SPIN DOCTORS ANNOUNCE HUGE AU + NZ TOUR CELEBRATING 35 YEARS OF POCKET FULL OF KRYPTONITE26/11/2025  Spin Doctors are officially heading back down under—and they’re doing it in a big way. The alt-rock heroes have announced an 11-date Australian and New Zealand tour for May 2026, celebrating 35 years of their landmark debut album Pocket Full of Kryptonite. It’s their first Australian visit in over 30 years and their very first shows in New Zealand. The album remains a cultural staple thanks to massive hits “Two Princes” and “Little Miss Can’t Be Wrong,” songs that helped define the sound of the early 90s and propelled the band to international fame. The record topped charts around the world, hit #1 in Australia and New Zealand, and earned multiple certifications—including Platinum on our shores. For fans, this tour will be something truly special. Spin Doctors will perform Pocket Full of Kryptonite front to back, alongside fan favourites, deep cuts, and a handful of covers they’ve been road-testing recently. Frontman Chris Barron says the band is more than ready: “What have we been thinking?! It’s been 30 years! I can’t wait to relive good memories and rock Pocket Full Of Kryptonite!” Drummer Aaron Comess adds: “We are so grateful for the support Australia and New Zealand have given us. This tour means a lot to us.” And guitarist Eric Schenkman keeps it short and sweet: “Really stoked… the band has never sounded better.” The tour kicks off in Fremantle before rolling through Adelaide, Geelong, Melbourne, Newcastle, Port Macquarie, Sydney, Townsville, Brisbane and the Sunshine Coast, wrapping up in Auckland. From theatres to clubs, every show promises nostalgia, sweat, funk-rock firepower and sing-along moments that will take fans straight back to the 90s. If you grew up with Spin Doctors—or if you just love the kind of live show that leaves your voice wrecked and your heart full—set your alarms. PRESALE: Tues 2 Dec @ 10 am AEDT GENERAL PUBLIC: Thurs 4 Dec @ 10 am local
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If falling for someone mid-gig had a soundtrack, it’d sound exactly like effie isobel’s new single ‘Higher Gear’. It’s chaotic, cute, a little bit manic — and completely addictive.
The Adelaide dreampop artist spins a true story about crushing on a fellow musician, calling her in to play drums on the very song written about her. The result? A track that fizzes with chemistry and urgency, from its shout-along choruses to its hazy, lovestruck guitars. There’s a cinematic energy to ‘Higher Gear’ — the kind of song that makes you want to dance in the crowd, scream the lyrics with your friends, and text your crush all at once. effie’s vocals glide between soft and bold, weaving through layers of fuzzy guitars and punchy synths that sound straight out of a fever dream. Produced by Benny Tamblin, Michael Carver, and Bethan Maddison, it’s crisp yet raw enough to maintain its edge. Think Chappell Roan meets Wet Leg, with a distinctly Aussie twist. Between ‘Lip Balm’, ‘Peach Heart’, and now ‘Higher Gear’, effie is building a catalogue of tracks that feel like pages from a very real, very relatable diary. This one’s for anyone who’s ever been hit by a crush so intense it feels like you’ve skipped straight into the chorus. Party In The Paddock is back for its 13th spin around the sun — and the 2026 edition is shaping up to be one of the biggest yet. Supported by the Tasmanian Government through Events Tasmania, the beloved festival returns to Quercus Park, Lutruwita/Tasmania, from 5 to 8 February 2026, bringing four unforgettable days of music, community, and celebration. Leading the charge are Ocean Alley, Sofi Tukker (USA), The Veronicas, Sophie Ellis-Bextor (UK), The Temper Trap, Flight Facilities, Peking Duk, and Ball Park Music — an unbeatable lineup of psychedelic grooves, dancefloor anthems, pop icons, and indie brilliance. They’re joined by an incredible mix of Australian and international acts, including Peach PRC, Genesis Owusu, Mallrat, Dune Rats, Baker Boy, Blondshell (USA), Billie Marten (UK), Ruby Fields, The Preatures, Mansionair, and more.  Beyond the music, the Paddock transforms into a creative playground with art installations, drag and cabaret shows, comedy, live podcasts, yoga, a skate ramp, pop-up markets, and the new Paddock Run Club — making it so much more than just a festival.
