Sarah Chav' -

02 Jul INTRODUCING: Luboku

Photos by Sarah Chavdaroska

Since 2014 Melbourne producer, singer and songwriter Luboku has been steadily releasing music online. Collaborative work with NZ-based Hosaia and last year’s solo release ‘The Surface‘ has seen his name popping up more frequently and with growing praise.

This year, after already releasing two singles ‘Without You‘ and ‘None Of You‘, Luboku’s burgeoning career has started to take off – with a Triple J ‘Feature Artist’ select, support-spot on What So Not‘s national tour and his recent signing to Niche Talent Agency‘s growing roster of amazing artists.

After the busy start to the year, we managed to squeeze in some time with Luis Kennett (aka Luboku) to have a chat and get to know him. We wanted to understand from his perspective how he has found this year so far, how he discovered his visual-aesthetic and what he has planned in the near future for shows and releases.


Tell us about Luboku. Who is he? Where did his passion for electronic production come from?

Luis Kennett: Luboku is many things, sometimes a musical vampire, sometimes a balladeer, always making songs though, that’s the important part. Luboku came about because I needed something to focus my creativity toward. I can focus inspiration more clearly when I have something specific to work on so it came out of necessity, to be honest.

‘Without You’ which was released earlier this year is a stellar track! How did that track come to be?

Luis: Why thank you, I guess people are really digging it! I had a lot of fun making that song and I think that comes through. ‘Without You’ was also one of the quickest songs to come together so far, it always felt a bit edgy. Simon Lam (Kllo, Nearly Oratorio) helped me mix this one actually, he managed to pull in some of that edginess but keep a really great vibe which was just ace.

Your John Fish video collaboration and music artwork is all very visually appealing, carrying a very strong aesthetic. Trying to balance music and visual expression is a particularly important thing at the moment for a lot of artists. Who designed your cover art? Tell us a bit about that process.

Luis: A Melbourne designer named Darren Oorloff, in collaboration with Nick Keays, created these first few pieces. I’ve felt really lucky that they’ve been on board with all my ideas and have executed an aesthetic that I am 100% behind. I feel very strongly that visuals and music work hand-in-hand, carrying a desired look and feel through any art form I’m creating.

A John Fish video also makes me *crosses fingers* expectant of a big light or visual show on the horizon?

Luis: Big light show? Of course! Working with John Fish on the video for ‘Without You’ has definitely given me some ideas on what a BIG headline or festival slot could look like.

Only the other weekend you were a support act for the Melbourne leg of What So Not’s Australian National Tour at The Forum Theatre. Tell us about how that came about! How did you find the support act spot on such a large, electronic tour?

Luis: The show was wild, one of my favorites so far. As for the opportunity, that’s something I did not see coming. All of a sudden I’m on the phone to Triple J Unearthed, being asked to play the Forum Theatre with What So Not, it was all pretty crazy. The hardest parts of playing live, I find, are always the moments just before the show – you feel like you’re waiting in live music limbo. The best thing was getting out there and playing the new live set, it was so much fun.

Last week you released your new single ‘None Of You’ and already it’s taking off – congratulations on such a solid release! Tell us about ‘None Of You’ and (if I’m not mistaken) if there is a theme connecting your two new singles?

Luis: Thank you, I’m glad you vibe it! I guess ‘None Of You’ is a pretty personal track for me. It’s about a time when I was struggling to connect with someone who was going through some stuff, sometimes that person doesn’t have any space for you and I think this song captures how I felt about that whole situation. I have always felt ‘None Of You’ and ‘Without You’ to be Ying/Yang (hence the piano at the end of Without You) – they are definitely connected. But that needs more context… There is an EP coming!

If you could play one stage or one event in the next year, what would it be and why is that your pick?

Luis: This is a bit left of field but I think the Boiler Room live stream gigs are pretty iconic, tonnes of people moshing around you as you’re performing to an endless amount of people online, that would be so sick.

Do you have any future collaborations in the works? (Dreams collaborations welcome.)

Luis: Nothing I can talk about yet… I’ve got a secret passion for really heavy hip hop though, I think a dream collaborator would be Run The Jewels but perhaps that’s a bit ambitious, for now?

As a producer and song-writer in Australia, do you think that the music industry is helping young, emerging artists make a break? Or is it a tough job and difficult to navigate with the sheer amount of new artists?

