Legends of modern heavy music, Killswitch Engage return to Australia and New Zealand in 2026, bringing more than two decades of genre-defining metal to the stage with their biggest Antipodean headline shows yet, joined by special guests, British heavyweights, Sylosis.
The Western Massachusetts metallers helped redraw the map for modern metal in the early 2000’s, fusing blistering European‑inspired guitar work, East Coast hardcore energy and emotionally charged, uplifting lyrics into a sound that changed the game for a generation of bands and fans.
Across a landmark career, Killswitch Engage have earned three Grammy nominations for Best Metal Performance, multiple gold and platinum records, billions of streams and forged a reputation as one of the most powerful live acts in heavy music. From classic albums like Alive Or Just Breathing, The End of Heartache and As Daylight Dies through to chart‑topping releases Disarm the Descent, Incarnate and 2019’s Atonement, they’ve consistently raised the bar while packing out venues and festival main stages around the world.
Fresh from celebrating 25 years as a band and the release of their latest album This Consequence, which featured blockbuster single “I Believe,” the biggest radio hit of their career, Killswitch Engage are set to deliver a career‑spanning set for their Australian and
New Zealand fans.
Expect a night that runs from era‑defining anthems to new favourites, all delivered with the intensity and heart that has seen them share stages with everyone from Iron Maiden and Slayer to My Chemical Romance, Mastodon, Slipknot and Parkway Drive.
This track begins with a kind of pioneer chant, led by the singer’s angelic voice. However, don’t be misled by the opening serenity. Within moments, the band thrusts you into their vibrant punk realm. The song erupts with a driving rhythm that is playful and ironic. The guitars push forward, prompting listeners to raise their horns to the sky.
“30 Dolls” is a fierce political diss track that takes direct aim at Trump. St. Divine presents their critique with boldness and a lack of hesitation. They leave no stone unturned, addressing domestic and foreign policy issues in a snarling outcry. The lyrics are sharp and wrapped in irony, offering insights on current events.
At one minute and ten seconds, there’s a brilliant pause in the song. This moment creates a suspended atmosphere that enhances the overall experience. Within this brief interlude, the intensity builds, only to explode back into the punk rhythm. This shift deftly demonstrates the band’s skill in crafting dynamic moments.
30 Dolls – Sound and Atmosphere
The lyrical metric showcases classic punk influences. The acidic tones of the guitars complement the rhythm section perfectly. The bass tracks the drums with precision, highlighting the band’s chemistry and collective experience. Each element harmonizes seamlessly, creating a robust and energetic presentation.
Lyrically, St. Divine utilizes sharp wit to deliver their message effectively. They challenge the status quo, questioning politics in America with an unapologetic stance. This approach resonates well with listeners who seek relatability in music today. The song’s humor is biting, making it entertaining and thought-provoking.
Each verse pulses with energy, capturing a range of emotions. St. Divine’s vocal delivery is powerful, intricately combining rage and melody. The singer navigates through the highs and lows, taking the listener along for the ride. Through their raw authenticity, St. Divine embodies the spirit of punk rock.
30 Dolls – Performance and Production
This track is a rallying cry for listeners. The beat and catchy chorus invite community participation. Fans can easily sing along, adding a layer of engagement to live performances.
The production quality is top-notch, allowing each instrument to shine clearly. The grit of the guitars and the thumping bass create a sonorous experience. This clarity enhances the raw emotion embedded in the lyrics.
The band illustrates their message with evocative imagery, painting vivid scenes in the listener’s mind. The audience can visualize the world that St. Divine critiques. Each line feels like a jolt of reality, aiming to provoke thought and discussion.
“30 Dolls” is a dynamic and fervent expression of punk rock ideology. St. Divine fearlessly confronts contemporary issues with sincerity and humor. Don’t miss the chance to experience their audacious spirit through this electrifying single.
Australian pop icons Bachelor Girl take a sparkling walk on the country side with a reimagined take on their 1998 single Blown Away out today, teaming up with fellow Aussie icons Tommy Emmanuel CGP and Ella Hooper to bring this new version to life. The fourth single released from their 1998 debut studio album Waiting for the Day, Blown Away reaches stunning new heights in its reimagined form decades later, also offering another glimpse into the duo’s forthcoming redux album which will showcase an epic array of acclaimed household names bringing their prowess to reimagined Bachelor Girl favourites.
