Titled La Realidad De Los Sueños, the box set will include the band’s studio discography, Landscape Tantrums (a collection of unfinished songs from the De-Loused in the Comatorium sessions), and A Plague Upon Your Hissing Children and Eunuch Provocateur (the unreleased versions from the De-Loused In The Comatorium session).
In the description, the label says, “‘La Realidad De Los Sueños’ is literally ‘the reality of dreams’ for the numerous The Mars Volta fans all around the world.”
Find the full contents of the box set — which also includes a photo book with behind-the-scenes snaps — down below.
Happy Friday and Happy Music Feeds’ New Aus Music Playlist Day! This is where we put all our favourite new Australian music from the week that’s been. Alongside those from weeks prior.
It’s the perfect chance for you to brush up on your local music releases, discover new artists, and support our industry. Grab your headphones, sit down, and chill out while we take you through the must-listens from this week.
ASTON – Killer Queen Dip – Fire Escape Days Like These – Gravity Spookyland – Moonlight Taj Ralph – Driftin’ All Hours – Downward Middle Kids – Stacking Chairs Casey Barnes – Come Turn Me On Reside – In This Moment (Remix) Sloan Peterson – Moon & Back Ali Barter – You Get In My Way Slum Sociable – Questions Shannen James – Superstitious Slumberjack – Memory Feat. Tailor Lily Papas – Freak Montaigne – Technicolour Day1 – Shisha Chick Manu Crooks – Fall Apart Georgia Mae – Let You Go Daste & DVNA – here with me Ben Browning – I Knew Someone
Aussie music royalty, Molly Meldrum has released a public statement, sharing just how massive the loss of Michael Gudinski is, both to him and the music industry.
“I am unable to translate into words what I am feeling right now,” says Meldrum.
“Not only have we lost an icon who was the cornerstone of the Australian music industry, I have lost a best friend, a brother.”
He goes on to say Michael Gudinski and his wife Sue are family to him.
“They have been a staple in my life forever.”
“Michael and I have been friends for over 50 years and the deep respect we had for each other was profound,” says Meldrum.
“He was a huge influence in my life.”
Read the statement in full below.
Molly Meldrum’s Statement on Michael Gudinski
I am unable to translate into words what I am feeling right now. Not only have we lost an icon who was the cornerstone of the Australian music industry, I have lost a best friend, a brother.
Michael and Sue are family to me. They have been a staple in my life forever.
Right now, my love, support and focus are with Sue, Matt, Kate and the grandchildren.
The void that is felt is immeasurable; I honestly find his passing very difficult to comprehend.
Michael and I have been friends for over 50 years and the deep respect we had for each other was profound. He was a huge influence in my life.
Like me, Michael’s passion for music is unwavering. He dreamed big, worked hard, and had the tenacity, energy, and determination to drive all his ambitions home. Failure was never part of his vocabulary.
He helped place Australian music on the world map. He not only guided aspiring artists into unfathomable stardom, but he also brought the world’s biggest artists to the Australian stage.
He was the life force behind live music. He was unstoppable.
Music was the base and core of our friendship. We are both stubborn as hell and we would often laugh as we traded a tirade of insults to each other. I challenged him and he challenged me and as I have said many times before, Michael and I have had more dramas than Shakespeare and more laughs than Seinfeld.
We really were like Walter Matthau and Jack Lemmon in Grumpy Old Men.
From allowing Ziggy (Meldrum’s dog) to give him kisses and licks whenever he was in sight, to putting up with my antics on a daily basis, Michael was a great friend.
My most recent and now treasured memory was spending Christmas day last year with the Gudinski’s. We had an incredible day AND believe it or not, Michael and I did not disagree or argue once for the entire 9 hours we were together!
Michael’s legacy will echo through the entertainment industry forever. He came and he conquered. He has left a giant footprint in the heart and soul of the music industry.
If there was a song that could sum up how I am feeling, it would have to be the Bee Gee’s 1971 hit, ‘How Can You Mend A Broken Heart.’ He will forever be missed.
Dean Lewis has shared his new single ‘Falling Up’ with us today. It marks the follow up to his 2019 album A Place We Knew.
‘Falling Up’ is taken from Lewis’ forthcoming, second studio album.
“I always thought I would be happy when I finished school or when I passed an exam, or I got a job or a promotion or if I went travelling and then I was like – ‘ooh, now I have a record deal, what if I have a big song?’” says Dean Lewis on the track.
“Then, I had a big song, and I was on the road for three years and when I stopped, I realised it had all passed me by and I was actually less present and more anxious and stressed than ever.
“I looked back on my life and at all of these points along the way and I realised that I’ve never felt any better, it’s always been onto the next thing, always moving.”
The music video for ‘Falling Up’ will premiere via Youtube tomorrow at 7:30 AEDT. Lewis will join the stream 7.10am AEDT for a live Q&A before the video is revealed.
Listen to the new Dean Lewis single ‘Falling Up’ below.
The production offers up a fun house beat to complement Charli XCX’s lyrics and vocals. It comes with thanks from No Rome, Healy and George Daniel who worked together to produce the track.
“I think [No Rome] and the 1975 guys are so talented, it’s honestly so cool to have this song with them,” says Charli on the collab.
“I feel like we all speak the same musical language in someway, and that language is stunning/exquisite/tasteful and chic.”
i think rome and the 1975 guys are so talented, it’s honestly so cool to have this song with them, i feel like we all speak the same musical language in someway, and that language is stunning/exquisite/tasteful and chic
After four-and-a-half years of quiet time, Kings of Leon are back with their eighth album. When You See Yourself is the Followill boys’ second consecutive album to be produced by Markus Dravs, the British studio wiz known for his work with Arcade Fire, Coldplay, Florence + the Machine and Mumford & Sons.
Dravs’ past collaborators offer a clue to the sort of space Kings of Leon occupy in the contemporary music landscape. While their early records – namely 2003’s Youth & Young Manhood and 2004’s Aha Shake Heartbreak – paid homage to the band members’ southern roots, Kings of Leon have long since ascended to the pop-cultural mainstream.
It should be said, however, that Kings of Leon were never an authentically underground proposition. The aforementioned duo of albums were made in partnership with Nashville songwriter/producer Angelo Petraglia, who’s co-written songs for Trisha Yearwood and Taylor Swift, no less. And even before the release of Youth & Young Manhood, the UK music press had decreed Kings of Leon rock music’s next big things.
But the band’s biggest jump came with their fourth album, 2008’s Only by the Night, which was led by the near-ubiquitous singles ‘Sex On Fire’ and ‘Use Somebody’. The global success of these more pop-oriented songs transformed Kings of Leon from a group of hirsute indie-rockers into a multi-Grammy award-winning, festival headline act.