Luis: I couldn’t think of a better place to start a career in music. Australia, and Melbourne in particular, have such vibrant communities, I feel like creativity flourishes here. There are also many opportunities for up and comers in the live arena and with platforms like Triple J Unearthed the ease of discovery makes things pretty accessible (they listen to everything! That’s intense). Shoutout to my manager Brandon who’s been a literal lifesaver (haha).

Plans for the rest of the year?

Luis: More tunes! And lot’s more shows.


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20 Apr Trading Tunes with Jade Imagine

Photo by Jamie Wdziekonski

Melbourne’s own Jade Imagine, fronted by indie-scene-legend Jade McInally, have become a staple in the local scene. Having released an EP with Milk! Records – headed by Aussie favourites Courtney Barnett and Jen Cloher – the feeling is that Jade Imagine will continue to rise to greatness.

Not only are they releasing great material, backed by all-Aussie-all-star label and artist management collective Our Golden Friend, their band currently features many notable names – Liam ‘Snowy’ Halliwell (The Ocean Party) on bass, producer/guitarist Tim Harvey (Emma Louise, Real Feelings) and James Harvey (Teeth & Tongue) on drums. It’s an all-star cast all-round!

Before Jade Imagine hit the stage at Melbourne Museum‘s Nocturnal event this Friday night – alongside Totally Mild, Jess Ribeiro & RVG in collaboration with Our Golden Friend – we had a chat with Jade and she gave us some favourite tracks from the classic film ‘School of Rock’. Tickets are still available for Nocturnal.

Jade McInally: Because we are a “rock band” and we’re playing in a Museum it seemed fitting – Museums are often frequented by schools on excursions. School Of Rock is set in a school. Its all connected… derrr!

Stevie Nicks – ‘Edge Of Seventeen’

“We are currently working out how to play this live. Fun fact, you can make a medley mix of this song and “I Was Made For Lovin You’ by kiss, cuz they have pretty much the same guitar part. This is also the moment in the film where the school principal gets drunk and lets her guard down. Y’all gonna let your guards down and play with us on Friday?.”

David Bowie – ‘Moonage Daydream’

“The best Bowie song ever. Fun Fact, this week we had a full moon in Scorpio. AKA Pink Moon.”

Deep Purple – ‘Smoke On The Water’

“This is the bit where Jack Black says “cello!” and I always laugh.”

AC/DC – ‘For Those Of You About To Rock’

“This will be us on Friday at the Melbourne Museum (Cc: RVG, Jess Ribeiro, Totally Mild)”

T. Rex – ‘Ballrooms Of Mars’

“The youtube comments for this song are amazing… “T.REX BROUGHT ME HERE”, “that guitar solo makes me want to jettison my body into the cosmos” and”I came here because I hate Guns N Roses”, amongst others… ”

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02 Mar A Night at the Museum – Nocturnal (02/02/18)

Photos by Sarah Chavdaroska

It was a stroke of absolute genius whoever decided to combine music, a museum and an all-time Australian favourite – booze.

Heading down to the Melbourne Museum on the first Friday of every month to see a fantastic line-up, go exploring (including just standing in absolute AWE of the blue whale skeleton) whilst enjoying a glass of red… Well, as the saying can go, money CAN buy happiness.

It was an absolutely packed affair at the last Nocturnal when the folks behind the planning of this stellar Melbourne event had Total Giovanni, Sampology, Francis Inferno Orchestra and Kate Miller grace their stage.

The stronghold of people (and I say stronghold because there was A LOT of people) was a true testament to the sensational line-up and organisation of one of, what I would call, Melbourne’s more unique music offerings.

Only occurring once a month means it truly stays as a special evening that can be enjoyed by anyone. So although a lot of the booze-happy-crowd was perhaps, at times, over-indulging on the service of full wine bottles (I mean lines, who wants to wait in them – get a bottle) it was still highly enjoyable. Happy, dancing faces could be seen for miles as the people had absolutely flocked to enjoy a night at the museum.


For the month of March (and being the first Friday it’s happening TONIGHT) they have again organised a line-up to be reckoned with – Jordie Lane & The Sleepers, Ainslie Wills, with support from Sean McMahon and Hollie Joyce. Tickets are still available and we couldn’t recommend heading down to Carlton highly enough. Supporting the live-music ventures that happen in Melbourne is exactly why we get to see these dynamic and exciting new things.

