surrounding that tour, here’s a refresher: talk about the Eras Tour was everywhere, all over the TV, newspapers, and the internet. It was the hottest ticket in town. And if you didn’t have earplugs, you risked hearing loss from the screams of hundreds of thousands of Taylor Swift fans. While Taylor Swift was in town, the ABC published a news piece about why it’s important to protect your hearing at gigs and festivals. That piece arrived after a study from Hearing Australia found that 70% of people aged 18 to 35 have experienced tinnitus, and 16% have experienced it more than once a week. Additionally, nearly half of people aged over 75 and about one third of people aged 64 to 75 have experienced hearing loss. Tinnitus Awareness also notes that approximately 2% of Australians (or 500,000 people) describe their tinnitus as “very distressing.” Audiologist Brooke Rose, from Audiology Australia, previously told triple j about the safety of decibel levels before the potential risk of hearing damage. “We say at about 85 decibels, which is the scale we use to measure loudness, at 85 decibels you’ve got roughly eight hours of safe listening before you could potentially be doing hearing damage,” Rose said. Adding that most festivals feature sound upwards of 105 decibels, and depending on where punters stand, it could be dangerous, Rose affirmed that “You should be using earplugs, for sure, when you’re in places like that.” Hearing damage goes beyond those of us who regularly attend music events. Brian Johnson, vocalist of the juggernaut rock outfit AC/DC, famously stepped away from touring for years as he overcame hearing loss. In 2020, Johnson revealed that he underwent treatment for three years, which “uses the bone structure in the skull as a receiver.” Discussing the hearing loss that caused him to leave the touring life in 2016, he told Rolling Stone, “I couldn’t hear the tone of the guitars at all. It was a horrible kind of deafness. I was literally getting by on muscle memory and mouth shapes.” He added, “I was starting to really feel bad about the performances in front of the boys, in front of the audience. It was crippling. There’s nothing worse than standing there and not being sure.” Drummer Rickie Mazzotta, from the Philadelphia band mewithoutYou, was very open about his experience with hearing loss and moving to wear ear protection before the band’s final performances. In a 2020 interview with Earmark Hearing Conservation, he explained, “Over the past six months, I have had several health issues that called into question whether or not I could ever perform on a stage again. The ones that pertain most to the job that I do with mewithoutYou are moderate hearing loss and the development of Tinnitus.” He added, “Had I only gotten used to protecting my ears whenever I practised, that may have translated over to the live show, and potentially, I wouldn’t have gotten myself mixed up with the never-ending ringing that is now in my ears/brain.”

dlvr.it

WIN Tickets To Frenzal Rhomb's 'Sans Souci 23rd Anniversary' Tour!

WIN Tickets To Frenzal Rhomb's 'Sans Souci 23rd Anniversary' Tour!

Frenzal Rhomb have never done things like everybody else. And that goes for anniversary tours, too. From August to November, the beloved Aussie rockers will embark on an expansive tour across the country, in which they commemorate the 23rd – not the 20th or 25th – anniversary of their sixth album, Sans Souci. Enter now for your chance to win a Double Pass (2 tickets) to one of their headline shows in Rockhampton, Mackay, Townsville, or Cairns this September! Entries close at 9am AEST on Monday 31 August. Winners contacted by email. ***Giveaway eligible for Far North QLD show dates only. FRENZAL RHOMB 2026 SANS SOUCI 23RD ANNIVERSARY TOUR   Thursday 13 August - The Gov, Tartanya / Adelaide Friday 14 August - Baso, Ngunnawal / Canberra Saturday 15 August - The Station, Ngarigo / Jindabyne Friday 11 September - Barwon Heads Hotel, Wadawurrung / Barwon Heads Saturday 12 September - The Croxton, Naarm / Melbourne Thursday 17 September - Leichhardt Hotel, Darumbal / Rockhampton*** Friday 18 September - McGuires Hotel, Yuwibara / Mackay*** Saturday 19 September - The Warehouse, Gurambilbarra / Townsville*** Sunday 20 September - The Jack, Gimuy / Cairns*** Wednesday 21 October - Rosemount Hotel, Boorloo / Perth Thursday 22 October - Prince of Wales, Goomburrup / Bunbury Friday 23 October - The River, Wooditjup / Margaret River Saturday 24 October - Carine Tavern, Whadjuk / Duncraig Friday 6 November - Metro, Gadigal / Sydney Saturday 7 November - Hamilton Station, Mulubinba / Newcastle Thursday 12 November - The Northern, Cavanbah / Byron Bay Friday 13 November - Princess Theatre, Turrbal / Woolloongabba Saturday 14 November - Kings Beach Tavern, Gubbi Gubbi / Caloundra Thursday 19 November - Altar, Nipaluna / Hobart Friday 20 November - Forth Pub, Wuwinilili / Forth

dlvr.it

'A Really Impactful Royalty': Your Guide To Live Performance Royalties With APRA AMCOS

'A Really Impactful Royalty': Your Guide To Live Performance Royalties With APRA AMCOS