Remarkably, in the dozen years since Only by the Night, Kings of Leon haven’t fallen from this lofty post. Their arena-rock ambitions were crystallised on 2010’s Come Around Sundown and 2013’s Mechanical Bull, while 2016’s Walls was their first album to reach #1 in the US Billboard 200.
At its core, however, Kings of Leon remains a tight-knit family operation. The band consists of brothers Caleb (vocals/guitar), Nathan (drums) and Jared Followill (bass) with their cousin Matthew on guitar. They all live within a 10-minute drive of each other in Nashville, where they’ve all recently become parents.
It’s here, in the middle of a frozen US winter, that Music Feeds got hold of Nathan Followill to talk about the new album, the band’s relationship with Dravs and how Kings of Leon have achieved such career longevity.
Music Feeds: It’s been four-and-a-half years since you released Walls. When was the new album recorded?
Nathan Followill: It would’ve been 2019, starting in the Spring of 2019. Don’t quote me on that – all the days blend together now that we don’t really leave the house. But we’ve sat on it for a year or so.
MF: I’m sure some of the delay was due to the pandemic but were there unexpected benefits of waiting a bit longer between recording and releasing?
NF: It gave us the chance to live with the record for a little while and see if there was anything we wanted to go back and change. Most of the time you record a record, then after you’ve played those songs 50, 60 times on tour you’re like, man I wish I would’ve changed this or changed that. So we had that opportunity and we were so pleased with the record that we did not go back and change anything.
MF: You toured Walls heavily through 2017 and 2018. How long after the end of the touring cycle did you start to ponder your next album?
NF: After that tour, we were definitely all ready for a break. I know Caleb, creatively, around the start of January is when he usually gets the bug to start kicking around ideas or [suggests we] get in the rehearsal space and just jam for a little while. But this one we actually took the most time on pre-production on a record we ever have. It was the longest process we’ve ever had as far as making a record would go, for sure.
MF: Markus Dravs produced When You See Yourself. Was he involved in the pre-production process?
NF: We’ll usually get stuff together, put it on tape or a file and send him stuff just to get his take on the direction we’re going and just to keep him in the loop of what to be prepared for. But once we settle on the songs and we know what we’re going to do, he’ll come in and we’ll do a last week of just running through all the songs and making sure we have them down.
MF: When You See Yourself is very melodic, atmospheric and a bit calmer than some of your previous records. Were there certain things you discussed with Markus in terms of the sound and mood you wanted to get across?
NF: We know going in what the bones of it will be, but when we get in there, Matthew is very experimental with keyboards and stuff like that. And we have a couple of guys that tour with us and Liam [O’Neil], our keyboard guy, he was able to come in and help out. But the atmosphere of the record, it’s definitely something that we all go in hopefully on the same page.
Now, when you get in there, some people want to take a song a different direction and the great thing about Markus is he will try any idea you want. He doesn’t want anyone to leave the studio feeling like their voice wasn’t heard or we didn’t try something that they wanted to hear on a song. That’s the great thing about Markus, but that’s also a fault for him because when you get four family members in there that are all wanting to try a gazillion things, it can make for some long studio days.
MF: You worked with Angelo on your first six records and also did three with Ethan Johns and Jacquire King co-producing. What is it about Markus’ production style that gels with the direction you wanted to go, post-Mechanical Bull?
NF: The thing that I personally love about Markus is he is so passionate. He’s an album guy; he wants to make a work of art from start to finish. Like, when we met with him he was like, “if you’re wanting a producer that’s going to go for the two big singles on the record and the rest is filler stuff, I’m not your guy.” Then he was like, “but if you want to make the best album we can make, then I’m your guy.”
MF: You’ve conducted some major stylistic renovations over the years. Do you have a process for assessing whether new ideas are appropriate for inclusion on a Kings of Leon album? Or do you just go with what feels good?
NF: I think we go by feel, for sure. We are known for… when we have gone through all the songs that we want to record on a record, we end up getting at least two if not three more [out] of us just jamming in the studio.
In the early days when we were making so many records so quick, that’s because we were doing all of our writing in soundchecks. We don’t write songs as much at soundchecks anymore because we don’t travel the same way that we did. So, we definitely rely more on Caleb getting an itch and saying, “Hey, let’s get in there and just mess around.”
MF: Walls was your first album to reach #1 in the Billboard 200. It also topped the UK charts and reached #3 in Australia. Plenty of bands from your era have struggled to repeat the highs of their early years. What do you think explains your continued success?
NF: First of all, we’re lucky to still be doing this. Eight records in, that’s crazy. But it’s just literally what the pulse is of the band and of the guys. We definitely don’t have a Kings of Leon formula that we go into each record thinking like, “Okay, as long as we achieve this, this and this, then we’re fine.” We just kind of go with the flow.
Beloved children’s entertainment group, The Wiggles were up for Like A Version this morning. They delivered a stirring cover of Tame Impala’s ‘Elephant’ and mashed it up with their own ‘Fruit Salad Yummy Yummy’.
The Wiggles packed us into their big red car, and transported us to a better place with the cover.
Now, Twitter has responded accordingly. Here are some of our favourite reactions.
It’s been five long years since Floridian rock/metalcore monolith’s A Day To Remember dropped their fifth album, the ARIA #1 charting Bad Vibrations. During that time they’ve done a LOT of levelling up, firmly establishing themselves as an arena band and festival headliner and reaffirming their status as one of the world’s best live bands. They’ve also done a lot of growing up, with several children and outside interests joining the fray. Now after a frustrating period where all they could do was ‘hurry up and wait’ as COVID-19 added delay after delay, A Day to Remember is finally set to drop their widely anticipated seventh full-length, You’re Welcome today.
Their first album to come out via new label and fellow Floridian scene luminaries, Fueled By Ramen, You’re Welcome is a bold, experimental and perhaps above all else, surprising release from a band operating at the zenith of their creativity. Described by vocalist Jeremy McKinnon as “a hybrid of who we were, who we are, and who we want to be”, You’re Welcome has been pre-empted by a gloriously diverse collection of singles in the form of ‘Degenerates’, ‘Resentment’, ‘Mindreader’, ‘Brick Wall’ and most recently, mega-crossover hit, ‘Everything We Need’, a collection of songs that’s kept their sizable fanbase guessing as to what to expect next.
On the precipice of the release of You’re Welcome we jumped on ZOOM for a chat with guitarist Kevin Skaff about the creative process that led to You’re Welcome, what it has been like to be off of the road for so long, accidentally blowing up equipment, eating Lord of the Fries and the prospect of playing shows inside giant orb balls.
Music Feeds: G’day Kevin how are you today?
Kevin Skaff: I’m good man, how are you?
MF: Good, as you can see from my background, I’ve been in Moe’s Tavern for about a year and a half! How’s existence been treating you in Florida?
