Eora/Sydney indie-rockers Civic Video have unveiled their new EP Making Room For Others, alongside plans to take the record on the road for an East Coast tour.

Produced and mixed by Rick Austin (Charli Lucas, Tenderfoot, Sir Archer), the six-track collection sees the rising four-piece navigate the messy transition into adulthood, pairing deeply personal lyricism with soaring melodies, nostalgic atmospherics and big guitars.

Civic Video – ‘Say It Out Loud’

According to frontman Zac Newton-John, Making Room For Others emerged from a particularly strange and uncertain period in his early 20s.

“Making Room For Others came out of a very strange period of my life,” Newton-John explains. “I was 21/22 when I was writing it, and I think that age can be a particularly strange place to exist. You’re suddenly thrown into a world of adult responsibilities and feelings like heartbreak, loss and uncertainty, but you haven’t yet developed the maturity or hindsight to properly understand or rationalise those feelings.”

The EP’s title was inspired by a recording of philosopher Alan Watts, which appears at the end of its title track.

“That idea inspired the title Making Room For Others,” Newton-John continues. “It’s a confronting phrase that comes from a recording of philosopher Alan Watts, and I liked that. Making room doesn’t necessarily mean losing some part of yourself. It means allowing space for something else to grow.”

Sonically taking cues from the likes of Holy Holy and DMA’S, Making Room For Others moves between the intimacy of Just Like You and Terrified and the more propulsive sounds of Say It Out Loud and Get Back To It.

The release arrives amid a growing run of momentum for Civic Video, who’ve also announced a new booking deal with New World Artists.

The band have already ticked off appearances at Lost Paradise and Woodford Folk Festival, alongside sold-out headline shows at Sydney venues Waywards, The Lansdowne and The Vanguard. They’ve also shared stages with acts including The Rions, Rum Jungle, The VANNS, Daily J, Beddy Rays, The Terrys and Polish Club.

Next up, Civic Video will celebrate their new EP with a run of East Coast dates across October and November, hitting Newcastle, Old Bar, Wollongong, Sydney and Melbourne.

Making Room For Others is out now.

Catch the band’s full tour itinerary below.

Civic Video ‘Making Room For Others’ Tour 2026

• Friday, 2nd October – King Street Hotel, Newcastle NSW
• Saturday, 3rd October – Old Bar Beach Festival, NSW
• Friday, 23rd October – La La La’s, Wollongong NSW
• Saturday, 24th October – Metro Social, Sydney NSW
• Friday, 13th November – Bergy Bandroom, Melbourne VIC

Tickets on sale now at linktr.ee/civicvideoband

Further Reading

triple j’s Hottest 100 Of Australian Songs: The Complete List

Ruel And DMA’s Release First Of Two New Collaborative Singles, ‘What A Life’

DMA’S Reveal Unheard ‘Delete’ Demo on ‘What a Great Punk’ Podcast

The post Civic Video Unveil New EP ‘Making Room For Others’ + East Coast Tour appeared first on Music Feeds.

Five years on from Hushed and Grim, Mastodon have returned with their tenth studio album Marrow Deep – a sprawling, deeply personal record forged during one of the most turbulent periods in the Atlanta metal titans’ history. Inspired by the Three Fates of Greek mythology and the fragile threads connecting life, loss and destiny, the album finds founding members Brann Dailor, Troy Sanders and Bill Kelliher processing immense personal upheaval while simultaneously stepping into a new era for the band.

Across its 12 tracks, grief looms particularly large, with Dailor reflecting on the deaths of his mother and founding guitarist Brent Hinds while the band rebuilds around new guitarist Nick Johnston. But Marrow Deep also finds Mastodon pushing forward with renewed creative energy – aided by a wild guest list featuring Josh Homme, Black Sabbath legend Geezer Butler, Gojira’s Joe Duplantier and Clutch’s Neil Fallon. To take us deeper inside the record, Dailor walks Music Feeds through Marrow Deep track-by-track, unpacking the memories, losses, riffs, movie quotes and occasional Dracula obsession behind Mastodon’s new chapter. Read his words down below, or get your ears around the record here.

1. Barbarian’s Blood

Brann Dailor: “This was the last song written for the album. It was originally just some riffs that were floating around way towards the end, and we decided to work on it and put it together about two or three days before we started recording for real in the studio. It really came about last minute, and it ends up being the opener, so you never know! Some of this stuff with Marrow Deep is almost two years old, but Barbarian’s Blood was “new” new. The opening line of “we’re in danger of losing everything” was the sentiment that was in the room when we were starting to work on stuff. Troy [Sanders] had just lost all his worldly possessions and most of his home in a hurricane, and Brent [Hinds] had died just a few days prior. And so we were feeling fragile as people. I think that the aggression on this first song is us maybe pushing back against that and trying to kick that door down.”

2. Poisonous Weapons

Brann Dailor: “This is one of the first songs that we started to be able to play live. We were jamming it at soundcheck, and it was the only one that we could play live (laughs). I mean, there were a couple of other ones where we could get to a certain part, but it would just fall apart because nobody knew how the rest of it went. But we could get through Poisonous Weapons. There was a lot of arrangement stuff that needed to get worked out with it before we were comfortable with it. And this one is from Troy’s standpoint, it’s an angry one. He’s pissed off. And I appreciate that he was able to put himself out there like that and be pissed and let everybody know it.

My section in it, vocally, is more of a warning for the two people, I’m trying to warn them about what’s coming for them. And it ends up with a beautiful solo from Nick [Johnston] that kind of combines with my vocal as it goes into his big solo there. It’s a big moment for him. It’s his first big solo on the record so I was excited for him. I remember sitting in there while he was working it out and just being a cheerleader for him, being like, “yeah!!”. I mean, I did the same thing for Brent. It’s always nice to have somebody in there to let you know that you’re doing a good job, and to point you in the right direction. Sometimes when you’re on the fly making stuff, you’re like, “I don’t know, is this any good?”. It’s nice to have someone to cheer you on. I try to be that dude in there too going, “you’re doing awesome!”. Or massaging parts, being like, “that, but do it like this!”. It’s nice to bounce stuff off of people and work like that. It was our first time working with Nick with a solo of his own. And so it’s exciting for him to get that in there.

This song also has a sample from one of my favorite movies, River’s Edge. It’s from 1986, it’s Keanu Reeves’ very first movie. It was also the movie that I watched the most in the late ’80s when I was 14 or 15, and I would take acid with my best friend. At the end of our acid trip, we would watch that movie. We knew all the lines to River’s Edge and we would quote them constantly. When we would meet other people during the day, we would have to try to play a game where we could work it into the conversation. And the “I feel so fucking alive” bit in this song is from that.

When I first met Joey [Jordison] from Slipknot in 2004, we were in the UK and we were just about to start our tour with them, with Slipknot and Slayer. We were doing our soundcheck and I saw this little guy watching me and I was like, “I think that’s Joey”. I hadn’t met him yet, but when we got done with our soundcheck, he was like, “hey man, I’m Joey.” I’m like, “oh, what’s up, dude?”. We were born in the same year, we had very similar drum trajectories. And we looked out the back of the loading dock and there were two police cars out there that had their lights on. And he said, “somebody fucking narced!”, which is a line from River’s Edge. It’s kind of a deep cut line, so I said the next line, and then it kind of clicked for us like, “oh, wow. You’re deeply well-versed in River’s Edge”. I think my phone bill was $800 when I got back from that tour because Joey and I were going back and forth texting lines from the movie. We would always leave each other notes with lines from that, that was the basis for our relationship. You’d think it’d be us messaging about drums, but it was mainly River’s Edge quotes. I miss that guy.”

3. Your Ghost Again

Brann Dailor: “This one is already out there, so people know. But the chorus really just comes from being in the studio and being in a place where you would normally see somebody that you worked with or lived with. They’re gone now,, but you see them constantly out of the corner of your eye just because you’re so used to them being there. “I saw your ghost again” was from that because that’s what was happening when we were in the studio writing that song or recording the music for it. And as it kind of links up with my mum too, I kept seeing her, you just catch her out of the corner of your eye and you’re like, “oh, shit”. You get hopeful for a second and then no.

Ultimately it’s a song letting them know that, “hey, I saw you and I thought of you again. I hope you’re okay”.”

4. Snakes For Dinner

Brann Dailor: “The first riff in Snakes For Dinner was, I think, the first actual riff written for a Mastodon song by Nick. We didn’t have a beginning for it. Before the verse starts, there’s a lo-fi thing that happens, so we were like, “Nick, we need an opening for this song”. He was chomping at the bit to do something, to write anything, because Bill [Kelliher] and I had written all this music for the whole record already. We’d been pouring over it for the last couple of years. But here was Nick’s chance to write a riff, and this was the first one that he contributed to the album.

