The award-winning film composer returns to Australia this April for the first time in six years
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Tickets on sale Wednesday 12 February at 12pm (local time)
Award winning film composer Hans Zimmer today announces his first live dates in Australia since 2019, the multiple Academy Award® and Grammy winner bringing his smash-hit tour Hans Zimmer Live to arenas in Brisbane, Sydney and Melbourne in April 2025.
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A groundbreaking audio and visual show, Zimmer’s upcoming tour marks the Down Under return of the legendary composer, who rocked Coachella in 2017 and sold out over 20 shows across 17 cities across the US and Canada in 2024. With the support of his outstanding 19-piece live band and a full orchestra, Australian fans will be swept away from the sound of the first note and journey through a selection of the composer’s well-loved scores from some of cinema’s biggest films. Joining Zimmer onstage as part of the Hans Zimmer Live tour is acclaimed Australian singer Lisa Gerrard, who will perform a selection of the most popular songs she co-wrote with Zimmer, such as Mission: Impossible, King Arthur, Black Hawk Down, Tears of the Sun and Gladiator – which won her a Golden Globe and Oscar nomination.
The newly arranged concert suites include music from Gladiator, Pirates of the Caribbean, The Dark Knight, Interstellar, The Lion King, The Last Samurai and Dune, for which Zimmer received his second Academy Award®.
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Hans Zimmer’s extraordinary melodies and modern compositions captivate a huge worldwide fanbase across generations. He has already energized countless international cinema blockbusters, in addition to the above: James Bond – No Time to Die, Inception, Dunkirk, Man of Steel, The Dark Knight trilogy, Wonder Woman, Kung Fu Panda, 12 Years A Slave, Top Gun: Maverick, and Dune: Part Two.
Hans Zimmer has scored more than 500 projects across all mediums, which combined have grossed more than $28 billion dollars at the worldwide box office. Zimmer has been honored with two Academy Awards, three Golden Globes, five Grammys, an American Music Award, and a Tony Award.
Frontier Members can get early access to tickets via their presale starting Tuesday 11 February at 11am (local time) – see website for information. Tickets for all cities will go on sale Wednesday 12 February at 12pm (local time) via HansZimmerLive.com or frontiertouring/hanszimmerlive
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About Hans Zimmer
Hans Zimmer has scored more than 500 projects across all mediums, which combined, have grossed more than 28 billion dollars at the worldwide box office. Zimmer has been honored with two Academy Awards®, three Golden Globes®, four Grammys, an American Music Award, and a Tony® Award. His work highlights include Dune: Part One, Top Gun: Maverick, No Time to Die, Gladiator, The Thin Red Line, As Good as It Gets, Rain Man, The Dark Knight trilogy, Inception, Thelma and Louise, The Last Samurai, 12 Years A Slave, Blade Runner 2049 (co-scored w/ Benjamin Wallfisch) and Dunkirk, as well as David Attenborough’s Prehistoric Planet, and Denis Villeneuve’s Dune: Part Two, the follow-up to his Academy Award®-winning score for Dune: Part One. Zimmer most recently created the score for Steve McQueen’s Blitz, which premiered at the BFI London Film Festival. Starring Saoirse Ronan and Harris Dickinson, the film released in theaters on November 1, 2024. Upcoming, he scored Joseph Kosinski’s F1, which is set to premiere on June 27 from Warner Bros. Beyond his award-winning compositions, Zimmer is a remarkably successful touring artist, having recently concluded his first North American “Hans Zimmer Live” tour, after the tour’s second round in Europe. He has also performed in the Middle East at Dubai’s renowned Coca-Cola Arena for two consecutive nights as well as Formula 1’s Singapore Grand Prix.
HANS ZIMMER LIVE
AUSTRALIA
APRIL 2025
Presented by Frontier Touring, Semmel Concerts and RCI Global
HANS ZIMMER + FRONTIER MEMBER PRESALE
via frontiertouring/hanszimmerlive
Runs 24 hours from: Tuesday 11 February, 11am (local time)
or until pre-sale allocation exhausted
TICKETS ON SALE
Begins: Wednesday 12 February, 12pm (local time)
ALL SHOWS ALL AGES
Thursday 24 April
Brisbane Entertainment Centre | Brisbane, QLD
ticketek.com.au
Saturday 26 April
Qudos Bank Arena | Sydney, NSW
ticketek.com.au
Tuesday 29 April
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
FOLLOW HANS ZIMMER LIVE:
Website | Facebook | X | Instagram
Dumb Crush is raw, unfiltered, and unapologetically relentless. Handle with care—this band isn’t here to play nice. They’re here to detonate the monotony of modern life.
Comprised of DIY music veterans Owen Hooper, Liam Colbert, and Elliott Isaac, Dumb Crush is a force of seasoned performers who’ve played hundreds of shows across North America and Europe, racking up over a million streams collectively. Instead of following trends, they tore up the rulebook. Their singles “Witches In The Dark” and “Get Away”—recorded live in just one day (August 30, 2024)—are already making waves. “Witches” landed radio rotation on SiriusXM The Verge, CBC Radio, and Hockey Night in Canada (three weeks straight, reaching 1.27 million viewers per broadcast), while also securing spots on playlists curated by Line of Best Fit, DORK, and Exclaim! Magazine.
Meanwhile, “Get Away” arrived with a music video directed by Jack Harrison—the creative mind behind J. Cole’s Might Delete Later artwork and visuals for Kings of Leon, A24 Films, and BADBADNOTGOOD. Together, these tracks dive headfirst into the chaos of shoebox-condo capitalism, nostalgia overload, and the absurdity of modern existence.
Formed just this past June, Dumb Crush is already one of music’s best-kept secrets. Their live shows pulse with the same frenetic energy that fuels their songs, and “Get Away” is no exception. Its music video—a chaotic DIY heist featuring their tour van, instruments, and probably a few beers (responsibly consumed, of course)—perfectly captures the song’s mix of desperation and deadpan humor.
With their raw sound, wild energy, and absolute refusal to play by the rules, Dumb Crush isn’t just a band—they’re a battle cry against the grind. And they’re just getting started.
Interview completed by:
Maddy Herbert – Writer, Producer & Vocalist
Alex Marko – Guitar, Bass, Additional Percussion & Synths and Mixing Engineer.
Your upcoming debut album combines soul, pop, funk, indie, rock, folk and jazz. How did these genres come together to form Velvet Bloom’s unique sound, and what were some of the key influences for the album?