KS: I moved to Nashville a few years ago, so I’m actually in Tennessee and it’s been okay, I’ve just been in my studio for the last year and four months.
MF: I think it has been that way for everyone. It must feel especially weird for a band like yours who built your reputation by touring?
KS: Yeah. Yeah. There’s a piece of me missing that’s for sure!
MF: Well, you’re trying to fill some of that void by releasing a new record, in the form of You’re Welcome in March, which I’ve got to say is probably the most dynamic A Day to Remember record. I’ve heard thus far!
KS: Just when you thought we couldn’t be any wilder, right?
MF: Absolutely. Now your vocalist Jeremy described it as a hybrid of who you were, who you are, and who you want to be. Do you feel he’s summed that up well?
KS: Yes! sounds like he took a media class for that answer! Yeah. I could see how he would come to that answer. That’s pretty cool. I mean, yeah, it’s all over the place. There’s something from every genre that we like. So it’s all over the place and there’s a little something for everybody. I mean, we say that every album, but on this one there’s actually something for everybody. Minus elevator music.
MF: Did you try to get elevator music in?
KS: Yeah, I tried to get a little bit of Muzak in, but nobody wanted it. I don’t know why the song was a banger!
MF: That’s a shame man, think of all of the potential licensing money you just pissed away!
KS: I know dude, it’s a bummer!
MF: You just dropped the track ‘Brick Wall’, which I have to say has probably the heaviest outro/ breakdown of any ADTR song to date, which seems to have taken people by surprise, given what you’ve been releasing as singles off of this album prior?
KS: Yeah I mean when we released that song, there was, there were comments all over the place on that song, but, you know, that’s kinda what it was about. I remember that song, Jeremy brought that song over to when I still lived in Florida. He had a couple of parts and I added a couple of things and then we added that pickle breakdown at the end. I have a video of our producer, pretty much humping, like the guitar on the desk during that outro park. I was like, this shit is crazy.
But the song reminds me of that Beatle song and Sgt. Peppers, ‘A Day in the Life, where it’s just all over the place. So yeah, this is A Day To Remember’s metal version of ‘A Day in the Life’ by The Beatles. Not that I’m trying to put us on a pedestal or anything, it’s just the only comparison that I have.
MF: So what you’re trying to say is that it is ‘A Day to Remember in the Life?’
KS: Exactly. Yeah. A Day To Remember in The Life!
MF: You’ve had about five years between records to think about it, so who knows, maybe that’s the next step?
KS: Yeah, well you know, we’ve had about three, because then we made the record and then we delayed the record and then COVID delayed the record again, and now we’re here.
MF: Talk to me a little bit about that, man. How did this come together in the sense that you obviously started working on the record prior to the pandemic and you probably had a whole bunch of plans for how you were intending on finishing and releasing it. How much impact did it have?
KS: We had plans to release it before the pandemic. Then we had five artists try to do the album cover, and all of them were just not the vibe we were after and I know that really ran Jeremy down because, for him, everything has to be perfect. So that was the first delay and then COVID hit, pretty soon after and then we’re here now. It was a big bummer, but we’re finally getting around it.
MF: At least there’s some comfort in knowing that everyone else is experiencing the same delays, in the sense that it’s not like you’ve been falling behind or anything? Literally, everybody is experiencing the same thing!
KS: Nobody is doing shit right now and if you are you are a dumbass.
MF: Even over here, where we have had essentially zero cases for a while, the industry is only slowing creeping back to life. On the positive side, the few shows that have been able to happen safely have all sold out. On a personal level, I can tell you that the first show back that you play, is the most amazing experience ever. It seriously feels like you’re playing your first show all over again!
KS: I’m so excited man, I can’t wait! Over here the only people who have played shows are bands like Trapt and Smash Mouth and Buck Cherry, and they’ve all been playing in Florida, so who the fuck knows what’s going on!
MF: If only you had stayed in Florida, you too could have been the bottom-feeding bane of social media!
KS: I know.
MF: Speaking of Florida, you’re putting this record out on Fueled By Ramen – a very influential Floridian label. What was the reasoning behind joining up with FBR now?
KS: Our management group is very, very dear friends with that label. They do Paramore and Paramore has been on them since their inception, I’m pretty sure I could be wrong. But yeah we had a meeting with a couple of different labels and all of the people at Fueled by Ramen were just so awesome and so nice and still continue to be to this day. They just have it all down. So we just felt really comfortable signing on for a couple of records with them.
MF: It’s such a natural fit that I’m surprised it didn’t happen earlier to be honest.
KS: Well we were in litigation with our old label for about seven years, so that was probably what was hampering it.
MF: So you’re sitting in your house in Nashville thinking about the next year, what is it that you’re looking forward to most?
KS: Honestly, like I just want to talk to a person, in-person and I want to play a show. I want to get back on a bus. I want to smell the stupid gasoline that gets wafted in your face when you’re grabbing clothes out of your suitcase, and I want to see my crew. I miss my crew a lot and I want to eat all the good foods, everywhere else. I want to come to Australia. I want to eat Nando’s and what’s that vegetarian place called, Lord of the Fries? I want to eat Lord of the Fries!
MF: I’m sure that Lord of the Fries and the rest of Australia will welcome you back with open arms man! To enable that, you’ve got to handle the business of promoting a record. How do you personally feel You’re Welcome fits alongside the other ADTR records?
KS: It’s its own thing, man. it’s just so dynamic and out there and you know? It is us taking a chance. It’s us experimenting, broadening our horizons, seeing what works, seeing what doesn’t, you know? You have to take those chances to evolve and we’re just excited for it to get out there and people listen to it and tell us what they think.
MF: I think what they’ll think is that it is weird but awesome.
KS: I think they’re in for a mindfuck and it’ll take time to process.
MF: I would say that out of all the ADTR albums, this one sounds like you are having the most fun experimenting with what you can do with your instrument, would you say that’s true?
KS: Oh yeah, we went and got a little nutty on the guitars. We got nutty on guitars and, and we found out what synthesizers do and those things are fun. I mean, we were some of the first people to get a Moog One when they first came out. And we were like, just like, “ah, this thing is so sick” and then smoke just started coming out of it. So we blew the thing up within like two weeks, we blew up a lot of things actually, on this record, we blew up pickles. We blew up the Moog One, we blew up like three guitar heads, you know, we just blew up a whole bunch of things. It was pretty fun!
MF: That’s awesome! It’s so weird talking to musicians like you at the moment because obviously there’s been no tours and gradually a lot of you are starting to settle into new, domestic, routines, which means that our conversations have started to become rather different to reflect that reality. Are you worried about readjusting to tour life and not just being able to get up whenever and walk to another room of the house and be at work for the day?