If there’s one thing that artists, musicians, performers, and creatives can always do with, it’s extra funds in their bank accounts. Whether that’s for simply making it possible to continue living their lives, or whether it extends to funding their next creative project when it comes to the writing, recording, releasing, or performing side of it, having some dollars in their corner is always helpful. However, one avenue that can often be forgotten when it comes to generating income via art is that of live performance royalties. To put it simply, if you’re an APRA AMCOS member who is performing original music in Australian venues, then you could be earning these live performance royalties. To make it even better, these royalties are on top of the already-existing money derived from ticket sales, merch sales, or band fees. Of course, if you’re a musician just starting out (or even a veteran muso who has never had to tackle the live performance royalties side of things), this can be something of a daunting prospect, filled with some rather confusing notions or even misinformation. That’s why it makes more sense to go directly to the source, to cut through the noise, and ask about how it all works. So, with that in mind, APRA AMCOS’ Georgia Ginnivan spoke to The Music to provide an in-depth explainer on live performance reports, how they work, what’s involved, and how any Aussie musicians who perform original music can be getting what they’re owed. APRA AMCOS Live Performance Reports (Credit: APRA AMCOS/Kia Bako) The Music: First of all, what are live performance royalties? Why should artists know about them? Georgia Ginnivan: If you’re a musician performing music live at pubs, clubs, cafés, open mics, and venues in Australia or New Zealand, APRA members can be entitled to live performance royalties.  Live performance royalties are collected from licence fees paid by venues to OneMusic – the organisation that licenses venues on behalf of APRA AMCOS. These royalties are separate from ticket sales, appearance fees, or merch income and can provide an important extra source of revenue for APRA members. In order to claim your live performance royalties, there are three steps:  * Join APRA (learn more here) * Register your songs * Submit your setlists (also known as ‘Performance Reports’) – it's quick and easy to do in the APRA AMCOS app. Royalties are paid quarterly. TM: Getting granular, is it correct that royalties are only paid out if the performance is in a venue licensed by OneMusic, and that it relates only to original songs registered with APRA AMCOS? GG: APRA AMCOS will pay live performance royalties to all gigs that are valid public performances in venues, regardless of whether that venue holds a OneMusic licence.  For example, private or domestic shows (e.g. birthday parties) would not be eligible. When a member submits their setlists, they need to include any cover songs they’ve performed. APRA AMCOS will pay the songwriters of those covers for the performance of their music. There is a search function in the app where you can find almost every composition.  TM: While most people likely associate live performance royalties with artists and bands on stage, does this also apply to the likes of producers as well? Absolutely! Performances of music count no matter the genre. There is a dedicated performance report form just for electronic music producers/DJs. There’s also one just for jazz composers to allow for improvised works to be reported. TM: Are there any performances that can't be submitted on a live performance report? Or are there any instances in which artists don't need to submit a report?  GG: Great question! In fact, there are. Songs performed when busking are not eligible to earn live performance royalties, nor are songs performed at a private function or worship services. You can see the full list of exceptions here. Additionally, the fees that APRA AMCOS gets from some types of shows – like big festivals, international touring acts, and major promoted concerts – are handled differently. In these cases, it’s up to the promoter of the event to supply the set lists of all acts to APRA AMCOS – not the artists themselves. Usually the promoter/event organiser will ask for the set list. If in doubt, members can get in touch with APRA AMCOS.  TM: How is the amount of a live performance royalty calculated? Does it depend on venue size, audience size, or how much the venue pays the artists to perform? GG: Almost all of these! To determine the royalty amount, calculations are carried out using the total pool of live performance revenue collected across all venues for a period and the number of musical works submitted on live performance reports in the same period.  Licence fees are a percentage of either the amount the venue spends on live music during the year or a percentage earned by the show’s promoter. Even if all performances are free, a minimum annual fee still applies.   So, more venues, drawing bigger audiences and spending more on live music means more royalties going back to songwriters under the live performance report process.  TM: Are there any particular instances under which live performance reports find themselves rejected? GG: APRA AMCOS will verify any claims that are identified as unusual or suspicious.  To do this we may often, with venues, request that the member submitting the claim provides some additional evidence or sign a statutory declaration.  In the event that a claim is found to have been made in error or inaccurate, then claims can be refused. Similarly, if two or more people enter performance reports for the same show, only one will be paid and duplicates deleted. TM: Are there any figures out there in relation to the percentage of performers out there compared with those who actually submit performance reports? (That is, how much money are performers missing out on by not submitting reports?) GG: APRA AMCOS doesn’t track all the performances that take place, so we don’t have access to that data.  The only way we know about live performances is if members tell us they perform.  We know that not all Australian songwriters or composers are APRA members, and not all members who perform submit their Performance Reports. Our Education & Outreach team do a great job of getting the word out, along with campaigns that communicate to musicians who may not necessarily know about APRA AMCOS or live performance royalties.  It’s a really impactful royalty, so it’s important to take just a couple minutes after a gig to submit a Performance Report. TM: At some point in the past financial year, it was noted that 173,344 setlists were submitted by 8,062 artists, accounting for 3,277,000 individual songs. How does this compare to previous years? GG: The statistics for the 2026 Financial Year are slightly higher: 176,508 setlists were submitted by 8,235 members, which is 3,368,911 songs.  Embedded Content What are some of the biggest misconceptions, or things that performers overlook, when it comes to live performance reports and the associated royalty payments?  GG: Myth #1: It’s “too much work”.  False. It’s really simple!  Only four pieces of information are needed: * The date of the performance * The performance venue name  * The venue address (our form is linked with Google to allow for addresses to auto-fill) * The set list. To make it even easier, set lists can be pre-saved, so members can simply attach the right one. Members can even edit pre-saved lists after they’re submitted to add or delete songs for specific shows. Myth #2: There is a deadline for annual submissions. False. Not anymore. Members can submit gigs anytime throughout the year. Live performance royalties are paid quarterly. TM: Is there anything worth mentioning when it comes to live performance reports and royalty payments? GG: Live performance royalties are due to songwriters and composers on top of any money they may be paid by a venue to perform and entertain. If an APRA member writes and performs, they’re entitled to be paid for both. Members can backdate performance reports. The maximum time frame to historically claim is 3 years (provided they have been a member for all of that time). For claims more than 12 months old, some additional evidence will be required, such as ticket stubs, promotional materials, screenshots of promo on socials etc. So, can we mention one more time: Members! Don’t delay, submit straight after the gig to earn from your songs.  Brand new APRA AMCOS members can still claim up to 12 months prior to their join date. For full information relating to live performance reports, head along to the APRA AMCOS website for more details.