The chorus, “when you left, you took the moon and stars”, it’s like the next day after someone close to you is gone, you kind of feel like they took everything with them and it’s physically draining and you feel like shit. That was the sentiment that I could come up with with Brent and with my mum in the days after they were gone. It was the same even with my sister. It just feels like they took everything that was good and it’s gone. We all experience it over time, it starts to come back and you know it’s going to be okay. But at the moment of impact, it feels so different.

Josh Homme’s on this one too, our good friend. He hasn’t contributed to anything, for 20 years he’s been slacking! He’s got his own band apparently. They’re busy (laughs). But it’s always nice to have your friends chip in. He’d been on my mind because the day after Brent passed, I was in my hotel room in Alaska, it was in the morning and Josh called. He didn’t say anything about Brent, but he just said something like, “why didn’t you tell me about some food item? I can’t believe you didn’t say anything and say that it was so delicious”. I can’t remember exactly what it was, it was something ridiculous. But I really appreciated it because he was just checking up on me and making sure I was ok. I love him for that.”

5. Out Like A Lamb

Brann Dailor: “I wrote a good chunk of the music for Out Like A Lamb. I have riffs sprinkled into a lot of these songs, me and Bill always kind of go back and forth, but this is one of the ones I brought to him that had three formidable parts ready. And lyrically, this one’s more about my mum than anything else. And these were the first lyrics that I wrote for the record actually.

“Out like a lamb” was a saying that my mum used to say, the month of March is “in like a lion, out like a lamb”. I’ve always liked that saying. It just refers to the weather, like, “okay, we’re still going to have blizzards and it’s still going to be stupid cold all throughout March when a lot of the country is enjoying spring. But don’t worry, at the end of March, the lilacs are going to start to bloom”. Which was seldom the truth, I’ll add. That really didn’t happen until May. But, the saying was the saying. I looked at it like my mum’s life was marred by illness, and all this tragedy and all this pain and suffering, it was really unfair to her. But in her death, she went in her sleep. And it felt like it was this really beautiful gift from the universe to her, like the universe said, “okay, you’re not going to die from this violent fall or this prolonged illness where you had to fight and fight”. I mean, she was always fighting for her life, but that wasn’t the reason why she passed. She just went in her sleep, so at least she got that.

The lyrics are really about when you have someone who is so close to you in your life and they become very ill, it’s so frustrating because you can’t really do anything. And you’ve tried everything like, “I’ll buy you this and I’ll do this and we’ll do that”. But sometimes the body just doesn’t want to cooperate. It’s hard watching somebody be so sick all the time and really frustrated with their situation. If you’ve known anybody that’s had cancer or any kind of illness that goes on for years, it’s so unfair. And it’s just so heartbreaking to watch it unfold because there’s nothing you can really do. You feel like you want to get in there and be like, “well, what can we do here? Let’s make you feel better. I’ll just tap dance and dress like a clown!”.

The lyrics are very much a further examination of my relationship with my mum. In fact, a lot of these lyrics are about that, and also a further examination of my relationship with Brent, as complex as that was as well. It was complex with my mum too. When you lose people who are close to you, you tend to do an autopsy on your relationship with them and go back to the beginning and go, “okay, this, this, this, this happened and this happened”. And you go through all your pictures and your fond memories, of course, but then also difficult ones. It was all happening in tandem with the album, so that’s what a majority of the lyrics are about.”

6. In The Ruins

Brann Dailor: “Some of the riffs were around for a while, and that opening simplistic riff was definitely around for a while. But the other stuff was pretty new. And In The Ruins was another one that was tricky to arrange. We had made some decisions, there’s some hard left turns in this one where it goes from almost very melancholy to Slayer in one second. But the lyrics from Troy are, I think, pretty much about him losing everything in the hurricanes. His whole neighborhood was just destroyed. It’s taken them two years to rebuild, they actually just moved back in a week ago, I think. They were living in a little apartment and stuff, and I think it was driving him insane. His whole family were displaced, so it’s really difficult to go through that. And along with Brent and everything that’s been going on, he’s just like, “god damn”. The poor guy. I feel bad, but he’s back in there so I think it’s okay. I haven’t gotten the actual nitty-gritty from him. I’m like, “ are you good now?”. It’ll probably take a while, but he’s better than he was.”

7. They’re Coming For You

Brann Dailor: “Nick wrote the whole intro for this one. Dracula’s Castle was the working title for this song because we thought the whole intro sounded like Dracula’s Castle. There were actually a lot of working titles on this album that were all very Dracula-based and we had to take them away because we were just being silly. But we felt like whenever you get that pipe organ organ sound in there, and that’s in there a lot, it just makes it sound more Dracula, which was good. We like Dracula. Dracula’s cool! By far the hottest monster. Well, maybe not by far. But myself and Nick wrote the whole rest of the song. And I’m really stoked on that one just because musically it’s a glimpse into what Nick can do and what the future holds a little bit.”

8. Golden Spires

Brann Dailor: “I think this was maybe the second song that we put together for the album and another one that went through many different makeovers and rearrangements of parts. Golden Spires, for me, was just where I wanted to put my mum. I could just imagine these Golden Spires in the sky, and I just wanted her to be up there with the angels. So that was pretty much it. There are big heavy riffs going on, but it also has a really beautiful chorus. And it also has those really kind of creepy bits, João [Nogueira] is playing during the verses, this really creepy, almost like a broken music box type thing. And I like that. There are a lot of cool sounds going on in that one.”

9. Moth And Bone

Brann Dailor: “When we first met Patrik Berger, the producer, when he came to visit us, this was the first thing that we arranged. I think Bill had the initial riff that was sort of an off-time, off-kilter feel that almost sounded like The Police or something. I really like the song just because it doesn’t follow much of a traditional song structure. I like anything that’s weird and takes us out of our usual thing. Sometimes you get stuck in these structure things, you’re like, “no, this has to be A, B, A, B, C”. This one’s cool because the structure’s different and interesting, and it goes to all these cool places. It starts at The Police, dips into some Cure, and then ends up at Slayer again somehow.”

10. A Vampire’s Demeanor

Brann Dailor: “I wrote the two main riffs of this song. And really it just got my head going, I liked the beat to it in my mind, and I felt like it would be perfect for a festival or something like that. I could see a bunch of people jumping up and down and it seemed like fun! I was playing guitar and came up with the riff and I thought it was badass. Sometimes things are just badass!”

11. The Vanishing

Brann Dailor: “The intro to The Vanishing was provided by none other than Geezer Butler. That’s the coolest thing ever for me. This was this weird jam that me and Bill were doing, just him and I in his basement. We jammed on this riff for a while and I didn’t really know if we’re going to do anything with it, but it came up again. We found it, we were looking through some computer files, listening to some stuff that we had done. We kind of took a break from everything, and then when we came back around to listen through what we had demoed previously, we were like, “oh, what was that?”. It just came from us kind of hanging out and we were jamming.

Being so immersed in the Ozzy and the Sabbath thing, I had been listening to nonstop Black Sabbath for months and months and months. I was like, “oh, maybe we could do a Caravan-style vocal on this thing”. And so that worked out. And then we got Geezer on there!

With the lyrics, I really wanted to make it like I was going out into outer space and finding my sister’s constellation and making sure that my mother’s constellation found her constellation and that they were okay. And also, Geezer Butler was my mum’s favourite out of Sabbath because she would say, “he wrote the lyrics, man!”. But she also liked his style, she liked his silver platform boots and his little vest too. I’m so thrilled he’s on there. The song would’ve still been the song, just without a bass intro. And it would’ve been for her as well. But to get Geezer on there, it’s a real “planet’s aligned” type of situation. A cosmic tune. And then Joe [Duplantier] from Gojira helped out at the end there with some big growls and brought it home. I love this one, it’s really special. I’m so excited for people to hear it.”

12. The Three Fates

Brann Dailor: “The Three Fates almost feels like three movements. Lyrically, it talks about the Three Fates and how you don’t really have any control over what’s going to happen to you. I’d also been examining my mum’s life. With some people, it seems like they’re cursed, but it’s this really slow moving curse. I almost called this song The Slowest Curse, but then The Three Fates was more fitting because it was in three parts and I was like, “we’ll put the three fates on the cover. Okay, I’ve tied the bow around this!”.