KS: Not at all, because that’s what I do on the road as well. But yeah, I’m the one that sleeps in now. Like everybody else has kids. And so they’re up at like the crack of dawn. So they’re all doing group chats about business. Then I wake up at like noon or one o’clock and I’m like, all right, what did I miss? And there’s always like a thousand texts I got to catch up on. So I think I’m well prepared.
MF: That’s awesome man, I’ve got to let you go now, but before I do, I have to ask. Is there any chance that when you head back out on the road that you all get those inflatable orb balls that Jeremy runs on top of the crowd in and you play the gigs, inside of those, like the Flaming Lips?
KS: Oh my gosh, I hope so! That would be a lot of fun, actually. I would probably knock myself out with a guitar in the ball. I’d probably do a somersault and whack myself in the face with a guitar and a tuning peg and just die. But I’m willing to give it a try!
Maroon 5 frontman Adam Levine has given his thoughts on bands – namely he’s sad that there, apparently, are none anymore.
While promoting his new song, by the band that he fronts, ‘Beautiful Stranger’ featuring Megan Thee Stallion, he lamented to Apple Music’s Zane Lowe about the lack of pop bands currently working.
“It’s funny, when the first Maroon 5 album came out there were still other bands,” he said, reported by Stereogum.
“I feel like there aren’t any bands anymore, you know? That’s the thing that makes me kind of sad, is that there were just bands. There’s no bands anymore, and I feel like they’re a dying breed.
“And so I kind of, in a weird way, as far as … I mean, there still are plenty of bands, and maybe they’re not in the limelight quite as much, or in the pop limelight, but I wish there could be more of those around.”
Melbourne folk-rock favourites Pierce Brothers are currently gearing up to release their sophomore album, Into the Great Unknown, after previewing it with a string of arresting singles like ‘Dentist’, ‘Kanko’, ‘It’s Alright’ and ‘Brother’.
The second LP from twin brothers Jack and Patrick Pierce – which we’re premiering here at Music Feeds before it officially drops tomorrow – sees the duo at their most ambitious, with lush production filled out by strings, horns and gorgeous backing vocals.
Recorded at Jan Skubizeski’s Red Moon Studios in Gisborne between the two Victorian lockdowns in 2020, Into the Great Unknown covers a lot of previously uncharted musical territory for the pair, facilitated by a year spent away from their relentless touring schedule.
“This album is striving to be something grander than what has come before,” explains Jack.”The lack of endless touring paved the way for a deeply thought-out experience.”
Certainly, there’s a tangible feeling of catharsis and visceral energy that permeates throughout the album. The rousing choruses, big crescendos, warm harmonies and toe-tapping rhythms throughout are bound to be a highlight of the band’s live shows as they make their return to stages across the country in the coming months, including an appearance at Bluesfest next month.
Stream Into the Great Unknown below, and check out the band’s forthcoming tour dates on their website here.
Another music great who reflected on Gudinski’s life was Bruce Springsteen. The songwriter shared a touching tribute to his friend, writing: “I’ve toured the world for the last fifty years and never met a better promoter… He was loud, always in motion, intentionally (and unintentionally) hilarious, and deeply soulful. He will be remembered by artists, including this one, from all over the world every time they step foot on Australian soil.”
Now, the Boss has honoured Gudinski, dedicating a new lyric video for his song ‘I’ll See You in My Dreams’ to him. The closing track on last year’s Letter to You, it’s a gorgeous song that sees Springsteen reflecting on those who’ve passed, and acknowledging that the ones we love never truly leave us.
It’s an appropriate tribute, then, to someone whose impact on Australia’s music industry will no doubt continue to be felt for many, many years. Watch the lyric video for ‘I’ll See You in My Dreams’ below.
Yesterday, Victorian Premier Daniel Andrews announced that a state funeral will be held for Gudinski, with details to be finalised in the coming days.
Former Stone Roses frontman Ian Brown has spent much of the past year or so spreading easily disproven theories about COVID-19, lambasting lockdowns and generally acting like that fucking guy.
From calling the health crisis a “plandemic” designed to turn us all into “digital slaves”, to releasing a blathering anti-lockdown “protest” song, it’s been pretty sad to see the Madchester veteran turn into your conspiracy theorist uncle ranting at the dinner table.
It is perhaps unsurprising, then, that Brown has chosen to pull out of his planned headline set at the Neighbourhood Weekender festival in the UK this September. The reason? Organisers have reportedly indicated that punters will have to show evidence they’ve been vaccinated to gain entry into the fest.
As you might imagine, Brown is not too pleased with this turn of events. After tweeting late last month that he would “NEVER sing to a crowd who must be vaccinated as a condition of attendance,” he’s stuck to his guns and formally announced his withdrawal from the bill.
“My Saturday night headline show at NHBD Weekender Festival will now not happen! I refuse to accept vaccination proof as condition of entry,” the singer tweeted earlier today.
As a result, Brown has been replaced on the bill by James. Elsewhere on the lineup are the likes of Gerry Cinnamon, Sam Fender, Catfish and the Bottlemen and The Wombats.
See Brown’s tweets on the whole affair, and NHBD’s update, below.
I will NEVER sing to a crowd who must be vaccinated as a condition of attendance. NEVER EVER!
Sydney trio Middle Kids are currently getting ready to release their second album Today We’re the Greatest later this month, having previewed it with singles like ‘R U 4 Me?’ and ‘Questions’.
Today, they’ve shared another new single titled ‘Stacking Chairs’, a rousing pop cut that’s simultaneously anthemic and deeply intimate, with lyrics that see singer Hannah Joy reflecting on her marriage to bandmate Tim Fitz.
“I never thought I was going to get married – I didn’t think I would be able to love someone forever. I was scared that I would feel trapped and suffocated or alternatively leave or be left with a pile of ash and rubble,” Joy explained in a statement.
“Going on the journey of marriage with Tim has been profound. It is very liberating having someone see you in your entirety and stay. Tim embodies that kind of ‘stacking chairs’ love – he’s not just about the party. He’s around afterward when I’m tired and ugly and loves me in those moments.”
Middle Kids recorded Today We’re the Greatest in Los Angeles with producer Lars Stalfors. The follow-up to 2019 EP New Songs for Old Problems and 2018 debut Lost Friends is set to arrive Friday, 19th March. This May, the band will set off on their first headline Australian tour in almost two years.
This Friday, Kings of Leon will release their eighth album, When You See Yourself. They won’t just be releasing it via the hackneyed old methods of physical media or streaming platforms, though. Rather, the arena rock stalwarts are getting into the crypto game, and selling the album via non-fungible tokens (NFTs) – making them one of the first bands to do so.
If you’re unfamiliar with NFTs, they’re essentially a type of cryptocurrency that, instead of holding money, holds a unique digital asset, allowing art and other media to be tokenised. For buyers, there’s the flex that comes with having a unique piece, recorded via a blockchain entry for all to see, and the assumption that the token’s value will increase over time.