Alex Marko – It’s pretty hard to say, really! All of us have our unique interests and we all listen to a super diverse range of music so it’s sometimes hard to know who you’re being influenced by when developing ideas or writing songs. I’d say the most common influences would be Alice Phoebe Lou, Lianne La Havas, D’angelo and a whole lot of 60’s soul and funk I suppose.
Your latest single ‘Time’ explores the theme of change and personal growth. What inspired you to write this song, and how do you hope listeners will connect with its message?
My lyricism is usually inspired by personal experience. I see so much value in honest relationships and sometimes we need a bit of a reality check from the people who are closest to us. We have to be engaged and passionate about building a better world. It requires constant self-reflection, compassion, listening, learning and unlearning. We have to continually reevaluate the systems that we put in place because often they don’t serve the people who are more vulnerable in our communities.
You’ve mentioned that ‘Time’ feels like a crowd favourite already. How does performing this track live compare to recording it in the studio, and what kind of energy do you try to bring to your live shows?
Yeah, Time is one of our favourites and has had an awesome response so far! As for playing it live, it has been fun trying to figure out how to keep it sounding full and energetic because the recorded version is super production heavy, we all almost need another pair of hands to pull it off. That is part of the thrill of playing live though, we all focus very hard on doing as much as we can to fill the space and add little details to keep it fun and fresh for the audience. As long as they’re having fun then so are we. (Alex Marko)
The lyrics of ‘Time’ emphasize the idea that change only happens when we actively drive it. How do you see this idea reflected in your journey as a band, from your debut EP to the upcoming album?
Alex Marko – Ooft great question! I would say that our real journey started a long time before the EP, we started playing as a group in around 2017 and have been through so much. We’ve played shows in front of like 2 people, had members come and go and toured around Australia with five of us sleeping in a tiny caravan. It’s been super important for us to keep pushing ahead even when it feels like we’re putting in a lot of work for nothing, and I think our album is a perfect example of that as we decided to record it at home by ourselves, and seeing the response that it’s getting so far is incredibly fulfilling.
The album’s tracklist features a variety of emotional tones, from uplifting anthems like ‘Best In You’ to more introspective moments like ‘She’s Gone’. How do you balance these different emotions within your music?
Alex Marko – Part of trying to keep it balanced is pure luck and the other part of it is intense, scrutinizing thought. I say luck because it’s really hard to write with certain emotions unless you’re feeling those emotions. It’s easy to say, “I think this album needs something happier to balance it out” but trying to write something happy when you’re feeling down is usually an uphill battle. I think we wrote around 25 songs when putting together the album and after recording demos of them, it all became a bit clearer which ones worked well together and which ones weren’t quite right or ready yet, but there were a couple that we wanted on there that didn’t make it for sure.
You’ve signed a distribution deal with Yama-Nui Records, which has shown a lot of support for your authenticity and artistry. How has their partnership helped shape the release of your debut album?
This new partnership feels exciting for Velvet Bloom and Yama-Nui! We were pretty keen on releasing this album through an independent label and were invested in finding one with a team that understood our vision and ethos. After many conversations, the Yama-Nui team started working with us in December. Although we have only been with them for a small amount of time, they have already invested so much in us. We really wanted to press vinyl for the album and Yama-Nui has made it possible. I see so much attention to detail, belief and care for this body of work from our friends at Yama-Nui and feel supported by them.
In the video for ‘Time’, you invited fans into a handcrafted world. What role do visuals and art play in Velvet Bloom’s creative process, and how do you approach bringing your music to life visually?
I love portraying our music through visuals. It’s one of my favourite parts of releasing the music that we make. It’s a place to express deeper concepts for a body of work, song emotions, textures, and deep cuts and really give people who are just being introduced to new music and understanding of the world that you had been in when creating it.
My approach to visuals is usually very community driven.
I love working with other creatives to achieve special collaborations, and we have always been blown away by the detail that others bring to our vision.
Josh Davies and Valentina Moroney worked closely on the concept and visuals with me.
Every part of this set was intentional and represented parts of the music.
This album’s visual concept and the way that different parts of the landscape introduced each single took a long time for us to understand and achieve. The shoot happened in December 2023 and Val was editing up until May.
Your debut EP Glimmer helped you gain national recognition. How did your experience touring across Australia and playing at iconic venues influence the sound and vision of your debut full-length album?
Alex Marko – I think it probably influenced us in the sense that we got so sick of playing our older songs that we NEEDED to write some more hahaha. We love touring and it’s super inspiring to meet new artists and people on the road and to just observe how they do things differently to us. While touring we usually play a few unreleased songs to gauge the audience’s reaction, that way it becomes a lot easier to tell where a song needs work in which areas. I think we have probably done that with half of our album, including Time.
The album closer, ‘I’ll Love You Tomorrow,’ features friends and family singing on the track. How important is community to your music, and what role does your personal support network play in your creative process?
Our friends and community are sooooooo important! They are who we thrive off and with. It’s super important for any artist to build a solid community around them, especially today when most artists are doing a lot of the business side of things themselves which can be super daunting and hard. We and our friends are always showing each other ideas and giving feedback and help on things we are stuck with. ‘I’ll Love You Tomorrow’ is our little homage to our friends and community who have helped us over the years, especially throughout the process of putting this album together. (Alex Marko)
With the album set for release in March 2025, what can fans expect from your live performances in the lead-up to the album launch, and how do you plan to continue building momentum for Velvet Bloom in the year ahead?
Alex Marko & Maddy – I think they can expect to hear a bit of experimentation as we make little adjustments and tweaks to each song to get them up to scratch for the launch.
We’re really excited to get back on the road and touring again, returning to places we have been before and also visiting a lot of places we haven’t been before (thanks to funding from Creative Australia, Creative Victoria and The Push)!
We’re currently in the process of writing again and have got a massive amount of ideas that we’ll need to narrow down. If you’re able to make it to a show this year, of course, you’ll be hearing the album but also, you’ll probably be hearing the early stages of our next releases!
I also wrote and recorded some music with Angus and Julia Stone last year which will be released at some point in 2025, I’m sure.
Velvet Bloom – ‘Time’ out now via Yama-Nui Records
Velvet Bloom Album is out Friday 28 March 2025 via Yama-Nui Records + Bandcamp
Always wanted to take a sneak peek behind the walls at Bakehouse? Here’s your chance. On Saturday 22nd of February 2025, Bakehouse Studios will open its doors for a special studio-wide Open Day event, running from 10am to 2pm.