Pre-sale registration is open now and closes Thursday, November 14 at 6pm AEDT, with pre-sale tickets available Friday, November 14 at 8 am AEDT. The general sale kicks off on Tuesday, November 18, at 8:00 a.m. AEDT. Register for the pre-sale to secure your spot early — including limited Thursday Pre-Party and VIP tickets — and enter the draw to win a backstage tour and Paddock cash. 
Benjamin Steer is back, and he’s giving us all the feels with his new single ‘Miracle’. The track is an emotional rollercoaster in the best way, bursting with cinematic strings, heartfelt lyrics, and that spark of energy that makes you want to run through the streets shouting about someone you love.
After a monster summer that saw Steer drop his debut EP Figuring It Out, hit 1.4M monthly Spotify listeners, and sell out his first headline show at The Grace London, ‘Miracle’ proves he’s just getting started. It’s about finding hope and courage when love feels too good to be true — that “should I protect this or scream it from a rooftop?” moment we all know too well. This song has central “main character in a rom-com montage” energy. It’s for the quiet moments, but also for blasting loud when you feel unstoppable. Steer’s honest songwriting and lush production remind us why he’s quickly becoming one of the UK’s most exciting new voices — and with tour dates, millions of streams, and another sold-out show at Omeara on the horizon, it’s clear his ‘Miracle’ moment is only just beginning. 
Jay Som’s Belong is the record you didn’t know you were waiting for, a six-year evolution of Melina Duterte’s artistry that bridges indie rock, electronic experimentation, and emo-tinged nostalgia. Since the release of Anak Ko in 2019, Duterte has spent years behind the boards, shaping some of the decade’s most lauded indie records while touring with boygenius and collaborating with the likes of Troye Sivan and beabadoobee. Now, she turns that expertise inward, crafting an album that is as collaborative as it is personal.
From the opening synth shimmer of “Float” to the introspective beauty of “Appointments,” Belong is a masterclass in balance. Duterte mixes the anthemic with the intimate, the nostalgic with the forward-thinking. Tracks like “Casino Stars” recall early 2000s pop-punk and emo influences, while “D.H.” ventures into raw garage-rock territory, marked by grunge-inspired guitar textures. Even the collaborations—Jimmy Eat World’s Adkins on “Float,” Hayley Williams on “Past Lives”—serve the songs rather than distract, emphasizing Duterte’s skill at orchestrating space for others without losing herself.
Belong thrives on its tension between control and release. Duterte, who produced, engineered, and mixed the album herself, allows moments of imperfection and spontaneity to breathe, reflecting both her growth as an artist and the messy, beautiful process of finding one’s place in the world. This is a record steeped in reflection, ambition, and warmth; it’s a snapshot of someone who has finally learned to merge her youthful influences with her lived experiences.
In short, Belong is Jay Som’s most confident record yet—playful, sharp, and emotionally resonant. It’s an album that invites you in, challenges you, and leaves you wanting more, all at once. For those who’ve followed Duterte’s journey—or those just joining--Belong proves that sometimes, stepping back is the only way to leap forward. 
With 10K, Electric Guest have delivered their most intimate, self-assured, and downright fun record in years. For a band that’s been quietly influential across pop’s top tier – with frontman Asa Taccone penning and producing hits for The Weeknd, H.E.R., Charli XCX, and Portugal. The Man – it’s refreshing to see the duo re-centre on their own creative heartbeat.