Though the practice has been hailed as a new way for artists to sell their work, it’s also been criticised fairly heavily, mostly due to its environmental impact. As the Guardian acknowledges in the story above, the sale of 303 editions of one of Grimes’ art pieces used “the same electrical power as the average EU resident would in 33 years, and produced 70 tonnes of CO2 emissions.”
Anyway, as Rolling Stone reports, in Kings of Leon’s case, the band are dropping three different tokens as part of a series called NFT Yourself. One is a “special album package” with a digital download, enhanced media and limited edition vinyl. The second, a “golden ticket” offering, promises live show perks such as front-row concert seats for life. The third contains exclusive audiovisual art.
The band are selling the NFT versions of the album via a tech company called YellowHeart, with the sale opening 4am this Saturday, AEDT time. They’re donating all proceeds from two of the tokens – the album NFTs and the “golden tickets” – to Live Nation’s Crew Nation fund for out-of-work touring crew.
Wollongong festival Yours & Owls was originally scheduled to go ahead back in January of this year with a lineup that included Tones and I, Benee and DMA’S. As you may recall, it was pushed back to April due to uncertainty around coronavirus and restrictions around mass gatherings.
Now, organisers say the festival’s new dates – Saturday 17th and Sunday 18th – have had COVID safety plans approved by the NSW Government and Ministry of Health. That is, “pending the current COVID situation remains under control.”
In a statement, Yours & Owls organisers said that for contingency’s sake, they’ve developed a number of different festival format options. As the event date draws closer and organisers have a better idea of where NSW is sitting with COVID-19 cases, they’ll announce the final format and site location.
Either way, it’s no doubt nice for punters to have a little more certainty they’ll be able to safely catch the likes of Cosmo’s Midnight, Winston Surfshirt, Hockey Dad and more next month. If you’re keen and haven’t gotten around to securing your spot, a limited release of remaining tickets is on sale now.
Things are looking too bloody good for Victorian folk at the moment. Though there may still be some restrictions on the live music front, they’ve got clubs and pubs up and running, and live music is starting to make a comeback.
This is where the good people at Live Nation come in. Today, in collaboration with Melbourne based independent event producers Pavilion Australia and tastemakers Shadow Electric, they’re launching a brand spankin’ new festival taking place in St Kilda Triangle called April Sun.
Kicking off on Friday, 16th April the party will run for a couple of weeks, finishing up on Sunday, 2nd May, and will feature a bunch of performances from acts like You Am I, Hiatus Kaiyote, G Flip, Touch Sensitive, Harvey Sutherland, Electric Fields, Sneaky Soundsystem and heaps, heaps, HEAPS more.
This diverse program will be entirely COVID safe and the organisers have ensured that there’s truly something for everyone in there, whether you’re keen on day parties, headline concerts or some family-friendly fun.
Tickets are on sale from 9AM via April Sun. Check out the full lineup below.
Friday, 16th April – Future Classic Presents G Flip Touch Sensitive Sycco Thomas Headon
Saturday, 17th April – POOF DOOF DAY DOOF Sneaky Soundsystem Electric Fields Jawbreakers Yo!Mafia Sgt Slick YUMMY Fisty Jimi The Kween and Argonaut
Thursday, 22nd April You Am I Magic Dirt Dallas Crane & The Casanovas
Saturday, 24th April Thick As Thieves
Thursday, 29th April Cosmo’s Midnight Eves Karydas ASHWARYA PRICIE
The lineup for Bluesfest 2021 has just expanded by another nine top-notch artists, just one month out from takeoff.
Pete Murray leads the crop, alongside Mark Seymour and the Untertow and Kate Ceberano who’ll all be lighting up the stage on Easter Monday.
“We can’t wait to be presenting Bluesfest in 4 weeks,” festival boss Peter Noble said in a statement.
“Pinch me, my dream is coming true to see festivals occurring again in Australia. With the addition of nine more sensational Australian artists to our already magnificent lineup, I am convinced this will be one of the great Bluesfests.”
He continued: “Pete Murray, Mark Seymour & The Undertow and Kate Ceberano join our headline lineup to play on the final day of Bluesfest – and this will make Easter Monday a special day to be at Bluesfest. In fact, Easter Monday is shaping up now to be one of the highlight days of the Easter weekend.”
The festival is now 85% sold out so if you want to be in on the action you’d better get in quick.
PETE MURRAY (Easter Monday) MARK SEYMOUR AND THE UNDERTOW (Easter Monday) KATE CEBERANO (Easter Monday) FIONA BOYES & THE FORTUNE TELLERS LAMBROS. THE REGIME ROUND MOUNTAIN GIRLS ELECTRIK LEMONADE PALM VALLEY
OCEAN ALLEY JOHN WILLIAMSON TEX PERKINS THE MAN IN BLACK JON STEVENS ASH GRUNWALD & JOSH TESKEY VIKA & LINDA GARRETT KATO MIA DYSON
The Church Kate Miller-heidke The Living End The Angels Ross Wilson And The Peaceniks Blue King Brown Jeff Lang Kara Grainger
Tash Sultana Ziggy Alberts Kev Carmody Ian Moss Hiatus Kaiyote Russell Morris Briggs Kim Churchill Mama Kin Spender All Our Exes Live In Texas
Jimmy Barnes The Teskey Brothers John Butler Xaiver Rudd The Cat Empire Kasey Chambers The Waifs Troy Cassar-daley The Black Sorrows Melbourne Ska Orchestra Chain Backsliders Harts Plays Hendrix Ash Grunwald The Bamboos Mick Thomas’ Roving Commission Dami Im Pierce Brothers Emily Wurramara Roshani Ray Beadle Henry Wagons Hussy Hicks Pacey, King & Doley Daniel Champagne Nathan Cavaleri Little Georgia Bluesfest Busking Competition & Winners The Australian Americana Music Honours
Tickets on sale now
Thursday, 1st — Monday, 5th April Byron Events Farm Tyagarah, Byron Bay Tickets: Moshtix
Many of us can link a certain album to pivotal moments in our lives. Whether it’s the first record you bought with your own money, the chord you first learnt to play on guitar, the song that soundtracked your first kiss, the album that got you those awkward and painful pubescent years or the one that set off light bulbs in your brain and inspired you to take a big leap of faith into the unknown – music is often the catalyst for change in our lives and can even help shape who we become.
In this Love Letter To A Record series, Music Feeds asks artists to reflect on their relationship with music and share with us stories about the effect music has had on their lives.
Close Counters – Jamiroquai, The Return of the Space Cowboy (1994)
We had a hard time picking just one album to write a love letter to… We wanted to find something that has inspired our music and craft but also a record that has been with us throughout our journey as becoming musicians. We landed on a band that many people of our generation may also have seen on ABCs rage on early weekend mornings, none other than the UK hit makers, Jamiroquai.