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14 Feb PREMIERE: SAATSUMA – ‘Isolate’

Melbourne-based electronic duo SAATSUMA have signed, sealed and delivered yet another amazing track – getting their 2017 off to a cracking start.

Isolate‘, their newest single and set to be released on their forthcoming album, is a well mixed, dynamic and rhythmic track with signature SAATSUMA sampled and layered vocals that carry you through the track as the momentum builds.

It’s a track that makes you think – whether you focus on the strong composition and arrangement by Memphis Kelly and Cesar Rodrigues, the lyrical think-tank or the mixing and mastering by Dream Kit (Declan Kelly) and Adam Dempsey, there is an element for all throughout ‘Isolate’.

Kelly’s vocals are soft but focused, with an Australian-voice that is distinct and melodic. It’s an enthralling sound she creates that is then backed solidly by Rodrigues’ synth work that builds the track up as it picks up the pace.

Following on from their other single releases – ‘Storm‘ and ‘Floating‘ – it’s exciting to see SAATSUMA hone their craft, push their creative bounds and follow through on a sound that is unique across the board. From their cohesive live sets to their recorded material, there is nothing but praise for the electronic duo.

March 10th – Brighton Up Bar, Sydney March 17th – Black Bear Lodge, Brisbane
March 18th – Northcote Social Club, Melbourne March 24th – The Hills Are Alive, Victoria

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Sarah Chav' -

18 Aug Ripe’s Top 5 Weekly Gig Guide (17/8/16)

Photo by Sarah Chavdaroska

Music venues around Melbourne house some of the best local and international acts. We’ve compiled our top five picks for gigs this week so you don’t miss out. Be a part of one of the best live music cities in the world, and check out some of our favourite artists and venues.

This Week…

Friday, 19th August

Kllo ‘Well Worn’ EP Tour



With the release of their highly-anticipated EP Well Worn, Melbourne’s Kllo (Simon Lam & Chloe Kaul) are touring nationally.

Featuring singles ‘Bolide‘ and ‘Walls to Build‘, join the electronic-powerhouse duo at Howler joined by Corin, Martin King & the Harpoon DJs.

Friday, 19th August

Cool Room – S02E08: Brooke Powers

Tickets at the Door


After the winter break, Cool Room is back in August wtih favourite Brooke Powers and more venerable Melbourne artists.

Head to 26 Francis St Friday night to party alongside Brooke Powers, Ben Houghton, Avery & Sebastian Sibelle.

Friday, 19th August

Misty Nights: Change is the Only Constant

Tickets at the Door


It’s your last chance to boogie down with Misty Nights as they celebrate their third birthday and last party at Hugs&Kisses.

Featuring Andee Frost, Awesome Wales & River Yarra.

Saturday, 20th August

Good Manners Pres. Silent Jay & Jace XL, The Goods, 30/70, Billy Davis + more

Buy Tickets


Good Manners switches it up for a night of soul injected performances at The Curtin.

A nod to Australia’s thriving Soul and Hip Hop scene, the night includes
S I L E N T J A Y & Jace XL, The Goods, 30/70, BILLY DAVIS and DJ Pjenne.

Saturday, 20th August

The Warehouse presented by Beat | Live N Local Feature Event

Free Entry


Presented by Live N Local & Beat Magazine, head down to Globe Warehouse. for a stellar night of music and food trucks.

Featuring The Sugarcanes, Loose Tooth & Rolling Blackouts Coastal Fever.




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12 Aug This Week: ROCK 4 Renewables – Yes2Renewables Fundraiser

This Sunday at The Old Bar in Fitzroy, Friends of the Earth are holding a fundraising event for their Yes2Renewables campaign.

Friends of the Earth are looking to raise much-needed funds for the next generation of campaigners who will work to protect the future of renewable energy in Victoria.

The event is full of incredible local talent as Melbourne’s music community gets behind the renewable energy sector, helping to support and celebrate Yes2Renewables outstanding work to help secure a Victorian Renewable Energy Target from the Daniel Andrews Government.

It will be a wonderful evening at Fitzroy’s iconic Old Bar. Doors open at 8.30pm, tickets are a cool $10 and there will be a raffle as well. All funds will be going towards protecting the future of renewable energy in Victoria and there are great raffle prizes to be won including a Thornbury Records gift voucher, Lido Cinemas double pass and much more.