dlvr.it

Luke Girgis Pulls Back The Curtain On The Brag Media In New Book

Luke Girgis Pulls Back The Curtain On The Brag Media In New Book

Luke Girgis is a disruptive figure in the music industry, swooping in with his partner Sam Benjamin to take over beloved industry publications including Tone Deaf, The Brag and The Music Network and resurrecting the Australian version of Rolling Stone to create Australia’s most successful music media exit with The Brag Media. Becoming a ubiquitous force at the turn of the decade, his crash or crash through style was a shot in the arm for the profile of Australian music media, building an operation that resulted in the business’ eventual sale to Vinyl Group in 2024. Girgis went on to become CEO at Providoor after a controversial exit from Vinyl later in 2024, turning the ailing food delivery operation around before exiting in December last year to concentrate on his growing artist management business and investment portfolio. This month, he released his first book, detailing the systems and strategies he has learned across his time in business, creating a short but punchy guide for entrepreneurs looking to take advantage of AI transformation. The book, Death To The Org Chart, is an implementable method to automating and simplifying systems to allow workers more time to concentrate on decision making and action. “It [the concept] started at Providoor because I didn't know anything about hospitality or e-commerce, so I was breaking down the workflows just so I could learn and understand,” explained Girgis. “Just as I became competent in that, AI technology came out. I realized I had already broken down the business into such incredible micro-workflows that when open-source technology came out, I was able to just bring it in and replace a lot of these micro-level workflows we were doing. That just opened up capacity for so much of the team.” Girgis’ path to the systems-first model outlined in his book came from his experience running The Brag Media, in an endless struggle against rising costs and squeezed margins. “Towards the end at The Brag Media, I spent most of my weeks trying to figure out how to become more efficient because we had incredible revenue but a very poor margin—around 4%,” he revealed. “Everywhere I looked in the business, I couldn't figure out how to gain material efficiency. We made small improvements around the edges, but nothing significant. We would get a massive new $300,000 contract in, and suddenly I'd need to hire more contractors to deliver it, swallowing up the revenue. It was a nightmare.” “I decided I never wanted to be in that situation again with any business or revenue stream. I committed to really scrutinizing overheads and cost of goods before taking on any new business. That was the lens I brought to Providoor. Since it was an existing business that I could look at with a fresh pair of eyes.” Reflecting on his own time building The Brag Media, Girgis said that his initial attraction to the media space was through managing bands and thinking he could do a better job managing media brands using the same principles after watching companies like Vice go through exponential growth. He drummed up funding from his friend and mentor Benjamin and brought in editor and running-mate Poppy Reid, embarking on a journey that he says was problematic from early on in the business. “Unfortunately, we bought right where the bubble burst. By the time we sold The Brag Media, Vice was worth $300 million, down from $5.7 billion. We really jumped on the wrong wave. The whole ecosystem of what Google and social media did to publications made it impossible to run the business like I was managing bands. Originally the thesis was strong, but it fell apart a few months into the business.” Girgis credits the eventual success of The Brag to his friend and investor Benjamin, dedicating his book to him. “There is no chance The Brag Media would have survived or been successful without Sam's unwavering support of Poppy and me, as well as his leadership and mentorship. I remember he said he wanted to put up $1 million in The Brag Media to [get it to] break even. We agreed on a plan and he signed off on it. A few months in, I saw the writing on the wall and didn't believe in the plan anymore. I told him we had to pivot and do X, Y, and Z. He said, 'Mate, if you do that, you're going to burn through all the money and it won't work.'” Despite his investor's protests, Girgis embarked on the new plan, pivoting to a fast-growth, high-spend strategy and Benjamin reluctantly backed the new plan. “I think I burnt through all of our cash in about six or seven months when it should have taken us about 18 months to two years. He let me make the mistake, and I lost a lot of his money by spending far more on The Brag Media than we should have. I thought I was done and that we were going to pack up shop. Then he said, ‘Well, I've just spent $800,000 teaching you a lesson, so now go and apply the lesson and let's actually make this business work’. I think publishing is almost impossible to make successful, but somehow we limped over the line.” The Brag Media sold to Vinyl Group in 2024 for a reported $8 million plus a further $2 million performance payment for Girgis, who was to stay on with the business to steer the media division under CEO and fellow startup founder Josh Simons. The relationship soured quickly, with Girgis exiting in June 2024 after a “business review”. He subsequently sued Vinyl Group for $2 million alongside compensation for lost remuneration, bonuses and share options. Vinyl has since lodged a counterclaim against Girgis for misconduct, which he strongly denies. Girgis declined to comment on the ongoing situation other than to confirm that the court proceedings were still on foot. Not one to live in the past though, the lessons he learned in the media business were the birth of his new book. At Providoor, Girgis refined the method outlined in Death To The Org Chart, taking on a business that he reports was losing $400,000 a month with thirty employees to a sustainable break-even position. In what was a massive turnaround, Girgis said his next biggest lesson was one that came with the confidence to back his own judgement. “If a process or job doesn't make sense to you, it's likely unnecessary or bullshit,” he said. “There are so many jobs out there that look complicated, convoluted, and super important for whatever reason. No matter how many times they're explained to me, I still don't get them. Any time those workflows, tasks, or roles have been eliminated, I haven't regretted it once. If I don't understand it, it can probably go.” “That's the problem with imposter syndrome: you go into media having never done it, you manage artists having never managed them, or you manage a kitchen and e-commerce site having done neither. When you don't understand something, it takes a long time to get over imposter syndrome because you assume you don't understand it because you're an idiot. I am an idiot, but I also don't regret getting rid of things I don't understand. That's my biggest lesson.” Girgis explained that the advent of AI coding has enabled the customisation of software and systems like never before, with his own house-made artist management CRM and contract management workflow an example of how, even without technical coding skill, simplistic previously human-driven tasks can be automated to create more time. “Our artists have never made more money,” he said frankly. “I feel like every hour an artist manager spends doing admin is literally an hour stolen from an artist's career, because they get no benefit from you updating spreadsheets, running your to-do list, or chasing these contracts. All of that does not actually affect the bottom line. Once I alleviated all of that admin from our business, our artist managers were able to focus purely on revenue and strategy. Not one artist on our roster who hasn't made significantly more money this year than in any of the previous three years. There is not one exception.” Through his method, the book’s confrontational title was born, placing systems and tasks at the centre of business strategy rather than job titles and humans. According to Girgis, the biggest thing holding businesses back is thinking that they are unique and cannot be systemised. “We don't think micro enough. We look at an artist management business, for example, and think, 'There are so many different nuances about every single one of my artists—what they like, what they don't like, what the brand wants, what the artist is willing to accept, and how every deal gets rolled out. It IS truly unique—even the way I run my artist management firm is so different from any other artist manager because their roster, how their artists work, and their staff are completely different from mine.'” “If, however, I go micro and ask, ‘What do I actually do?’ A deal comes into my inbox, I respond with questions, I get those answers, I negotiate them further, we get a contract, we send it to the lawyer, and the lawyer gives us a markup. You can even break down what the lawyer is doing and ask if we can automate that. If you break down all the micro-steps of what you do, there is at least some part of your business whose workflows are not unique, and those are the things you can automate. But if you think too macro, you'll always think you're too special to receive help.” Girgis is quick to point out though, that automation only works when there is truly a task that can’t be better handled by a human. His own audiobook, for example, is narrated by famed reader Scott Brick. “I just like his voice, and I wanted to work with him. So I hit him up, and since I don't think I'm ever going to write another book in my life, I thought I might as well get the GOAT. The art I could achieve out of the human voice of Scott Brick [Scott Brick], as a fan of his, brought me far more joy than if I had a perfect AI version.” With the debate on around AI replacing humans and a potentially looming upheaval of the workforce, the ethical debate over the use of AI is raging, but for Girgis, the red line is simple. If the AI can do the work and the sources the AI have been trained on are permissive and compensated, then it’s simply a technological evolution worth jumping on. He is more skeptical, however, on whether the ethics of compensation is achievable, saying that as an artist manager, while he supports IP protection and manages his artists with that in mind, he doesn’t truly believe that it is viable in the long term. “I don't think there is anything we can do to stop the IP theft by AI. I think all this championing in Parliament is a bit like the fight against global warming in Australia. We're only 20 million people in the whole world. I drive an electric car and I love it, but if everyone in Australia drives an electric car, we're not going to put a small dent into any global warming metric when you've got countries like India, Africa, Russia, and China ignoring it if they choose to. It wouldn't make a dent. That is the case with AI. If we have a super-strict IP law that protects Australian artists, it's not going to matter when open-source models hit around the world.” An ominous pointer from someone whose previous media business The Brag relied on its creation of IP, Girgis sees the ailing media industry as retreating into a territory where it is uninvestable, but will not disappear. “Multinational media operations starting from scratch are going to be very hard to do. The big multinationals are having their equity hammered, and those massive global brands will be sold for pennies on the dollar in the next few years. However, if you have a local media business, you can turn it into a very healthy small business. There is a lot of value in that for both the industry and the owner.” Phew. Death To The Org Chart is available from August 20. Pre-order your copy here.

dlvr.it

'I Wanted To Literally Be Pulled Out Of My Comfort Zone': Chelsea Wolfe On Finding Magic In 'The Dark'

'I Wanted To Literally Be Pulled Out Of My Comfort Zone': Chelsea Wolfe On Finding Magic In 'The Dark'