With live music performances from Miss Kaninna, Kutcha Edwards & Friends, Rudely Interrupted and Magnets, the event will celebrate the success of Bakehouse’s 2024 inclusivity upgrades, including the installation of a studio elevator, ramped stage and other accessible facilities. It will also celebrate the completion of the 2024 First Nations Artist Residencies, and launch a new round of inaugural studio residencies to support artists living with disabilities, to take place throughout 2025. Proudly co-funding these endeavours, Bakehouse thanks Creative Victoria, Office for the Arts, Greater Western Water, Position Inc, Arts Access Victoria and The Push for their commitment to supporting equal opportunities in local music.
Featuring a luscious courtyard oasis, historic architectural features, and semi-permanent installations in art-filled studios, this a rare opportunity for a self-guided walkthrough of the unique inner city sanctuary.
Accompanying the gig will be local vendors with fresh banh mi & coffee, merch desks with goods by your favourite local artists, and stalls presented by community organisations.
The Bakehouse open day is free entry, with donation options & door prizes to be won.
“For many years one of our senior Songmen couldn’t access the upstairs rehearsal spaces. When I was asked to support & advocate for a new lift so that everyone had the opportunity to be in all the beautiful rehearsal rooms at Bakehouse, I was more than happy to do so. Now the lift is in, it’s time to celebrate inclusion for all.” – Uncle Kutcha Edwards
“Bakehouse Studios is creating access to a vital development and showcase space at the centre of the Australian Music scene. They have taken this significant step to ensure no one is left behind. We couldn’t be prouder to bear witness to their commitment and dedication to equity. Bakehouse shows us the true power music has in connecting us all.” – Nikki Zerella, Deputy CEO, Arts Access Victoria
RSVP through the Humantix link: https://events.humanitix.com/
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Hideout is Croatia’s original and best festival experience and today the complete line-up and beach party details are revealed for their unmissable 15th anniversary edition. Taking place from 22nd – 26th June 2025, Hideout is five days of non-stop musical action, adventure and holiday escapism on Zrce Beach. Tickets are on sale now at https://go.kaboodle.co.uk/HO25
Every year, Hideout gets underway with a bang with the legendary opening beach party and in 2025 it will again be in association with BBC Radio 1 Dance X for the second year. It’s the only way to get your summer started and will feature Chloé Caillet, Chris Stussy, Danny Howard, Eliza Rose b2b Sarah Story, LP Rhythm and Paige Tomlinson who will all provide an electrifying mix of house, tech and garage sounds.
The final additions to this year’s main line up are Ama, Ben Hemsley, Doorly, Denny, DJ Gigola, Jess Bays, Lady Shaka, LF System, Murphy’s Law, Kyle Starkey, Nyra, Oden & Fatzo, Sam Divine and Tommy Holohan with residents and partners Big Reg, Devote, MC AD, Nicola Bear, North Base and Sisu Crew also joining the fun.
Hideout is famed for being the most energetic summer festival of all. It has a close-knit community of music loving party people who come from all over Europe to soak up the diverse electronic sounds which are served up across five clubs Noa, Papaya, Kalypso, Aquarius and Euphoria as well as boat and pool parties.
More than just music, Hideout also offers an endless array of activities such as high octane water sports, banana boats, jet skis, pedalos and the famous bungee jump as well as massages, cocktails, and sushi on Zrce Beach.
All of these latest names come on top of previously announced stars including Alan Fitzpatrick, AK Sports, Azyr, Benga, Bou, Bubble Love (Ross From Friends), Camo & Krooked, Charlie Sparks, Danny Howard, Darius Syrossian, Diffrent, Djammin, Dr Dubplate, East End Dubs, Eats Everything, Eliza Rose, Elliot Schooling & Liam Palmer, Enzo Is Burning, Enzo Siragusa, Fish56 Octagon, Gaskin, Girls Don’t Sync, Hannah Laing, Hedex, Hitty, Hybrid Minds, Interplanetary Criminal, [IVY], Jakkob, Josh Baker, K Motionz, Kettama, Ki/Ki, L.P. Rhythm, Notion, Olive F, Oppidan, Overmono (DJ), Paige Tomlinson, Patrick Topping, Paul Woolford, Sammy Virji, Sarah Story, Skream, Solardo, Sosa and Special Request.
The best way to secure your place at Hideout is to book accommodation (which ranges from affordable to luxury) and flight packages directly through the festival for a deposit of £149. These packages offer huge discounts, monthly payment plans and other benefits like early access to boat party tickets – take the hassle out of booking a group holiday and plan this most essential summer experience now.
The countdown is now on to this historic 15th edition of Hideout. Tickets are selling fast so don’t miss out on this year’s adventure and get yours now.
Website: https://hideoutfestival.com/
With the new artist announcement, 130 artists have already been confirmed for 2025, including superstars such as Afrojack, Alok, Amelie Lens, Angerfist, Armin van Buuren, Boris Brejcha, Brennan Heart, Dimitri Vegas & Like Mike, Hardwell, Maddix, Oliver Heldens, Steve Aoki, Timmy Trumpet, Vini Vici, W&W and many more.
The AIRBEAT ONE Festival 2025 is setting new standards! With the announcement of the second line-up phase, the mega event from July 9 to 13, 2025 at the airfield in Neustadt-Glewe is getting even closer. Under this year’s motto “Viva España”, the site is transformed into a small Spanish town and welcomes festival visitors from all over the world. With the new line-up phase, over 130 acts have already been confirmed for the six spectacular stages – including 16 DJs from the renowned DJ Mag Top 100 ranking, such as Afrojack, Alok, Amelie Lens, Armin van Buuren, Boris Brejcha, Deborah de Luca, Dimitri Vegas & Like Mike, Hardwell, Maddix, Oliver Heldens, Steve Aoki, Timmy Trumpet, Vini Vici, W&W and Paul van Dyk.
Six new acts from the DJ Mag Top 100 will be causing a stir on the main stage: Afrojack, Deborah de Luca, Maddix, Oliver Heldens, Steve Aoki, Vini Vici and W&W complete the line-up of the monumental stage. With the superstars around Armin van Buuren, Amelie Lens, Dimitri Vegas & Like Mike, Hardwell, Timmy Trumpet and Boris Brejcha already announced in Phase 1, the Mainstage brings together eleven of the world’s best DJs to date. HBz, AFROKI, Brennan Heart, Will Sparks, Hamburg’s PsyTrance star Neelix and Berlin’s techno artist Alfred Heinrichs will also enrich the Mainstage program.