For my mum, this was a very slow moving curse that took 69 years to unfold, but it had all these different levels to it. And we got Neil Fallon from Clutch to do this little poem that I wrote, this spoken word bit that he does in the middle section that’s psychedelic and really awesome. He totally nailed it. It’s hard to do spoken word and not feel like a total cheese ball, it’s very difficult to pull that off. It’s almost impossible. I wrote this whole thing and I sent it over to him. I was like, “tell me if this is the dumbest thing you’ve ever read. Please be honest with me”. He’s like, “no, I think it’s awesome!”. Neil’s lyrics are amazing, he’s a really great lyricist, and I don’t have any confidence in my lyrics. I was almost embarrassed to send them over to him, but I did. And I was like, “listen, if you think these are dumb, just use them as the inspiration for your lyrics and you write something cooler”. He’s like, “no, I’m using these. These are cool”. I’m like, “okay, fine. We’ll do that then!”

The last part that takes us out in this song and this album is all instrumental, and I love how it goes in this weird fusiony thing that’s got João and Nick, the two new guys, and they have this really beautiful musical conversation together that takes it home into a big, awesome finale.”

Mastodon’s new LP ‘Marrow Deep’ is out now.

Further Reading

Watch Carcass, Bad Wolves and Mastodon Members Take On A Metallica Classic

Watch Members Of The Used, Limp Bizkit, Mastodon & More Cover A Jane’s Addiction Classic

Chelsea Wolfe: The Stories Behind Every Song On New Album ‘The Dark’

The post Mastodon’s Brann Dailor Takes Us Track-By-Track Through Their Cathartic New Album ‘Marrow Deep’ appeared first on Music Feeds.

LOOKOUT is returning in 2027 with a stacked lineup of ’90s alternative rock royalty, led by LIVE, Stone Temple Pilots and 4 Non Blondes.

The travelling rock fest will hit a whopping 10 locations across Australia next March, with shows locked in for Adelaide, Bendigo, Canberra, Melbourne, Mornington, Wollongong, Sydney, the Hunter Valley, Broadbeach and Brisbane. Aussie alt-rock legends Magic Dirt will also join the international heavyweights across the run.

LIVE – ‘Lightning Crashes’

For LIVE, the tour will bring the band behind enduring alt-rock staples Lightning Crashes, I Alone, All Over You and Lakini’s Juice back to Australian stages.

The Pennsylvania rockers have sold more than 23 million albums worldwide across their career, with 1994 blockbuster Throwing Copper shifting more than 10 million copies and topping the Billboard 200. Its follow-up, 1997’s Secret Samadhi, also debuted at #1 in the US.

They’ll share co-headlining duties with Stone Temple Pilots, who themselves have clocked up more than 70 million album sales since exploding onto the scene with their 1992 debut, Core.

Featuring classics including Plush, Sex Type Thing and Wicked Garden, the album launched STP into the upper echelons of ’90s alternative rock. The band’s current lineup features founding members Dean DeLeo, Robert DeLeo and Eric Kretz alongside vocalist Jeff Gutt, who joined the fold in 2017.

But arguably the biggest curveball on the LOOKOUT bill comes courtesy of 4 Non Blondes, who reunited in 2025 after more than three decades apart.

Linda Perry and co. famously released just one studio album, 1992’s Bigger, Better, Faster, More!, before disbanding in 1994, with its gigantic single What’s Up? becoming one of the era’s defining alt-rock anthems.

The reunited lineup features Perry and founding bassist Christa Hillhouse alongside original touring members Dawn Richardson and Roger Rocha.

And the reunion isn’t purely a nostalgia exercise either, with 4 Non Blondes set to release a new studio album in 2027 – their first collection of new material since their debut more than three decades ago.

Rounding out the LOOKOUT lineup are homegrown heroes Magic Dirt, with Adalita and co. bringing their own hefty contribution to the tour’s ’90s alt-rock credentials.

The Geelong legends have been kicking around since 1991, building a devoted following through their famously ferocious live shows and a catalogue spanning more than three decades of Australian alternative rock.

Tickets to LOOKOUT 2027 go on sale to the general public from 1pm local time on Wednesday, 2nd September, following a series of presales kicking off on Monday, 31st August.

Catch the full list of dates below!

LOOKOUT Australian Tour 2027

Featuring LIVE, Stone Temple Pilots, 4 Non Blondes & Magic Dirt

• Saturday, 6th March – Adelaide Entertainment Centre, Adelaide SA
• Sunday, 7th March – Bendigo Racecourse, Bendigo VIC
• Wednesday, 10th March – AIS Arena, Canberra ACT
• Thursday, 11th March – Rod Laver Arena, Melbourne VIC
• Saturday, 13th March – Mornington Racecourse, Mornington VIC
• Wednesday, 17th March – WIN Entertainment Centre, Wollongong NSW
• Thursday, 18th March – Afterpay Arena, Sydney NSW
• Saturday, 20th March – Roche Estate, Hunter Valley NSW
• Sunday, 21st March – Kurrawa Park, Broadbeach QLD
• Wednesday, 24th March – Brisbane Entertainment Centre, Brisbane QLD

General Public on-sale: Wednesday 2^nd September 1.00pm (local time) via www.lookouttour.com.au

Further Reading

Watch Stone Temple Pilots Frontman Crash Karaoke Night At Sydney’s Frankie’s Pizza

A Scott Weiland Biopic Is Coming

Watch Corey Taylor, Bush and LIVE Unite For A Heartbreaking Musical Tribute To Chris Cornell

The post LIVE, Stone Temple Pilots & 4 Non Blondes Lead LOOKOUT 2027 Australian Tour appeared first on Music Feeds.

Forget the evening gown and swimsuit rounds – Miss Chile Ignacia Fernández has once again brought the BLEGH to the beauty pageant circuit, delivering a crushing death metal performance on the global Miss World stage.

The reigning Miss World Chile, who also fronts Chilean death metal band Decessus, represented her country in the Miss World talent competition in Vietnam this week, performing her band’s original track The Hollow Descent at the Children’s Culture Center in Nha Trang.

“Getting to bring metal to the @missworld stage and share a part of who I am through music was an incredible experience.”

Fernández first went viral last year after casually unleashing her brutal death growls during the Miss World Chile competition, performing another original Decessus track on her way to ultimately being crowned the pageant’s 2025 winner.

Now competing for the global Miss World crown, Fernández has once again refused to leave the metal at home.

Taking to the stage for this year’s talent competition, the beauty queen delivered The Hollow Descent, showcasing the kind of guttural vocals you’d generally expect to hear from a festival moshpit rather than an international beauty pageant.

Sadly, metal supremacy was not achieved on this particular occasion.

Fernández ultimately lost the talent round to Miss World England Grace Richardson, who performed Over the Rainbow – proving, apparently, that even death metal has its kryptonite.

Still, Fernández remains in contention for the overall Miss World title, and reflected on the surreal experience of taking her music to the international pageant stage afterwards.

“A moment I’ll never forget,” she wrote on Instagram. “Getting to bring metal to the @missworld stage and share a part of who I am through music was an incredible experience.”

Fernández also congratulated Richardson on taking out the talent category and praised her fellow competitors.

“Every contestant who took part in the talent competition was extraordinary and unique,” she continued. “The level of talent was truly incredible, and I want to congratulate England on winning first place!”

Fernández fronts Decessus, a Chilean death metal outfit who have been releasing music since 2020.

And whether or not she ultimately walks away with the Miss World crown, we’re pretty confident Ignacia Fernández has already secured the considerably more important unofficial title of Miss World Metal Queen.

Watch her bring The Hollow Descent to the Miss World stage above.

Further Reading

Death Metal Singer Wins Miss World Chile Pageant After Internet-Breaking Performance

Arch Enemy Reveal New Vocalist – And She’s An Aussie!

Vale Virginia Lillye: Sydney Rock Legend Remembered as a True Force of Nature

The post Miss Chile Just Unleashed Death Metal Vocals At The Miss World Pageant appeared first on Music Feeds.

Post Malone has postponed his upcoming Australian tour, including his headline appearances at Strummingbird Festival this October.

The US superstar had been due to embark on his biggest Australian headline tour to date, playing stadium shows in Melbourne, Brisbane and Sydney alongside special guest Don Toliver, as well as headlining all three legs of Strummingbird in Ballarat, Newcastle and the Sunshine Coast. However, festival organisers confirmed today that Malone has postponed his upcoming Australian and Asian touring commitments.

No reason has been given for the postponement, and replacement dates for Post Malone’s Australian stadium shows are yet to be announced.

His standalone Australian headline dates had been scheduled to kick off at Melbourne’s Marvel Stadium on Friday, 9th October, followed by Brisbane’s Suncorp Stadium on Monday, 12th October and Sydney’s ENGIE Stadium on Thursday, 15th October.

Tickets for those headline shows will be automatically refunded to the original payment method, with refunds expected to take around 14–21 days to process depending on the financial institution.

Strummingbird Announces Post Malone Replacements

Meanwhile, Strummingbird will go ahead without Post Malone, with organisers announcing Tyler Childers, Sam Barber and James Johnston as new additions to the 2026 lineup.

