He’s been in the music business for over 25 years. As a defining voice in Australian hip-hop, he was also the founding member of The Herd collective and manager of the legendary Sydney-based record label Elefant Traks.

His song “Long Loud Hours” is on my forever favourite Aussie tracks playlist. Because of the hook, but mostly because of the lyrics.

He’s always been a vocal artist-activist. But it is on this record, no. 8 in his long career, that he claims he’s “never felt more galvanised and purposeful with the music“. So if you care about human connection as much as Urthboy does, this album is definitely for you.

ART 281 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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“If today is my last day as an artist, I don’t want to make background music with a palatable aesthetic so I can beg for a spot on an adult contemporary festival. I want to go down knowing that I truly lived freely with passion / with love.”

Even if I didn’t know who said it, my money would be on Urthboy. And I’m pretty sure I’m not the only one.

Real name Tim Levinson, the NSW-based rapper is a true staple of the Australian music scene. Known for his on-point musical statements, he strongly believes that art can challenge the world around us.

I saw these values in action, attending the 2019 “Don’t Kill Live Music” rally in Sydney. Not only did he perform a moving set, he was also one of the most compelling speakers of the day.

With a stack of acclaimed releases under his belt, including 2016’s cross-genre gem The Past Beats Inside Me Like a Second Heartbeat and his AIR Award-winning Spitshine, Urthboy’s catalogue speaks for itself. Anyone who knows even a fraction of the Australian hip-hop story knows his name.

I also deeply respect Urthboy for not being afraid to speak up.

These days, artists have a once-in-a-lifetime opportunity to be on the right side of history (looking at you, Ed Sheeran). Their fans, mostly younger generations, respond well to music but react the opposite way when it comes to political discourse. So an artist’s role is not so much about taking sides along partisan lines. It is more about trying to help them understand the world through music.

But we live in a transactional world, and that includes the music business. Or as the Jiddu Krishnamurti quote in Urthboy’s press release puts it: “You are dying every minute of the day in order to live.” (In other words: to stand for something real, you have to be willing to lose something in return.) So while punters might dig your music, they might not necessarily share your worldviews.

Some artists aren’t ready to trade their fame/reputation or industry position for “a cause”. And I get it – it’s a calculated risk.

But for Urthboy, staying true to his values is equally important as sharing his music with his fans. He has been speaking out publicly on several controversial topics throughout the years, including the conflict in Gaza and Australia’s refugee policy. Many times through his songs, very often on his socials, and occasionally at industry gatherings.

His new album is a consequence of all the above.

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Urthboy explains the concept behind Reckless Bloom:

“Ironically, it came into sharp focus after witnessing a new McCarthyist censorship in public life, some of which I had a direct taste of. None of us can make change alone, but music still has the power to give that change volume and rhythm. It’s not about politics or division, it’s about love and human connection and fighting for it.”

And connection is the one thing that truly shines on this record. Aside from its primary hip-hop flavour, it veers off into indie, rock, jungle and jazz as well, featuring a plethora of other Australian acts from different walks of life.

We get one of the country’s fiercest rapper Mudrat on the blazing track “Other”. The riotous voice on “Alarm” belongs to of Emmy Mack from the alt-rock outfit, Redhook. Young Gomeroi and Ngiyampaa man Jayden Kitchener-Waters carries the joy in “Smoke”. And Novocastrian jazz/soul songstress Steph Russell leads the choir in “Offkey”.

According to Urthboy, Reckless Bloom shuts the door on a chapter that lasted a quarter of a century, allowing him to walk out the other side with a full cup and a fist in the air. He considers it a rally against the Epstein class and the abuses of power that are stealing the future. It’s written as if time wasn’t an infinite plain ahead that we take for granted. Urthboy sees it more as an edge, where all can be lost, which ultimately brings us closer to life.

The record’s opening song, “FTF”, is the best example of that creative protest. Packed with street sounds: sirens and vocals distorted by a megaphone, the song’s call to action is unmistakable: “Strike the match and f*ck the fash.” Add the marching band effect from another track, “Sleepwalk”, and you’ll totally feel like you’re a part of a manifestation.

But Reckless Bloom has tender moments, too. The penultimate track is a beautifully painted picture of a father wanting to keep his child safe amongst bombs, with Urthboy sharing glimpses of his personal life. Palestinian-Australian artist Moe Omran provides additional vocals on the track, singing partially in Arabic and adding context to the story.

The location and circumstances in which the album was conceived had a great impact on the album’s overall message, too.

After all, Newcastle/Muloobinba is a DIY town that works, creates, fights and loves. So Urthboy attributes the record’s vibe to the company of armed forces, school teachers, social workers, miners and artists, out on the street protesting genocide and coal companies fleecing Australians, and resisting the ticking clock of AI and rising rentals. Moreover, the fact that Reckless Bloom is released independently through Smokey’s Great Records and distributed by Community Music is another statement on what it represents.

The record drops on 23 October. It will be available on vinyl, CD, Bandcamp and in a digital format. And right when you’ve given it a proper spin and learned the lyrics by heart, Urthboy is taking it on the road.

This time, however, it’s not a simple run of gigs on the East Coast. The rapper decided to create a completely live show to celebrate human creativity and expression in an era of AI slop and prompt-driven art. A 6-piece band of thrilling Novocastrian jazz players has been assembled for the tour. They will reimagine both some of Urthboy’s much-loved older songs and new tunes.

After four dates in capital cities and Newcastle in November, Woodford Folk Festival at the end of the year will close Urthboy’s 2026 live performances. The annual music and cultural gathering is not a usual stop for a hip-hop artist – which is another proof that Urthboy’s music is not meant to be played in the background.

There’s a lyric on Reckless Bloom which sums up the album much better than I ever could: “Sometimes you gotta sing off-key to be heard.”

If only more artists had the guts to do the same.

_{Cover photo by Lee Illfield}

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