Expanding on the original’s classic 90s-soaked ruminating verses, euphoric choruses and soaring melodies, Blown Away’s 2026 glow-up dazzles with twangs, shuffling percussion and acoustic guitar, injecting Americana flavours while also colliding four of the country’s most renowned musicians. Guitar virtuoso Tommy Emmanuel and Ella Hooper (Killing Heidi) join forces with Bachelor Girl’s Tania Doko and James Roche to breathe brilliant new life into long-time fan favourite track.
“We’ve gone a lil’ bit country/Americana on this third release of our ‘Artist Sessions’,” shares Bachelor Girl’s Tania Doko of the reworked Blown Away. “James and I wanted to extend the collaboration to two artists we’ve shared a long musical history with… this time all the way from Nashville to Violet Town. We just couldn’t resist calling in James’ ol ‘boss’ he thrived with on tour back in the 90s – one of the world’s guitar greats, Tommy Emmanuel, along with fellow 90s effervescent front woman who’s gone a LOT Americana herself – Ella Hooper. The original Blown Away is a crowd favourite live, and now this new version of great friends/artists quite simply makes my soul ‘YEEHAW!’”
Since teaching himself to play as a toddler, Tommy Emmanuel’s first language has been the guitar. Now over sixty years into his career, Tommy remains a global household name, revered as an international master of the solo acoustic guitar, with a GRAMMY Award win in his wake, a staggering back catalogue and a reputation as one of the most versatile and accomplished guitar players on the planet. Still a globe-trotting touring phenomenon, Tommy routinely enamours with his technical wizardry and signature solo guitar playing style, building a sonic universe time and time again armed with a solitary guitar; and the delight for Bachelor Girl to have Tommy on board lending some acoustic prowess for this reimagining of Blown Away is equally echoed by Tommy, enthusing, “What an adventure to play on “Blown Away”, with my friends BG and Ella Hooper. What a cool move to mix acoustic guitar with such a slammin’ powerhouse track! Thanks for having me on there. I am so honoured.”
Award-winning entertainer Ella Hooper is no stranger performing and wowing airwaves and crowds with her captivating vocals and creative finesse. Blazing a trail at an early age as the frontwoman for Killing Heidi, Hooper ticked off chart-topping hits, sold out tours and a #1 debut album, while also becoming the youngest-ever recipient of APRA’s Songwriter of the Year. A seasoned creative across multiple genres, Ella’s songwriting also spans folk, alt-rock, country and Americana, making her addition alongside the country vibes on Bachelor Girl’s reworked Blown Away the perfect fit; and on a song Ella herself has long adored, as she reveals, “it’s not every day you get to be on a track with a fave formative band and an iconic powerhouse! Blown Away has always been my favourite Bachies song live too, I would arrive right when they were playing this song in their set at the never ending Red Hot Summer tour we were on together and it would set me up for the whole evening, I think it’s a real ‘let’s go girls’ kick the door down track, and I can’t believe how they’ve reworked it for me and Tommy to add our slightly country flavours to.. what an honour and a hoot!”
Slated for an August release, Waiting For The Day: Artist Sessions is a complete reinterpretation of the double Platinum Bachelor Girl album that captivated the world back in 1998. Featuring tracks like Buses and Trains, Treat Me Good and Lucky Me, the album set the tone for the band’s legacy and ongoing success. And in 2026, Bachelor Girl will gift fans a completely reimagined version of the album that put them on the map, joined by some of the country’s finest. “We (somewhat audaciously!) began to ask some of our favourite Aussie artists and friends if they would lend their voices and/or instrument to our bucket list project,” beams Tania Doko. “What started with one, became 15 artists on this 15 track Redux album, and we could not be more chuffed they enthusiastically said yes.”
Bachelor Girl has also announced their Waiting For The Day Redux tour which will kick off in their home state playing at The Vine Hotel in Bendigo on Friday July 31, before moving through Yackandandah, Melbourne, Brisbane, Adelaide, Frankston and finishing off in Sydney at The Factory Theatre on October 18. Tickets are on sale now from www.bachelorgirl.com.