We’re not the first ones to point this out, but, oddly, Chelsea Wolfe hasn’t already released an album called The Dark in her storied career. But it’s never too late for such an aptly-titled record to enter her discography. This Friday (21 August), music’s gothic queen is releasing her ninth album digitally, while the physical editions of The Dark will arrive in September. The American singer-songwriter has long built a reputation as one of the most interesting voices in music, with albums spanning gothic rock, doom metal, experimental, noise rock, and folk. With her latest record, Wolfe has crafted a career-spanning collection of tracks that start with acoustic guitars and tranquil vocals and evolve into something completely surprising. Wolfe launched into the promotional campaign for The Dark with the double release of the title track and album highlight Death is Not the End in June. Both songs are great teasers for what’s to come on the album, with the focus on space between verses and choruses and only going electric when the song calls for it. “I definitely wanted to strip things back a little bit,” Wolfe tells The Music from her home studio, decked out in her signature enchanting attire, a black Gibson SG electric guitar behind her. “I mean, there’s definitely a few electronic elements here and there on this record, but I intentionally sort of took that away from some of the songs and just wanted to keep them really minimal in a way.” She adds, “But yeah, Death is Not the End, I feel like it really showcases those two sides of myself as being drawn to this acoustic, folk side of myself, and then this sort of heavier distorted side, and that song really marries the two. “I just love that transition from one into the next, and it also just feels very indicative of the visual realm that I chose for this record, being reaching into another kind of space, like the idea of the séance, and trying to like reach into the spirit world, or the ocean, and thinking about being an angel in this kelp forest, just so peaceful. I like reaching into different worlds, and this crossover, I just felt like that song really summed that up for me.” Embedded Content While The Dark finds Wolfe reuniting with her longtime collaborator, Ben Chisholm, she also recruited some new voices: co-writer Jennifer Decilveo, Robin Finck (Nine Inch Nails), Matt Chamberlain (Pearl Jam), Troy Van Leeuwen (Queens Of The Stone Age), Stella Mozgawa (Warpaint), and Justin Meldal-Johnsen (Nine Inch Nails, St. Vincent). Wolfe and Chisholm have worked together for years in her house, and for album #9, she craved a different space and a different collaborative energy. “Working with Jen, it just felt like we really worked quickly together and had a commonality,” she shares. “Even just being the same age as women in the music industry, we kind of just had that in common, and that was like a language that was easy to express between us. “I knew I wanted to literally be pulled out of my comfort zone for this record, and so, you know, I made that choice to work with someone who I felt like was going to challenge me in that way.” Meanwhile, names such as Matt Chamberlain, Stella Mozgawa, and Justin Meldal-Johnsen are recognised for their numerous works with other artists, but by teaming up with Wolfe, her vision remained front and centre, unencumbered even by her all-star band of collaborators. What’s immediately commanding about The Dark is how the songs feel familiar but nonetheless entrancing. Cold opens with acoustic guitar playing and hushed vocals from Wolfe – akin to her acoustic-based record, Birth of Violence, while the following two tracks, Seethe and Humours, revisit the trip-hop, industrial metal feel of 2024’s She Reaches Out to She Reaches Out to She with jittering beats and stunning melodies. “Yeah, I mean, that’s so interesting actually, now that you’re saying that. This really is like a reflection of all these different eras of my career, yeah, I can see that,” Wolfe says. Embedded Content Discussing the album’s tracklisting, she admits, “I was really focused on just each song as its own thing. “The starting point of this record was about actual songwriting and thinking about song structure and going a bit more traditional with some of the song structures, which I don’t normally focus on as much. The songs themselves started taking form, gelling together, and making sense in a weird way. “I’m always wondering if it’s going to make sense to the outside world, because it makes sense to me, obviously, like the order that I put them in and stuff, but usually the order comes last. I would be amazed if someone wrote an album in order; that would be really impressive, actually! I’m sure someone’s done it.” Songs like Swallower and Turn the Key, meanwhile, are packed with beautiful layers of alternative, folk-based music that gradually unfurl to introduce heavy metal elements heard in 2015’s Abyss and 2017’s Hiss Spun, the distorted guitars balanced with Wolfe’s rich falsetto. “I definitely knew I wanted to have some rock moments on the record, and so when we were working on Swallower, it was just sort of leaning that way, because I had the verses which are a little bit more down-tempo, but I was like, ‘I think I want to write a little bit more of a rock chorus for this one,’” Wolfe shares. She adds, “Jen came up with a melody for that, and I was like, ‘I don’t know if I can sing this high, honestly,’ but I gave it a try, and yeah, just had some fun playing with some really high notes that I don’t normally go to. “With Turn the Key, that song lyrically is really about finding myself again, or finding a new version of myself, like just feeling like I had kind of lost myself and been self-abandoning for a really long time, so that song’s really about calling my power back, and I just felt like it lent itself to having heavy distorted guitars, and so I started there with that song.” While some songs on The Dark find inspiration from experiences and themes that are bigger than you and I, album closer Dancer in the Sky delves into grief and looks to a film dear to Wolfe’s heart. Inspired by the 1998 movie What Dreams May Come, a fantasy drama film led by Robin Williams, Annabella Sciorra, and Cuba Gooding Jr., Wolfe channelled themes of the afterlife she visited throughout the album and distilled them for the touching ballad. Embedded Content “It began as a really sort of melancholic piano song that I had written, and I imagined that it would stay that way,” she explains. “But when Jen heard it – her and I would really bounce off of each other really quickly in the studio – she just sort of took it and ran with it, and was like, ‘What if we make it a little bit more triumphant, and be inspired by people like Annie Lennox and Kate Bush, and make it a little bit more, orchestral, and different?’ “We were playing with a lot of vocal layers and things like that. So yeah, I was really inspired by this film that I’ve always loved called What Dreams May Come. Robin Williams stars in it, and it’s very much about the afterlife and the different levels and realms and literally having to reach into hell to pull someone out. “I’ve always been so enamoured by the story of that movie. I wrote that song about that story and inspired by that movie that I’ve just loved for so long, and it’s also inspired by grief in general, and losing someone, and how you’re sort of looking for signs of them, whether it’s a cloud that looks like a woman dancing, or a butterfly, or something like that. “Those little moments of nature mean so much to you when you’re going through grief, so the song is about that as well. I guess I felt like it made sense to close the album with this really big moment.” What Dreams May Come isn’t Wolfe’s first foray into the film world. In 2022, she released a soundtrack album for the slasher film X, working with composer Tyler Bates and providing vocals for the score. Embedded Content Wolfe has also drawn inspiration from television series, and a couple of her songs have soundtracked major moments. Her song Feral Love, from 2013’s Pain Is Beauty, was the soundtrack to the trailer for Game of Thrones’ fourth season, while Carrion Flowers and Survive, from 2015’s Abyss, featured on the trailer for Fear The Walking Dead and during a key moment of the Australian series, Wentworth, in its fifth season. Embedded Content But did you know that she initially wrote Survive to feature on The Walking Dead? “Funnily enough, I was actually asked to write a song for The Walking Dead ages ago, and I wrote Survive, and then they didn’t use it,” Wolfe admits. “But it went on to be one of my most used songs in other TV shows and things, so I feel like that sort of interplay between visuals and songwriting is a really cool thing.” Embedded Content She continues, “I just love doing that, honestly. I love working with a prompt. Even the song Seethe on this new record—I actually thought I was being asked to write a song for a TV show—I misread an email, and so I wrote that song. “It was a song I was kind of working on anyway, but I wrote it thinking, ‘Oh, this could be the opening credits of a TV show or something,’ so I really enjoy that sort of like push and pull. And the [new] song Halo, I wrote after watching the first season of The Last of Us. I wrote that about the father-daughter style relationship in that show, so I’m definitely influenced a lot by film and TV and writing, yeah.” Embedded Content Outside of music, film, and television, Wolfe has also collaborated with fragrances. In 2019, she teamed up with Lvnea Perfume, and earlier this year, was the face of Heretic Parfum’s gothic new scents. The title track and Death is Not the End arrived a week after fan speculation swirled on social media, with Heretic Parfum revealing that they’d collaborated with Wolfe on a new collection of five spectral fragrances, the GHOSTS series, marking the first time the Los Angeles fragrance brand had partnered with a musician. But Wolfe says most of the work was already done before she was asked if she’d want to represent the new perfume series. “This collaboration was interesting because they had actually already finished the scents themselves and had the whole concept of GHOSTS prepared,” she shares, “And then they presented it to me like, ‘Is this something you’d be interested in collaborating with – being part of the visual campaign?’ “When they presented the concept of it being this sort of liminal thing between worlds, I just feel like it aligned so closely with what I was working on for this record, because it was pretty similar timing to when we were finishing up the record to when they asked me, and I had already been like working on this visual idea of the séance.” Wolfe compliments the team at Heretic, describing them as “great” to work with and the visuals as “beautiful.” “I’m so impressed with the scents, too, like I don’t even understand how you come up with these blends,” she quips. “They’re so strange but so alluring at the same time.” How the perfumes ended up aligning so perfectly with The Dark remains a mystery. “The timing was really synchronistic, and yeah, I always wonder how it came across from the outside that there was a perfume and new music happening at the same time, but it literally just happened to be the timing of it wasn’t on purpose.” Embedded Content Does Wolfe plan to bring fans’ senses release to life on tour for The Dark? Will she tour the album and bring a sense of GHOSTS to life in the visual and soundscape of her show? “It’s always an interesting challenge to learn to play songs from a record live,” Wolfe shares. “My bandmates and I have been working since March, I think, to really get this setlist right, and infuse new life into the old songs, and yeah, learning these new songs.” Right now, she’s focused on staying present and having fun with it – something that happened even in the recording of the album. She explains, “It’s a dark album, but I want to have fun, and I want to be playful, and I want whimsy, and magic amidst the dark, because I mean, that’s what The Dark is. “It’s this love letter to gothic culture, and all these beautiful dark things, and art, and film, and music, so I hope I can bring that sort of sense of dark whimsy to the stage as well,” Wolfe adds. As for the visual aspect of the show, she and her bandmates are still working on it. “I honestly really want to keep it simple,” she notes, echoing sentiments surrounding The Dark. “I feel like my personal style has gotten a little bit more minimal over the years, and I’m trying to bring that to the stage as well, and just literally using the super thin fabric that almost feels like a veil between worlds. I’m hoping we can bring it together in the right way.” The Dark will be released on Friday, 21 August, via Loma Vista Recordings. The album is available to pre-order and pre-save. Embedded Content

