Formed in Perth, Birds of Tokyo have grown from independent roots to become one of Australia’s most popular contemporary rock bands.

The band has released six studio albums including Human Design which topped the ARIA charts. Classic songs like “Good Lord”, “Two Of Us”, “Plans”, “Lanterns”, “Brace” and “I’d Go With You Anywhere” have all been top 10 airplay hits and more than seventy Birds of Tokyo tracks have featured on Triple J, making them one of the National Youth Broadcaster’s three most played artists of this millennium.

They have played major festivals like Splendour In The Grass & Falls and appeared as special guests for Muse, Midnight Oil, Cold Chisel and Bon Jovi.  They have also toured across Australia with some of the country’s most prestigious Symphony Orchestras.

Birds of Tokyo have won “Rock Work Of The Year” on a record setting five separate occasions at the APRA Awards.

Late 2021 the band released single “Superglue (feat. Stand Atlantic)” alongside their headlining appearance at the AFL Grand Final in Perth.  In March 2022, new single “Smith Street” was released which perhaps surprisingly for a song written during the Victorian and NSW lockdowns, celebrates the feeling of running free. The band then closed out the year with a summer arena tour with Keith Urban, and dropped the infectious, California-tinged tune “Daylight”. 

In April 2023, Birds of Tokyo announced they will team up with the West Australian, Queensland, Tasmanian, Melbourne and Sydney Symphony Orchestras during August and September for an electrifying concert experience called “Birdsongs”.  Fans will enjoy the soaring melodies and raw energy of classic anthems alongside new songs, all reimagined with stunning arrangements by acclaimed orchestrator, Nicholas Buc, who will also conduct all dates.

Killing Heidi are officially forever. Twenty years ago, when the disarming folk-pop of Kettle launched Ella and Jesse Hooper into high radio rotation, it was something neither expected. But tour after tour, the Violet Town siblings are finding their explosive power pop more entrenched in the Oz rock pantheon.

There’s a whole generation that doesn’t need reminding that the early ’00s belonged to Killing Heidi. Weir hit #2 and Mascara #14 in Triple J’s Hottest 100. Debut album Reflector won four major ARIA awards and sold 4 times platinum as Ella and Jesse took out the prestigious APRA Songwriters of the Year award in 2001.

After a fruitful decade of diverse solo and duo pursuits, the pair reignited the flame for the 20th anniversary of Queenscliff Music Festival in 2016: a perfect reflection of their first teenaged performances under the Killing Heidi banner.

Blown away by the warm welcome and electric energy of a capacity crowd, they went on to meet snowballing demand at the Zoo Twilights concert series at Taronga and Melbourne Zoos.

In 2018, they kicked it up another gear with a SOLD OUT capital cities tour backed by Live Nation and followed by an extensive regional run of shows. A year later, they hooked up for a co-headlining national tour with ’90s rock icons, Baby Animals.

Summer 2020 saw Killing Heidi return for a monster 23 dates across every state and territory of Australia as part of the epic Red Hot Summer Tour, with fellow Australian rock giants Hunters & Collectors, James Reyne, The Living End, The Angels, Baby Animals and Boom Crash Opera.

“What Killing Heidi’s music meant and still means to the people that shared that amazing time with us really blows me away. I meet so many people, especially young women, who tell me how Killing Heidi inspired them to be themselves, back themselves or even start a band, and I’m completely honoured that it had that effect on people” — Ella Hooper

“Ella’s performance is as alive as ever. Vibrant and rockin’, it was clearly evident she was enjoying being back onstage fronting Killing Heidi, especially during the harder hitting songs such as ‘Superman/Supergirl’, ‘Mascara’ and set-closing crowd favourite, ‘Weir’ – Rolling Stone

It feels like it was just yesterday that Jebediah first coalesced as four music-obsessed youngsters stumbling out onto Western Australian stages, content with simply making noise as best mates do.

Few could have foreseen that this shambolic quartet would not only go onto define an entire era of Australian music in their own way, but also become one of the country’s most beloved bands.
By now, their story is legendary in the music scene of their native Perth. Mostly teenagers when they formed in the mid-’90s, Kevin Mitchell, Chris Daymond, Vanessa Thornton, and Brett Mitchell paired their endearing and refreshing personalities with a penchant for writing alt-rock anthems that weren’t just catchy, but resonated with their voracious fanbase.

Before long, their cheeky approach to the game began to pay off, and winning band competitions and headlining local stages was replaced by the courtship of labels and support slots for international bands.
Almost overnight, the Jebs were on their way from being WA’s best kept secret to becoming the country’s new obsession. Early singles like ‘Jerks Of Attention’, ‘Leaving Home’, and ‘Harpoon’ quickly cemented their songwriting abilities, with 1997 debut Slightly Odway peaking at #7 on the charts, and scoring them two ARIA nominations.