Seven-time Grammy nominee Childers will perform at the Newcastle and Sunshine Coast editions of the festival, while viral US country star Barber will join the Ballarat lineup. Both performances will be Australian exclusives.

Homegrown country favourite Johnston will also join all three Strummingbird events.

The trio joins a lineup featuring the likes of Bailey Zimmerman, Cooper Alan, Stella Lefty and Dexter & The Moonrocks, with the festival taking place across Ballarat on Saturday, 10th October, Newcastle on Saturday, 17th October and the Sunshine Coast on Sunday, 18th October.

Childers’ return comes after the Kentucky singer-songwriter completed a sold-out Australian tour in early 2025. He’s since released his seventh studio album, Snipe Hunter, produced by Rick Rubin, which reached #1 on Billboard’s Americana/Folk Albums chart and #7 on the Billboard 200.

Barber, meanwhile, will make Ballarat his sole Australian stop, arriving armed with his latest album Broken View and a catalogue that has clocked up billions of streams, including breakout tracks Straight and Narrow and Indigo featuring Avery Anna.

Strummingbird organisers have acknowledged some punters may be disappointed by the significant lineup change and are offering festival ticketholders the option to request a refund.

Refund requests can be made through patrons’ Moshtix accounts until 5pm AEST on Thursday, 3rd September, after which the window will close.

Post Malone last toured Australia in 2023, when he played his own headline shows alongside appearances at Spilt Milk.

For now, his 2026 Australian tour remains officially postponed rather than cancelled, with no replacement dates announced at the time of writing.

Post Malone Australian Tour 2026 – Postponed Dates

• Friday October 9 – Melbourne, AUS – Marvel Stadium
• Monday October 12 – Brisbane, AUS – Suncorp Stadium
• Thursday October 15 – Sydney, AUS – ENGIE Stadium

Strummingbird Festival 2026

• Saturday October 10 – Victoria Park, Ballarat
• Saturday October 17 – Newcastle Foreshore, Newcastle
• Sunday October 18 – Kawana Sports Precinct, Sunshine Coast

TICKETS ON SALE NOW AT STRUMMINGBIRD.COM.AU

Strummingbird 2026 Lineup

• Tyler Childers +^
• Sam Barber *
• James Johnston

Joining…

• Post Malone
• Bailey Zimmerman
• Cooper Alan
• Stella Lefty
• Dexter & The Moonrocks
• Brad Cox
• Cam
• Cigarettes @ Sunset
• Kaitlin Butts
• Noah Rinker
• Sons of the East
• Briana Dinsdale
• Mack Geiger
• Max Jackson
• Sara Berki
• Late Night Riot (with Willie Pake)
• Lewis Love*
• Loren Ryan^
• Sammy White+
• Line dancing with Maddison Glover

(*Ballarat / ^Newcastle / +Sunshine Coast)

Further Reading

Post Malone Is Bringing His ‘BIG ASS World Tour’ To Australia

Post Malone To Headline Huge Aussie Country Festival, Strummingbird 2026

The Kid LAROI Joins Post Malone Onstage in Sydney

The post Post Malone Postpones 2026 Australian Tour, Pulls Out Of Strummingbird Festival appeared first on Music Feeds.

Welsh ragga-metal party-starters Skindred are preparing to bring the boom back down under this September, returning to Australia for their biggest local headline tour to date.

The five-date run will see Benji Webbe and co. tear through Perth, Adelaide, Melbourne, Sydney and Brisbane, armed with material from across their genre-mashing catalogue and latest album You Got This. Ahead of their return, we caught up with Webbe to find out which Skindred songs are currently hitting hardest onstage – and how streaming stats, soundsystem culture, costume changes and some strategically deployed end-of-set bangers all go into building the wonderfully chaotic beast that is a Skindred live show.

Benji Webbe’s Favourite Songs To Play Live & How A Skindred Set Gets Made

Benji: “At the moment, I’m really enjoying playing Can I Get A. That’s so much fun. And it’s the engagement of the crowd with that one. When we wrote these latest songs in the studio, I realised that so many of these songs are very, very live-orientated. When we’re playing songs like Can I Get A, You Got This and This Is The Sound from the new album, all three of those songs are ones I love playing right now. They just feel great live.

Another song of ours which I really enjoy is Set Fazers, that’s really cool to play with a crowd as well. A new song of ours, which we haven’t played yet, but we are talking about playing it live, it’s called Big Em Up from the new album. And Nobody is a big crowd-pleaser, definitely a crowd-favourite as well. And GIMME THAT BOOM? Forget about it, oh my god that is so fun live.

What we do with the set list, because we’re in a world driven by the internet, we look for our top streamers, and we pick the set based on the top streamers. And I’m cool with that because they’re obviously songs that people want to hear. That’s how our set is driven at the moment. Obviously if we release a single, then we’re going to drive that home. But at the moment, we pick the set like that and it saves a lot of arguments (laughs).

The difference with us, we aren’t just a rock band. We sort of do this thing where I’m like an MC in a rave, we take the crowd on a journey and we basically do the Skindred radio thing, so we can play other people’s songs too and just fuck with the crowd like that. That’s something I really enjoy about the live shows. And people love it as well, they have a good laugh.

I think that the set we’re currently playing at the moment is a really good balance. And basically it’s bottom loaded, we put all of the songs that are the most popular ones on streaming at the moment at the end of the set. We’ve got three bangers at the end, and I’ve got four costume changes! We of course have songs that we love playing throughout, but the end of the set is all bangers, it’s ridiculous! I do feel sorry for the audience at the end of the set. But it’s what we do!

We played Cardiff Castle recently, and for me being a Welsh man that’s the Holy Grail. We played there on a Saturday night, and it just went off. The set from beginning to end was incredible. And our set is a journey as well because we don’t just play the records. I look at Skindred like a sound system where we can have pull-up, rewind, come again, all that stuff. And we just take you on a journey. Some bands just get out there and play the songs. We feel the songs, that’s the difference.

For our Australian fans, bring your dancing shoes, baby!”

Skindred 2026 Australian Tour Dates

• TUESDAY 1 SEPTEMBER – MAGNET HOUSE, PERTH
• THURSDAY 3 SEPTEMBER – THE GOV, ADELAIDE
• FRIDAY 4 SEPTEMBER – NORTHCOTE THEATRE, MELBOURNE
• SATURDAY 5 SEPTEMBER – METRO THEATRE, SYDNEY
• SUNDAY 6 SEPTEMBER – THE TRIFFID, BRISBANE

General tickets on sale now via destroyalllines.com

Further Reading

Skindred Announce Biggest Ever Australian Headline Tour For September 2026

NEWS FLASHBACK: Skindred’s Benji Webbe Is Recovering After Being Stabbed In The Face & Throat

Chelsea Wolfe: The Stories Behind Every Song On New Album ‘The Dark’

The post Skindred’s Benji Webbe Reveals The Surprisingly Simple Way They Build Their Setlists appeared first on Music Feeds.

There could be hope yet for one of Melbourne’s most beloved heavy music institutions, with a new crowdfunding campaign launched to help keep The Bendigo Hotel alive beyond the end of its current chapter.

Earlier this month, it was announced that current operators The Mill Brewery would wrap up their tenure at the iconic Collingwood venue at the end of August, two years after stepping in when The Bendi was previously facing permanent closure.

Now, a new group is hoping to take the reins – and they’ve got some pretty ambitious plans for its future.

New Team Launches Campaign To Keep The Bendi Alive

The crew behind Galaxy Music have revealed they’re working to purchase the Bendigo Hotel business, launching a crowdfunding campaign to help cover the significant costs involved in getting the next era of the venue off the ground.

According to the campaign, the prospective new operators already have enough money between them to cover the $200,000 business purchase, but are seeking community support to help meet a stack of additional costs – and transform the building into something bigger than a traditional pub and live music venue.

“We want to be part of turning that tide together, for future generations,” organisers write, pointing to the growing number of live music venues that have disappeared across Melbourne in recent years.

The idea apparently began while Galaxy Music was searching for a communal home for its label, network and students.

“When someone said ‘Wouldn’t it be great if there was a Galaxy Bar or venue?’ it was THE lightbulb moment that refused to dim,” the campaign reads.

After spotting The Bendi for sale, the team realised the building offered not only an established live music business downstairs, but a collection of currently unused rooms upstairs that could potentially become a much broader creative hub.

Under the proposed new model, The Bendigo Hotel would continue operating as a live music venue, with organisers pledging to build on its existing legacy and reputation.

And, importantly for the generations of Melbourne riff-lords who have called the place home: hardcore and metal aren’t going anywhere.

