Nine years after it last screened on SBS, and nearly 3 years after a Foxtel season, RocKwiz is still packing in houses with music trivia fans around the country. RocKwiz...

Melbourne rock exports Amyl And The Sniffers have had their free Fed Square performance cancelled just before the group were due to take the stage. Announced earlier this week, the free pop-up show was scheduled to take place on the evening of Friday, November 14th, with nascent pop rock outfit Public Figures on support, offering up a handful of their own originals interspersed with classic AC/DC cuts. However, soon after Public Figures wrapped their set, the performance was reportedly cancelled just as Amyl And The Sniffers were scheduled to perform. At the time of publication, no official statement has been provided explaining the reason behind the gig’s cancellation, though posts from Amyl And The Sniffers’ Instagram account report that it was due to overwhelming crowd capacity. “At fed square and fuming - ready to go!” the group posted on their Instagram Stories. “We are so sorry the show is cancelled due to the event not organising the proper security and barriers and the barriers being broken in has made them deem it unsafe to play “We are fuming and shattered and so so so so so so so so sorry!!!” In a follow-up story, vocalist Amy Taylor shared a quick clip apologising to fans for the unexpected cancellation. “So so so sorry, we're really sad, we're backstage,” Taylor began. “We literally would have loved to play we're devastated. “The fucking fences got crushed in, too many people, fucking cops shut it down, pissed as fuck,” she added. “Pissed off, and we're just really apologetic and so sorry, we would have really loved to play, we were really looking forward to this. Fucking sorry.” “Venue needs to go out with a statement but basically all the fences were allegedly stormed making it unsafe for the punters so police shut it down !!!! :/” she continued in another story. “My heart is 😠 but we want you to be safe too. “Didn't expect this turn out, so thank you for coming and supporting us,” she added. “Gonna go get black out drunk somewhere in mourning.” Music journalist Chris Palmer (otherwise known as That Aussie Music Guy) also posted a clip while on-ground at the event, confirming Taylor’s comments. “Amyl And The Sniffers have been forced to cancel their gig after reportedly 6,000 people tried to fence jump into Federation Square after it was closed off,” Palmer explained. In the lead-up to the event, Fed Square’s own Instagram account had provided constant updates in regard to the crowd capacity, noting soon after Public Figures took to the stage that the Square was full and no more fans would be let in. Following the cancellation, a message was posted up on screens at Fed Square noting that “due to unexpected circumstances the event has been cancelled.” Amyl And The Sniffers’ planned show was to take place between two hometown shows supporting AC/DC, having launched the PWR UP Tour at the MCG on Wednesday night, and with a second Melbourne date scheduled for Sunday, November 16th.

A free concert scheduled in Melbourne's Fed Square was cancelled at the last minute on Friday night, with organisers citing overcrowding.

The beloved Perth street press publication, X-Press Magazine, is celebrating 40 years of publishing this year, and to commemorate the milestone, a souvenir book and celebratory event are in the works. Former X-Press editor Bob Gordon is currently writing the book, Rewind: 40 Years of X-Press Magazine. Set for release in January 2026, the commemorative 200-page coffee table book will offer a comprehensive, four-decade record encompassing the gigs, artists, and stories that have soundtracked Western Australia’s inimitable arts culture. Rewind – and the magazine’s 40th anniversary – will be commemorated during a showcase event at Perth’s Astor Theatre on 18 March 2026. According to a press release, the event will feature local bands, industry legends, and longtime X-Press readers and supporters. With the tentative early 2026 release date, Rewind makes for a great Christmas gift. The softcover version of the book will be released for $50, with the hardcover edition priced at $75. You can purchase advance gift vouchers or pre-order the book here. “X-Press Magazine has been the entertainment lifeblood for thousands of Perth readers for 40 years,” Bob Gordon explained. “I had the privilege of working on it for many of those years during the print era, so it’s my deep honour to document its history within this commemorative book.” X-Press Magazine has been owned by Vanguard Media Group since 2023. The company has a 50-year history in printing and publishing in WA, and supports local independent media with a portfolio comprising SCOOP-Localista, Hello Perth, Western 4WDriver, and more. From 2015 to 2016, The Music Perth had a partnership with X-Press Magazine in a venture that saw X-Press Magazine become the sole print title for the companies in WA and The Music absorb X-Press’ online presence.