As the acclaim grew, so did the accomplishments. The Jebs became a staple of festival stages and car stereos, a permanent fixture of major venues, and impossible to escape when perusing any music lover’s CD library. 1999’s Of Someday Shambles would hit #2 on the charts and bring with it an attempt to conquer the US market thanks to singles like ‘Animal’ and ‘Feet Touch The Ground’, while 2002’s Jebediah and 2004’s Braxton Hicks continued to showcase the band’s innate ability to blend the crunchy with the smooth.
By 2005, a decade of being in one of the country’s finest bands had necessitated some personal respite.
While the Jebs laid low for a few years, its members remained busy: Vanessa and Brett played in bands, Chris worked at a record store, and Kevin moved to Melbourne and focused on his Bob Evans project.
But, their familial and musical bond was never too far away.

Ultimately, the Jebs made their triumphant return in 2011, re-emerging with Kosciuszko, which not only hit #6 on the charts and nabbed an ARIA nomination, but boasted the APRA Awards’ Song Of The Year shortlisted single, ‘She’s Like A Comet’. They were back, firing on all cylinders, and showing no signs of losing that youthful energy and wide eyed optimism that endeared them to so many in those early years. As time marched on, so too did the Jebs, with retrospective reissues of Slightly Odway and Of Someday Shambles, being paired with 20th anniversary shows, and gigs alongside luminaries such as Midnight Oil and You Am I. Though they were never absent from stages or the collective consciousness of fans, the question of new music did arise periodically.
It was in 2018 though, that Jebediah first hit the studio again. They weren’t going into the process with the intention to make a new album, but rather, to channel that formative focus and see what arises out of the pure joy of collaboration. “It was different; it’s the most experimental situation we’d ever been in,” remembers Kevin. “But it felt natural because we realised, ‘we’ve got absolutely nothing to lose here’.”
Working again with Dave Parkin (Red Jezebel, Spacey Jane) at his Blackbird Sound Studio in Perth, as well as recording sessions with Anna Laverty (Camp Cope, Screamfeeder), the band entered the process feeling free, uninhibited, and open to experimentation. They didn’t bring any ideas in with them, and nothing was finessed in the rehearsal room, rather, Dave would press record and capture the Jebs at that very moment in time.

“There’s nothing contrived or manufactured about it,” adds Kevin. “It’s a pretty honest reflection of where we are now.” From those early jams, to fleshing out new ideas, and to reflecting on their new music throughout COVID, the result is Jebediah’s long-awaited sixth album, Oiks. Named for a Victorian-era descriptor of the group from You Am I’s Tim Rogers, it’s a fitting title for a record such as this, with its relation to uncouthness helping to underpin what is the most freewheeling and unrestrained album from the band.
“I think this was the most excited I’ve been while writing and working on new songs since those first couple of records,” recalls Vanessa. “I drove home from that studio every night feeling like a kid who’d been learning to play their instrument while all this amazing stuff was happening.”

Though the Jebs might have since evolved and matured from being the little gang of oiks that endeared themselves to Tim, that same energy remains. Oiks is experimental without alienating, frenetic without overwhelming, and reflective without insincerity. Most importantly, it’s Jebediah moving into the future without forgetting their past, and crafting a record whose spirit is even more rooted in the punk rock ethos than the band’s earliest days. Alongside the release of Oiks, the Jebs are also taking the chance to look back upon their storied history with a feature documentary directed by filmmaker Arlo Cook. Having joined the band on the road since 2015, it’ll be a chance for fans to reflect upon almost 30 years of history from one of Australia’s most beloved rock bands, with Cook having been given access to all manner of footage – ranging from home movies to pro-shot videos – in pursuit of documenting Jebs. Even as Jebediah look back to the earliest days as they break new ground, it’s abundantly clear that the energy, drive, and familial bonds that have united them for close to three decades are still as strong and as powerful as ever.

“A lot of that naivety of youth is gone,” Kevin says. “I think there’s a spirit that we are able to conjure up that only ever really happens when the four of us are in a room together creating music together.”
“We’re essentially those same four people,” echoes Vanessa. “We’ve got different lives, we have other
interests, obligations, and priorities, but we’re still the same four kids that used to jump in a rehearsal, get stoned, and make whacky music.”

