|
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.
0 Comments
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.  Jay Som is back, and she’s coming for your heart. “Cards On The Table” is the second taste of Belong, her first album in over six years, and it’s pure electronic pop bliss — think shimmering synths, glitchy drum patterns, and the soft ache of vocals that sound like they’re whispering right into your headphones. Lexi Vega (Mini Trees) joins in, adding a featherlight harmony that makes the song feel even more intimate. It’s about the messy, sometimes brutal side of friendship — the fights, the misunderstandings, and the cycle of people leaving and reappearing in your life. But instead of going big and dramatic, Duterte keeps things low-key and hypnotic, letting the beat pulse like a slow heartbeat under everything. Belong, due 10 October via Lucky Number, is shaping up to be Jay Som’s most collaborative and adventurous record yet. After her acclaimed 2019 album Anak Ko, Duterte stepped into a producer’s chair for some of indie music’s most celebrated names — from boygenius and Lucy Dacus to Troye Sivan and beabadoobee — while quietly expanding her sonic toolkit. The album will feature guest spots from Hayley Williams, Jim Adkins, and Lexi Vega, adding new voices to her lush, genre-shifting sound. If “Cards On The Table” is your first dip back into Jay Som’s world after six years, it’s a warm — if slightly melancholy — welcome to a record that promises to be worth the wait.  Spring in Launceston is set to bloom with creativity, connection, and colour as Junction Arts Festival returns for its milestone 15th year.
From 12–21 September 2025, the city transforms into a hub of immersive art, bold performances, and unforgettable experiences. With two weekends of programming and over 250 artists involved, Junction 2025 invites locals and visitors alike to explore Tasmania’s thriving creative scene right in the heart of Launceston. This year’s theme centres on renewal and reflection—marking 15 years of Junction’s community-driven history while boldly stepping into new artistic territory. From large-scale interactive installations to intimate, thought-provoking works, there’s something for everyone to discover. One not-to-miss highlight is the Tasmanian premiere of Airship Orchestra by internationally renowned studio Eness. This interactive soft sculpture installation is as much a sonic experience as it is a visual one—expect to be fully enveloped in light and sound. It’s a first for Tasmania and a shining example of the kind of immersive contemporary art that Junction is bringing to this year’s festival. The program also celebrates local stories and artists, with reflective works honouring the festival’s journey and its deep roots in the community. Whether you're attending the anniversary celebrations on the first weekend (12–14 September) or catching the city-wide buzz from 18–21 September, Junction offers a multi-sensory adventure you won’t want to miss. Tickets go on sale 7 August at 7:00 am, and with the program now live, now’s the time to start planning your festival experience. View the full digital program [here]. |
RSS Feed