The effortlessly cool SG Lewis gets the crowd in motion early on with his sleek, disco-infused set with warm synths and deep-house grooves woven into a hypnotic flow at a rhythmic pace. “It’s so great to be here. Melbourne is my favourite Australian city!” He shouts out to the audience who have come early to see his set. He moves around the stage with swagger in his suit and tie, alternating between live guitars and a sound system full of electronic equipment to get us grooving along. UK singer RAHH joins him on stage to lend her powerhouse live vocals for a few tracks, including Transition, Sunsets Pt. 2, Sugar, Fever Dreamer and Heat. Together, they give a glowing performance that’s just the right amount of gradual build-up to get us ready for the main act. The lights drop and smoke engulfs the stage as the opening notes of Inhale ripple across the arena. RÜFÜS DU SOL appear in silhouette as the trio, including Tyrone Lindqvist, Jon George, and James Hunt, instantly locking the crowd into a hypnotic state. “We’re gonna make sure every single one of you is standing up by the end of the night,” shouts Lindqvist. It’s evident that it won’t take much effort, as by the second song, nearly the entire arena is up on their feet dancing. They take us on a perfectly curated journey with a continuous mix of their vast catalogue, with each transition feeling seamless and carefully built from meditative stillness to full-bodied euphoria. Early tracks like Lately and Breathe set a deep groove before the crowd erupts for You Were Right and Sundream. Hunt’s live drumming adds visceral punch, while Lindqvist’s aching vocals float like smoke above George’s rich synth layers and keyboard notes. Every element of production is fine-tuned with crisp sound, seamless mixing, and stunning lighting. The LED panels behind the trio pulsed in sync with every micro-beat, creating a visual symphony to match the sonic one. The spectacular laser light show is mesmerising and makes the arena feel otherworldly.  By On My Knees, the arena becomes one beating organism with bodies all moving with synchronicity, strobe lights slice through the air, and bass vibrates through the floor. Pressure raises it higher still, lasers fanning out in sync with every drop. Desert Night and Edge Of The Earth bring a shifting calm with cinematic intensity. “We’ve been on the road for about a year now, and we have really interesting memories about our early days in Melbourne, like 15 years ago, playing to 50 people, then 100 people. But at that point, we would have never imagined playing 3 nights at Rod Laver Arena,” says Hunt. The middle of the set glows with light and depth. Levitating and Next to Me carry soaring synths and a pulse that creates an almost meditative feeling. Surrender is a euphoric moment in the set as they sing “Shower me in love,” and the heavens above open up with confetti shooting out over the crowd like rain falling from the sky. We lose ourselves in the moment and forget where we are for a moment. Exhale from their latest release Inhale/Exhale, hit with strong basslines and a darker, more mature edge, while Fire/Desire and Underwater take things further, their visuals turning the arena into a sea of blue and red light as the audience moves like waves in the shadows. When Alive and Always land, smiles stretch across every face in the room. New York shimmers with melancholy, and Treat You Better wraps the crowd in warmth as the arena lights up with a sea of shimmering phone torches. And then the pivotal moment we are all waiting for arrives with Innerbloom. It’s almost ten minutes of slow-building perfection with every lyric echoing back from thousands of voices, lights swirling like galaxies overhead. It’s a moment of emotional exhale that leaves the entire arena still in the final note’s afterglow. The encore brings pure release, starting with Break My Love, starting as a heartbeat and blossoms into movement. No Place ignites the crowd with nostalgia and elation. By the final track, Music is Better, the trio turns the arena into a joyous festival filled with hands high, lights pulsing, and everyone dancing together.  “We have such fond memories playing in Melbourne. I never take it for granted that we are still here 15 years later after starting this band. A lot of our favourite bands haven't lasted that long. And so, we owe a lot to you beautiful people for buying tickets to our shows and sharing our music with each other,” Lindqvist expresses with deep gratitude. The first of three sold-out RÜFÜS DU SOL Melbourne shows proves that they remain masters of turning electronic soundscapes into communal, deeply human experiences that can move both body and soul. Their euphoric homecoming unites electronic music fans on a large scale and turns the arena’s dance floor into a dreamscape where music, visuals and emotion fuse together seamlessly for a moment of collective transcendence.