dlvr.it

Australian Festival Association Appoints Lizzie Butterworth As New CEO

Australian Festival Association Appoints Lizzie Butterworth As New CEO

A week after it was announced that Olly Arkins would be stepping down from the role of Chief Executive Officer at the Australian Festival Association at the end of the month, a new CEO has been appointed. Lizzie Butterworth takes on the role following Arkins’ departure, with the organisation noting that she brings “extensive policy expertise, government experience and industry knowledge” to the Australian Festival Association. Butterworth has been an integral figure in shaping policy developments within the contemporary music sector of New South Wales. Said developments include participating in the establishment of Sound NSW, festival regulation reform, protecting live music venues, and developing regulatory and funding frameworks to support artists, music venues, and festivals. In addition to her experience serving in government, Butterworth recently held a role at Ogilvy Australia as the Business Director – Public Affairs. Sharing that she’s honoured to lead the Australian Festival Association, Butterworth said in a statement: “Festivals are a vital part of Australia’s cultural identity and music industry. They have launched the careers of countless Australian artists, connected fans with unforgettable live experiences and created opportunities for workers, businesses and communities across the country. “I’m excited to work with our members, Board and industry partners to build on the AFA’s strong foundations and continue advocating for a festival industry that is creative, resilient and sustainable.” Australian Festival Association Chair Adelle Robinson added: “The Board is delighted to appoint Lizzie Butterworth as our next Chief Executive Officer. Lizzie has spent her career working at the intersection of music, government and public policy. “She knows how government works from the inside, she knows our industry’s challenges, and she knows how to bring people together to drive change.” Robinson continued: “Australia’s festivals face complex regulatory, financial and operating pressures. Lizzie has built trusted relationships across government and industry and is exactly the kind of leader the Association needs as we continue advocating for a strong, sustainable and thriving festival sector.”

dlvr.it

Senior Entertainment Lawyer Marcus Walkom Launches Walkom Entertainment Lawyers

Senior Entertainment Lawyer Marcus Walkom Launches Walkom Entertainment Lawyers

Respected senior entertainment lawyer Marcus Walkom has officially launched his independent, specialist music and entertainment law practice, the eponymous Walkom Entertainment Lawyers. Headquartered in Brisbane and operating across major global territories, Walkom finds himself operating alongside lawyer, musician, and artist Lauren Holyoak, with the launch coming after his 15 years spent specialising in music and entertainment law, and follows on from his previous role as a Partner and founder of the Brisbane office of Media Arts Lawyers prior to its closure last month. By its own admission, Walkom Entertainment Lawyers presents as a firm which is approachable and deeply connected within the industry, offering legal services while maintaining a grounded understanding of the creative culture in which it operates. It launches with an impressive roster of clients, spanning Grammy and ARIA Award-winning artists, labels, distributors, publishers, and more. This includes names such as Wolfmother, The Teskey Brothers, The Amity Affliction, King Stingray, The Chats, Playlunch, Untitled Group, and much more. "Music careers are commercial businesses, and every stage of an artist’s journey hinges on strategic dealmaking—whether that’s with a label, distributor, publisher, manager, promoter, or brand," says Walkom, the Founder & Principal of Walkom Entertainment Lawyers. "Our role is to ensure our clients navigate these arrangements from a position of real strength and clarity, making informed decisions that build sustainable, long-term careers. "We’re building a genuinely global, highly connected practice that sits right at the heart of the music industry,” he adds, “close to the artists, the rightsholders, and the executives doing the deals across key territories, while offering the commercial agility needed for everything from a debut release deal through to major catalogue acquisitions.” Alongside his newly-launched practice, Walkom continues to maintain leadership roles within the music industry. This includes a role as the founder of management company and record label We Are Golden, and roles as a board member of both the Association Of Artist Managers (AAM) and the Gold Coast Music Alliance (GCMA). Walkom will also be appearing at BIGSOUND on Thursday, September 3rd, joining the Who Owns This Image? panel to discuss copyright, trademark law, and the ownership of music imagery.