Charlie Sparks and Eli Brown from the UK are the latest artists to join the Arena Stage line-up. The two are known for their energetic sets and have already played the best clubs in the world. German DJ and producer Clara Cuvé, Munich-born AKKI and Oliver Heldens’ versatile techno alter ego HI-LO will be joining Novah, Schrotthagen and Sim0ne to provide the finest techno music.
There is an impressive update for all lovers of harder styles on the Harder Stage. D-Block & S-te-Fan, Wildstylez and Miss K8, absolute blockbusters of the hardstyle and hardcore scene, who inspire millions of fans worldwide and are also among the DJ Mag Top 100 DJs in the world, will be joining the line-up. The line-up is massively enriched by artists such as Adrenalize, Aftershock, Cryex, Sickmode and Rooler. Harris & Ford, GPF, Lil Texas, Imperatorz, Riot Shift, Mutilator, Bass Shaker and Thyron will also be joining the line-up on the Harder Stage, promising energetic performances that will get the audience shaking.
The Terminal Stage is expanding its artists with a strong focus on electronic diversity and party vibes, particularly from the national scene. New acts include Gestört aber GeiL, Jerome and Lum!x, who will be creating a festival atmosphere with their chart-topping productions. The line-up is complemented by artists such as 2 Engel & Charlie, Anstandslos & Durchgeknallt, Blvck Crowz, Die Gebrüder Brett, Fappe & Bru, Justin Prince, Lexy & K-Paul, KomaCasper, HouseKaspeR and Taktstörer, who will provide a mixture of house, EDM and tech house.
The Second Stage takes festival visitors on a musical journey through the world of psytrance, goa and trance. With artists such as Ace Ventura, Ranji, Rising Dust and Sajanka, some of the best international acts of the genre are coming to Neustadt-Glewe. They will be joined by newcomers such as Alchimyst, Henrique Camacho and Cloud7, who will enrich the stage with their hypnotic beats and spherical sounds. Special highlights include the B2B set by Phaxe and Querox as well as performances by Daora, Ghost Rider, Schrittmacher and C.U.L.T..
The Butterfly Stage, which was added last year, focuses on the classics. Legends such as Aquagen, 4Strings, Charly Lownoise, DJ Quicksilver, Pulsedriver and Ian van Dahl return to the stage with their best dance hits from the 90s and 2000s. Party icons such as Mia Julia and House Rockerz will also ensure the best atmosphere. Line-up phase 2 on this stage will be completed by Bomba, Creekb2b Bamba, The Hitmen and Zyrus 7.
The first acts for the N-JOY Check-In on Wednesday, July 9, 2025 have also been confirmed. Ely Oaks and Krowdexx will get you in the perfect mood for the AIRBEAT ONE Festival 2025 with their fresh sounds.
Tickets for the AIRBEAT ONE Festival are available from myticket in pre-sale phase 2 for 169.99 euros plus fees via the following link: https://airbeat-one.myticket.de. The AIRBEAT ONE Festival is part of the DEAG Group.
AIRBEAT ONE Festival 2025
Line-Up Phase 2
Mainstage
Afrojack
AFROKI
Alfred Heinrichs
Amelie Lens
Armin van Buuren
Boris Brejcha
Brennan Heart
Deborah de Luca
Dimitri Vegas & Like Mike
Hardwell
HBz
Maddix
Neelix
Oliver Heldens
Steve Aoki
Timmy Trumpet
Vini Vici
Will Sparks
W&W
Arena Stage
999999999
AKKI
Basswell
Charlie Sparks
Clara Cuvé
Danny Avila
Eli Brown
HI-LO
I hate models
Klangkuenstler
Kobosil
Lilly Palmer
Mika Heggemann
Novah
Prada2000
Schrotthagen
Sim0ne
Harder Stage
Adrenalize
Aftershock
Angerfist
Barber
Bass Shaker
Coone
Cryex
D-Block & S-te-Fan
Dimitri K
DJ Isaac
Dr. Peacock
D-Sturb
Dual Damage
GPF
Harris & Ford
Imperatorz
Jebroer
Lil Texas
Miss K8
Mutilator
Riot Shift
Rooler
Sickmode
The Dark Horror
Thyron
Wildstylez
Terminal Stage
2 Engel & Charlie
Anstandslos & Durchgeknallt
AVAION
BJones
Blvck Crowz
Cascada
Gestört aber GeiL
Die Gebrüder Brett
Djane Ave
Fappe & Bru
HouseKaspeR
ISO3000
Jerome
Justin Prince
KomaCasper
KXXMA
Le Shuuk
Lexy & K-Paul
Lum!x
Mausio
Noel Holler
Noisetime
OBS
Plastik Funk vs. 2elements
Poltergst
Taktstörer
Second Stage
Ace Ventura
Alchimyst
Aly & Fila
Ch3mi
Cloud7
Cosmic Gate
C.U.L.T.
Daora
Fabio Fusco
Ghost Rider
Hatikwa
Henrique Camacho
LsDirty
Neelix
Omiki
Paul van Dyk
Phaxe b2b Querox
Portal
Ranji
Rising Dust
Sajanka
Schrittmacher
Butterfly Stage
4Strings
Aquagen
Bomba
Brooklyn Bounce DJ
Charly Lownoise
Chris Nitro
Creek b2b Bamba
Da Hool
DJ Falk
DJ Gollum
DJ Lee
DJ Quicksilver
djraw
Frenzy
Groove Coverage
House Rockerz
Ian van Dahl
Mia Julia
Money-G
Pulsedriver
Rocco
Special D
Starsplash
The Hitmen
Zyrus 7
N-Joy Check-In
Ely Oaks
Krowdexx
Links:
First wave of line up is now announced – featuring Partiboi69, Hector Oaks, X-Coast, Miss Bashful & Carla Martinez
The Warehouse Project Australia
Sydney & Melbourne
24th – 25th April 2025
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After an unforgettable debut in 2024, Manchester institution The Warehouse Project, renowned for its cultural impact in the rave scenes, announces it will return to Australia this April.
On the evening of Thursday 24th April, Sydney will be home to The Warehouse Project for a one-off event, followed by a late-afternoon into nighttime event in Melbourne on Friday 25th April (Anzac Day), showcasing an impressive array of international artists as well as Australian talent.
Since its inception in 2006, The Warehouse Project has continuously pushed boundaries in unique disused spaces around its home city in Manchester, from the early days at Boddingtons Brewery to today’s industrial rave powerhouse, Depot Mayfield. The Warehouse Project will again take over two remarkable venues – returning to the dynamic PICA in Melbourne, and new for this year, Hordern Pavilion located in Moore Park, Sydney. Featuring globally acclaimed artists alongside some of Australia’s freshest talent, Partiboi69 will head up this year’s event, bringing his highly sought after Area69 concept to Sydney and Melbourne. Blending his cutting-edge computer-animated visuals with sounds from Electro Dank, Ghetto Freak, and K-Tech, Partiboi69’s live mixes are technologically advanced and visually stimulating.
