It’s winter now in Australia. But even though the weather conditions might not be the perfect setting for outdoor gigs or festivals, the music community in Australia is certainly not hibernating. Since my last June digest, there have been major, jaw-dropping developments in various fields within the biz.
I know it’s hard to keep up with the music news from the Antipodes if you’re following the scene from afar. So once again, I’ve taken the liberty to narrow it down for you.
Here are the six July 2026 bombshells in the Aussie music industry you should be aware of.
PART 272 OF “AM I EVER GONNA SEE YOUR FACE AGAIN?” A RANDOM COLLECTION OF UNKNOWINGLY OBVIOUS FACTS ABOUT THE AUSTRALIAN MUSIC SCENE
Honestly, it blows my mind how much can happen in any sector in just one month.
For instance, the Perth prog-rock legends Karnivool have just wrapped up their July 2026 gigs, promoting their long-awaited fourth studio album In Verses. And while there have been mixed reviews (ranging from Rolling Stone claiming the tour was “lacking something” to my friend’s verdict that they were “f*cking amazing” in Sydney), it was undeniably a highlight for heavy music fans.
The release cycles don’t seem to care about the wintry vibes, either. On the contrary—some excellent music has landed this month, like Budjerah‘s highly anticipated debut album Gentleman. Check out Tim Blackwell’s ‘Introducing’ podcast episode with this First Nations soul/R’n’B artist, where he explains why it took him four years to release it.
There’s also controversy surrounding a sudden lease termination of an LGBTQIA+ nightclub in Sydney due to alleged “offensive trade”. ABC has provided a solid round-up of WTF has gone wrong in that case. And on a brighter note, Sia is getting a star on the Hollywood Walk of Fame in the recording category in 2027, as reported by APRA AMCOS on their socials.
But let’s look at the news that has caught my attention this month, presented (more or less) in chronological order.
GANG OF YOUTHS BROKE THE (AUSSIE) INTERNET
Does the name Gang of Youths ring a bell at all?
If you were paying attention to the Australian music scene between 2016 and 2022, you’d surely be familiar with the Sydney-based alt-rock outfit. But if you weren’t, know this: during that window, they won multiple ARIAs, NLMAs (National Live Music Awards), a J Award, and a Rolling Stone Award for two incredible records—2017’s Go Farther in Lightness and 2022’s angel in realtime. More importantly, they won over the entire nation. Not joking—I was there to witness it.
But that’s not all. The Sydneysiders were riding on an international high, too, touring heavily overseas, supporting international megastars (like Foo Fighters and Mumford & Sons), and appearing as musical guests on American late-night TV shows (i.e. with Seth Meyers and Stephen Colbert). But then, in 2023, they signed off with a rendition of a classic Christmas carol, “Have Yourself a Merry Little Christmas”, leaving both the industry and their fans in a torturous void.
So you can imagine everybody’s reaction when, out of the blue, the band announced two August shows at the Sydney Opera House, which sold out in a matter of days (obviously). They dropped that news back at the end of June already, but just yesterday, another show was added, “by popular demand”, in an intimate regional venue in Thirroul, NSW.
This is – without a doubt – a sign of something huge coming our way. Especially since the group’s socials are pretty cryptic right now, featuring only the posts related to the announced shows. Meanwhile, their website is just a black background with a white inscription in the middle prompting visitors to “Subscribe for updates on new music and upcoming shows.”
So if anybody has scored the tix to any of the three August shows, please pay attention to what Dave Le’aupepe and Co. say, okay? And for the love of God, SEND ME SOME FOOTAGE!
I MIGHT FINALLY WATCH THE VOICE AUSTRALIA WITH GREAT(ER) INTEREST
I was doomscrolling on IG the other day when the algorithm pushed a reel to my feed, promoting season 15 of The Voice Australia. The artist featured in that short vid looked awfully like a First Nations rapper I follow named Yung Milla.