The winners of the Melbourne Prize for Music 2025 & Awards were unveiled last night (13 November), with numerous artists taking home prestigious awards. Winning the $60,000 Melbourne Prize for Music this year is Goanna singer, acclaimed songwriter Shane Howard, for his body of work and contributions to the local music scene, as well as Australia’s cultural identity. Runner-up finalists included singer and guitarist Deborah Conway AM, conductor Nicolette Fraillon AM, and singer-songwriter Emma Donovan. All finalists have been given $1,000 each, with support from Fed Square. That isn’t where Conway’s award journey ended last night, however, winning the $2,000 Civic Choice Award, which was awarded to the finalist in the Melbourne Prize for Music with the highest number of public votes. Other winners included composer, arranger, and conductor Vanessa Perica, who took home the $20,000 Beleura John Tallis Award for Emerging Composers, and cellist Charlotte Miles, who won the $10,000 Professional Development Award. In addition to those winners, singer-songwriter Isobel Caldwell and synthesist and composer Carolyn Schofield jointly won the Falls Creek Musicians’ Residencies, receiving two 14-day residencies in Victoria’s High Country, plus $1,000 each.  The winners for the Melbourne Prize for Music & Awards are decided by a dedicated panel of judges. This year’s judging panel includes acclaimed musicians, such as former Melbourne Prize for Music recipient Missy Higgins, conductor Benjamin Northey and musician and arts advocate Genevieve Lacey. “The applications for the Melbourne Prize for Music 2025 form a collection of profound commitment, expression, and contribution to music in Australia,” the judges commented in a statement. “From those who have given a lifetime to their art form, through to those just beginning their journey in music, one thing is obvious, that Victoria is enriched by an absolutely incredible community of musicians and creative artists.” The statement continued, “It was a deeply moving experience to read all of the applications. Selecting recipients for prizes was no easy task, as there were many deserving submissions. We would like to congratulate all artists who have expressed interest in the annual Melbourne Prize this year. Your work is seen, valued and deeply appreciated. “These awards are a testament to the remarkable ecosystem of music in Victoria, thanks to the many personal and public investments in music education, access and participation, over decades. “Let’s individually and collectively continue to prioritise, participate in and support music. And to all those musicians who applied, please continue with your music, continue to express your creativity, and continue to change the world through music.” Melbourne Prize Trust Founder and Executive Director, Simon Warrender, added, “We have had a record number of entrants this year, and I want to thank all entrants and finalists and congratulate the category recipients. This year has been made possible by the generosity of all our partners and patrons – thank you one and all.” Victoria’s Minister for Creative Industries, Colin Brooks, said, “Melbourne is the cultural capital of the nation, and we are proud to support the Melbourne Prize for Music & Awards, honouring Victorian musicians who have made an extraordinary contribution to our music culture.” Melbourne Lord Mayor, Nicholas Reece, concluded, “The City of Melbourne congratulates the finalists and winners of this year’s Melbourne Prize for Music. “Tonight, in the music capital of Australia, we celebrate the music community and its contribution to the cultural fabric of our great city. I would also like to acknowledge the judges - what an amazing and difficult job it must have been!”

The fun continues into March and April 2026 for Jimmy Barnes, who’s extended his For The Working Class Man 40th anniversary tour. Due to extraordinary demand, Barnes has added three more shows to an already stacked itinerary. He’ll now perform at Queensland’s Sandstone Point Hotel on Saturday, 21 March, NSW’s Centennial Vineyards on Saturday, 28 March, and Melbourne’s Rod Laver Arena on Friday, 10 April. Telstra Plus members can access exclusive pre-sale tickets on Monday, 17 November, at 10 am local time, followed by MG Live, Face To Face, and Jimmy Barnes fan club pre-sales on Wednesday, 19 November, at 11 am local time. The general sale opens on Friday, 21 November, at 12 pm local time via the MG Live and Face To Face Touring websites. The new shows arrive ahead of the kick-off of the Working Class Man anniversary shows, which begin next week (22 November) at the Mount Duneed Estate. Jimmy Barnes will perform throughout the rest of the year before continuing the tour in 2026—check out the tour dates below. For the tour, Barnes will be joined by special guests and friends, ICEHOUSE, Ian Moss, and Kate Ceberano. Today, though, another special guest has joined the roster: Barnes’ own surgeon and the former singer of the band The Lonelyhearts, John Rooney, who also makes music as a solo artist. Rooney will appear at all shows, excluding those at Rod Laver Arena and the Sydney Opera House Forecourt. “This man got me up dancing again when he operated on my hips, not once, not twice, but three times,” Barnes said. “John Rooney will get you up dancing, too.” In addition to the tour, Mushroom Music will celebrate For The Working Class Man by releasing a special 40th anniversary edition of the record. The 40th anniversary edition of the album is out today, and can be pre-ordered here. ​Presented by MG Live and Face To Face Touring JIMMY BARNES ​WORKING CLASS MAN 40th ANNIVERSARY TOUR WITH SPECIAL GUESTS ICEHOUSE, IAN MOSS, KATE CEBERANO & JOHN ROONEY NOVEMBER 2025 – APRIL 2026 Saturday 22 November - Mount Duneed Estate | Geelong, VIC Saturday 29 November - ​Sirromet | Mount Cotton, QLD Saturday 6 December - Bimbadgen | Hunter Valley, NSW Wednesday 10 December - On The Steps at Opera House Forecourt, Sydney, NSW *Special Guest Kate Ceberano only Saturday 17 January - The Regatta Grounds | Hobart, TAS Saturday 31 January - Peter Lehmann Wines | Barossa Valley, SA Saturday 7 February - Sandalford Wines | Swan Valley, WA Saturday 21 March - Sandstone Point Hotel | Sandstone Point, QLD | NEW SHOW | 18+ Saturday 28 March - Centennial Vineyards | Bowral, NSW | NEW SHOW Friday 10 April - Rod Laver Arena | Melbourne, VIC | NEW SHOW **John Rooney not performing Embedded Content

Jimmy Barnes has always had a remarkable work ethic. On May 22, 1981, Jimmy married Jane Mahoney, whom he’d met in Canberra in 1979. They wed at the Registry Office in Macquarie Street, Sydney, with Barnesy’s big brother John Swan as best man. That night, Barnesy did a gig with Cold Chisel at Blacktown’s Comb and Cutter Hotel. “How romantic of me,” he laughs.  Scattered amongst the crowd were the wedding guests, including members of Flowers, The Angels and Mental As Anything. The support act was the much-loved Sydney power pop band The Lonelyhearts. Embedded Content Barnesy doesn’t have many memories of his wedding-night gig. “By the end of the set, Jimmy was paralytic, and Swanee took over the vocals,” his biographer Toby Creswell recalls. “What are brothers for?” Embedded Content Two days after the wedding, Cold Chisel signed an American recording deal with Elektra, which led to their ill-fated US tour, the inspiration for the searing You Got Nothing I Want. Embedded Content The Lonelyhearts split in 1984, the year that Jimmy Barnes released his debut solo album, Bodyswerve. Embedded Content Singer John Rooney put the band back together at the end of 1990, releasing a new Lonelyhearts single called The Spell. Embedded Content The Lonelyhearts called it quits for good in 1992, with John Rooney focusing on his day gig as a doctor. And that’s where Barnesy returns to this story. After years of wear and tear, Barnesy found himself in hospital for a hip operation. He discovered his surgeon was John Rooney, The Lonelyhearts’ lead singer. “This man got me up dancing again when he operated on my hips, not once, not twice, but three times,” Jimmy reveals.  Jimmy’s most recent hip surgery was in February this year. He calls John a “singing super surgeon”. Dr John never lost his love of making music. In fact, he has a new solo album called Hoodwink. “As well as being one of Australia’s leading orthopaedic surgeons, John’s a great singer,” Barnesy says.  Embedded Content Produced by Kevin Shirley, Hoodwink, features a stellar array of musicians, including Waddy Wachtel (Warren Zevon, Jackson Browne, Stevie Nicks) on guitar, Don Was (who has produced The Rolling Stones, Bob Dylan, Bonnie Raitt) on bass, Benmont Tench (Tom Petty and the Heartbreakers) on keyboards, and Jim Keltner (John Lennon, George Harrison, Ringo Starr, Traveling Wilburys) on drums. The record was mixed by the legendary Bob Clearmountain, who also mixed For The Working Class Man. And Jimmy Barnes appears on the opening track, Trouble Always Finds Me. Embedded Content Barnesy has now added John Rooney to the bill for his shows celebrating the 40th anniversary of Working Class Man, a lineup that already includes ICEHOUSE, Ian Moss and Kate Ceberano. The 40th anniversary edition of For The Working Class Man is out today, on CD, cassette and double vinyl. As well as the already announced shows, Jimmy Barnes today added three additional Working Class Man shows – March 21 at Sandstone Point Hotel in Queensland, March 28 at Centennial Vineyards in Bowral, and April 10 at Rod Laver Arena. Forty-four years after that wedding-night gig, John Rooney will be the opening act for all of the shows, aside from Rod Laver Arena and the Sydney Opera House. “I’m so excited to be celebrating For The Working Class Man with some of my dearest friends and favourite artists,” Barnesy says. For tickets and more info, head to the MG Live and Face To Face Touring websites.