After the slick polish of previous releases, 10K feels handcrafted and human. It was recorded in true DIY fashion, often in Taccone’s own space, with a rotating cast of friends dropping in to lend thoughts rather than chase trends. The approach pays off spectacularly. The album radiates warmth and intention, offering a kind of emotional clarity that’s been missing from pop for a while. Tracks like “Creator” and “The Show” shimmer with the classic Electric Guest bounce – funky basslines, playful falsettos, and hooks that hit before you realize they’ve landed. Meanwhile, “Where I Went Wrong” and “Until You Call” explore vulnerability with surprising directness, letting Taccone’s vocals sit right up front, unguarded and honest. The duo’s chemistry remains unmatched: Compton’s rhythmic precision provides the spine, while Taccone’s melodic instincts and lyrical honesty flesh out the soul.
The album’s title, 10K, isn’t just clever nostalgia – it’s philosophy. The story behind the name (a $10,000 loan from a mentor that helped Taccone quit his day job and pursue music) becomes a metaphor for risk, trust, and creative renewal. Every note here feels like a repayment of that faith.
There are shades of Prince and Beck, yes, but what makes 10K compelling is how seamlessly it fuses those influences into Electric Guest’s distinct world – a world where pop and sincerity coexist. From the hip-hop nods of “1 Player Game” to the spiritual glow of “The Love On High,” the record pulses with artistic joy. Ultimately, 10K captures Electric Guest at a point of clarity. They’re not chasing hits or trends – they’re chasing truth, and the sound of that pursuit is golden. Whether you’ve been with them since Mondo or you’re discovering them through this release, 10K is a reminder that even in an industry obsessed with numbers, the most valuable currency is authenticity. 
10K tracklisting:
Electric Guest’s 10K is out now via Independent Co.  Indie pop favourites Electric Guest have unveiled their newest single, “The Love On High,” a heartfelt exploration of perspective, love, and what truly matters. The track pairs Asa Taccone’s signature falsetto with a gently woven arrangement that highlights the band’s knack for balancing intimacy with undeniable pop craft. The single arrives alongside a touching music video, filmed with family and friends. Featuring cameos from Taccone’s brother Jorma Taccone (SNL, The Lonely Island), their parents, and collaborators such as Kacy Hill, NoMBe and Jordana, the clip underscores the song’s message with personal authenticity. “The Love On High” is lifted from Electric Guest’s forthcoming album 10K, due October 10 via Independent Co. Described as a personal yet triumphant record, 10K marks a return to the duo’s creative fire, enlisting a circle of close collaborators while reasserting the band’s unique voice in the pop landscape.
For Taccone, the project follows a series of high-profile writing and production credits—including The Weeknd’s The Idol, H.E.R., Carly Rae Jepsen and Charli XCX—but 10K is firmly rooted in Electric Guest’s own evolution. A North American tour has also been announced, with stops in New York, Los Angeles, San Francisco, Boston, and more. Electric Guest are not just back—they’re stepping into a new chapter that feels both reflective and celebratory.  Six years since her last album, Jay Som is back—and she hasn’t missed a beat. Her new single “What You Need” is the kind of track that worms its way into your head instantly, equal parts dreamy indie pop and bittersweet confession. Written with Joao Gonzalez (Soft Glas), the song feels like walking a tightrope between infatuation and irritation, where love and annoyance blur together. Bright guitars twist through fuzzy synths and drums, giving it a springy yet melancholic vibe that makes you want to hit repeat. “What You Need” is just a glimpse of the world Duterte has built on her new album Belong. Out October 10 via Polyvinyl, the record is an ambitious 11-song journey through power-pop highs, slow-burning ballads, electronic experiments, and sing-along anthems. Duterte handled nearly everything—writing, performing, producing, engineering, mixing—while also opening the door to collaborators like Mal Hauser, Steph Marziano, and Kyle Pulley, plus guest vocalists for the first time in her Jay Som project.