Partiboi69 will be joined by one of Europe’s most wanted underground artists, vinyl wizard and high-energy selector Héctor Oaks, alongside Serbian-born, Brooklyn-based multi-genre producer X-Coast, rapper and techno artist Miss Bashful and Sydney-based DJ and creative Carla Martinez.
Sam Kandel, Co-Founder of The Warehouse Project, said: “After the incredible success of last year’s debut, we’re excited to revisit Sydney and Melbourne to build on the magic we created. Once again, we’ll be pulling out all the stops in production and bringing a mix of both international and domestic artists to two special venues. With the special atmosphere the Australian crowd creates, we know this will be an experience that resonates long after the music stops.”
General sale will go live on Wednesday 5 February 11am AEDT.
Sign-up for more information at www.
+++ The Warehouse Project Australia
Hordern Pavilion, Sydney Thursday 24th April
Partiboi69 presents Area69 Hector Oaks X-Coast Miss Bashful Carla Martinez
PICA, Melbourne Friday 25th April
Partiboi69 Hector Oaks X-Coast Miss Bashful Carla Martinez |
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Your “Willfire” tour combines your classical training with electronic music. How did your classical background influence your approach to creating “future club” music?
My classical music training probably influenced me in subconscious ways. Whilst I don’t intentionally rely on it when creating club music, I’m sure there are things I take for granted as common knowledge. I think all artists are shaped by the music they were exposed to in their formative years, whether they like it or not.
Can you tell us about the meaning behind “Willfire” and how it relates to both your music and your personal journey as an artist?
I used the term “Willfire” because it’s so powerful! It’s a word that evokes intent as well as energy. As an artist, it’s always important to approach my practice with intention – a disciplined method. Most people think that creativity just happens magically, but there’s a lot of focused preparation involved: from setting up my workspace to having a clear purpose and selecting my tools (whether it’s the plugins I use in my DAW or AI). I find that having this preparation enables greater creative freedom because the intention focuses the creative energy (like a lens) instead of dispersing it. In the end, I think this approach creates a foundation for my passions to shine through my music. And there’s no doubt that my music has PLENTY of energy!
Your live shows are known for their immersive combination of live instrumentation, vocals, and synchronized visuals. What is the creative process like when designing a live performance?
I start with the question “What do I want my audience to experience?” I’ve always been a believer that attending a live show should be a different experience from listening to a recording at home. So I always find ways to bring something more to a live show than a listener would get just from listening to my music from Spotify, for example.
From a technical perspective, it’s a lot of reverse engineering because I write all my music on the computer and I’ve got to figure out what the best way of presenting it live is. There are moments during the preparation for my Willfire Tour where I’m like, “Why did I write such a difficult passage to play on the violin???” haha
In your EP’s deluxe edition, you’ve worked with several cutting-edge producers for remixes. How did you choose these artists, and what did each bring to the table creatively?
These were producers who were doing interesting production, who weren’t necessarily the best known names… yet. I like the idea of being able to present something very underground and niche to my fans. When I got the remixes back, I was blown away by how much transmutation happened – they each turned the tracks into something completely different from the original.
You’ve described your music as a fusion of the organic and electronic. How do you ensure both elements are given space to shine during your live shows?
Obviously, the sonic signature of my music that is heard in the live shows is electronic, but when I perform live… it’s LIVE which means there’s always an element of risk, of the unexpected happening. I create live edits for my shows – so the versions audiences experience at my show sound different to the version they’re used to hearing on Spotify. Again, this goes back to me wanting to bring a live experience that is only possible in a live setting.
For example, I’m going to be mashing up some songs together to create new versions. Centre of the Universe is a track from the Willfire Deluxe EP, and it’s getting a live edit that combines elements of the original track with Lucid Letters’ Remix!
The Willfire tour includes appearances at events like the Adelaide Fringe Festival and the Ara Ara Rave by Mirai Nights. What makes these events special for you, and how do they shape your performance?
Okay, I gotta talk about each show because I’ve got something different planned for each city!
First up Sydney, which is going to be held at FBR Cafe, but it’s no ordinary cafe. The cafe is run by FBR ROM who are doing some really cool research and development into reducing waste in the coffee industry. I’m taking over their CUPS & CUTS series, curating a lineup and throwing a daytime rave where coffee and food will be served.
Adelaide Fringe Festival is one where I’m partnering with local game developers, where they’ll premiere a brand new Virtual Reality Game at my show. We’ll be providing VR headsets and controllers so that audiences can play the game while a DJ spins video game soundtracks. This will be a world premiere event… meaning audiences will be the very first in the world to play the game. Oh, and I also wrote some music for the game, so there’s that too!
Then in Brisbane, we have the otaku rave – so there’s gonna be anime, idol performances, a kandi making station, Japanese sweets, a gaming corner… it’s gonna be so much fun.
Finally, the tour will end in Melbourne and I’ve invited my friends Horlin and Mayari to be on the lineup. I went to see Horlin perform live in Brisbane a few years ago and it was one of my favourite performances from a local artist, so I wanted to have him on the lineup. Mayari put out an EP last year that I enjoyed immensely, AND she’s a fellow Asian girlie, so I am so proud to have her on the lineup too.
As a multi-instrumentalist, you often transition between instruments during your sets. Which instrument do you feel the most connected to, and why?
Playing the Erae Touch is sooooo much fun. If you look at my Instagram there’s lots of clips of me playing this light up pad.
You’ve mentioned the concept of “Zhì” (志) and “Zhì Huǒ” (Willfire) as inspirations behind your music. How do these concepts manifest in your tracks or visuals during your live performances?
“Zhì (志)” essentially represents a driven sense of purpose and determination, while “Zhì Huǒ” (Willfire) channels that raw spark of creative energy into tangible action. In my music, this interplay comes through in contrasting sonic textures—otherworldly synth pads woven together with propulsive bass lines, for example. I want listeners to feel that surging momentum that pushes them to keep going, no matter the odds.