Already well-established as one of Australia’s premier pop successes, Amy Shark enters a new era of artistry – one built on a foundation of inner peace and fulfillment. Don’t let the idea of peace fool you however, this new chapter for Amy Shark is one marked by fresh and powerful turbo-pop; a creative mode the acclaimed songwriter and performer is excited to share with her fans and newcomers alike. The new single ‘Only Wanna Be With You’ is easily one of the sharpest pop compositions from Amy Shark to date. It’s the perfect gateway to the wider Amy Shark world for newcomers. And for those who have followed Amy since the beginning – this first new music is a confident stride forward in her artistic evolution.

It’s no mean feat to keep the fires of inspiration and influence burning when you’ve already crafted some of modern Australian pop music’s most memorable songs. Yet for Amy, the chase for a new sonic realm and creative challenge has never been more important for her as she navigates this new time of her career. “The second this song was birthed I was like, “I’m sorry, that’s an undeniable chorus”. It’s got so many pop, Amy Shark elements to it, but there’s this gritty, fuzzy punk guitar that comes in…I used to be really scared of guitars and maybe just recently, with what I’ve been listening to, it’s brought it to life. I’ve gone with my gut a lot more on this song and the whole new era.” AMY SHARK ‘Only Wanna Be With You’, crafted around guitar and fuzzy progressions that tie back to artists like The Cure or Psychedelic Furs, without losing that quintessential Amy Shark stamp: strong pop swells and lyricism that is insatiable to the ear. It’s a track that signals a recent change in direction and approach for Amy Shark, who has experienced a new wave of personal growth through this period of songwriting.

Since her emergence onto the national conscience with her now 6x Platinum single ‘Adore’ back in 2016, the trajectory Amy Shark has been on has seen her evolve from a unique new presence in an Australian indie-pop realm that was very much in a period flux; to becoming one of the country’s most recognisable voices taking the genre forward. And in the years that followed the ground-breaking release of ‘Adore’, Amy Shark continued to prove powerhouse potential. A string of chartbusting singles including ‘I Said Hi’ (6x Platinum) and ‘Mess Her Up’ (3x Platinum) featured on her ARIA Award winning debut album LOVE MONSTER in 2018 – the album earning Amy Shark her first #1 ARIA charting record and becoming the highest selling album by an Australian artist that year.

Fast forward to 2020 and as the world plunged into a period of unprecedented turmoil and a seemingly never-ending period of uncertainty, music became more of a salve than ever: for fans and Amy alike. The relationship between Amy and her fans strengthened – visibly demonstrated by the success of ‘Everybody Rise’: a song that has clocked almost 40 million global streams, net more ARIA success and become 2x certified Platinum since its release. Entering sophomore album territory with a strong body of work already behind her, as well as a solidified reputation as one of Australia’s most beloved live performers, Amy Shark released CRY FOREVER in 2021; claiming her second #1 ARIA placement and holding the spot for two consecutive weeks. And though her name has become synonymous with widespread commercial success, at the core of Amy Shark’s music remains a genuine love for the way music can affect everyone in different ways. Amy’s love for experimenting with sound and different creatives has led her to collaborate with artists as varied as Travis Barker (on the Gold accredited ‘C’MON’), and Ed Sheeran, who co-wrote with Amy on her Platinum accredited single, ‘Love Song’s Ain’t For Us’, featuring Grammy winner Keith Urban.

With this new era upon her, the need to remain grounded and connected to her own instincts has never been more important for Amy Shark – it’s something listeners will be able to connect with throughout the new music and visuals to follow. “I feel like I’m in a really exciting place, to be honest. For a long time, since I started, I was writing songs that I loved – they were so deep and personal – and I had to get really comfortable really quickly with talking about things that were still affecting me.” “I’m in a better place now to manage it all. I feel like I’ve been educated in what it’s like, it’s a nice feeling when you’ve worked really hard and you’ve been in that competitive mode; to back off that mode, I’m actually okay. I just wanna make cool songs and cool art. Nothing scares me anymore, I’m making music because I love making music again and not for any other reason. I’m taking a lot more risks without fear.” AMY SHARK

Pete Murray continues to be one of Australia’s most cherished and respected singer-songwriters, with over 1.2 million records sold across his amazing career so far.

Starting from humble beginnings in 2002, Pete has achieved three ARIA chart-topping albums and a whopping 17 ARIA Award nominations. Known for his world-class live performances, his concerts are a testament to his years of experience and passion for music. His most recent Greatest Hits Tour sold over 13K tickets across Australia, with performances at iconic venues such as The Forum in Melbourne, Enmore Theatre in Sydney and the Astor Theatre in Perth.

Renowned for his emotive and compelling songwriting, Pete’s songs like “Better Days,” “Feeler,” “Opportunity,” and “So Beautiful” have become the soundtrack to many people’s lives.

With exciting new music currently in the works, Pete Murray continues to cement his place as one of the country’s most iconic artists.