At its heart, Belong wrestles with the question of where Duterte fits in an indie rock scene she stepped back from for six years. Judging by “What You Need,” her return is both self-assured and wide open, setting the stage for her most expansive and collaborative statement yet. 
Let’s get one thing straight: The Blue Hour is Amaya Laucirica at full power. It's her most daring, elegant, and emotionally raw record yet — a body of work that doesn't just flirt with reinvention, but fully commits to the plunge.
Where previous albums leaned into dream-pop haze, The Blue Hour cracks that open, exposing a new layer of sonic boldness and vulnerability. Produced by James Cecil, this record is all about expansion: emotionally, sonically, and thematically. It’s a concept album without being pretentious — a narrative arc that spans love, motherhood, grief, selfhood, and rebirth, anchored by Laucirica’s most powerful songwriting to date. “What I Cannot See” opens like a whisper, but lands like a gut punch. It’s a meditation on uncertainty — about love, identity, the future — and Laucirica nails the tone with shimmering restraint. It’s cinematic in its execution and emotionally razor-sharp.
"When I’m With You” is straight-up Sakamoto-inspired bliss. Moody keys, sparse rhythms, and Laucirica’s voice in full storyteller mode. This track bleeds atmosphere, evoking a kind of 3am emotional clarity that’s hard to fake.
Then comes “Here I Am”, and everything shifts. It’s not just another ballad — it’s an anthem for anyone who’s ever felt like they were losing themselves in the thick of a life transition. The lyric “here I am” becomes both a question and a declaration. If you’re a parent, especially a mother, this track will hit different. Laucirica isn’t afraid to get playful either. “The Time It Takes” is an unexpected synth-pop banger — part krautrock, part Kylie, all attitude. James Cecil pushes the production into sleek, danceable territory, and Laucirica runs with it. It’s a massive moment of levity, without sacrificing depth. If anything, its presence on the album only deepens the narrative arc, showing that transformation isn’t always heavy — sometimes it’s electric.
“Tumbling Light” and “On the Edge” return us to the gravity of life’s contradictions. Birth and death, joy and sorrow — they’re all in the mix. These songs don’t just describe emotions, they live in them. On the Edge in particular is a stunner: layered, cinematic, and soul-baring.
The final track, “Fallen Night”, might be one of the most quietly powerful closers in recent memory. There’s no dramatic finale, just a soft landing — a moment of clarity and calm after a long storm. It’s about reconciling with yourself, forgiving what’s been, and stepping forward. The Blue Hour is not just an album — it’s an experience. It’s a soundtrack for a thousand private reckonings. Whether you’re mid-crisis, mid-bloom, or just quietly getting by, Laucirica meets you where you are. She's crafted something brave, generous, and utterly beautiful. 
Electric Guest just dropped “1 Player Game,” and it’s a total vibe — soulful, cheeky, and laced with just enough hip-hop swagger to keep your head nodding. The verses are stripped-back and sly, almost like Asa Taccone is telling you the story one-on-one, before the chorus swells into a richer, more melodic burst. The bassline glides, the beat stays cool, and the little production flickers — from layered harmonies to playful synth accents — make it one of those tracks you notice something new in with each listen. Taccone leans into humour even while unpacking the sting of romantic complication: “It probably should have been called ‘3 Player Game,’” he admits, striking that balance between self-awareness and vulnerability that makes Electric Guest’s songs so easy to connect with.
This is the latest preview of 10K (out 10 October), the band’s first album in years and one that’s all about going back to their roots. Taccone and Matthew Compton made the record on their terms, tapping friends like Cole MGN, Kacy Hill, and Emmett Kai to help shape its soulful, genre-spanning sound. If early singles “Stand Back For You” and “Play Your Guitar” were the warm-up, “1 Player Game” is the deep cut that proves 10K isn’t just about hooks, it’s about heart. If you’ve been waiting for Electric Guest to bring back that playful, groove-heavy energy, “1 Player Game” is your signal — the new era is here, and it sounds like they’re having fun again. |
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