In 1994, they released their sophomore album – The Return Of The Space Cowboy – a personal favourite of ours. Fresh off the success of their debut, Emergency On Planet Earth, this album launched the band out of their fan base in the UK and into the US, with two songs on the album earning nods from Missy Elliot and Tupac Shakur in the form of samples.
Mixing grooves from Motown artists of the 70’s and the clean pop production sounds of the 90’s, Space Cowboy is 11 tracks long with each song arranged meticulously to showcase the talents of the powerhouse band as well as the energetic and flamboyant vocals of front man, Jay Kay.
We love that throughout their career, Jamiroquai managed to win support from both the pop charts and the deeper jazz and funk scene. The title track was released with a pop edit that reached #1 on the US dance charts, and a deeper 6.5 minute cut to finish off the album, complete with flourishing synth solos and vocal scatting.
In the disco-laced ‘Mr. Moon’, bass player Stuart Zender could be mistaken for Bootsy Collins – showing off a heavy slap-groove, which perfectly tucks into the pocket laid down by drummer and percussionist Derrick Mackenzie.
Another highlight on the album is the instrumental ‘Journey to Arnhemland’, a tribute to Indigenous Australia, featuring didgeridooist Wallis Buchanan.
A perfect snapshot in to the mid-90s UK and capturing Jamiroquai in the prime of their career – The Return of the Space Cowboy is a force to be reckoned with and has been a massive influence on our songwriting as a band. There’s no doubt we’ll be giving this record many more spins in time to come.
Close Counters are a Melbourne-based production duo who’ve just teamed up with renowned vocalist (and Gondwana & First Word Records) signee Allysha Joy for their high-energy new single ‘SPEAK IN TRUTH’.
In news that bodes extremely well for a Fleetwood Mac reunion, Mick Fleetwood & Lindsey Buckingham have buried the hatchet.
In fact, not only have the pair reconciled, de facto bandleader and drummer Mick Fleetwood has revealed he wants to do a proper farewell tour with the whole band, Buckingham included.
In a new interview with Rolling Stone, Fleetwood explained that he spent the majority of the pandemic reevaluating his relationships and goals, and decided that he wants to get the old band back together for one last hurrah.
“I think the vision for me, and I think it would be hugely appropriate, is that we actually say ‘this is goodbye’ and go out and actually do that,” he said. “That has always been my vision and I’m a flatly confident that we can do that. We owe it to the fans.”
Fleetwood went on to admit that the surprise death of the band’s guitarist and co-founder Peter Green last year is what inspired the two to get back in touch and patch things up.
“I’ve really enjoyed being re-connected with Lindsey, which has been gracious and open,” Fleetwood said. “And both of us have been beautifully honest about who we are and how we got to where we were.
“I look at Fleetwood Mac as a huge family,” the drummer continued. “Everyone plays an important role in our history, even someone like [early Seventies] guitarist Bob Welch, who was huge and sometimes gets forgotten. Lindsey’s position in Fleetwood Mac will, for obvious reasons, never been forgotten, as it should never be forgotten. Would I love to think that [reunion] could happen? Yeah. I’d love to think that all of us could be healed, and also respect the people who are in the band, Neil Finn and Michael Campbell.”
The only wild card is Buckingham’s relationship with Stevie Nicks, after the pair reportedly had a falling out back when he was unceremoniously fired from the band.
Regardless, Fleetwood says he’s keen to make music with his old writing partner again.
“I know for a fact that I intend to make music and play again with Lindsey,” he said in the chat. “I would love that. It doesn’t have to be in Fleetwood Mac.
“And Fleetwood Mac is such a strange story. All the players in the play are able to talk and speak for themselves. Somehow, I would love the elements that are not healed to be healed. I love the fantasy that we could cross that bridge and everyone could leave with creative, holistic energy, and everyone could be healed with grace and dignity.”
In news guaranteed to make you horny for Thorny, Thornhill have dropped a massive tour announcement for 2021.
The alternative metalcore collective from Melbourne will be hitting the road at the end of the month, headlining 11 regional and metropolitan dates in the Gold Coast, Sunshine Coast, Brisbane, Belgrave, Frankston, Melbourne, Wollongong, Newcastle, Sydney, Bendigo and Ballarat.
Sydney’s Bloom will also be tagging along for the ride.
But if you only have time to read one of them, then we highly recommend checking out what rock icon Bruce Springsteen had to say about the late Mushroom founder.
To many, Gudinski was a business mogul, a champion of Aussie music and one of the industry’s biggest power players. But to The Boss, he was a friend.
Here’s what he had to say:
My friend Michael Gudinski was first, last, and always a music man. I’ve toured the world for the last fifty years and never met a better promoter. Michael always spoke with a deep rumbling voice, and the words would spill out so fast that half the time I needed an interpreter. But I could hear him clear as a bell when he would say, “Bruce, I’ve got you covered.” And he always did. He was loud, always in motion, intentionally (and unintentionally) hilarious, and deeply soulful. He will be remembered by artists, including this one, from all over the world every time they step foot on Australian soil. My deepest condolences to his wife and partner Sue and to the whole Gudinski family, of which he was so proud.
You can read more tributes to Gudinski from the likes of Jimmy Barnes, Hilltop Hoods & more right here.
Think fast, WA! There’s a huge new concert series coming atcha next month called Here Comes The Sun.
Going down at Margaret River’s 3 Oceans Winery over the ANZAC Day long weekend, the three-day romp will be headlined by Tame Impala Sound System, ShockOne and Crooked Colours over each of the three nights.
Oh, and if you need a recap of what Tame Impala Sound System actually is, here’s how the man Kevin Parker himself described it:
“Wielding their overflowing arsenal of synths, sequencers and samplers to rework and reimagine tracks from the Tame Impala discography and beyond, Tame Impala Sound System is a pulsating, fully live and organic, free-flowing digital jam out”
Now that you’re across that, you should also know that the event will also feature a whole batch of other artists on the bill each avro, plus plenty of time to explore the nearby wineries, breweries, restaurants and beaches.
Catch all the details below!
Here Comes The Sun Weekender
Tickets on sale from March 5th
Friday, 23rd – Sunday, 25th April 2021 3 Oceans Winery Bussell Hwy, Metricup WA Tickets: Oztix
Here Comes The Sun Weekender Lineup
Friday, 23rd April
SHOCKONE EKKO & SIDETRACK HWLS BOSTON SWITCH
Saturday, 24th April
CROOKED COLOURS SET MO ASKYA And special guests
Sunday, 25th April
TAME IMPALA SOUND SYSTEM GRIEVOUS BODILY CALM DJ BERYL STREEP DJ SARA T
Sticky Fingers’ Paddy Cornwall has been sentenced to 18 months imprisonment, to be served in the community, for fighting with the band’s frontman Dylan Frost back in 2019.