Coincidentally, around the same time, I was in talks with his management at AUM regarding a feature for NAIDOC Week. They asked to postpone the interview due to a last-minute “media blackout” they were unable to comment on at the time.
So I put two and two together—and my guess was confirmed a week ago with the official press release.
It’s no exaggeration to say that this is a huge opportunity for the First Nations artist to introduce his music to the national audience as a hand-picked contestant on the popular music show. Known for his deadly rhymes, releasing a string of impressive singles, and recognised for his important youth mentorship and advocacy work, Yung Milla’s commercial television debut marks a significant new chapter in the young Marranunggu rapper’s solid music industry trajectory to date.
So excuse me if I’m slightly biased this season, rooting for an emerging talent I’ve followed for a while. Having seen his authentic energy live, I have no doubt he’ll be a serious contender in this edition of the show.
The series begins screening on Sunday, August 2nd on Channel 7 in Australia. And I’ll give you another reason to tune in: Tones And I is joining the panel as a coach.
A WHOLESOME MUSIC VENUE IS OPENING IN VICTORIA
Here’s something you might not know about me: I’m a sucker for unusual music venues. An abandoned military base hangar, a forgotten shed in the middle of nowhere or your mum’s pristine Scandinavian-styled kitchen? Hell yeah!
So when I heard Geelong, VIC was getting a new place to stage cultural events, I was like: “Please, please be it a former church”. And I got my wish.
Church (yep, that’s literally what it’s called) wasn’t a live music venue from the get-go, though. The restored 1800s building first served as a restaurant. But some musos and music institutions started using it as a rehearsal space, too. So the Geelong Arts Centre decided it was a good idea to expand on that idea. TimeOut Melbourne reports that “the heritage building has undergone a major transformation, with structural upgrades, professional acoustics and a complete internal fitout – with capacity for 150 standing or 100 seated guests when it opens.”
This setup is ideal for intimate gigs that champion local acts and independent artists. This ethos is reflected in the shows programmed so far (many of which are by my fave Aussie musos, I might add), including Teen Jesus and the Jean Teasers, Tyne-James Organ, Lotte Gallagher and Benjamin Stewart.
Geelong Arts Centre is also supporting independent artists in other ways. With no upfront venue hire costs—plus operational, marketing, and ticketing help provided—musos can focus entirely on their performance rather than stressing over vibe-killing logistics.
And while Geelong might not be your usual stop on the Aussie trip itinerary, this development has just become a primary reason for me to return to this coastal town (which is the gateway to the Great Ocean Road, too). And maybe that was the local authorities’ plan all along?
AUSSIE DJ BECOMES A VIRAL SENSATION FOR ALL THE WRONG REASONS
It started like a harmless cover of a blast from the past. In April 2026, Aussie producer Josh Fawaz released his take on Madonna’s 1989 banger, “Like A Prayer”. And for a while, the song made its rounds quietly on streaming platforms without causing any major disruptions.
Things shifted rapidly over the past few weeks. The track picked up heavy radio rotation, began charting globally, and – as The Guardian put it – catapulted “little-known artist to viral sensation in a matter of months”. Not for the reasons you’d expect, though.
[Note: This is where I’d normally embed the song. But due to the nature of the dispute, I have decided not to this time. While I appreciate that everyone is trying to do whatever they can to achieve their dreams in the music industry and producers have a range of different tools to make their workflows easier, I strongly oppose using AI to make art. So I can’t stop you from listening to the track, but you won’t hear it on this platform.]
Normally, this would be a story of unprecedented indie success, with the industry cheering on a producer making their big break. Except there’s one major detail experts and peers alike are furious about: the track’s success isn’t entirely down to human skill.
The backlash over using generative AI to produce the track (and failing to disclose it) has been intense. A senior research fellow at RMIT’s School of Media and Communication pointed out that the “impressive vocal performance” is almost certainly the product of AI music generators like Suno, which the producer later acknowledged.
