I was offline for a while – longer than I’d initially planned, to be honest.

But it turns out the Aussie music scene didn’t slow down just because I was away. Heaps happened within those two months, so I’ve had a lot of catching up to do.

I figure you might be behind some of this stuff, too. So as a comeback gift, I’ve decided to put together a little wrap-up of the events, initiatives and projects that caught my attention. You’re welcome 🙂

PART 264 OF “AM I EVER GONNA SEE YOUR FACE AGAIN?” A RANDOM COLLECTION OF UNKNOWINGLY OBVIOUS FACTS ABOUT THE AUSTRALIAN MUSIC SCENE

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A news digest doesn’t really need an introduction. But just FYI, the 6 announcements are listed in chronological order, as they were announced, from mid-March to the end of May 2026. 

THE AVALANCHES & TELSTRA FORM A “SUSTAINABLE” PARTNERSHIP

While you might know The Avalanches as one of the best electronic music acts made in Oz, repping the plunderphonics genre, the other protagonist from the headline is probably a mystery.

Telstra is an Australian telecomms company, something like Vodafone in the UK or Verizon in the US. And here’s what it has to do in this story. Even though we can’t live without the internet, Wi-Fi, and social media anymore, we’re also becoming more aware of the e-waste problem. Our old devices (like laptops, smartwatches, chargers, etc.) don’t disappear off the face of the Earth, after all. So, like any other tech giant these days, Telstra looks for solutions to make its business more sustainable and stay relevant in the industry.  

But it’s boring to just lecture clients about it. So under the ‘Second Life Sounds’ initiative, it partnered with the Aussie DJs for one of the chapters of its “musical reimagining of environmental sustainability.”

It wasn’t a song they created together, though. It was a much more concrete object – a synthesiser, “made from over 80% repurposed e-waste components like old mobile phones and electronic cables.”

And honestly, I can’t think of a better Aussie act to fit this project. The Avalanches also seem to think so, stating that “Our sound is built from repurposing old audio fragments and turning them into something new, so building a synth from recycled materials felt like a natural progression for us. We were really excited by the prospect.”

Considering that “an estimated 62 million tonnes of e-waste was produced globally in 2022, with just over 20% of that total being recycled”, as per the Telstra reporting (after the WHO), it’s definitely an initiative worth applauding.

BLUESFEST’S UNFINISHED BUSINESS

Not all the news I’ve missed is good news, unfortunately. And I’m freakin’ disappointed by the whole Bluesfest saga.

To make the long story short: Byron Bay’s Bluesfest is (was!) an iconic Aussie music festival, usually held on the Easter weekend. Launched in 1990, it featured mostly blues and roots performers, but over the years, many different genres have been represented on its stages. Aside from a (pretty understandable) pandemic cancellation, it seemed to be doing very well, drawing in decent crowds (and local celebrities, like Chris Hemsworth) year after year.

All of a sudden, in August 2024, it was announced that next year’s edition would be the last. A whole marketing campaign was designed around that message, with heaps of supporters rallying to keep their beloved event alive. As a direct result of that, the 2025 iteration proved massively successful. And when everyone seemed to come to terms with their loss, a bombshell dropped… Bluesfest in 2026 would go ahead after all. 

Some iconic (if a little unexpected) acts were booked to perform (like my heavy metal faves, Parkway Drive). And that could be the end of this fairy tale. But it isn’t. Because 3 weeks before the kick-off, a cancelation “due to poor ticket sales” was shared with the public, with the whole endeavour going into administration. 

Now, from the info I have on hand, based on the toxic workplace allegations and the account of the people directly involved in the venture, I find this to be one of the most disappointing and f*cked up situations in an industry that’s already difficult to navigate for artists. Apparently, refunds for punters or businesses servicing the event are not guaranteed, either.

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The worst part is, however, that the man pulling all the strings, director Peter Noble, who was awarded the Medal of the Order of Australia (OAM) “for service to live and recorded music, to tourism, and to the community” in 2016, has gone completely dark. Since the cancellation announcement, he’s been deliberately avoiding the press and making any explanatory comments, laughing off the allegations and showing complete disrespect for the brand he helped build. I doubt there’ll be a happy ending to this epic fail, but it’s sad AF to see this happen.

KEVIN PARKER’S AD FOR HIS ORCHID TOOL STRIKES THE RIGHT CHORD

I have to start this part with a disclaimer: I’m not a muso. So, please forgive me, but I was today years old when I found out that – more than a decade ago – Kevin Parker of Tame Impala created a songwriting tool called Orchid.

Now, I can’t judge how good it is because – again – I’m not a muso. But Variety called it “a breakthrough”, so I gather it’s a useful addition to any modern artist’s creative process.

The announcement is related to the release of the tool’s new version. The limited-edition (with only 3k copies available worldwide) is called Clear Orchid: Arctic, and it’s already available for purchase.

But Kevin Parker wouldn’t be himself if he didn’t do something psychedelic about the release. So he dropped “TeleVision”, a short film with a medium reading musos’ minds. Not only that – there are a few notable cameos in the clip, including Lewis Capaldi, Fred Durst, Josh Homme, Janelle Monáe and Joséphine de La Baume as the guru herself.

Interestingly, the movie’s objective isn’t only to promote the tool itself, though. It’s the message to all musos: “No magical technology can replace the role of an artist, and the only one who can find what’s on your mind is you.”

In today’s AI-driven world, where artists are constantly worried about being replaced by machines and authenticity is no longer valued, this is an uplifting message from one of the most recognisable electronic artists hailing from the Land Down Under. I just wish the higher echelons running this business would see it the same way. 