Head down on Sunday to hear some beautiful tunes while supporting our beautiful planet.

Elizabeth Mitchell (Totally Mild)
DJ Nature Girl (Monica Ludekens)

Tickets will be available on the door, and donations can be made online here.

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21 Jun Ripe Presents: Summer Flake w/ Good Morning, Hollow Everdaze & DIET, Live at The Gasometer Hotel (10/6/16)

After a bit of a break from the live scene, we decided to get together with some of our favourite Melbourne acts at the Gasometer Hotel to share an evening of music with you all. We’re chuffed to have been able to curate a night of such great melodic guitar music that truly showcased the strength of Melbourne’s up-and-coming talent, and we hope to share more amazing Australian talent with you all in future shows down the track.

The first band to grace the stage was five-piece surf outfit DIET. who have impressed us right off the bat with their releases like ‘Your House’ and more recently ‘Life Limbo’, a new single to be included on their forthcoming EP release.



Hollow Everdaze with their beautiful cinematic guitar pop that suits a live setting so well were up next. Their single ‘Last Laugh’, reminiscent of a journey and night setup under the stars, have their new album Cartoons on the way – expect more wondrous releases that take you away.


Our third act for the evening Good Morning have had a massive year. Their Glory EP, released in February via Solitaire, demonstrated innate songwriting ability – melding lo-fi style with genuine musicianship. Lead single ‘Cab Deg’ drilled into our brains, and we’ve been hooked ever since.


Our headliner Summer Flake is the harmony-laden project from mastermind Stephanie Crase. Her sound is a glorious melange of genres and styles, equal parts Sonic Youth and Mac DeMarco, Hole and Karen Dalton. Crase, along with band members Antony Bourmas and Joel Cary, having just released the wonderful LP ‘Hello Friends’, were a joy to watch on stage as they brought our evening of wonderful Melbourne talent to an end.

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24 May From stages to statistics: A Melbourne perspective on music industry initiatives

Melbourne, repeatedly voted as one of the ‘most liveable’ cities on Earth, has also been quoted over time as the music capital of Australia. Our city has produced such great talent, sending countless acts to perform on stages both national and international, and has earned a reputation for our artists’ outstanding abilities in writing, production, and performance

Throughout Melbourne’s history, music has been a prominent part of the city’s culture and economy, and over time this powerhouse industry has steadily grown. At present, there is a large movement from our local and state governments to support all facets of this constantly-evolving way of Melbourne life, and it makes for an interesting comparison when held up against the creative policies and funding being delivered by other states, and also on a national level – especially now.



In recent years, many initiatives have been implemented with the specific goal of improving and sustaining Melbourne’s strong music scene. The Victorian Live Music Census conducted in 2012 reported over 120 venues putting on live shows in Melbourne, resulting in “an average turnover of around $5.4 million per weekend in ticket sales, door entry, food, drink and merchandising.”

Meanwhile, the City of Melbourne’s 2014 – 2017 Melbourne Music Strategy and the formation of Creative Victoria’s task force in 2015 have both helped to ensure Melbourne continues to remain the top creative hub in Australia.

The Andrews Labor Government’s Victorian Budget for 2016/17 is targeting the creative and cultural economy to help develop and grow the industry. The Budget provides $152 million to the creative sector, with funding going to many different areas – talent development, the ability to attract more opportunities for Victoria, boosting infrastructure of major arts venues and spaces, building international engagement – all in the hope of securing Victoria’s position as ‘the Creative State’ for the long-term.

Whether it’s support for the live music sector with the creation of events like Melbourne Music Week (via the Melbourne Music Strategy), or funding grants awarded by the Music Works program (via Creative Victoria), it’s not hard to see why this city has become our national music leader.

However, these facts, figures, numbers and statistics only reveal so much about how much all of these large-scale initiatives have tangibly aided the industry. Undeniably, Melbourne is taking huge positive steps to bring about longevity and success, but just how helpful are these new programs to people and organisations at all levels of the industry, and are the quoted results indicative of success?



Sarah Taylor, a student researcher and PhD candidate at RMIT University, has been examining the contrast between Sydney’s and Melbourne’s live music scenes from the 1980s to the mid-2000s. In an interview with ABC Melbourne in 2015, she discussed how her research had reflected a steady increase in the number of gigs in each city during the late ’80s and early ’90s, despite it being a period of instability for many.