Australian pop-rock group Pacific Avenue are hitting the road in 2026, announcing a massive run of national tour dates in support of their forthcoming new album. The tour begins on Friday, 6 March, at Perth’s Astor Theatre—the show will also act as a party celebrating the release date of the band’s album, Lovesick Sentimental. The tour continues at Adelaide’s Hindley Street Music Hall on Saturday, 7 March, Melbourne’s Forum on Friday, 13 March, Hobart’s Odeon Theatre on Saturday, 14 March, Brisbane’s Fortitude Music Hall on Friday, 20 March, and concludes at Sydney’s Enmore Theatre on Saturday, 21 March. Pre-sale tickets will be available on Monday, 17 November, at 9 am AEDT, followed by the general sale on Wednesday, 19 November, at 9 am AEDT. You can find tickets on the band’s website. On Thursday (13 November), Pacific Avenue announced that their new album, Lovesick Sentimental, would arrive on Friday, 6 March. They also shared the single Here We Go Again, following the release of the previously shared single Working Class Hero. “The new single ‘Here We Go Again’ is a song about holding onto love, through the good times and the hard throughout a relationship, it’s finding the small things that make you continue to fall for that person,” said Pacific Avenue’s Harry O’Brien. O’Brien added, “The song reads like a first-person recount; however, moments of the lyrics are meant to shift perspectives, ‘I almost forgot what you did’ is meant aimed back towards me, in times when I was hard to love.” You can pre-order/pre-save Lovesick Sentimental here and check out Here We Go Again below. Lovesick Sentimental marks the highly anticipated follow-up to Pacific Avenue’s 2023 debut album, Flowers. For that album, the band experienced major breakout success, scoring #1 on the ARIA Australian Albums Chart, #2 on the ARIA Albums Chart, #4 on the ARIA Vinyl Chart, and received two nominations at last year’s ARIA Awards for Best Rock Album and Michael Gudinski Breakthrough Artist. Presented by triple j PACIFIC AVENUE LOVESICK SENTIMENTAL 2026 AUSTRALIAN TOUR Friday 6 March – Astor Theatre, Perth Saturday 7 March – Hindley Street Music Hall, Adelaide Friday 13 March – Forum, Melbourne Saturday 14 March – Odeon Theatre, Hobart Friday 20 March – Fortitude Music Hall, Brisbane Saturday 21 March – Enmore Theatre, Sydney Embedded Content

Eskimo Joe’s beloved third album, Black Fingernails, Red Wine, turns 20 next June. Can you believe it? And next year, the Freo rockers will celebrate the milestone anniversary with a massive national tour. Released on 10 June 2006, the album became Eskimo Joe’s first #1 on the ARIA Albums Chart and has since been certified four times Platinum in Australia. Featuring successful singles including the title track, Sarah, New York, Breaking Up, and London Bombs, Black Fingernails, Red Wine marked a new era for the Australian band: one where you’d never forget their songs. In May and June 2006, Eskimo Joe will perform the album in its entirety, as well as a set of fan favourites including From the Sea, Love is a Drug, Foreign Land, and their latest single, Miracle Cure. And this tour won’t take place in arenas or other larger venues; instead, the band is keeping things intimate and revisiting the venues that shaped their early years. Joining Eskimo Joe on this tour is Amazing special guest Alex Lloyd. The tour begins with a two-night special at the band’s home venue, Freo.Social, on Friday, 1 May, and Saturday, 2 May. The tour continues at Brisbane’s The Triffid on Saturday, 9 May, Melbourne’s Corner Hotel on Friday, 15 May, and Saturday, 16 May, Sydney’s Factory Theatre on Saturday, 23 May, and concludes at Adelaide’s The Gov on Friday, 5 June. Tickets will be available from 9 am AEDT today via Eskimo Joe’s website. Embedded Content “Looking back, we’d been working really hard leading up to that record, honing our songwriting and performance,” reflects frontman Kav Temperley. “By the time we got into the studio, we were feeling pretty match fit. But I don’t think any of us realised at the time what a huge impact that album would have on us, or how much it would change our trajectory. “I have nothing but gratitude for the fact that we can still go out and play Black Fingernails Red Wine and that it still means so much to so many people, it absolutely blows my mind and warms my heart.” Guitarist Stu MacLeod added, “Playing the album from start to finish is such a special experience for us. It’s a chance for us to relive a pretty special moment in time for us, and to revisit those songs that never made it to the stage. Some of my favourite Eskimo Joe songs are incidental album tracks that we just never performed live.” Guitarist and drummer Joel Quartermain concluded, “With this album, the band really arrived at a point of creative cohesion. We seemed to have that elusive balance of experience, youth and (blind) confidence to go after a pretty ambitious vision. “It was a sweet spot, and when we play these songs live, it’s fun to return to that place. The record works as a whole piece, so to perform it in its entirety only makes sense and feels great!” ESKIMO JOE BLACK FINGERNAILS RED WINE – 20th ANNIVERSARY TOUR   FRIDAY 1 MAY & SATURDAY 2 MAY – FREO.SOCIAL, FREMANTLE, WA SATURDAY 9 MAY - TRIFFID, BRISBANE, QLD FRIDAY 15 MAY & SATURDAY 16 MAY - CORNER HOTEL, RICHMOND, VIC SATURDAY 23 MAY - THE FACTORY THEATRE, SYDNEY, NSW FRIDAY 5 JUNE - THE GOV, ADELAIDE, SA Embedded Content