Visually, I use fiery color palettes—bursts of red, orange, and gold—across my stage projections and lighting design. These vivid flashes represent that fierce, internal spark igniting everything from the beats to my own performance energy. During more intimate moments of the set (like the verse of ‘Centre of the Universe’, or the beginning of ‘I Need U’), I strip it all back to let the concept of “Zhì” (志) breathe, creating a space where the audience can reflect on their own aspirations. Then, as the bass drops or the tempo shifts upward, we shift gears into the full force of “Zhì Huǒ,” layering eruptive visuals that match the music’s intensity. Ultimately, it’s about immersing everyone in this cycle of reflective stillness and explosive willpower, so they leave feeling inspired to chase their own willfires.
How has the global electronic scene influenced your sound, and what role do you see technology playing in the future of live music experiences?
I love digging through the IDs and tracklists of DJs I love… and go on a rabbit hole from there. Recently I realised that whilst in my head my references are obvious, I think my love for and the influence of underground electronic music in my work has positioned me as an “experimental” artist. I was somewhat confused at first but I’ve come to embrace it. That said, I don’t think “innovation” and “experimental” should be conflated. At the same time, it is exciting to see artists like FKA Twigs gain more recognition for their groundbreaking work.
I’m hoping that there will be technology that allows more accessibility to live music experiences. Whilst being physically present at a show is amazing, the truth is, for so many people living in geographically-distanced places or for folks with a disability, sometimes the only way they get to experience live music is virtually.
I know many artists and even fans don’t like mobile phones at gigs, filming everything. I get where they’re coming from, but as someone who isn’t based in the epicentre of electronic music culture (like Europe or the United States) AND lives with a chronic illness, 90% of the live music I experience is thanks to some hero uploading a recording onto YouTube. Also, due to my physical stature, most of the time when I’m fortunate enough to make it to a live show, I have to use my phone camera to even see past the heads in front of me anyway! So my unpopular opinion is that asking people not to film in live music events is able-ist.
Looking ahead, what’s next for you after the Willfire tour? Do you have any upcoming projects or collaborations that fans can look forward to?
This is my chance to give shout outs to Lonelyspeck and Gaszia (of X&G) because I think people need to check out their music if they haven’t already. Yeah, I’ve been doing collabs with them, but that’s all I’ll say for now.
Willfire Tour Dates 2025
Saturday 8 February
FBR Cafe, Sydney
CUTS and CUPS Takeover
Friday 21 February
Nexus Arts Venue, Adelaide
Adelaide Fringe Festival
Friday 14 March
Wonderland, Brisbane
Ara Ara Rave by Mirai Nights
Thursday 27 March
MISCELLANIA, Melbourne
Supports: Horlin and Mayari
All Tickets are on sale now via lalka.online
Photo Credit: Charlie Hardy
Fresh off the back of nabbing an ARIA #1 Australian Album and ARIA #4 Album placement for their third studio album TOY, Sydney’s Dear Seattle now announces national tour dates to celebrate the record with fans this May.
With the release of TOY, Dear Seattle achieved new heights as a band. Already solidified as one of the country’s best indie rock names, the four-piece broadened songwriting horizons and pushed themselves with the creation of this new album. A striking blend of riffs, melody and matured observations of relationships, growth and evolution, TOY captures Dear Seattle at a brilliant new creative peak.
Featuring singles ‘Evergreen’, ‘Say What You Want’ and ‘Counting Hours’, TOY landed with instant impact – achieving a whopping 50,000 streams on Spotify alone upon release day, TOY expanded their reach exponentially with this album, their first-ever Top 10 appearance in the ARIA Chart making TOY also coming in as the only Australian-made album in the ARIA Top 50 on release week.
Now set to take the album around the country in May, Dear Seattle are primed for their best shows yet, stating, “We’ve been putting in the hard yards to ensure this tour is the absolute best you’ve ever seen [from] DS. We always put in everything, but this time we wanna push the boundaries of what we’ve done in the past and make this album tour the most memorable one yet. We can’t wait to see you there!”
Album Artwork: Josh McKay & Brae Fisher
The Australian tour will see Dear Seattle joined by Cleveland, Ohio punk rock group, Heart Attack Man. Since 2014, the band has been consistently defining their style of music by sharp and poignant lyricism, matched with an urgent and natural sound.
In 2023, the band released their third album, Freak Of Nature, a record that highlighted the chemistry within the band and moreover, a sense of rejuvenation that has permeated throughout their process. This year, Australian fans will finally see Heart Attack Man bring it to life – the anticipation is mutual, says the band, “We’re stoked to be heading to Australia for the first time ever. Hope to see you all there!”
Also joining Dear Seattle on their latest national run will be Adelaide pop-punk duo TOWNS, and Melbourne indie-rock artist, LUCKY.
For TOWNS, their profile has continued to grow impressively since making their debut in 2018 with the track ‘Television’. Blending a love for ‘90s pop and rock, with a refreshing take on fired up songwriting and arrangements, the duo has evolved into a pure force, recently evidenced on sentimental slowdown, their debut album from 2024.
Emerging Melbourne indie force Lucky has been developing a strong local following since the release of her track ‘Never Know’ in 2024. Perfect for fans of artists including beabadoobee and Day Wave, Lucky’s love for this type of music has created excitement around her own original steps forward.
PRAISE
“TOY is a listen which doubles up a body of lighthearted bops and a springboard for change; it shows how we truly grow when being most honest with ourselves.”
KERRANG
“Walking a delicate passage of love, loss, addiction and nostalgia, the album serves as a means of reflection and introspection, the four-piece creating a collection of “relatable anthems” that’ll have you screaming at the top of your lungs at one end, and huddled into a fetal position in the corner of the room at the other.”
THE MUSIC
“…each song ridiculously memorable, short, sweet to the point, an album that’ll shake you to your core and when it feels like the world is swallowing you up maybe it’ll give you the courage to try harder to get back some of that magic you lost. there really is nothing stopping them, star quality through and through.”
METAL-ROOS
DEAR SEATTLE ‘TOY’ ALBUM TOUR DATES
with Heart Attack Man (US)
supported by TOWNS and LUCKY
presented by Destroy All Lines, Select Bookings & Base Level One
Tickets on sale Thursday 6 February @ 11am
Pre-sale sign up via Destroy All Lines
** LUCKY not appearing
Thursday 8 May Rosemount Hotel Perth (18+) **
Friday 9 May Croxton Bandroom Melbourne (18+)
Saturday 10 May Jive Adelaide (Matinee AA)
Saturday 10 May Jive Adelaide (Evening 18+)
Thursday 15 May King St Bandroom Newcastle (18+)
Friday 16 May Manning Bar Sydney (18+)
Saturday 17 May Triffid Brisbane (Lic AA)
DEAR SEATTLE: Facebook | Instagram | TikTok | YouTube | Twitter
How did The Bentley Project come to life, and what inspired you both to combine the sounds of harp and guitar?