HEAVY MUSIC IS RECLAIMING ITS (RIGHTFUL) PLACE IN AUSTRALIA

I might be repeating myself, but I’ll say that one more time. Nothing makes me happier than seeing the music I grew up on topping the charts and being talked about again. 

That’s right, ladies and gents. Heavy music is no longer a niche scene. I mean, I’ve pointed out that global trend on my channels repeatedly, having reported on Amyl and the Sniffers’, Parkway Drive’s, RinRin’s or Battlesnake’s endeavours in the last few years.

Also, it’s not really hard to guess punter’s general attitude and mood preferences these days, given the current socio-economic shitshow. But stats don’t lie. Heavy music streams have gone up exponentially all over the world. 

And it looks like there’s been a 105% increase in Australia over the last five years, too, according to The Music Network’s sources. Surprisingly, though, the result is even better than in the dance/electronic (+74%) and hip-hop (+31%) scenes. 

Consider this prominent example. Karnivool is an iconic prog rock/alt metal band from Perth, who gained their following mostly in the early 2000s. As it sometimes happens, they took an unexpectedly long break from music after 2013. Despite that, their recently recently fourth studio album, In Verses, debuted at no.1 on the Aussie charts. Singer Ian Kenny summed up that special moment of audience validation like this: “The fact that a heavy band right now can get that… that shit’s just not happening,” Kenny says. “So the fact that it has happened, that’s a cool nod.”

So even though other genres are still on the rise, too, I can’t wait to see more heavy outfits made in Oz on festival bills worldwide or headlining their own shows. Btw, SPEED – you’re next on my heavy music gig list.

NETFLIX DROPS A VERY CANDID KYLIE MINOGUE DOCO

Say what you want, but Kylie Minogue is an Australian national treasure. She’s been in this biz for nearly four decades, experiencing spectacular ups and very public downs, and she’s still going strong.

I’ve tried to break down the “Kylie effect” on this blog already. But it turns out there’s soooo much more to it. And we’ve just been “lucky, lucky, lucky” to get a glimpse behind the scenes.

Even though the music (and other celebrity-related) docos are a thing these days, Netflix made the announcement not very long before releasing the 3-episode production. And I have to admit – I was pretty sceptical before watching it. Some previous rockumentaries missed the point entirely (looking at you, “Robbie Williams” creators), so I didn’t want to have to use my cringe-o-meter again.

Thankfully, “Kylie” is a real gem. Not only because the main character opens up a lot about certain topics that everyone always speculates about. Like the nature of her relationship with Jason Donovan at the beginning of their careers, when they both starred in the Aussie soap, “Neighbours”. It’s because of all the thoughtful details, fascinating facts and off-topic insights the doco is full of.

Did you know, for instance, that “I Should Be So Lucky” was a title given to the song on the fly, when Kylie was catching her flight back to Oz, having recorded the song in London? (Everyone doubted she would make it to the airport on time.) I bet you wouldn’t in a million years have imagined Nick Cave talking about how we all need pop music in our lives because it’s such a “joy machine.” It’s cute to see how close Kylie is to her sister, singer Dannii Minogue, too. And get your Kleenex ready to watch the part when the Aussie star talks so lovingly about her time with Michael Hutchence from INXS.

So if there’s an artist that fits the “from zero to hero” (or “from a ‘Singing Budgie’ to a beloved artist and global gay icon”) definition, it’s definitely Kylie Minogue. Thanks, Netflix, for telling her story in such an authentic and candid way.

ECCA VANDAL’S HAVING A MASSIVE 2026 SO FAR

I might not have heard of Ecca Vandal when she first started releasing music (around 2015). But I was soooooo there when she dropped her self-titled album two years later. I still consider “Future Heroine” as my personal relationship manifesto.

In all those years following the alternative Aussie artist, it’s pretty obvious to me that her objective is to play by her own rules. Even if they go against everything the music industry likes to see. 

Just look at her releases – they’re carefully picked moments or collabs. After the 2017 record, she drops the “Rell, the Iron Maiden” anthem for the League of Legends video game. Then, four (!) years go by, and we don’t hear anything from or about her at all.

Suddenly, in 2024, after a few cryptic posts on her socials, Ecca Vandal resurfaces with new music, the “BLEED BUT NEVER DIE” banger I still can’t get enough of. Throughout the rest of that year and the following one, more dope tunes (like “MOLLY”) follow, building up the momentum to 22 May 2026, when LOOKING FOR PEOPLE TO UNFOLLOW arrives. Honestly, I can’t remember being more psyched to listen to an album.

Aside from that epic milestone, some other cool things have been happening in Ecca Vandal’s orbit. Like supporting Deftones and hanging out with Interpol and Limp Bizkit. Or playing Coachella. Or debuting on the US TV, on Jimmy Kimmel’s show. Recently, I also listened to an episode of Tim Blackwell’s “Introducing” pod with Karnivool. Singer Ian Kenny mentioned Ecca Vandal as one of the acts he’s into right now. 

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So yeah, the Melbourne-based artist is having a massive 2026. And with all the traction she’s getting, I’m sure she’s got more things lined up. One of which is her appearance at the legendary Roskilde Festival in Denmark in July this year, where I’ll get to see her for the first time since that awesome support slot for Incubus in Brisbane in 2018. SO watch this space – the festival coverage is coming!

Another thing that might be coming soon is a news digest like this one. So let me know if this new format is something you’re keen on getting into your inboxes. And I’ll do my blogging best to follow it up every once in a while. 

Also, thanks for sticking with me over the li’l creative hiatus! Here’s to many more posts in the future!

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