The fight allegedly happened after the pair had been drinking for six hours before being kicked out of Marrickville Bowlo. Cornwall punched Frost five times in the head, before wrestling him to the ground, sitting on him and punching him in the head 26 more times.
On Monday, the Daily Telegraph reports, the Downing Centre Local Court heard that an argument had begun following Frost throwing Cornwall’s hat away. Witnesses came to intervene, but once they left, Cornwall threw a phone at Frost before kicking him. The fight lasted until emergency services arrived on the scene.
Cornwall’s lawyer told the courts that Frost allegedly assaulted Cornwall multiple times throughout the band’s career, including one time with a cymbal while performing. Cornwall’s lawyer also attempted to have Cornwall’s charge dismissed on mental health grounds – on account of his bipolar and substance abuse issues – which the magistrate rejected, but did accept Cornwall’s guilty plea.
Cornwall will have to abstain from any drugs or alcohol throughout his sentence, or face potential full-time imprisonment.
The views expressed by people and organisations quoted in this article are not the view of Music Feeds or its employees.
Iconic Australian music promoter, record label boss and otherwise music mogul Michael Gudinski, AM has died. He was 68 years old.
The Music Network reported that Gudinski passed away overnight of a heart attack, with Mushroom confirming he passed in his sleep. He was set to announce a major plan to help Victoria’s live music industry in the coming weeks.
Gudinski played an especially pivotal role in Australian music throughout the past year as the country’s live music scene suffered incomparably thanks to the coronavirus pandemic.
Being behind Mushroom Group’s various ventures, he was responsible or partly responsible for The State Of Music streamed concert series, as well as ABC’s live music program The Sound. In addition, he was responsible for the massive Music From The Home Front event streamed across the country on ANZAC Day last year.
Furthermore, his work with Frontier Touring saw him bring some of the world’s biggest artists to Australian stages, like Ed Sheeran and Bruce Springsteen.
In a statement provided by Mushroom, Gudinski is remembered as a “larger-than-life figure”.
“Michael was renowned for his loyalty and dedication,” the statement reads.
“His ability to achieve the unachievable against unsurmountable odds was proven time and again and spoke to his absolute passion for his career and life.”
“Michael’s family loved him immensely and Michael in turn adored his wife Sue, son Matt and partner Cara, daughter Kate and husband Andrew and their children Nina-Rose and Lulu. They meant everything to him, and he was immensely proud of them. Michael often referred to his 200+ staff as the Mushroom Family, with many having clocked decades in his employment.
“Michael’s legacy will live on through his family and the enormously successful Mushroom Group – an enduring embodiment of decades of passion and determination from an incredible man.
“The family respectfully ask for privacy in this incredibly difficult time and thank everyone for their support.”
However, a little caveat – the lineup varies between shows, so be sure to check below where you can see acts that are standing out.
In addition, the festival will be sporting a ‘pre-think’ initiative, putting plans in place to ensure everyone gets home safely.
TAC Senior Manager (Engagement) Meg Jacobs said in a press statement, “We want everyone at Small Town Big Sound events to have a great time, but more importantly we want everyone to make good choices and get home safely.
“If you’re planning to have a drink, then planning a safe way home should be top priority and our Vanessa staff will be there to help you do that, and provide free breath tests.”
Tickets for all Small Town Big Sound shows are on sale right now. Check out all important details below.
Small Town Big Sound 2021
Tickets on sale now
Barwon South West Region & Mornington/Bass Coast Region Lineup
Bad//Dreems Floodlights Kee’ahn
Friday, 16th April Point Lonsdale Boardriders Club, Point Lonsdale Tickets: Official Website
The 78th Golden Globe Awards took place today, choosing the best film and television of 2020 and early 2021 as selected by the Hollywood Foreign Press Association.
Among the musical winners were Trent Reznor, Atticus Ross and Jon Batiste who picked up the Best Original Score trophy for their work on Soul. Best Original Song, meanwhile, went to Niccolò, Laura Pausini and Diane Warren for ‘Io sì’, from The Life Ahead.
See the full list of nominees and winners below.
Best Motion Picture – Drama The Father Mank Nomadland Promising Young Woman The Trial of the Chicago 7
Best Motion Picture – Musical or Comedy Borat Subsequent Moviefilm Hamilton Music Palm Springs The Prom
Best Performance in a Motion Picture – Drama (Actor) Riz Ahmed – Sound of Metal as Ruben Stone Chadwick Boseman – Ma Rainey’s Black Bottom as Levee Green Anthony Hopkins – The Father as Anthony Gary Oldman – Mank as Herman J. Mankiewicz Tahar Rahim – The Mauritanian as Mohamedou Ould Salahi
Best Performance in a Motion Picture – Drama (Actress) Viola Davis – Ma Rainey’s Black Bottom as Ma Rainey Andra Day – The United States vs. Billie Holiday as Billie Holiday Vanessa Kirby – Pieces of a Woman as Martha Weiss Frances McDormand – Nomadland as Fern Carey Mulligan – Promising Young Woman as Cassandra “Cassie” Thomas
Best Performance in a Motion Picture – Musical or Comedy (Actor) Sacha Baron Cohen – Borat Subsequent Moviefilm as Borat Sagdiyev James Corden – The Prom as Barry Glickman Lin-Manuel Miranda – Hamilton as Alexander Hamilton Dev Patel – The Personal History of David Copperfield as David Copperfield Andy Samberg – Palm Springs as Nyles
Best Performance in a Motion Picture – Musical or Comedy (Actress) Maria Bakalova – Borat Subsequent Moviefilm as Tutar Sagdiyev Kate Hudson – Music as Kazu “Zu” Gamble Michelle Pfeiffer – French Exit as Frances Price Rosamund Pike – I Care a Lot as Marla Grayson Anya Taylor-Joy – Emma as Emma Woodhouse
Best Supporting Performance in a Motion Picture (Actor) Sacha Baron Cohen – The Trial of the Chicago 7 as Abbie Hoffman Daniel Kaluuya – Judas and the Black Messiah as Fred Hampton Jared Leto – The Little Things as Albert Sparma Bill Murray – On the Rocks as Felix Keane Leslie Odom Jr. – One Night in Miami as Sam Cooke