Tania Doko and James Roche of Bachelor Girl have proven their enduring, beloved status in Aussie music culture. Their debut Buses and Trains earned James APRA Song of the Year in 1999 and remains one of the most played Australian compositions since its release. The iconic hit also made waves in Asia, Scandinavia, Europe and the US, including a signing by legendary A&R Clive Davis, Arista records. Their critically acclaimed ARIA winning Waiting for the Day album spawned another four releases still on rotation today, including Treat Me Good, Lucky Me, Blown Away and Permission to Shine. With a catalogue defined by exceptional songwriting and soaring vocals, the duo continue to captivate audiences, recently touring alongside legendary acts including Simple Minds, Icehouse and The Corrs.
Blown Away featuring Tommy Emmanuel and Ella Hooper is out today. Waiting For The Day: Artist Sessions is set for release in August.
The album begins with “Shadow Puppets,” immersing listeners in the irreverent, alternative world of the band. They transport us back to the 1990s with their direct and intense sound. Elements reminiscent of bands like Pixies, Hole, and Weezer populate their music. Following this, “Helium” offers a slightly slower pace while retaining the grunge influences that make this ballad intriguing. The intense distorted guitars and the feminine vocals deliver exceptional interpretations that enrich the listening experience.
Next in the lineup is “Strangers,” which elevates the adrenaline with its fast tempo. The chaotic yet cheeky guitar riff embodies echoes of 1960s music melded with 1990s melodies. This track stands out with its unique fusion of influences that evoke nostalgia while feeling fresh. “Misery” captures another facet of the band. Its rhythmic cadence and the almost idyllic voice channel a mirage-like atmosphere. The delicately psychedelic ballad showcases an engaging depth.
Then we have “Only a Smile Remains,” a minimalist piece featuring just vocals and piano. This structure, stripped to its essentials, underscores the solid compositional quality of their music. The singer’s distinctive voice conveys emotions, making even the simplest arrangements feel powerful.
When and How It Happened – Sound and Atmosphere
“Lost for Words” presents another interesting sound. It bears influences similar to Radiohead, featuring one of those nostalgic ballads that in my mind painted vivid imagery of a foggy meadow. The atmosphere is reflective and introspective, pulling listeners into a contemplative space.
Closing the album is “If You See My Baby.” This track shifts focus from the female vocalist to a male voice, offering a heartfelt acoustic folk ballad. It evokes the traditional music of pioneers, stripped of elaborate arrangements, relying solely on guitar and voice. This ending provides a fitting conclusion, leaving many possibilities open for the band’s future compositions.
This album is a beautiful blend of nostalgia, emotions, and unique musicality. It showcases the band’s ability to surprise with each song while maintaining a coherent identity. The diverse musical styles presented throughout the album cater to various tastes, allowing it to resonate with a wider audience.
The historic performance will take place on November 7th at the Mercado Livre Arena Pacaembu, featuring special national and international guests in a definitive celebration of the band’s legacy. Tickets for the general public will be available from 30th May via ticketmaster.com and at the official box office.
After more than four decades of bringing Brazilian heavy music to the world’s biggest stages, Sepultura have officially announced the final show of their career. The historic performance will take place on 7 November 2026 at the Mercado Livre Arena Pacaembu in São PauloBrazil, marking the end of one of the most influential journeys in the history of heavy metal worldwide.
The choice of the Mercado Livre Arena Pacaembu holds special meaning for the band. The venue has been part of Sepultura’s history since the early 1990s, especially because of the iconic concert held at Praça Charles Miller, in front of the stadium, which helped establish the band’s strength in Brazil. Decades later, Sepultura returns to the same place to close its story, where part of that legacy was also built.
More than a farewell concert, the night is being conceived as a grand celebration of Sepultura’s history, bringing together different generations, eras and artists who have become part of the band’s journey over the past 40 years. The idea is to transform the final show into a unique moment of tribute, connection and celebration of Brazilian heavy music and its global impact.