She determined that Sydney’s situation became “quite unstable”, her research finding that venue closures and other factors lead to “the perception that there was no live music scene there – even though the number of gigs did not actually decrease.”

“You have more people leaving Sydney at that time – or, if you’re The Whitlams, you start singing about how much your city is not meeting your expectations.” It’s a situation that seems very familiar to many of us now.

On the other hand, her research found that the number of live music venues in Melbourne, in particular around Fitzroy, had become quite pronounced: “Most people who were in Melbourne in the ’90s remembered it very fondly because there were a lot of things happening in a small area.”



After asking Ms Taylor about her current opinion on Melbourne’s music scene, and in particular her thoughts on the current Melbourne Music Strategy and Music Works program, she commented “Music has never been an easy road – it’s always been a long way to the shop for a sausage roll.”

This unequivocally Australian idea of the hardships of ‘making it’ couldn’t be more accurate. She noted that some specific funding opportunities had helped some artists in terms of geographical reach and impact, and education such as NMIT’s “popular music program” seem to have had a positive and practical effect. However, as a musician herself, she does believe there is still room for improvement.

“When the music scene really thrives, musicians have time, friends and space. My data has shown an increase in the number of bands, a decrease in the number of gigs per band, and a geographical shrinkage in the areas in which bands play [up until the mid 2000s]. Live music is still really important, and who would begrudge some extra funding to musicians? But the overall impact of grants does seem to be minimal. Energy put into writing grant applications could – in my humble opinion – be much better spent rehearsing, writing and going to other people’s gigs.”



In 2015, over 40 grants were awarded to different “Victorian musicians, bands, music festivals, venues and industry events” by the Music Works program.

Good Manners Music, a Melbourne-based record label, music management and publicity company run by Huw Nolan and Hugh McClure, was one of the many applicants that received a grant. It assisted the duo directly with their plans to “travel to the USA to make connections and represent our artists ahead of planned tours in 2016.”

Huw Nolan has found in retrospect that “the grant from Creative Victoria has certainly opened up a number of doors, and given us inspiration on how to run our business moving forward. The music industry is always changing, and being able to travel to the leading music market and experience new trends and tactics to sell music is imperative.”

He also mentioned that, moving forward, “the City of Melbourne should look abroad. We need to begin networking as much as we can with people overseas and, considering the government doesn’t have enough money to send us all there – why don’t we bring them here?”



Hugh McClure moved down from Sydney in the past year to Melbourne in order to pursue his music management career, and has noticed “a clear divide between other Australian cities and Melbourne in terms of culture. It is driven by funding and clever planning from Melbourne itself.”

“I would recommend this industry whole-heartedly to enthusiasts, but with a warning that financially it’s a difficult industry to navigate.”

“The differences are astronomical [between Sydney and Melbourne]. From the high number of differently-sized venues, to the financial support, to also making sure everyone gets home okay after going to a show, Melbourne is a completely different situation.”



Good Manners’ roster of artists were also lucky enough to collaborate with the City of Melbourne in 2015’s MMW – a huge, sold out show for the two young label owners. They also received extra funding from the council in order to take their artists overseas in an effort to develop their networks and play international tours and festivals.

Although these positive steps and funding have been a sensational opportunity for both the company and its artists, they still agree this area requires more continued investment in order to “promote our music internationally and not be restricted by the limitations of only working in Australia”.



Another important aspect, mentioned by the MMS, is ‘Education’. Along with six major themes laid out by the initiative (“Visibility, Promotion and Positioning, Spaces and Collaboration, Funding and Support, Policy Reform and Advocacy, Research and Information”) “Melbourne will also be known as a great destination for music education, making music and artistic collaboration.”

Catherine Haridy, an artist manager who has worked in the industry for over a decade, was filmed by the City of Melbourne discussing education: “We’re very lucky in Melbourne to have an incredible infrastructure when it comes to educating – we’ve got 15 tertiary courses which support music business, which is unparalleled nationally.“

On the student and education level, Alex Gleeson, who is currently studying a Bachelor of Arts (Music Industry) at RMIT and already working in the field, feels that his degree is “young and still finding its feet.”

“That being said, I’ve met a host of great people within the industry, and certainly furthered my knowledge of the way it operates. The way that music is taught in high school is disappointing at best, allowing little room to be creative and offering barely any contemporary study. So, in comparison, my university experience has been absolutely fantastic.”