The team does, however, hope to broaden the musical offering by working with promoters across genres including techno, R&B and disco, while extending the venue’s opening hours.

Upstairs, the plan is to create a collaborative space for Melbourne’s music and creative communities, with rooms fitted out as a recording studio, rehearsal room, education space, photography/media room and co-working office.

The organisers also hope to use the new-look Bendi to support charities, not-for-profits, youth development and music education, envisioning a space where emerging musicians could potentially learn everything from songwriting and singing to registering with APRA AMCOS, rehearsing, recording demos and ultimately performing onstage – all under the same roof.

“Music is the soundtrack to change,” the campaign reads. “And at the Bendigo, we will turn that up really loud.”

The Bendi Crowdfunding Campaign Has A Big Hill To Climb

There is, however, quite a price tag attached to the vision.

Galaxy Music has published a detailed budget outlining the costs involved, including the $200,000 business purchase, a $38,000 premises bond, annual rent of more than $165,000, council rates, insurance, legal fees, existing stock and equipment leasing.

They’re also budgeting another $70,000 for renovations required to realise the creative-hub vision upstairs.

“Financially, we’ve got the bare minimum to get the doors open between us,” organisers explain. “But we really need support if we want to deliver the very best experience.”

The campaign stresses that the crowdfunding push isn’t simply about subsidising the nightly operation of the pub, but helping establish the expanded community and creative facilities the team hopes to build around it.

The development comes as The Mill Brewery prepares to farewell The Bendi after two years at the helm.

Its final event will take place on Saturday, 29th August, bringing its chapter at the storied Johnston Street venue to an end.

The Mill stepped in to operate the venue in 2024 after The Bendigo Hotel was itself facing permanent closure, helping keep one of Melbourne’s most important small heavy music rooms alive for another two years.

Now, it seems there may be another crew waiting in the wings to write The Bendi’s next chapter -provided they can rally enough support to make their considerably bigger vision a reality.

If you want to show your support, you can donate to the campaign here.

Further Reading

Dear Melbourne Bands: The Espy’s Battle Of The Bands Is Back (Win $4K & A St Kilda Festival Slot)

Spilt Milk Reveals New Victorian Home Ahead Of 2026 Lineup Drop

Melbourne’s Bendigo Hotel Calls Last Drinks After 14 Years

The post Crowdfunding Campaign Launched To Help Save Melbourne’s Bendigo Hotel appeared first on Music Feeds.

Bruno Mars is bringing The Romantic Tour down under, announcing a massive run of Australian stadium shows for February and March 2027.

The global pop superstar will kick off the Aussie leg at Perth’s Optus Stadium on Saturday, 13th February, before hitting Melbourne for a two-night Marvel Stadium stand, followed by shows at Brisbane’s Suncorp Stadium and Sydney’s Accor Stadium.

Bruno Mars – ‘I Just Might’

And he’s bringing some fairly outrageous company along for the ride. Two-time Grammy winner Tyla will join Mars as special guest at every Australian show, while his Silk Sonic partner-in-crime Anderson .Paak will also appear across the tour in his DJ Pee .Wee guise.

The shows will additionally feature a special performance by Silk Sonic, meaning Aussie fans will get to see Mars and .Paak reunite onstage during the stadium run.

The new dates form part of a huge expansion of Mars’ The Romantic Tour, with 26 new stadium shows announced across Australia, New Zealand and Asia. The tour now clocks in at more than 115 stadium dates worldwide following mammoth demand overseas.

The trek comes in support of Mars’ long-awaited fourth solo album, The Romantic, which arrived earlier this year and delivered the biggest album debut of his career.

The record debuted at #1 on the Billboard 200 – Mars’ first album to enter the chart in pole position – and features singles including I Just Might and Risk It All. The former also earned Mars his tenth US #1 single.

The Romantic Tour marks Bruno Mars’ first headline tour in close to a decade, following years of huge one-off shows, international touring and his long-running Las Vegas residency.

For Aussie fans hoping to get amongst it, the Bruno Mars artist presale kicks off on Wednesday, 2nd September, with registration required by Sunday, 30th August at 11.59pm local time.

General tickets will then go on sale on Friday, 4th September, with onsale times varying by city.

Catch all the Aussie dates and details below.

Bruno Mars ‘The Romantic Tour’ Australian Dates 2027

With Anderson .Paak as DJ Pee .Wee & Tyla
Featuring a special performance by Silk Sonic

• Saturday, 13th February – Optus Stadium, Perth WA
• Friday, 19th February – Marvel Stadium, Melbourne VIC
• Saturday, 20th February – Marvel Stadium, Melbourne VIC
• Sunday, 28th February – Suncorp Stadium, Brisbane QLD
• Thursday, 4th March – Accor Stadium, Sydney NSW
• Friday, 5th March – Accor Stadium, Sydney NSW

Artist presale: Wednesday, 2nd September
General onsale: Friday, 4th September here

Further Reading

Bruno Mars The Romantic Tour Setlist

Anderson .Paak & Bruno Mars Share New Silk Sonic Jam ‘Skate’

GIG REVIEWS: Bruno Mars, Dua Lipa – Rod Laver Arena, Melbourne 2018

The post Bruno Mars Announces 2027 Australian Stadium Tour With Tyla & Anderson .Paak appeared first on Music Feeds.

Queens Of The Stone Age have announced their ninth studio album, Perfecth, will arrive on Friday, 30th October via Matador Records / Remote Control Records – just in time for the rock titans to bring it down under on their huge Australian tour this December.

The follow-up to 2023’s In Times New Roman… will feature nine tracks exploring different forms of love and the ways they can both break and rebuild us, with the album inspired in part by the Japanese art of kintsugi – repairing broken pottery with gold to embrace its fractures rather than disguise them.

Queens Of The Stone Age – ‘Insignificant Other’

Leading today’s announcement is new single Insignificant Other, described as something of a centrepiece for Perfecth. Recorded on only the second take, the track captures Josh Homme, Troy Van Leeuwen, Michael Shuman, Dean Fertita and Jon Theodore playing loose and leaving space to respond to one another in the moment.

“It’s a song about distance,” Homme explains. “About how someone can be your entire world only to simply vanish. And about the strange vertigo of being on the receiving end of that.”

The accompanying video, directed by Chapman Baehler, stars a canine hero named Big Chongus as the physical embodiment of “perfecth”, alongside a supporting cast of extremely good boys and girls belonging to members of the QOTSA family.

Produced by Homme and Shuman, Perfecth was pieced together during sessions spanning New Orleans to Los Angeles and is billed as a deliberately eclectic affair, moving between moods described as menacing, gentle, strange and everything in between.

“Every song sounds like it’s from a different world,” Homme says. “And that’s on purpose, because it’s trying to stitch together all these emotions revolving around love, lust, foolishness, and the sort of wisdom that comes as a gift from all that.”

As for that deliberately mangled album title? Homme reckons the conventional idea of “perfect” is fundamentally bullshit.

“Nothing in this world is perfect, but everything seems to be ‘perfecth’,” he explains. “And that title is funny when you’re in a group, but it ain’t so funny when you’re alone.”

Perfecth will arrive just over a month before QOTSA return to Australia for a six-date tour this December, joined by a frankly cooked double-bill of special guests Primus and Tropical Fuck Storm.

The run kicks off in Adelaide on Tuesday, 8th December before hitting Hobart, Melbourne, Sydney, Newcastle and Brisbane.

The album announcement also follows the recent arrival of Easy Street, featuring Nikki Lane, which marked QOTSA’s first new music since In Times New Roman…. And because apparently simply releasing music isn’t sufficiently weird for these people, the band have also launched an official 24/7 Complaint Hotline, inviting fans, friends and foes alike to unload their grievances by phone.

Perfecth is out Friday, 30th October and you can pre-order it here.

Queens Of The Stone Age Australian Tour 2026

With special guests Primus & Tropical Fuck Storm

• Tuesday 8 December – The Drive, Adelaide
• Friday 11 December – MyState Bank Arena, Hobart
• Sunday 13 December – Rod Laver Arena, Melbourne
• Tuesday 15 December – Afterpay Arena, Sydney
• Wednesday 16 December – Newcastle Entertainment Centre, Newcastle
• Friday 18 December – Brisbane Entertainment Centre, Brisbane

Tickets on sale now via livenation.com.au

Further Reading

Queens Of The Stone Age Have Launched A 24/7 Hotline For You To Complain About Literally Anything

Queens Of The Stone Age Announce Australian Tour, Drop First New Song In Three Years

The post Queens Of The Stone Age Announce Ninth Album ‘Perfecth’ Ahead Of Australian Tour appeared first on Music Feeds.