Among the international acts already confirmed is Metal Allegiance, featuring some of the most respected musicians in the global metal scene, including Mike Portnoy of Dream Theater, Alex Skolnick and Chuck Billy of Testament, Phil Demmel, formerly of Machine Head, Troy Sanders of Mastodon, and bassist/founder Mark Menghi.
The line-up will also feature confirmed appearances by Krisiun, one of the world’s most respected death metal bands, and American thrash metal band Sacred Reich. Additional special guests will be announced soon.
Former members and musicians connected to Sepultura’s history over the decades are also expected to join the celebration, including Jean Dolabella and Jairo Guedz, who were part of the band’s original line-up.
Formed in Belo Horizonte in 1984, Sepultura helped redefine the boundaries of heavy metal and became the most internationally recognised Brazilian rock band of all time. Through landmark albums such as Beneath The Remains, Arise, Chaos A.D. and Roots, the band influenced generations and opened doors for Brazilian heavy music worldwide.
Throughout its career, Sepultura performed at some of the world’s most important festivals, including Rock in Rio, Lollapalooza, Wacken Open Air, Hellfest and Download Festival, building a legacy that transcends metal and has a permanent place in music history.
Sepultura’s final show at the Mercado Livre Arena Pacaembu promises to be a historic, emotional and unforgettable night, a farewell befitting the band’s importance to both Brazilian culture and the global heavy metal scene.
SEPULTURA are:
Derrick Green – vocals
Andreas Kisser – guitars
Paulo Jr. – bass
Greyson Nekrutman – drums
Black Leather Birds of Children and Their Sorceries Review
The opening track, “Nothing Ever Grows Here,” creates a dark and industrial atmosphere. The vibes are dystopian and hypnotic. A dialogue unfolds between a man and a woman. The initial interaction creates a thrilling and sinister dynamic. At one minute and ten seconds, the song takes a dream-like pause, akin to a mirage. It then catapults listeners back into the underground and bleak universe established at the beginning.
Following this, “Monster” emerges as something experimental and unique. Listening to this track with headphones can incite fear, thanks to the sinister vocal effects. The sounds are avant-garde and extraordinary. This song exemplifies the artist’s willingness to push boundaries in his music.
“The Box” presents a groove that feels almost plastic. The vocals tell a story revolving around a mysterious box. This narrative feels more like an audiobook than a traditional song. The cinematic quality of the piece creates a vivid experience, transporting listeners to another realm.
of Children and Their Sorceries – Sound and Atmosphere
The track “Almost” maintains the dystopian vibe established earlier. The syncopated rhythm shares a resemblance to the style of Nine Inch Nails, though it stands on its own merits. It is an intensely visionary composition, and the chosen sounds elevate the futuristic feel. The seamless integration of innovative elements contributes to a remarkable auditory experience.
“Goodnight My Darling” opens with a rhythm that resembles a heartbeat. This track feels more like a lullaby, offering a delicate contrast to the previous songs. It is instrumental, featuring a xylophone that cradles the listener, yet the presence of sibilant sounds introduces an unsettling undertone. The ambiance shifts at times, creating an eerie atmosphere. Breathing sounds intermittently appear, evoking the feeling of a lurking presence. This tension resonates throughout the experience, leaving one with a lingering question.
A.G. Syjuco is the architect behind this musical project, and he exhibits a strong desire to experiment. The EP is a fantastic collection that inspires listeners with its uniqueness. Each track is distinct, yet they collectively form a cohesive journey into a cryptic world.
of Children and Their Sorceries – Performance and Production
Throughout the EP, listeners are encouraged to confront their emotions. The aesthetics of the music provoke thought and introspection, and they challenge conventions in contemporary music. Black Leather Birds invites audiences to engage deeply with the thematic content. The collective listening experience is a thrilling engagement with the unknown.
The effort to create an engaging listening experience is evident, making this EP a must-hear for anyone interested in experimental music. The ability to transport the audience into an alternate reality demonstrates the skill and creativity of Black Leather Birds.
Surpassing trends, this work possesses a refreshing authenticity. The fearless approach to different musical styles and themes underlines the importance of innovation in today’s music scene. Black Leather Birds presents a significant contribution to the genre.