dlvr.it

ARIA Awards Detail 2026 Return

ARIA Awards Detail 2026 Return

After hosting its star-studded ARIA Hall of Fame event at Carriageworks in Sydney earlier this year, the ARIA Awards return in November for their 40th edition of celebrating Australian music. The Australian Recording Industry Association (ARIA) revealed that the 2026 ARIA Awards in partnership with Spotify will return to Sydney’s Hordern Pavilion for the sixth year running on Wednesday, 18 November. While many members of the national music industry will be in the room for this year’s celebrations, the Awards also return to 10 and will be streamed live on Paramount+, offering viewers at home the chance to take in Australian music’s night of nights via free-to-air and streaming platforms. The nominees for this year’s ARIA Awards will be announced on Thursday, 24 September, with performers and other celebrations to be announced soon. The milestone 40th anniversary celebrations of the ARIA Awards launched in June with the ARIA Hall of Fame Special Event, when six Australian icons were inducted into the Hall of Fame. They were Gurrumul, Jenny Morris, Kate Ceberano, Spiderbait, The Living End and Vika & Linda. Spotify also returns for the second year as the ARIA Awards’ presenting partner. The streaming service will amplify the awards, enable in-app voting, and showcase a global campaign that gives nominees and winners visibility. Last year’s awards showed the diversity and momentum of Australian music, with Amyl and the Sniffers and Ninajirachi taking home multiple major Awards. Other homegrown names celebrated throughout the evening included Dom Dolla, Troye Sivan, Tame Impala, Thelma Plum, BOY SODA, BARKAA, and Kasey Chambers. In a statement, ARIA CEO Annabelle Herd discussed the ever-evolving Australian music industry and shared excitement for celebrating the 40th anniversary of the Awards. “Australian music is electric, ever-evolving and has never failed to set the cultural conversation ablaze right around the world,” Herd said. “The ARIA Awards have had the best seat in the house for four decades of one incredible show. Whatever gets thrown at Aussie music, our artists find a way to cut through. Now is no exception.” Herd continued, “Amyl and the Sniffers, The Kid LAROI, Ninajirachi, Dom Dolla and Troye Sivan are all proof of that, and there is a generation behind them who will take Australian music somewhere none of us can picture yet. “That’s exactly what we can’t wait to celebrate at the 40th ARIA Awards: the icons who built these four decades, the superstars carrying Australian music today and the artists who will own the next forty years. I promise the team has thrown everything they have at making this milestone unforgettable; see you in November!” The NSW Minister for Jobs and Tourism, Steve Kamper, said the ARIA Awards have continuously championed Australian music for four decades. “The ARIA Awards has championed and celebrated Australian music for four decades, with Sydney as the nation’s main stage for live music,” Kamper shared. “It’s only fitting then that the Hordern Pavilion, one of our most iconic live music venues, will host the 40th anniversary of the highest accolade in Australian music. “The NSW Government has worked hard to create more opportunities for live music across NSW and provide a platform for artists, while also supporting venues, businesses and jobs that rely on our state’s visitor and night-time economy. “I congratulate ARIA on 40 years of advocating for Australian music and thank them for sharing our values for a thriving live music scene in NSW.” Spotify Managing Director AUNZ, Mikaela Lancaster, added that Australian talent runs deep. “Australia continues to produce some of the most exciting music in the world, and every year the ARIA Awards remind us just how deep the talent pool runs in this country,” Lancaster said. “We're proud to be back as Presenting Partner, and our goal is to take the energy of the night and turn it into streams, fans and opportunities that follow these artists long after the trophies are handed out. Australian music is world-class, and we want to make sure audiences here and around the world know it." Tamara Simoneau, VP Content, Paramount ANZ, shared pride for being the broadcast partners of the ARIA Awards. “We’re really proud for 10 and Paramount+ to be the broadcast partners of the ARIA Awards, and to support the Australian music industry by celebrating the incredible breadth of talent we have in this country, as well as the brilliant work ARIA does to amplify our artists and their music,” Simoneau concluded. “The ARIA Awards are the music industry’s biggest night of the year, and we want audiences across the country to be able to share in the celebrations, connect with their favourite acts and discover new favourites along the way.”

dlvr.it

ZZ Top Drummer Frank Beard Passes Away, Aged 77

ZZ Top Drummer Frank Beard Passes Away, Aged 77

Frank Beard, the longtime drummer of of Texas blues rock outfit ZZ Top, has passed away at the age of 77. News of Beard’s passing was confirmed via a statement shared by founding guitarist and vocalist Billy Gibbons. “Today, Elwood and I lost a great friend and collaborator, and the world lost one of the most naturally innovative drummers and a great and true son of Texas,” Gibbons wrote. “His signature backbeat was key to keeping ZZ on top.” Born in Texas in 1949, Beard’s journey into music was a slightly strange one, with his resumé featuring a role in the fake version of English band The Zombies – a group created in 1969 to cash in on the popularity of the real band, despite them having broken up years earlier. That band also featured his future bandmate Dusty Hill, and while Beard would join Gibbons in the newly-formed ZZ Top (replacing founding drummer Dan Mitchell), Hill would not follow suit until the following year, replacing Billy Ethridge and becoming the band’s third bassist. Together, the longstanding line-up of Gibbons, Hill, and Beard would become one of the most iconic and consistent in rock history. Embedded Content Known for their bearded image (though ironically, Beard was the only one to not sport a beard), the band would record 15 albums between 1971 and 2012, including 1983's Eliminator and 1985's Afterburner, which would peak at No. 2 and No. 6 on the Australian charts, and spawn singles such as Sharp Dressed Man, Legs, Sleeping Bag, and more. Hill would pass away in 2021 at the age of 72, with longtime guitar tech Elwood Francis stepping in per Hill’s request. In April 2025, it was announced that Beard would not join ZZ Top's then-forthcoming Australian tour, citing a medical issue that had seen him step away from a US tour, and a need to undertake physical therapy. Last week, reports emerged that Beard's health had worsened, with a date at the Hollywood Bowl on August 5th having been cancelled. However, Setlist.fm reports that Beard played his last show with ZZ Top on August 14th, in Ridgefield, Washington. In the wake of Beard’s passing, ZZ Top have cancelled upcoming US dates on August 19th and 21st, though plan to return to the stage over the weekend at the Austin City Limits festival, “one of Frank’s favorite venues and in a city that had been something of a second home for him.” Though John Douglas substituted for Beard during his 2025 absence, recent shows have seen Michael Monahan sitting behind the kit.

dlvr.it

Senior Entertainment Attorney Marcus Walkom Launches Walkom Entertainment Lawyers

Senior Entertainment Attorney Marcus Walkom Launches Walkom Entertainment Lawyers

Respected senior entertainment attorney Marcus Walkom has officially launched his independent, specialist music and entertainment law practice, the eponymous Walkom Entertainment Lawyers. Headquartered in Brisbane and operating across major global territories, Walkom finds himself operating alongside lawyer, musician, and artist Lauren Holyoak, with the launch coming after his 15 years spent specialising in music and entertainment law, and follows on from his previous role as a Partner and founder of the Brisbane office of Media Arts Lawyers prior to its closure last month. By its own admission, Walkom Entertainment Lawyers presents as a firm which is approachable and deeply connected within the industry, offering legal services while maintaining a grounded understanding of the creative culture in which it operates. It launches with an impressive roster of clients, spanning Grammy and ARIA Award-winning artists, labels, distributors, publishers, and more. This includes names such as Wolfmother, The Teskey Brothers, The Amity Affliction, King Stingray, The Chats, Playlunch, Untitled Group, and much more. "Music careers are commercial businesses, and every stage of an artist’s journey hinges on strategic dealmaking—whether that’s with a label, distributor, publisher, manager, promoter, or brand," says Walkom, the Founder & Principal of Walkom Entertainment Lawyers. "Our role is to ensure our clients navigate these arrangements from a position of real strength and clarity, making informed decisions that build sustainable, long-term careers. "We’re building a genuinely global, highly connected practice that sits right at the heart of the music industry,” he adds, “close to the artists, the rightsholders, and the executives doing the deals across key territories, while offering the commercial agility needed for everything from a debut release deal through to major catalogue acquisitions.” Alongside his newly-launched practice, Walkom continues to maintain leadership roles within the music industry. This includes a role as the founder of management company and record label We Are Golden, and roles as a board member of both the Association Of Artist Managers (AAM) and the Gold Coast Music Alliance (GCMA). Walkom will also be appearing at BIGSOUND on Thursday, September 3rd, joining the Who Owns This Image? panel to discuss copyright, trademark law, and the ownership of music imagery.