The Bentley Project, is a marriage/music duo. Before Mark, I was a professional French horn player and quite honestly, Once I performed with Roger Daltry, played in the orchestra doing his rock opera Tommy, watching him awesomely work the huge crowd , and then Georgia on my Mind with Ray Charles, I knew I couldn’t top this on French horn. So, I decided to pursue piano/ harp. For my wedding gift, Mark bought a replica of a 1500’s Italian Baroque triple harp and the rest is history. Mark was and is a fabulous classical guitarist and studied with the best in the world like Pepe Romero and Christopher Parkening. As I grew on the harp, we started realizing how primevally beautiful the harp and guitar are together. He patiently waited for me to grow and in 2018, we decided to try an album of music friends said they would love for us to record and music Mark plays that I wanted to capture. We came up with the name The Bentley Project to allow us freedom to do multiple genres. Given our love for all kinds of music, we wanted the name to reflect that this is an ongoing project with many lanes to explore. I love playing/improvising New Age the most so personally, this will continue to be my main interest in exploring.
Theresa, with your background in classical music and a diverse array of instruments, how do you approach blending traditional and contemporary elements in your compositions?
With learning multiple instruments, dancing flamenco, loving Van Gogh, and reading poetry, all the disciplines compound into something that you can’t have without each piece in the recipe. I also have so much music listening time(70’s rock, new age, classical music, bluegrass, Celtic) and French horn, harp, classical/jazz piano and voice training in my head It all had a synergistic effect that has all come out as this album. I observe literally everything I hear down to our creek running on our land. (It’s on track 4 of the album!) or the rhythm of the train in our small town. As for blending, I pull my most favorite parts from each discipline and put them together for something new. For example, I call Kind as the Shade an “Ambient Tone Poem”. The core idea is borrowed from the classical world, Richard Strauss and his tone poems. I love them all so thought why not use it here and tell the story of the poem that inspired this album By John Neihardt but with an ambient twist. Thus, I guess I wanted to create a new genre of “Ambient Tone Poem”? Why not…
Mark, your experience as a guitarist spans multiple genres. How has your versatility in classical and acoustic guitar shaped the sound of The Bentley Project?
As a trained classical guitarist, You can do nearly anything that is asked of you. It’s a bit like learning ballet then you can springboard into any dance with that foundation. When Theresa asks me to play an idea, I can approach it anyway she would like. For example, on our single Eventide, she wanted acoustic guitar but play it like a classical guitar. It resulted in a unique sound that fit the song perfectly. She says she loves my tone the most so she writes for it. My Whisper to You was all about that concept for her.
Can you tell us about the creative process behind your compositions? Do you primarily collaborate or is there a specific role each of you plays in the songwriting and production?
We definitely have unspoken defined rolls. I am the dreamer and Mark is practical. I come up with the ideas or something inspires me. I use my phone constantly to capture a sound or portion of a song/progression I really like. I never know when that will catch me. Once that happens I start working on the song. Then I bring Mark into the process to make everything I do better. We do all recording, mixing and mastering. Mark has an incredible ear to hear the tiniest sounds that need to be adjusted or fixed. Sometimes I can get him to write with me (like My Whisper to You on the album) and it is always incredibly beautiful but I usually have to pull that bit out of him. I am always glad he allows me to push that! Anything regarding recording that I struggle with, he seems to always have an answer.
You both have extensive performance experience, from symphonies to engagements with artists like Roger Daltrey and Ray Charles. How does performing as a duo differ from these larger-scale engagements?
For me, this has been a huge adjustment. With big orchestral engagements, a French horn player can hide fairly easily in the back of the orchestra(with the exception of solos). That is what I was use to and never being the center of attention as an instrumentalist. I am happy that way but with harp, I have had to learn how to handle performing as a soloist or in the duo. No hiding. That was a shock to me but getting more use to it. As for Mark, classical guitarist are generally on their own or a duo/quartet. For most of his performing life, Mark was in a guitar duo so this is not much different for him except I have pulled him into writing music.
The Bentley Project has a unique style that mixes elements of folk, classical, and new age music. How do you balance these diverse genres while maintaining a cohesive sound?
I have such enjoyment for the impressionistic period of music and see the original New Age movement (Windham Hill, Andreas Vollenweider for example) and Phillip Glass, stemming from that period. That is the lens I ran everything though as I wrote this album. I can use a Celtic type melody but it had to lay on top of the dreamy Windham Hill type sound.
In your performances, you invite audiences to ‘listen with intent.’ What does that phrase mean to you, and how do you encourage this deeper connection with your music?
Listen with intent means create your own mental story as you listen and fully experience the music. Or, learn the artist story about the music. Great musical art is so much more and worth the effort of learning each song’s meaning. They always have a story of some sort. Science has confirmed the health benefits of this type of listening as well!
You’ve performed across the U.S. and Europe. How have these international experiences influenced your music, and what do you think audiences from different cultures appreciate most about your sound?
Europe was such an incredible place to perform. They universally have a deep appreciation for live classical music(and it’s variations which our music fits into) and encourages its nurture. I have a harpist friend in Germany, Nadia Birkenstock, who is experiencing great success and she has been such a role model for me. She has been deeply embraced and is helping to expand harp music around the world. The track, Language of the Hills is probably somewhat inspired by her and what is happening in Germany by having a single instrument harp song that is complete and beautiful on the album. Here in our Kansas City, Missouri culture, we have fantastic music that is just exploding! There is a growing subculture as well that we would fit into. The audiences are not huge yet but I am hoping The Bentley Project can help expand it more. People here always love to hear us play but it is so different for them generally it is like a new life experience they didn’t know they needed emotionally. They are always surprised at the calming effects. I love playing at the farmer’s market here and seeing the reactions. People immediately calm and smile at me. That’s what I want to grow in my culture. I have been told there “ I make it feel European”. I see that as a great compliment!
You both have strong academic backgrounds in music and business. How do these two aspects complement each other in your work with The Bentley Project?
I would say the simple answer is we both fully understanding each other’s language in music and business. Neither of us could do what we do if our partner did not have the complementary pieces that we each have.
To create something like Kind as the Shade, our ability to communicate as you are creating something new was invaluable and helped us to pull greatness from each other that wouldn’t happen if we were not together.
What can fans expect from The Bentley Project in the coming year? Are there any exciting new projects, collaborations, or performances in the works?