It's been an earth-shattering few weeks in Melbourne’s music scene. Literally. Fans at Oasis sent seismic shockwaves through the city, while metalheads at Metallica rode the lightning to thunderous effect. But those were just tremors compared to last night, when over 80,000 AC/DC fans packed into the MCG, brandishing the band’s iconic insignia and devil horns, ready to raise a little hell as Acca Dacca shook the earth all night long. This wasn’t just another rock show. This was AC/DC’s long-awaited Australian return — their first performance back home since 2015 and the opening night of the Aussie leg of their POWER UP world tour. The demand for tickets was nothing short of historic, with the band shattering Ticketek records after selling 320,000 tickets nationwide in a single day. Sure, Sydney might lay claim to the band, but Melbourne has long been where the band was immortalised. From the flatbed rolling down Swanston Street to the newly refurbished AC/DC Lane, this city’s connection with the band runs deep. Last night, that legacy roared back to life. The show also marked AC/DC's first Australian performance since the death of founding member Malcolm Young. Formed in 1973 by brothers Malcolm and Angus Young, AC/DC defined hard rock with their no-nonsense, bone-rattling sound. With over 200 million albums sold worldwide, they’re not only one of the most influential bands in music history but also one of the most enduring. Their album Back in Black is the third-highest-selling record of all time. Added only last month to the bill, The Casanovas led the marathon with pure pub-rock muscle. Entrenched in Melbourne’s music scene since 1999, the trio, Tommy Boyce (vocals, guitar), Damian “Damo” Campbell (vocals, bass), and Brett “Wolfie” Wolfenden (drums), wasted no time shaking the foundations at the ‘G with their crunching riffs and classic no-fuss, hard-rock tunes. They opened with the blistering Keep It Hot, immediately proving themselves. Shake It, Livin’ in The City, and Born to Run landed hard, setting the tone for the night. By the end of their set, there was no doubt that The Casanovas had gained a few thousand extra fans. The crowd was buzzing, fists in the air, ready for the next onslaught. Blame it on the peroxide or blonde ambition, but punk’s always been littered with bleached agitators and icons: from Lita Ford and Cherie Currie, to Debbie Harry, Courtney Love and Melbourne’s own Brody Dalle. Amy Taylor is the latest to join the riot. Since kicking off the year in Australia with their Cartoon Darkness world tour, Amyl and the Sniffers have torn through Coachella, Glastonbury, and a string of sold-out shows across the US, South America, and Europe. They’re also up for six awards at next week's ARIA Awards. Last night, the journey came full circle as they opened for AC/DC on home turf. Formed in 2016, Amyl and the Sniffers are a Melbourne-bred punk juggernaut. Fronted by the deliciously feral Amy Taylor, the band, including Bryce Wilson on drums, Declan Mehrtens on guitar, and Gus Romer on bass, ripped through a ferocious set, unleashing crowd favourites like the gnarly Security, Tiny Bikini, and Jerkin like a blast of aggro-punk chaos. Looking every bit the 70s roller-disco queen in a blue sporty number, complete with fluffed hair and neon pink blush, Taylor charged the stage with unbridled energy. They closed their set with U Should Not Be Doing That, a song which just days ago earned the band their first Grammy nomination, and the irresistible, fuzz-drenched Hertz. If their schedule wasn’t hectic enough, the band have just announced a free pop-up show in Fed Square this Friday alongside Public Figures. As the stage reset, the air was thick with a rowdy sort of anticipation, and perhaps a touch of scepticism, as fans wondered whether AC/DC could still deliver the high-voltage show their reputation demanded. On the giant screens, a muscle car speeds down a highway to hell towards the venue, while in the stands, a sea of devil horns pulsates like a living inferno as the all-too-familiar opening riff of If You Want Blood (You’ve Got It) tears through the speakers. Naturally, Young emerged in his signature crimson schoolboy uniform, and while he may have appeared frail at first glance, the seventy-year-old was as spritely as ever, sneering at the crowd with his devilish grin. Young spent the night in a constant state of undress, gradually peeling off layers of his uniform, at one point even playing guitar with his tie. He was joined by his nephew, rhythm guitarist Stevie Young, bass player Chris Chaney, and drummer Matt Laug, as well as vocalist Brian Johnson, who sported his trademark newsboy cap. And let’s be honest: Johnson’s bark doesn’t have the same bite anymore, but last night, that didn’t matter. After everything he’s been through, from being diagnosed with Barrett's Syndrome in 2009 to severe hearing loss that forced him to quit in 2016, just seeing him onstage felt like a victory. He tore through every song with a bloodthirsty force, and between songs, his maniacal laugh echoed through the stadium, a reminder of the menace he still is. Last night, it wasn’t about precision. If you want perfection, put on 1992’s Live. Last night, it was about the roar of 80,000 fans and the power of raw, classic rock.  