dlvr.it

ICYMI: NFSA Partners With YouTube, Inducting Tash Sultana, Eddie Woo & More Into Australian Cultural History

NFSA Partners With YouTube, Inducting Tash Sultana, Eddie Woo & More Into Australian Cultural History

The National Film And Sound Archive Of Australia (NFSA) have announced a new partnership with YouTube, inducting ten of the country's "most influential creators" working on the platform into a new national audiovisual collection. Dubbed the NFSA Creator Capsule, the new collection seeks to represent the "creativity, reach, diversity and cultural impact of Australian creators," with the NFSA collecting not just video assets, but likes, views, and comments as part of its archival process. The inaugural Creator Capsule will feature a total of 300 videos from ten creators inducted, alongside oral histories and contextual material that goes deep into these creators, their work, and the creative processes. Creators included in the initial intake include Tash Sultana, whose live-looping sessions were viral successes on YouTube before taking their creator to global stages; multi-hyphenate musician, beauty blogger, and gamer Wengie; and kids’ performers Bounce Patrol. There’s also mathematics teacher Eddie Woo; independent animators GLITCH; Natalie Tran’s pioneering comedy outlet communitychannel; and Yolŋu bushcraft and culture documenters Outback Boys. It’s rounded out by scripted comedy creator Superwog; the DIY car builds of Mighty Car Mods; and the inventive local adventures of Beau Miles. “Audiovisual storytelling is the dominant form through which we now express, celebrate and negotiate identity,” said the NFSA’s Chief Curator, Meagan Loader. “In 50 years, when Australians come to the NFSA to find the audiovisual stories that defined our time, they’ll expect to see YouTube. “It’s vital we acquire this now to sit alongside our TV, radio, music, podcasts, games and films. This new collaboration with YouTube enriches our collecting by providing insights into platform activity and impact and helps open the door for us to other creators.” “The NFSA is renowned as the official custodian of Australia’s audiovisual culture. While YouTube empowers everyday Australians to share their stories with a global audience, the NFSA is ensuring these 10 creators become a permanent part of our national heritage,” added Mel Silva, the Vice-President and MD of Google Australia and New Zealand. “This partnership is a perfect snapshot of everything YouTube represents—cementing these creators’ place in our living cultural record and giving future generations the chance to discover and experience the rich diversity of contemporary digital storytelling.” Full details about the nascent inductees into the NFSA as part of the inaugural Creator Capsule are available via the NFSA’s website. Embedded Content

dlvr.it

ICYMI: Power Pick 17/08/26: Benny Morrell - 'Easier'

Power Pick 17/08/26: Benny Morrell - 'Easier'

The Music chooses one song every week as its Power Pick, shining a light on ONE Aussie song that we think has the potential to be the next big Australian chart hit. Our Power Pick committee consists of Richard Kingsmill (consultant and former triple j Group Music Director), Maddy Rowe (Nova nights announcer), Nic Kelly (Hit Network nights announcer), Ash McGregor (host of Listen Up with Ash McGregor), Kent “Smallzy” Small (Host of ‘The Smallzy Show’ on the Kiis Network), Irene Hulme (radio consultant and host of Game Changers Radio podcast), Matty Morris (Super Radio Network nights announcer), and Matt O’Gorman (Triple M Homegrown host). It’s been a minute since fans last heard new music from Melbourne musician Benny Morrell, but the wait has been more than worth it. Having made an auspicious debut around 2019, Morrell’s output has been consistent and impactful, with his remarkable blend of pop, indie, and soul managing to draw in a vast and ever-growing fanbase. With local and international airplay to his name, and viral fame thanks to platforms such as TikTok, last October saw Morrell unleash his latest EP, All That’s Left, with writing sessions in Los Angeles and Nashville closing out the huge period for the rising star. Now, he’s flying high from the release of last month’s Easier, his first new single of the year. A soaring, catchy piece of work that is as impactful as it is hooky, the underlying message behind it is one of perseverance. “Made this song knowing I could never afford to do much but I wanted to try,” Morrell said of the track on social media, later adding, “I made this song when I was incredibly down bad as a reminder to myself that nothing lasts forever.” Embedded Content CHART UPDATE There haven’t been too many climbs on the cards for Aussie acts this week on the Radio Monitor Hot 100 chart, but it’s still a strong showing of local talent. At the top end of things, Taylor Swift and Alex Warren swap positions with I Knew It, I Knew You and Fever Dream at No. 1 and No. 2, respectively, while Olivia Rodrigo’s Stupid Song jumps over the highest-charting Aussie, leaving G Flip to take out the No. 4 position with Bed On Fire. Josh Fawaz’s controversial rework of Madonna’s Like A Prayer, which attracted attention thanks to the artist’s recent admission of AI usage, has fallen down to No. 8, while Sonny Fodera’s Let Me Be In Your Arms closes out the top ten. Fodera shows up again at No. 24, with previous chart-topper Think About Us holding steady for another week, while a previous Power Pick – Ninajirachi & Porter Robinson's WannaCry – is our first local riser, jumping three spots to No. 35. Tame Impala's perennial top ten single Dracula falls further to No. 37, while DMA'S' Killing Time jumps two spots to No. 41. There's not much more local gear on the bill for this week, with Tkay Maidza's Jenevieve-featuring Romanticize jumping one spot to No. 45, and Spacey Jane's East Village falling one spot to close out the top 50. Over on the ARIA charts, there's a bit of local movement, with Tame Impala's Loser debuting at No. 11, while Dracula falls down to No. 18, closing out the only Aussies in the top 50.

dlvr.it

ICYMI: How To Run A Festival Without Losing Your Mind? NSW Just Dropped An Industry-Led Blueprint

How To Run A Festival Without Losing Your Mind? NSW Just Dropped An Industry-Led Blueprint