You may have previously noticed Catskills singer-songwriter Keenan O’Meara on the periphery of this website, listed in passing as an opener for Zach Bryan’s stadium tour or directing a video for fellow Upstate New York folkie Hannah Cohen. Today, let’s move him to center stage for a moment. About a month from now, O’Meara will…
GRAMMY nominated guitarist and songwriter Samantha Fish is pleased to announce the release of her new live single “Paper Doll (Live)” taken from the album of the same name. The single is released today and is accompanied by a live performance video that can be viewed on YouTube HERE.
Paper Doll Live, the album, will be released Friday June 12th via Rounder Records and is available to pre-order HERE.
Fish’s first official live album, Paper Doll Live captures the electrifying stage presence that has made her one of the most compelling performers in modern blues and roots music. Recorded at the historic Bijou Theatre, the album documents a band firing on all cylinders in front of a packed crowd, elevated by the soaring harmonies of Nashville gospel legends The McCrary Sisters.
The two-time GRAMMY nominee has built her reputation the old-school way: onstage, with a live show critics have called “wild, raunchy… an absolute must-see” (Louder Than War) and praised for its “savage guitar work and commanding stage presence” (Blues Rock Review). Paper Doll Live captures that energy in full force — raw, immediate, and impossible to fake.
From towering performances of “Lose You” and “Sweet Southern Sounds” to a blistering rendition of the MC5’s “Kick Out the Jams,” the album highlights a band fully immersed in the moment — unfiltered, ferocious, and deeply connected to its audience.
“There’s a fire that comes across in live performance that doesn’t always translate in studio albums,” Fish says. “The stage lays all of that bare.”
Emerging from Kansas City’s blues lineage and shaped by influences ranging from Prince and Leonard Cohen to the legends of Mississippi Hill Country blues, Fish has spent her career turning live performance into both proving ground and catharsis. From cold-calling bars as a teenager to headlining international festivals, she has forged a live show that balances grit, vulnerability, and explosive musicianship.
“If Paper Doll was a declaration of artistic power,” Fish says, “Paper Doll Live is the sound of that power unleashed.”
With Paper Doll Live, Samantha Fish delivers more than a concert recording — she captures the visceral connection that has made her one of the most celebrated live performers in contemporary roots music today.
5.29 Lebanon, NH – Levanon Opera House
5.30 Augusta, NJ – Michael Arnone’s Crawfish Festival
5.31 Buffalo, NY – Babeville
6.19 Grolloo, Netherlands – Holland Intl Blues Festival
6.20 Dortmund, Germany – Musiktheater Piano
6.21 Chiari, Italy – Istituto Salesiaino “San Bernadino”
6.23 Loceri, Italy – Parco Urbano
6.25 Rubigen, Switzerland – Muhle Hunziken
6.27 Vienne, France – Jazz a Vienne
6.28 Erlangen, Germany – E-Werk Kino
6.30 Mannheim, Germany – 7er-Club
7.01 Aschaffenburg, Germany – Colos-Saal
7.02 Hamburg, Germany – Fabrik
7.04 Helsinki – Puisto Blues
7.23 Rochester, New York – Martin Luther Jr Memorial Park at Manhattan Sqaure
8.14 Lincoln, CA – Thunder Valley Casino Resort
9.11 New Braunfels, TX – Brauntex Performing Arts Theater
9.12 Dalas, TX – The Kessler Theater
9.13 Houston, TX – The Heights Theater
9.16 Colorado Springs, CO – Phil Long Music Hall
9.18 Boulder, CO – Boulder Theater
9.20 Telluride, CO – Telluride Blues & Brews Festival
9.23 Monterey, CA – Golden State Theater
9.24 Napa, CA – Uptown Theater Napa
9.25 San Luis Obispo, CA – Fremont Theaer
9.26 Grass Valley, CA – The Center For the Arts
9.27 Menlo Park, CA – The Guild Theater
9.29 Portland, OR – Revolution Hall
10.3 Everett, WA – Kings Hall Everett
10.4 Sandpoint, ID – Panida Theater Inc
10.31 West Hollywood, CA – Whisky A Go Go***
***with Jesse Dayton and Indio Downey
PRE-ORDER “PAPER DOLL LIVE” AVAILABLE ON VINYL, CD & DIGITAL
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