Best Supporting Performance in a Motion Picture (Actress) Glenn Close – Hillbilly Elegy as Bonnie “Mamaw” Vance Olivia Colman – The Father as Anne Jodie Foster – The Mauritanian as Nancy Hollander Amanda Seyfried – Mank as Marion Davies Helena Zengel – News of the World as Johanna Leonberger
Best Director Emerald Fennell – Promising Young Woman David Fincher – Mank Regina King – One Night in Miami Aaron Sorkin – The Trial of the Chicago 7 Chloé Zhao – Nomadland
Best Screenplay Emerald Fennell – Promising Young Woman Jack Fincher – Mank Aaron Sorkin – The Trial of the Chicago 7 Florian Zeller and Christopher Hampton – The Father Chloé Zhao – Nomadland
Best Original Score Trent Reznor, Atticus Ross, and Jon Batiste – Soul Trent Reznor and Atticus Ross – Mank James Newton Howard – News of the World Alexandre Desplat – The Midnight Sky Ludwig Göransson – Tenet
Best Original Song ‘Io sì (Seen)’ (Niccolò Agliardi, Laura Pausini, & Diane Warren) – The Life Ahead ‘Fight for You’ (D’Mile, H.E.R., & Tiara Thomas) – Judas and the Black Messiah ‘Hear My Voice’ (Celeste & Daniel Pemberton) – The Trial of the Chicago 7 ‘Speak Now’ (Sam Ashworth & Leslie Odom Jr.) – One Night in Miami ‘Tigress & Tweed’ (Andra Day & Raphael Saadiq) – The United States vs. Billie Holiday
Best Animated Feature Film The Croods: A New Age Onward Over the Moon Soul Wolfwalkers
Best Foreign Language Film Another Round (Denmark) La Llorona (Guatemala) The Life Ahead (Italy) Minari (USA) Two of Us (France)
Best Television Series – Drama The Crown Lovecraft Country The Mandalorian Ozark Ratched
Best Television Series – Musical or Comedy Emily in Paris The Flight Attendant The Great Schitt’s Creek Ted Lasso
Best Performance in a Television Series – Drama (Actor) Jason Bateman – Ozark as Martin “Marty” Byrde Josh O’Connor – The Crown as Prince Charles Bob Odenkirk – Better Call Saul as Saul Goodman Al Pacino – Hunters as Meyer Offerman Matthew Rhys – Perry Mason as Perry Mason
Best Performance in a Television Series – Drama (Actress) Olivia Colman – The Crown as Queen Elizabeth II Jodie Comer – Killing Eve as Villanelle Emma Corrin – The Crown as Diana, Princess of Wales Laura Linney – Ozark as Wendy Byrde Sarah Paulson – Ratched as Nurse Ratched
Best Performance in a Television Series – Musical or Comedy (Actor) Don Cheadle – Black Monday as Maurice Monroe Nicholas Hoult – The Great as Peter III of Russia Eugene Levy – Schitt’s Creek as Johnny Rose Jason Sudeikis – Ted Lasso as Ted Lasso Ramy Youssef – Ramyas Ramy Hassan
Best Performance in a Television Series – Musical or Comedy (Actress) Lily Collins – Emily in Paris as Emily Cooper Kaley Cuoco – The Flight Attendant as Cassie Bowden Elle Fanning – The Great as Catherine the Great Jane Levy – Zoey’s Extraordinary Playlist as Zoey Clarke Catherine O’Hara – Schitt’s Creek as Moira Rose
Best Performance in a Miniseries or Television Film (Actor) Bryan Cranston – Your Honor as Michael Desiato Jeff Daniels – The Comey Rule as James Comey Hugh Grant – The Undoing as Jonathan Fraser Ethan Hawke – The Good Lord Birdas John Brown Mark Ruffalo – I Know This Much Is True as Dominick and Thomas Birdsey
Best Performance in a Miniseries or Television Film (Actress) Cate Blanchett – Mrs. America as Phyllis Schlafly Daisy Edgar-Jones – Normal Peopleas Marianne Sheridan Shira Haas – Unorthodox as Esther “Esty” Shapiro Nicole Kidman – The Undoing as Grace Fraser Anya Taylor-Joy – The Queen’s Gambit as Elizabeth “Beth” Harmon
Best Supporting Performance in a Series, Miniseries or Television Film (Actor) John Boyega – Small Axe as Leroy Logan Brendan Gleeson – The Comey Rule as President Donald Trump Dan Levy – Schitt’s Creek as David Rose Jim Parsons – Hollywood as Henry Willson Donald Sutherland – The Undoing as Franklin Reinhardt
Best Supporting Performance in a Series, Miniseries or Television Film (Actress) Gillian Anderson – The Crown as Margaret Thatcher Helena Bonham Carter – The Crown as Princess Margaret Julia Garner – Ozark as Ruth Langmore Annie Murphy – Schitt’s Creek as Alexis Rose Cynthia Nixon – Ratched as Gwendolyn Briggs
Best Miniseries or Television Film Normal People The Queen’s Gambit Small Axe The Undoing Unorthodox
Double J have announced that for International Women’s Day next Monday, 8th March, they’ll be celebrating 50 “game-changing women of Australian music”.
The station is calling out to listeners for suggestions – asking fans to let them know “which female artists have helped you see the world differently, broken barriers or just created the music you love.”
“We want everyone from the ground breakers through to crowd pleasers, from current faves to the legends that came before them.”
You’re able to nominate solo artists, band members, DJs and producers via the triple j textline (0439 757 555) or the triple j, Double J and triple j Unearthed Instagram pages.
In addition, the station will be hosting 24 hours of songs, stories and discussions from women and gender-diverse artists across all three stations – triple j, Double J and Unearthed. On triple j, Ash McGregor will be joining Dave Woodhead on Lunch, Jess Perkins joining Hobba and Hing on Drive, and Bridie Tanner co-hosting with Declan Byrne on Home & Hosed.
On Double J, Zan Rowe will be kicking off IWD at 9am, with Karen Leng on from midday, Caz and Tim in the afternoon. Emma Donovan – pictured above, who recently scored an Australian Music Prize nomination for 2020 album Crossover – co-hosting Tower of Song with Henry Wagons that evening.
Uh-huh, you read it correctly. The Wiggles, including the original red wiggle himself, Murray Cook, are the confirmed guests for this Friday’s edition of triple j’s Like a Version segment.
The news was confirmed by ABC Music’s official Twitter account earlier today, revealing that the beloved children’s music veterans’ would be appearing on this week’s episode, asking followers to suggest songs for the group to take on.
The band’s current lineup – Anthony Field, Lachlan Gillespie, Simon Pryce and Emma Watkins – will be joined by Cook to make a quintet. In an incredibly wholesome video posted on the band’s Twitter account, Field spoke excitedly about linking up with his old bandmate.
“Murray Wiggle, the rock god, he’s agreed. The OG’s coming together with the current Wiggles, and we’re going to create music history with a great song on Like a Version… We can’t wait.”
It’s not the first time Cook, who has gone on to stay creatively active with his band the Soul Movers since hanging up his skivvy in 2012, has reunited with Field.