The world has lost one of its best people, with legendary singer, songwriter and humanitarian Dolly Parton passing away peacefully in Nashville, Tennessee. She was 80 years old.

The heartbreaking news was confirmed today in an official statement, remembering the global icon not only for the extraordinary body of music she leaves behind, but for the warmth, generosity and unmistakable sparkle she brought to the world throughout her seven-decade career.

“A rhinestone life that shone bright enough for the world to see”

“A rhinestone life that shone bright enough for the world to see, Dolly will forever stand as an inspiration not only through her timeless music and prolific songwriting, but also her wit, warmth, and kindness that made us all feel like family,” the statement reads.

“Dolly Parton’s legacy is one of love, compassion, and resilience.”

Born in Locust Ridge, Tennessee in 1946, Parton rose from an impoverished childhood as one of 12 siblings to become one of the most beloved and influential entertainers in history.

And while the rhinestones, towering blonde hair and larger-than-life personality became unmistakable pieces of her iconography, underneath it all was one of popular music’s truly phenomenal songwriters.

Across a career spanning seven decades, Parton penned enduring classics including Jolene, Coat Of Many Colors, 9 To 5 and I Will Always Love You – the latter famously becoming a global phenomenon all over again when Whitney Houston recorded it for The Bodyguard soundtrack in 1992.

She sold more than 100 million records worldwide, collected 11 Grammy Awards and was inducted into both the Country Music Hall Of Fame and Rock & Roll Hall Of Fame, transcending the country music world to become a genuine global cultural icon.

Her talents also extended well beyond music. Parton built a successful screen career with memorable roles in movies including 9 To 5 and Steel Magnolias, became an author and businesswoman, and created Dollywood in her native East Tennessee.

But perhaps just as extraordinary as her creative legacy was what Parton chose to do with her success.

Her Imagination Library, launched in 1995 in honour of her father, who was unable to read or write, grew from a local Tennessee literacy program into an international operation providing free books to young children, including here in Australia. The initiative has distributed hundreds of millions of books over its lifetime.

Parton also became renowned for quietly and consistently putting her considerable wealth and influence behind people who needed it, supporting education, healthcare and disaster relief initiatives throughout her life. Her contributions included helping fund research that led to the Moderna COVID-19 vaccine and raising millions for families affected by the devastating 2016 Tennessee wildfires.

Her impact stretched far beyond genre, geography and generations – something reflected in the enormous outpouring of grief and love currently sweeping the music and entertainment worlds.

Among those paying tribute is actress Reese Witherspoon, who shared an emotional remembrance of the encouragement Parton gave her while she was preparing to portray June Carter Cash in Walk The Line.

“I count my lucky stars that I called Dolly my friend,” Witherspoon wrote, recalling how Parton took her to dinner and shared stories about Carter that ultimately gave the actor courage to throw herself into the role.

Witherspoon also revealed that Parton continued sending her notes of encouragement throughout her career, signing them with the particularly poignant words: “I will always love you.”

“Dolly, I miss you already,” she added. “Your talent, your wisdom and your beautiful spirit lit up our lives. Go soar with your angels…. We will always love you.”

Tributes are continuing to arrive from across the music and entertainment worlds, with Reba McEntire, Kacey Musgraves, Joan Jett, Melissa Etheridge, Jamie Lee Curtis and countless others remembering not only Parton’s singular artistry, but the kindness she extended to those around her.

For Aussie fans, Parton’s final visit down under came in 2014 as part of her Blue Smoke World Tour.

Parton was preceded in death by her husband of 59 years, Carl Thomas Dean, who passed away in 2025, as well as her parents Avie Lee Caroline Owens and Robert Lee Parton Sr.

At Parton’s request, a small private service will be held for immediate family. Her family has invited fans around the world to share their tributes through Dolly’s official channels, while those wishing to honour her memory are encouraged to donate to the Imagination Library in lieu of flowers.

Dolly Parton’s official website

Dolly Parton’s Imagination Library

Few artists ever manage to become as universally loved as Dolly Parton. Fewer still do it while remaining so synonymous with generosity, humour, empathy and an apparently unwavering desire to leave the world a little better than they found it.

Rest in peace, Dolly. We will always love you.

Further Reading

Dolly Parton & Miley Cyrus Share New Version of ‘Wrecking Ball’

Dolly Parton Releases Cover of Queen’s ‘We Are The Champions’

Dolly Parton Announces New Album ‘Rockstar’ with Paul McCartney, Ringo Starr, Stevie Nicks, Miley Cyrus and More

The post Dolly Parton, One Of Music’s Brightest Lights, Has Died Aged 80 appeared first on Music Feeds.

Chelsea Wolfe has spent her career finding beauty in the shadows, but on her ninth studio album The Dark, the acclaimed musician, songwriter and multidisciplinary artist isn’t simply venturing into the darkness – she’s learning how to become it. Out today via Loma Vista Recordings, the 10-track LP draws on the idea of entering the woods at their darkest point and becoming the thing you fear in order to move through it, weaving together themes of letting go, reclaiming personal power, grief, spirituality and the afterlife.

Created alongside co-writer Jennifer Decilveo and longtime collaborator Ben Chisholm, The Dark finds Wolfe deliberately stripping back some of the sonic layers surrounding her songwriting, while enlisting a formidable cast of players including Nine Inch Nails’ Robin Finck, Pearl Jam’s Matt Chamberlain, Queens Of The Stone Age’s Troy Van Leeuwen, Warpaint’s Stella Mozgawa and Justin Meldal-Johnsen. From the visceral release of Cold and Humours to the séance-like self-reclamation of Turn The Key and the meditations on death and ancestral connection that close the record, its darkness ultimately carries an undercurrent of survival and transformation.

To mark the arrival of The Dark, Wolfe has blessed Music Feeds with an intimate track-by-track tour through the record, unpacking the memories, relationships, mythology, films and personal reckonings that shaped each of its 10 songs. Read her full guide below.

Chelsea Wolfe: The Dark Track-By-Track

1. Cold

“Cold was the first song that we wrote for the record and it was sort of the deciding factor of the direction The Dark was going to go in sonically. It’s probably the most direct and straightforward song on the record as well which is why I wanted to put it first and just start the record off with this very direct message of: I’m letting you go. So much of this album is about letting go and exploring the different ways that we have to do that in our lives.”

2. Seethe

“I think I started writing Seethe on a ferry boat in Scandinavia. I was in the middle of a European tour and feeling very inspired. And I actually wrote it on bass, which I don’t normally do, and it’s why I think it sounds pretty different from everything else because it started life a lot differently to how I normally write. I wanted it to have a very driving, forward motion type of feeling, like a train going off the tracks or something a little bit wild. I chose to start it on bass for that reason and build from there. And it’s an ode to the character of the female serial killer and/or the female assassin in film and TV and books and real life.”

3. Humours

“I think this is the most emotional song on the record. It took the most work to get this song right, I rewrote the chorus multiple times. The driving pop chorus just was not feeling right for this song so I took it back to my acoustic guitar and really just dug into a slower, more deeply emotional chorus that ended up feeling really right for it. And it’s actually my favorite one to perform now. Something about Humours just feels very freeing. The lyrics are talking about getting free from someone who wants to hold you all to themselves and take all of your talents and your power for their own use instead of allowing others to take part in it. It’s a heavy song for me and it has a lot of emotional intensity and haunting memories. But because I was able to get free from that situation and write about it, it feels really good to sing.”

4. Swallower

“This one has a bit of a subtle mythological bent. I was thinking about the mythological character of the Troll and how they can’t go out into sunlight or else they’ll turn to stone. And obviously that’s where we come up with the modern day concept of the internet troll who just sort of hides in the dark. It’s a little bit cheeky, this one. And when I was looking back at the root of the word “troll” or the etymology of this sort of mythological character, I was looking at Nordic mythology and there was this poem that spoke about the Troll, the Swallower of the Wheel of Heaven [hvélsvelg himins]. To me, that was such a beautiful way of putting it. And it’s very true to someone who is a troll and just literally has no light to them and is just swallowing the beauty of heaven. I thought it was very dramatic and fun and cheeky to call this song Swallower after reading that.

I also love the imagery of the well. It’s such a mysterious thing that we’re sort of drawn to, it could be a portal and so many other things. With this one, I was thinking about the Haruki Murakami book The Wind-Up Bird Chronicle, and the well becomes this sort of portal space in that book. I drew on moments where it literally feels like you’re getting dragged down into someone’s bottomless well, this feeling that you’re pouring all of your energy into someone else’s bottomless pit and realising that they’re never going to take the reins and stand in their own life. And for me, I had to be like: I’ve got to pull my power back. You realise nothing you give will ever be enough for this person, so to change that, I’m not going to be there at all.”