Eventually, he was forced to update the song’s credits on streaming platforms to acknowledge AI in vocal and drum parts. Yet he remains unbothered, publicly defending it as a standard modern workflow. He even posted a “behind-the-scenes” social media reel illustrating the process—which, in all honesty, makes me want to laugh and cry simultaneously.
I see a much bigger problem on the horizon, though. Unlike artists and labels, broadcasters and audiences don’t seem to care about how the song was written and who (or rather what) sings in it. Stats don’t lie: the track has amassed nearly 41 million streams on Spotify alone. So a more pressing question we should ask is this: Where do we go from here?
BIGSOUND DOES EVEN MORE TO SUPPORT EMERGING ACTS
To make a long story short, BIGSOUND is the biggest music showcase and conference in the Southern Hemisphere. I (or my special envoys) have covered it numerous times on this blog. But this time, I’m here to talk to you about how it is stepping up its game in 2026.
This year, BIGSOUND is celebrating 25 years – a pretty significant milestone. The massive music and conference line-up proves that the level of celebrations expected is quite high. So let me mention a few highlights. Julia Jacklin, trials, and King Gizzard & the Lizard Wizard are among the “Artist in Conversation” speakers. And many of my “ones to watch” will be showcasing, including Public Figures, DRIZZZ, Pash, and Zipporah.
But it’s a special year for the music gathering for another reason, too.
BIGSOUND recognises that for an emerging act it’s a pretty big deal to travel to Brisbane. And it’s not only about showcasing for the industry decision-makers. It’s also a financial burden for them. So every act on the 2026 bill will receive additional support this year.
From the info on the official website, I gather the level of support might differ each year (if it continues, that is). But for the starter package, the musos will get three wholesome things: a contribution towards their travel expenses, access to a QR code payment system so that patrons can directly support them, and a free conference delegate pass with increased access to conference sessions.
Interim CEO of QMusic (who are the event’s organisers), Kristy Ellis, also shared that “Whether you’re an artist, industry professional or music fan, BIGSOUND 2026 offers an experience unlike anything else in Australia, and we’re excited to have a few special surprises in store as part of the celebrations.” Very tempting indeed. Maybe a trip to Brisbane should be on my bingo card in 2026 after all…
AMY SHARK ENTERS A NEW CREATIVE ERA MAKING SOFT POP
… Aaaaand just when you thought Amy Shark was taking a well-deserved break, basking in her indie pop glory, she’s suddenly resurfaced with yet another transformative project.
The Gold Coast singer’s story is a classic one. Making music since at least 2006, she spent her first years performing under the name Amy Cushway and gaining some interest from the industry. After ten years of grind and hard yakka (and changing her moniker to Amy Shark), her song “Adore” made it to number 2 on the Triple J Hottest 100, 2016. And that’s when I heard of the muso for the first time – I was in Oz for that announcement.
I remember having seen Amy Shark supporting Milky Chance in May 2017. But “Adore” has significantly changed her trajectory in the industry, launching her into the stratosphere in a fairly short period.
Since that breakthrough, she’s delivered critically acclaimed albums (including her 2021 record Cry Forever, which I reviewed on the blog), collaborated with global hitmakers like Ed Sheeran, Diplo, Keith Urban, and members of blink-182, starred in movies, joined Australian Idol as a judge, and opened for Coldplay at their Perth stadium show.
In 2026, however, the singer has declared, “Everyone is a star. Worship is dead. It’s a little sad, but it’s also time to just appreciate art more than ever before.” She’s manifesting it musically by pivoting to an acoustic, stripped-back sound on her fourth studio album, soft pop, released on July 24th.
Describing the record, Amy noted: “No drums, just the best songs I could write.” And I’m here for it. Let’s just see how fans and critics will respond to it over time.
The month isn’t quite over, so the Aussie music biz could still throw a few curveballs. Especially since the combo Indie-Con/AIR Awards is taking place this coming weekend, for example. So keep an eye on my socials for real-time updates.
And I’ll see you back here for another monthly digest next month!
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