With funding from the NSW Government through Sound NSW, the Australian Festival Association (AFA) has published the first industry-led Festival Blueprint in Australia. It provides a highly detailed simple-to-read cross-reference living resource for NSW events, with practical operational guidance, regulatory information, and insights from industry executives based on real events. The AFA represents over 85 promoters, suppliers, and industry stakeholders. It was set up in 2018 to advocate for policy reform, industry collaboration, and best-practice standards. It’s dropped the first five chapters, with others to be drip-fed. The aim is to educate the Australia-wide sector eventually. “The Festival Blueprint consolidates the festival industry's collective knowledge, guiding organisers of every scale to deliver safe, well-run events that communities love,” points out Adelle Robinson, Chair of the AFA and CEO of Fuzzy Operations. “We know festivals face real pressure and as an organisation we want to make sure festivals are leading the way with best practice. The AFA was founded to bring industry together and raise the standard collectively, the Festival Blueprint is that vision realised.” Adds Emily Collins, Head of Sound NSW, “The launch of the Festival Blueprint marks a significant milestone for the NSW festival industry and sets a strong foundation for the sector's future.  “Festivals bring communities together, create opportunities for artists and contribute enormously to the cultural life of our state. “As the industry navigates ongoing challenges, having a shared best practice framework that is co-designed and industry-led is a confident step forward for festivals.  “Sound NSW is proud to have supported the development of the Festival Blueprint and looks forward to seeing it continue to evolve through ongoing collaboration across the festival sector." Embedded Content Contributors More than 70 contributors helped shape the Festival Blueprint, giving practical guidance to navigate planning, risk management, and requirements with up-to-date insight. Ask veteran festival promoters about the most common mistakes festivals make, and some issues keep recurring. They include poor budget management, failure to have strong ideals around which to plan, lousy site layouts, failure to understand when and where the biggest risks lie, under-staffing and over reliance on volunteers, sloppy common sense like not enough shade and toilets, poor communication with emergency services and councils, and failure to market and promote properly. These worsen as festival promoters face the pressure to cut financial corners or rush bureaucratic processes through. According to past AFA studies, 47% of festivals are impacted by rising operational costs, lack of funding and grants available (39%), insurance (31%), and extreme weather events (22%). Creative Victoria’s ground breaking Soundcheck report revealed that the average cost to run a music festival is $3.9 million while only 56% of music festivals in 2022/23 were profitable. More than one in three reported a deficit. Festival Blueprint was developed through input from festivals, government agencies, regulators, emergency services, accessibility specialists, First Nations advisors, crowd safety specialists, and international event experts. Chapters look at legal responsibilities, crowd management and security, medical & harm management, emergency risk, event management, crowd and movement, First Nations respect, engagement with police, emergency services and councils, food, waste and environment, as well as equality and inclusion. The section on Regulatory & Compliance starts with the Music Festivals Act (NSW), explaining how it applies in practice and what organisers need to know to run a music festival in NSW. For new-to-the-game promoters comes the warning, “What counts as a music festival? Many events commonly referred to as concerts may legally fall within the definition of a music festival under NSW legislation.” Every festival needs to prepare a Health & Medical Plan (HMP) in accordance with NSW Health guidelines. This has to be begun 120 days before gates open. “Your HMP is more than a compliance document,” it relays. “A strong HMP integrates medical planning, welfare, crowd safety and emergency response into a single operational framework.” Well-planned crowd management is ensuring patrons have an enjoyable heightened experience with minimal realisation they are being hit with strict security controls. The insight for this: “Clear signposting, smooth queuing, and efficient spatial layouts reduce attendee stress and directly elevate the overall event atmosphere. “Involve your crowd manager during the initial site design phase before locking in layouts or launching ticket sales. Resolving layout pinch points on paper prevents permanent physical hazards once site build begins.” Crowd crushes and inevitable lawsuits are a common occurrence at music tribal gatherings.  According to Festival Blueprint, “Crowd disasters happen when multiple protective measures break down at the same time. Your strategy must combine robust site design, trained staff, clear communications, and tested emergency plans.” Having a large enough scape is important to guide crowds smoothly, ongoing through access gates, fencing layouts and patron supervision. The flashpoint to watch out for is at the end of the event. “The mass dispersal period after the final performance carries the highest risk of overcrowding and incidents. “Staggering performance end times and closing bars early helps disperse crowd movement and reduces peak exit density.” First Nations With every festival in Australia staged on First Nations land, Festival Blueprint points out, “First Nations engagement is part of the cultural, ethical, legal, and operational context of running a festival in NSW, not an optional add-on or symbolic opening moment. “Know where you are, know who should be involved, start early, resource the work properly, listen carefully, document agreements, and carry the relationship beyond the event itself.” Also: “Budget properly for cultural work. Cultural advice, Welcome to Country, Smoking Ceremony, First Nations programming, ICIP review, community engagement, cultural safety roles, and logistical support should be paid and planned from the beginning.” Sums up Adam Smith, of Yours & Owls and an AFA board member: “Putting on a music festival means navigating an enormous number of moving parts, from planning approvals and policing through to medical, crowd management and safety. “Until now, there hasn’t been one place in NSW where organisers can go to understand what good practice actually looks like. “If we can create clearer expectations, reduce duplication and get organisers and agencies working from the same playbook, we can make festivals safer, easier to deliver and ultimately more sustainable.” For live music tragic and Minister for Music and the Night-time Economy John Graham, “As music festivals evolve to face the current challenges and opportunities, Festival Blueprint will help ensure NSW continues to lead the way.  “We’re excited to see the impact it can have for organisers, audiences and the communities hosting our festival.”  The full rundown of guidance, tools, and best practice advice can be found via the Festival Blueprint website. Embedded Content

dlvr.it

ICYMI: Vanessa Amorosi, Rob Farnham, Dannielle Gaha Added To John Farnham Tribute Concert

Vanessa Amorosi, Rob Farnham, Dannielle Gaha Added To John Farnham Tribute Concert

Australian vocal powerhouse Vanessa Amorosi, John Farnham’s son – musician and actor Rob Farnham, and former John Farnham vocalist Dannielle Gaha have been added to a forthcoming tribute concert for a homegrown music icon. Tony Cochrane AM and Thea Jeanes-Cochrane of Cochrane Entertainment Collective, together with Paul Dainty AO of TEG Dainty, announced the additional acts today (17 August). The Songs of John Farnham: A Living Legend – The Celebration Concert takes place on Sunday, 20 September, at Rod Laver Arena in Melbourne. Today’s newly announced acts will share the stage with fellow legends including Tina Arena, Jimmy Barnes, Kate Ceberano, Diesel, Human Nature, Richard Marx, Jack Jones, Jessica Mauboy, Jon Stevens, Keith Urban, and more. Plus, Celine Dion will perform from Paris, and Hugh Jackman will appear from Los Angeles, each of them performing via satellite. John Farnham himself won’t be performing. All up, 120 artists will appear on stage – the aforementioned singers alongside a 38-piece orchestra, choir, and The John Farnham Band. Plus, Farnham’s longtime Musical Director, Chong Lim, will work with all 23 singers on the bill, organising songs and arrangements. Lim led The Farnham Band for decades. Remaining tickets for the tribute concert are now available via Ticketek. Farnham has personally invited each of the artists performing to sing at the event, where they’ll deliver renditions of his classic songs like You’re The Voice, That’s Freedom, Two Strong Hearts, Pressure Down, and many others. The tribute concert will raise funds for Head and Neck Cancer Australia, which supported the homegrown music icon with his two-year battle with mouth cancer. In July 2023, Farnham was declared “cancer-free.” In a statement, Farnham said, “This [tribute concert] isn’t about me — it’s about giving something back and supporting a cause that means a great deal to me. “The fact that so many extraordinary artists from around the world have so generously agreed to be part of this night is incredibly humbling and says far more about the spirit behind this event than it does about me. I hope everyone has a great night.” Head and Neck Cancer Australia Chief Executive Nadia Rosin added, “John Farnham’s impact on the cancer community has been profound. By sharing his experience, he has helped raise the voices of Australians facing a similar battle and helped … better understand what’s at stake.” Embedded Content

dlvr.it