5. Halo

“This is kind of a post-apocalyptic love story in a song. And because of that, I wanted to keep the instrumentation really stripped down. It’s pretty close to the demo version actually. This is one of the ones I did in a writing session, prior to working with Jen [Jennifer Decilveo, co-writer], and I just loved the feel of it. The title of the record comes from the concept of the “Dark Night of the Soul”. And somehow this song feels very much like a dark night of the soul. I also actually wrote the lyrics for Halo after watching the first season of The Last Of Us. It’s about having to do difficult things in order to save the one that we love.”

6. The Dark

“I felt like it was important to put this song out there first to establish this little world that we were going to be creating with the album. One of the main themes of the album is: be the darkest thing in the woods. I love that imagery of owning your power and not being scared anymore, becoming the scary thing to overcome whatever it is that you need to overcome. It’s about being okay being seen as the villain in someone else’s story when all you’re really trying to do is just set boundaries and move forward in your life, or at the bare minimum, just take care of yourself. It’s funny how simple all of these things seem, but in reality they’re not.”

7. Turn The Key

“This song has the most seance-themed imagery in the lyrics. I keep thinking of it as a seance for my own soul. And after a long period of self-abandonment, it’s really about calling myself back to myself. I hope that it can be like that for other people too. The lyrics, “show me where you are”, it’s really about trying to find yourself again, but at the same time, finding the current version of who you are. Something about this record feels very much like a return to form of maybe even 20 years ago for me. But at the same time, it’s totally also who I am now.

I wanted to give Turn The Key a heavier feel because in the chorus, I’m a little bit fed up, I say I erased myself. And in the moment that I wrote this, I was like: I’m not letting any new people into my life because I’m so tired of having these relationships where I end up giving myself away over and over, and trying to change who I am to fit this person’s needs. It’s not necessarily the healthiest stance to take, but that’s just how I was feeling in the moment of writing that. I was just like: I’m done!”

8. I’m Not There

“I wrote a lot of I’m Not There in a period of time where I was honestly dealing with some depression and dissociation and having that literal feeling that I was disappearing. When I wrote that first verse, I was not in the greatest state. I think it could be interpreted in a lot of different ways, but for me, it was really about literally dissociating and realising how much I had been numbing out in order to be in a relationship with a certain person. The chorus is sort of that push and pull between thinking that I’m brave enough to leave and then getting pulled back in when the other person says all the right words and says that they’re going to change for me. On the previous song, Turn The Key, it’s like: I’m changing for you. And it’s definitely this very intertwined, codependent relationship that is coming in and out of a lot of the songs on this record, I’m exploring it in different ways. I’m Not There was a bit heavier. But by the end of the song, I’m feeling a little bit stronger. I’m saying: I’m not scared anymore, I don’t want to keep doing this, I’m done. This record is very heavy and very dark, but it’s also written from a point in my life where I was ready to do something about it. So it’s actually kind of empowering.”

9. Death Is Not The End

“These last two songs on the record have a little bit of a different feel and subject matter. Death Is Not The End and Dancer In The Sky more directly deal with the afterlife and exploring that, and exploring ancestral lineage and things like that too. Spending more time with my grandmother, who’s in her late 80s, after not speaking for over 20 years and getting to reconnect with her as an adult has been a really meaningful thing for me in the past few years. And I channeled exploring my connection with my great-grandmother and my great aunt who have passed on through a personal seance ritual into Death Is Not The End. It also explores concepts of the afterlife, and knowing that I don’t know what comes after death. I personally don’t believe that death is the end and I do believe that energy continues and I hope that it’s something beautiful. For the imagery, I was exploring the myth of the Selkie, which is about a seal woman who gets entrapped on land by a man taking her seal skin. As a result , she has to live as a human woman for a time and have children with this man. But eventually she finds her seal skin again and she just has to return to the sea. As difficult as it is, that theme of letting go again, she has to leave her earthly children behind, and maybe other people that she loved there too. But she just has to return to the sea because that’s her true nature. I felt like that was a really beautiful representation of a lot of what I was singing about on this record. And it also does feel like this sort of life/death story which is perfect for this song.”

10. Dancer In The Sky

“Some of the things I mentioned previously, exploring and honouring my matriarchal lineage who have passed on and trying to connect with them, I put a lot of that into this song. The song is also about grief and looking for signs of those we loved who have passed on, whether it’s when you look up and see those clouds that almost look like they’re dancing in the sky, or whether it’s a butterfly or a bird or just something fleeting that feels like you can sense that person that you loved in that moment. It’s such a simple thing on paper. But when you feel that it’s so powerful. This song is also really inspired by the film What Dreams May Come from the early 2000s, which has always been a favorite of mine. It’s literally about the afterlife and reaching into different dimensions of the afterlife to save the one that you love. That’s another big theme of this record, and Dancer In The Sky gives an ode to that movie.”

Chelsea Wolfe’s ninth LP ‘The Dark’ is out now via Loma Vista Recordings

Further Reading

Chelsea Wolfe Returns With New Album ‘The Dark’ And An All-Star Cast Of Collaborators

Queens Of The Stone Age Announce Australian Tour, Drop First New Song In Three Years

Nine Inch Nails Are Officially Cooking Up New Music

The post Chelsea Wolfe: The Stories Behind Every Song On New Album ‘The Dark’ appeared first on Music Feeds.

The campaign trail is officially heading down under: mysterious UK heavy collective PRESIDENT have announced their first-ever Australian headline tour for February 2027.

Fresh from a sold-out US run supporting Bad Omens, PRESIDENT will hit five Aussie cities on their maiden headline jaunt, kicking off in Perth before rolling through Adelaide, Melbourne and Brisbane and wrapping things up in Sydney.

And they’ve recruited some formidable local support for the occasion, with Canberra alt-rock favourites Hands Like Houses joining them at every stop.

PRESIDENT – ‘dark heaven’

The tour announcement arrives just weeks out from the release of PRESIDENT’s debut full-length album, BLOOD OF YOUR EMPIRE, which is due to land on Friday, 4th September.

Emerging seemingly out of nowhere in 2025, the enigmatic collective have built an impressive amount of hype in a remarkably short space of time, operating beneath a veil of anonymity while blending heavy music with electronic experimentation and cinematic atmospherics.

Rather than revealing all and sundry about the humans behind the project, PRESIDENT have so far kept their cards deliberately close to their chest, placing the focus squarely on the music and mythology.

And that intrigue has translated quickly to the live arena.

Following their first performance at Download Festival in the UK last year, PRESIDENT have rapidly levelled up their touring operation, most recently joining Bad Omens for a sold-out run across the US.

Now, Aussie fans will get their first opportunity to experience a full PRESIDENT headline show when the campaign reaches our shores next February.

Along for the ride will be Hands Like Houses, who arrive armed with more than a decade of their own history in Australian alternative music.

The Canberra outfit have clocked up three Top 10 ARIA records, more than 300 million Spotify streams and extensive touring both at home and internationally.

Tickets to PRESIDENT’s debut Australian headline tour go on sale to the general public from 11am local time on Friday, 28th August, following Mastercard and Live Nation presales kicking off the day prior.

Suss all the dates and details down below.

PRESIDENT Australian Tour 2027

With special guests Hands Like Houses

• Friday, 19th February – Metropolis, Fremantle
• Sunday, 21st February – Hindley St. Music Hall, Adelaide
• Tuesday, 23rd February – The Forum, Melbourne
• Thursday, 25th February – Fortitude Music Hall, Brisbane
• Saturday, 27th February – Roundhouse, Sydney

GENERAL PUBLIC ON SALE FRIDAY 28 AUGUST, 11AM

Artist Album Presale: Wed 26 August, 10am – Fri 28 August, 10am

Mastercard Presale: Thu 27 August, 10am – Fri 28 August, 10am

Live Nation Presale: Thu 27 August, 10am – Fri 28 August, 10am

All times local.

For complete tour & ticket information, visit: livenation.com.au

Further Reading

Alpha Wolf Part Ways With Vocalist Lochie Keogh, Cancel All Remaining 2026 Shows

Good Things 2026 Lineup: Limp Bizkit, Simple Plan, Spiritbox + MORE

Stand Atlantic Announce Biggest Australian Headline Tour Yet With Knuckle Puck

The post PRESIDENT Announce First-Ever Australian Headline Tour For 2027 appeared first on Music Feeds.

Alpha Wolf have announced the departure of longtime frontman Lochie Keogh, bringing an end to his more than decade-long tenure with the Melbourne metalcore heavyweights.

The band broke the news in a statement today, confirming they have “mutually parted ways” with Keogh and will cancel all of their remaining live commitments for 2026 while they navigate the lineup change.

“We are deeply saddened, but remain hopeful for what the future holds.”