Rightfully enormous, the stage featured a wall of Marshalls and massive screens, as well as a runway, perfect to show off Young’s iconic duckwalk. Cannons turned For Those About to Rock (We Salute You) into a full-blown artillery assault, while the giant bell from Hells Bells reverberated through the ‘G, sending shivers across the crowd. The scale of the production was staggering: 300 tons of steel, 28 tonnes of PA, and enough lighting, audio, and video kit to fill over a thousand road cases. The band ploughed through the set without mercy, a relentless barrage of anthems from start to finish. Hits like Back in Black, Shot Down in Flames, Thunderstruck, Highway to Hell, Shoot to Thrill, Dirty Deeds Done Dirt Cheap, High Voltage, and You Shook Me All Night Long all landed like a sledgehammer. Whole Lotta Rosie incited the “Angus” chant, while in the encore, T.N.T. unleashed a stadium-wide “Oi! Oi! Oi!” chant. The biggest surprise of the night came with the band’s first live performance of Jailbreak since 1991. As expected, there was one song that every die-hard fan in the crowd knew they wouldn’t hear. It's a Long Way to the Top (If You Wanna Rock 'n' Roll) was last played in December 1979, just two months before the untimely death of Bon Scott. Its absence is a matter of reverence, sacred ground, untouchable but not forgotten. Still, only a couple of kilometres from Swanston Street, you could almost hear the sound of bagpipes echoing faintly in the collective memory of the city. The Power Up tour wouldn’t be complete without a nod to the record that inspired its name. Two songs from the 2020 album found a spot on the setlist: Demon Fire and Shot in the Dark. The latter, in particular, slotted seamlessly alongside the band’s other hits, crackling with the same swagger and grit that defined the band’s earlier work. As the last cannons fired, one truth remained undeniable. Legends never fade. They just turn up the volume. New tickets are now on sale.

The Preatures are ending their Blue Planet Eyes tenth anniversary celebrations with a bang. The Blue Planet Eyes’ tenth anniversary tour captured the long-awaited reunion of The Preatures’ original line-up: singer Isabella Manfredi, guitarist Jack Moffitt, bassist Thomas Champion, and drummer Luke Davison. While there’s still one more show on the itinerary, the band has announced that they’ll be releasing a limited-edition live album capturing the energy of the anniversary shows, as well as an archival exhibition to be held in Sydney. The Australian indie rockers will launch Blue Planet Eyes Live! during the archival exhibition at Rainbow Studios in Darlinghurst, Sydney, from 12 pm to 3 pm on Sunday, 7 December. Even better still, entry is free. At the exhibition, fans will have the opportunity to experience The Preatures’ evolution as they take in live and behind-the-scenes photos, songbooks, handwritten lyric sheets, setlists, instruments, and iconic costumes. Punters will also have the opportunity to ask the band questions during a live, in-person Q&A hosted by Dom Alessio—the former triple j presenter who spun The Preatures on the radio for the first time. Blue Planet Eyes Live! will land as a limited-edition double LP, recorded at the band’s recent performance at Melbourne’s Northcote Theatre as part of the Blue Planet Eyes tenth anniversary celebrations.   The record will be officially released on Friday, 12 December, via Impressed Recordings. The independent Australian pressing plant is also offering limited-edition vinyl of Blue Planet Eyes Live! in Negroni Glass, Blood Orange and Bar Stool Black colourways. You can pre-order/pre-save the album here. Manfredi said of the upcoming live album, “A few shows into the tour, we realised just how special this moment was. We ended up recording almost all the shows on the tour, but Melbourne really stood out as a hero performance. It was a sensational crowd, almost supernatural in feeling, and we wanted the essence of that audience to live on through the record forever.” On Friday, 28 November, The Preatures will perform their final show on the Blue Planet Eyes tenth anniversary run at The Croxton in Melbourne. However, fans who see them at next year’s Party In The Paddock festival or Twilight At Taronga will see the band perform the album for the last time before they enter the studio and record a new album. Embedded Content

Guests: Robert Forster, Julia Morris, Ruva Ngwenya and Brett Blake.