Overall, Victoria and Melbourne’s large-scale planning and funding seems to be pushing our city in the right direction. The city has gone to great lengths to ensure the industry is nothing short of amazing, and even though we still have to suffer through events like the destruction of The Palace Theatre, there have been many other beneficial steps taken to preserve and bolster our music scene.

The love our population has for music and discovery is unparalleled, and in particular the breadth of live performances available here is something sorely sought after by our interstate peers. Whether it’s assistance with live shows, production costs, overseas reach or education, it cannot be denied that the music industry is being provided with many opportunities to explore and create, but it’s also vital that we see continuous research and refinement in these areas.

In the long run, the continued application of new ideas and assistance will only add more vibrance and depth to this part of our culture, and in the foreseeable future there are so many great things to come for the informally-dubbed ‘capital city of Australian music’.




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23 May Kllo ‘Bolide’ Single Tour, Live at The Toff in Town (14/5/16)

Melbourne’s Kllo, the powerhouse cousin duo made up of Simon Lam and Chloe Kaul, recently released a new single that is a tantalising preview track from an up and coming EP Well Worn that is set to be released in August this year. Following the success of their EP Cusp released back in 2014, ‘Bolide’ is an exciting new sound from the pair as they meld Kaul’s soft yet distinctively unique voice with Lam’s intrinsic production. The track moves through highs and lows with finesse, being driven by it’s captivating use of beat, harmonised and sampled vocals, and its lyrical story-telling keeping listeners intrigued as they decipher its meaning.

The weekend before last saw their ‘Bolide’ single tour come home to Melbourne after two successful evenings in Brisbane and Sydney. The Toff in Town was packed out as the crowd began the evening with Christopher Port and Alta before the Spotify favourites came on stage.

Playing through their old, new and yet to be released material, the crowd danced and sung along as Kllo captured their hometown audience, leaving them cheering for more as they’ll now all wait patiently till August for the highly anticipated EP launch to come.

Photos by Sarah Chavdaroska // @sarahchav

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23 May OCDANTAR ‘Time in Flux’ EP Launch, Live at The Gasometer Hotel (7/5/16)

One of Melbourne’s most multi-talented musicians Joshua Delaney and his new solo music endeavour OCDANTAR created a rich and intoxicating sound-scape at the Gasometer Hotel earlier this month as he celebrated the launch of his new EP Time in Flux. Supported by Melbourne greats CoutureAlta, and Queen Magic, with visuals by Brendan Harwood, the spectacular evening of Melbourne music was a great introduction to OCDANTAR and his electronic-ethereal EP that was so well received by the packed out band room.

Couture, the new venture from Melbourne’s Simon Lam and Hamish Mitchell, started off the evening well as they played through their set of sensationally curated electronic beats that got the crowd moving. By the end, we were all craving more and hoping for an online release in future (nudge, nudge). It’s truly a testament to these two and their progression in the music scene that they can make such excellent music non-stop.


Alta duo Hannah Lesser and Julius Dowson were up next, playing through their immaculate set of beats and vocals that had a dance-rippled affect through the crowd… no-one could stand still, it was just that good to dance too. Playing tracks from their Awake for Days EP the pair showcased their production and performance skills which have always been so polished and exciting to experience. The crowds roaring cheers at the end were indication enough of the great admiration Melbourne has for Alta.


Queen Magic‘s soulful set followed Alta, a mix of smooth R’n’B sound and vocals by Melbourne producer and vocalist Nicholas Mulhalls that washed over the crowd. His tracks ‘I Don’t Want’ and ‘Said That You Wanted’ were crowd favourites as everyone grooved and swayed along.


OCDANTAR took to the stage to bring the night of Melbourne-music-magic to a close, and he absolutely amazed. Time in Flux is an exciting electronic sound experience that Delaney has created, bringing the crowd up and down as he moved through tracks like ‘Techno 15’ and ‘Sky Sea Client View. The visuals he paired his set with as well were a very entertaining touch, setting the mood and vibe of each song well.


This new project from Joshua Delaney has so much beautiful potential. Teaming up with so many great acts in one evening was also a testament to his recognised talent and mark on the music scene. I hope to hear and see more of his performances, and look forward to more material he’ll hopefully release in future as his musical abilities and OCDANTAR keeps growing.

Photos by Sarah Chavdaroska // @sarahchav


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