“Alpha Wolf have mutually parted ways with long time vocalist, Lochie Keogh,” the band announced.

“We are deeply saddened, but remain hopeful for what the future holds.”

“We ask that you respect Lochie’s privacy, as well as ours during this time.”

As a result of Keogh’s departure, Alpha Wolf have also pulled the pin on their forthcoming European headline tour and every other show they had scheduled for the remainder of the year.

“As a result, we have made the difficult decision to cancel our upcoming European headline tour and all remaining shows for 2026 while we work through this transition,” their statement continues.

“Thank you for your understanding and continued support.”

Keogh joined Alpha Wolf in 2013 and has subsequently spent more than a decade at the helm of the band as they’ve grown from the Australian underground into one of the country’s biggest modern heavy music exports.

During his tenure, the band released records including Mono, A Quiet Place To Die and Half Living Things, touring extensively both at home and internationally and even scooping up a Grammy nomination.

At the time of writing, Alpha Wolf have not announced who – if anyone – will replace Keogh on vocals, or revealed any further details about what the band’s next chapter will look like.

There are also question marks surrounding their currently scheduled Australian appearances in early 2027.

Alpha Wolf are presently billed to perform aboard the Hellbound II heavy metal cruise and at Adelaide’s Froth & Fury Fest in January. As the band’s announcement specifically cancels their “remaining shows for 2026”, those dates technically sit outside the scope of today’s cancellations.

However, with Alpha Wolf saying they’ll use the downtime to “work through this transition”, there’s currently no confirmation about whether those 2027 appearances will proceed as planned.

For now, the circumstances surrounding Keogh’s departure remain private, and the band have specifically asked fans to respect the privacy of everyone involved.

We’ll bring you more information if it comes to light.

Further Reading

Hellbound II Lineup: Parkway Drive, Thy Art Is Murder + MORE

Froth & Fury Fest 2027 Drops Huge First Lineup

Slipknot Officially Part Ways With Sid Wilson After 25+ Years

The post Alpha Wolf Part Ways With Vocalist Lochie Keogh, Cancel All Remaining 2026 Shows appeared first on Music Feeds.

R&B superstar Kehlani is heading back down under, announcing a four-date Australian arena tour for February 2027.

The two-time Grammy Award winner will bring The Kehlani World Tour to Perth, Melbourne, Sydney and Brisbane, with rising US alt-R&B star Destin Conrad joining the party as special guest at every stop.

Kehlani – ‘Folded’

The Australian run will kick off at Perth’s RAC Arena on Thursday, 18th February, before heading to Melbourne’s Rod Laver Arena, Sydney’s Afterpay Arena and wrapping up at Brisbane Entertainment Centre on Thursday, 25th February.

The tour comes in support of Kehlani’s new self-titled album, which landed back in April and debuted at #4 on the Billboard 200 – marking her fourth US Top 10 album and third to crack the Top 5.

The record also arrived hot on the heels of the mammoth success of ‘Folded’, which bagged Kehlani two Grammy Awards earlier this year for Best R&B Performance and Best R&B Song.

The double-Platinum track has also become the longest-running #1 in the history of Billboard’s Mainstream R&B/Hip-Hop Airplay chart, spending more than 17 weeks at the summit.

Kehlani marks the singer-songwriter’s first full-length project since her 2024 mixtape While We Wait 2, continuing a run that’s cemented her status as one of modern R&B’s defining voices.

Meanwhile, tourmate Destin Conrad will bring his own smooth alt-R&B stylings to Australian arenas across the run.

Tickets go on sale to the general public from 2pm local time on Wednesday, 26th August, following a stack of presales kicking off from Monday, 24th August.

Suss all the dates and details down below.

Kehlani ‘The Kehlani World Tour’ Australia 2027

With special guest Destin Conrad

Thursday, 18th February
RAC Arena, Perth WA

Sunday, 21st February
Rod Laver Arena, Melbourne VIC

Tuesday, 23rd February
Afterpay Arena, Sydney NSW

Thursday, 25th February
Brisbane Entertainment Centre, Brisbane QLD

Artist presale: Mon 24 Aug, 12pm – Wed 26 Aug, 1pm

Mastercard presale: Mon 24 Aug 12pm – Wed 26 Aug, 1pm

Vodafone presale: Mon 24 Aug 12pm – Wed 26 Aug, 1pm

Live Nation presale: Tue 25 Aug, 1pm – Wed 26 Aug, 1pm

All times are local.

For complete tour and ticket information, visit livenation.com.au

Further Reading

For Fans Of Kehlani: Introducing Lara Andallo

Thousands of Musicians Call for Gaza Ceasefire, Including Kid Cudi, Zack de la Rocha, Denzel Curry – “We Cannot Be Silent”

Kehlani’s Ex Seeks Full Custody Of Daughter

The post Kehlani Announces 2027 Australian Arena Tour With Destin Conrad appeared first on Music Feeds.

The Dandy Warhols are heading back to their spiritual second home of Australia this summer, announcing a fresh run of dates for November and December 2026 – including one particularly fancy night out with the Tasmanian Symphony Orchestra.

The Portland alt-rock favourites will bring their Pin Ups tour down under for seven Australian dates, kicking things off with a one-night-only orchestral spectacular at Hobart’s Odeon Theatre before hitting Sydney, Brisbane, Adelaide, Fremantle and Melbourne and wrapping things up with an appearance at Meredith Music Festival.

The Dandy Warhols – ‘Bohemian Like You’

The Hobart show will mark the first time The Dandy Warhols have brought their symphony concept to Australia, following two previous performances alongside the Oregon Symphony in the US.

“The Oz tour is right around the corner and we are getting very pumped about it,” frontman Courtney Taylor-Taylor says.

“This one starts in Tasmania with the Symphony there, that will be a mind expanding trip. Then we hit all our favourite cities, or most of them, including some New Zealand shows.”

“Then we end at Meredith festival, which we are told repeatedly is the coolest,” he continues. “There’s going to be a lot of amazing music, food, wine, and even wineries.”

“We have always loved it down under which is why it’s been The Dandy Warhols second home for almost 3 decades.”

The tour comes in support of the band’s new covers album Pin Ups, released earlier this year and featuring their interpretations of artists who helped shape their musical DNA.

The collection spans some seriously heavyweight influences, with songs originally by The Beatles, The Byrds, The Clash, Bob Dylan, The Cure, Gang Of Four, The Cramps, The Cult, The Damned and Marilyn Manson, among others.

Rather than being recorded as a conventional covers album in one hit, Pin Ups brings together material from across the Dandys’ career, including tribute-album contributions, B-sides, bonus tracks and previously unreleased recordings.

“Nearly every band we cover on here are friends of ours or artists we have had a meaningful experience with,” Taylor-Taylor explains.

The tour will add another chapter to The Dandy Warhols’ nearly three-decade love affair with Australia, which began with their first visit back in 1998.

Since then, the psych-rock veterans have become regular visitors to our shores, armed with a catalogue featuring enduring alt-rock staples like ‘Bohemian Like You’, ‘We Used To Be Friends’ and ‘Not If You Were The Last Junkie On Earth’.

The Dandy Warhols’ 2026 Australian tour kicks off in Hobart this November before winding its way around the country and reaching its grand finale at Meredith in December.

Suss all the dates and ticketing details down below.

The Dandy Warhols ‘Pin Ups’ Australian Tour 2026

• Tues, Nov 24: Odeon Theatre, Hobart with the Tasmanian Symphony Orchestra 
• Fri, Nov 27: Powerstation, Auckland
• Sat, Nov 28: Meow Nui, Wellington
• Tues, Dec 1: Enmore Theatre, Sydney
• Fri, Dec 4: Fortitude Music Hall, Brisbane
• Sat, Dec 5: Thebarton Theatre, Adelaide
• Tues, Dec 8: Metropolis, Fremantle
• Thurs, Dec 10: Palais Theatre, Melbourne  
• Fri, Dec 11: Meredith Festival, VIC

Spotify Presale: Fri, Aug 21: 10am AEST (Code: DWAUS)
Promoter Presale: Mon, Aug 24: 10am AEST (Code: DW27)
On sale: Tues, Aug 25: 10am AEST via sbmpresents.com/tour/the-dandy-warhols-2026

Further Reading

Love Letter To A Record: Eskimo Joe On The Dandy Warhols’ ‘Thirteen Tales From Urban Bohemia’

The Dandy Warhols Releases New Single ‘I Will Never Stop Loving You’

PREMIERE: Members of the Dandy Warhols, Courtney Barnett’s Band Join Forces as Super American Eagle

The post The Dandy Warhols Announce 2026 Australian Tour, Including One-Off Symphony Show appeared first on Music Feeds.