After 16 years between drinks, mighty Melbourne outfit Kisschasy have delivered the news your ears have waited years for, announcing their fourth studio album, The Terrors Of Comfort. News of the group’s upcoming album comes after a handful of new singles released throughout 2025, with the likes of Lie To Me and Parasite being the band’s first taste of new music since their third album, 2009’s Seizures. The album’s reveal also comes accompanied by the release of another taster, with Uncomfortably Numb underlining the record’s thematic thread – exploring the notion of comfort and how it can negatively impact one’s motivations. “Uncomfortably Numb is the song that best embodies the theme of the new album; the idea that comfort can be a bad thing,” explains vocalist and guitarist Darren Cordeux. “It’s a song about restlessness, about stagnation, about wanting to snap out of that daydream that’s devoid of fear, passion, desire or drive. It’s about wanting to feel something." “When producing the song we wanted the music to mirror the lyrics; the verses are reminiscent of a lullaby with their waltz-like feel while the choruses detonate into a desperate cry for help, snapping the listener out of that false sense of calm,” he adds. Set for release on Friday, February 13th, Kisschasy’s The Terrors Of Comfort sees the group in fine form. Produced and engineered by Cordeux in Los Angeles (with Richard Stolz on additional engineering duties), it’s an album that already appears to be stacking up as an integral addition to the Kisschasy canon – and one that more that satiates those who have waited 16 long years for a new record. “The title came from an old ‘70s Museum of Modern Art exhibition called The Pleasures And Terrors of Domestic Comfort,” Cordeux remembers. “I’d rediscovered the catalogue on my bookshelf and thought to myself ‘that’s the common thread to all these songs.’ “Lie To Me, Parasite, Uncomfortably Numb, are all about where you end up when you seek comfort above all else.” Kisschasy will be celebrating the release of their new album in February of next year with a series of shows across the country, joining Yellowcard as support on Good Charlotte's upcoming Australian tour. Tickets to those shows are available now. Kisschasy’s Uncomfortably Numb is out now, with new album The Terrors Of Comfort set for release on February 13th, 2026. Embedded Content Good Charlotte Motel Du Cap 2026 Australian Tour With special guests Yellowcard and Kisschasy Tuesday, February 17th – RAC Arena, Perth, WA Thursday, February 19th – Brisbane Entertainment Centre, Brisbane, QLD Saturday, February 21st – Bendigo Racecourse, Bendigo, VIC Wednesday, February 25th – Qudos Bank Arena, Sydney, NSW

Metallica have paid tribute to some surprising Aussie classics while in Australia on their M72 tour, and last night in Brisbane (12 November), they continued the trend. Every night, lead guitarist Kirk Hammett and bassist Rob Trujillo perform a “doodle” section, where they play a track made by an artist from the city they’re playing in. In Perth, the song was John Butler Trio’s Zebra. In Adelaide, it was The Angels’ Am I Ever Gonna See Your Face Again. In Melbourne, it was The Living End’s Prisoner Of Society. At Brisbane’s Suncorp Stadium, Metallica kept up the punk inspiration and ripped through The Chats’ Smoko. At the time of publication, the band haven’t responded to Metallica’s cover. You can check it out below. This isn’t the first time that The Chats received a shout-out from a big-name international artist. Last month, the Godfather of Punk, Iggy Pop, recommended the Australian “shed rock” trio on his BBC radio show. “I learned about The Chats from [Queens of the Stone Age’s Josh Homme],” Iggy Pop said. “I was backstage at their gig in Miami after the show, and he said, ‘You gotta look at this guy and listen to these guys!’ And he had a video of The Chats playing their killer number, Smoko.” Reflecting on what he saw, he added, “It was this big, strapping kid with sun-sensitive skin and red hair. He looked just like the son of Josh! That’s where I heard about them. “They’ve got all sorts of great songs; I got to play a gig with them once in Melbourne, and they’re something else.” Metallica conclude their Australian tour at Sydney’s Accor Stadium this Saturday (15 November), before heading to New Zealand for one more show in the antipodean region. The tour marks their first shows in Australia since headlining Soundwave Festival in 2013 and sees the American metal icons joined by special guests Evanescence and Suicidal Tendencies. You can read The Music’s recent review of their show in Perth here. Embedded Content Embedded Content