Projects:
We have spoken about Mark doing a Classical Guitar Spanish Dance album( which he is magnificent at).
I actually have many ideas stirring in me. I have time freedom as there is no one to give me constraints. I can fully allow my internal artist do her thing and let it grow organically as it did with Kind as the Shade. Regarding my current ideas, I really enjoy fantasy stories. (Earth’s Fragrance Remembered(Eolyn) is a perfect example of this showing up in my music.) Eolyn is a magical character that I just loved. I thought it might be fun to do another tone poem on the Tales of the Fae or a fantasy album about this character . With my harp, I can be as magical with this as I want! I also have a collection of hour long sleep songs that are part of my Sanctuaries series. We have a baby in the family and she loves to sleep to them. Especially Peaceful Waters. So, I am planning to build upon that. Lastly, with Kind as the Shade being inspired by a poem, I may start a New Age Poetries collection of music. As I find a poem that inspires me, I can start building upon this collection idea. Poetry is generally how I write music. Poems first then the music. I have always worked that way.
Performance: We have a couple coming up this spring one private and one public. Our public concerts tend have sections: music from 500 years ago on replicas of early instruments , a folk section like Spanish dances, and now of course some new age music to introduce ideas like running my harp through a guitar shimmer pedal like on track 8, Language of the Hills. At our concerts, we tell stories about each song and the multiple instruments which helps the listener to “listen with intent”.
Listen At : thebentleyprojectmusic.com
You’ve collaborated with an incredible lineup of legendary MCs on your upcoming record. How did these collaborations come together, and what was the creative process like?
I have to thank the producers I’ve been working with since around 2020. Wyshmaster, Anno Domini, Legion, and Temper made these “colabos” possible for me and other indie rapper types. And of course, I thank the rappers involved for lending their voices for the purpose of helping myself and others gain some attention. Unfortunately, I have never met any of these guys, but the chance to show that I can hang with them on a track is monumental and just plain fun at the same time. It’s my dream mixtape.
With so many different personas—Mile High Mike Colin, Milky Way Mike Colin, Zhitkur Roswell—how do you decide which alias to use for a specific project?
Ever since the get-go, I was Eclecticore. I grew up in the ‘70s and ‘80s listening to the rock I loved and still love: The Beatles, The Stones, Jimi, Bowie, Iggy, Lou, Prince. I also loved Hip Hop—Run DMC, Beastie Boys, Public Enemy. I even loved solo classical for some reason. I used to put it all under one label, “Phantasmorgasm,” which was my band in the ‘90s, but as time went on, I splintered.
Mike Colin is a rock singer/songwriter.
Mile High Mike Colin is a rapper/lead guitarist.
Milky Way Mike Colin is a composer/multi-instrumentalist.
Zhitkur Roswell is a beat producer.
Where to use each alias is sort of built into the alias itself.
Your output is prolific, often compared to music legends like Prince and Zappa. What drives your relentless creativity, and how do you keep the ideas flowing?
Well first off, I’m nowhere close to being in league with Prince or Zappa or any of those guys who are true artistic geniuses. I have a knack—a knack for putting music into a song/record format. I’m not a virtuoso musician. I’m not a talented vocalist. I just have a knack for expressing myself honestly and exploring song ideas that others don’t.
Ideas are no problem. They can start with a beat, a riff, a vocal. If your goal isn’t limited to commercial appeal, then you can just create. I throw music at the canvas like Pollock, I celebrate the ordinary like Warhol, and sometimes I obsess over a grid of details like Da Vinci. Music itself is the genius. I’m just lucky enough to be able to do it.
The trauma you’ve experienced is heartbreaking yet inspiring. How has it shaped your music and your approach to life?
I have been through a lot, just like a lot of people. Life is both beautiful and horrific. I think we are all left wondering what the purpose of pain is, and the finality of death on our plane.
In 2024, my dog of 10 years died, and it just about killed me. I just want to see him again. I haven’t seen my mother or her parents in almost 30 years because they all passed. I finally found out who my father was thanks to DNA. He died before I could meet him.
This is what we all carry with us in one form or another. This is what art is. It’s all of it, all at once. Entertainment is art that distracts us from our pain. I wish I was an entertainer.
You’re known for your love of recording over performing live. What is it about the studio environment that resonates so deeply with you?
I love the studio because any and every song is a go to explore. In the ‘90s, I toured and performed 500-plus shows, and what you learn is that the audience only wants to hear a small segment of material. The repetition drove me crazy. The 375th time you play the same 15 songs, it becomes a job.
Also, I’m just not an entertainer. I’m trying to relate.
Producers like Wyshmaster, Anno Domini, Legion, and Temper have played a big role in your projects. What do these collaborations bring to your sound?
Working with producers has kept me going. I love getting the tracks and just going for it. It’s collaborating in a manner that I understand.
Your new record features a mix of hip-hop heavyweights like Eminem, Method Man, and KRS-One. What makes this project stand out from your previous work?
This album is just different than anything I’ve done because I’ve never done anything so accessible or commercial. I hope this opens the door and allows the audience to discover some of my other music.
You’ve dabbled in so many genres and styles, from hip-hop to acoustic to beatstrumentals. What draws you to explore such diverse musical paths?
I love music. I have dabbled in most genres, just like The Beatles or Prince. Time has proven that Rock/Hip Hop/Classical is what I do. The dabbling is over.
Except—I am making a K-pop record just to be hip.
Vinyl and cassette releases are scheduled for April. What inspired you to embrace these classic formats, and how do they complement your music?
I’ve been around long enough that the first recordings I released were on vinyl and cassette. They’re fun. Nostalgic.
That said, digital access is pretty great. I love Spotify and Apple Music. I have every record I have ever wanted at my fingertips. It’s incredible.
Despite everything you’ve endured, you’ve remained focused on creating music. What advice would you give to artists facing their own struggles, both personal and professional?
Don’t let depression keep you from making your music. It is hard. Believe me, I know.
Sadly, don’t bring your sorrow to the biz. Nobody gives a shit. If you expect them to, then you are in for a rude awakening and a lot of wasted time.
There is music the art, and there is music the business. Make music because you want to, not because you think you could be the next Guaplord or Smoked Cheddar the Ass Getter.
Even so, you must promote your art once in a while. I’ve been writing and recording for 30 years. I never “made it,” yet I have fans in 81 countries.
Maybe someday I will get to perform for them. Life’s a continuous, contiguous journey that isn’t over until it’s over.
mikecolin.net
BMF RETURNS MARCH 2-10, 2025
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