The weekend is just around the corner and we’ve made it, friends!
Genesis Owusu
Owusu’s latest, ‘STAMPEDE’, is exactly what it says on the tin: a synth-punk, full-throttle rallying cry. Filmed in Accra, the track pairs abrasive drums and clangy synths with Owusu’s commanding vocals, turning frustration into movement and community into rebellion.
Following hits like ‘PIRATE RADIO’, he continues to mash social commentary with danceable chaos, proving that his unique vision is impossible to ignore.
Source Decay
Travis De Vries’ Source Decay hits Sydney for the first time at Waywards Ballroom on March 12 – Tix here. What started as ambient solo experiments is now a full band blasting pop-punk, experimental rap, and dense sampling.
‘Dirtbag Charlie’ is controlled chaos at its loudest, a collision of punk energy and narrative noise. With rotating members like Tristan Field and Jack Hickey, this is all kinds of dope.
DOBBY
DOBBY is back with single ‘Good For Nothing’, a piercing look at self-doubt, intergenerational trauma, and ambition shaped by society. Ahead of his second album MARSHMALLOW (June 20), the Filipino-Murrawarri rapper, producer, and drummer digs into personal history with unflinching honesty.
Aggressive yet introspective, the track fuses storytelling and beat-driven intensity, confirming DOBBY as one of Australia’s most thoughtful and confrontational voices in hip-hop right now.
Miss Kaninna
Miss Kaninna drops ‘MOB TIES’, a bass-heavy, unapologetic statement on Black solidarity, colonial legacies, and resisting white supremacy. Co-produced with 18YOMAN and Ethan Parodi, the track pulses with slick bars, sizzling quirks, and playful production that belies its bite.
After her Hottest 200-featured single ‘BACKSTREETS’, Kaninna returns to her roots, proving once again that her political insight and lyrical fire make her one of Australia’s sharpest voices in hip-hop.
Pulp
Jarvis Cocker and co. return with ‘Begging For Change’, a stripped-back, communal anthem from HELP(2), the new charity album for War Child. Recorded at Abbey Road and featuring backing vocals from Damon Albarn, Kae Tempest, and more, the track is raw, urgent, and unflinchingly human.
Thirty years after giving their Mercury Prize to charity, Pulp prove that their mix of wit, drama, and activism is just as potent in 2026.
Anna Calvi
Anna Calvi’s Is This All There Is? kicks off a trilogy exploring identity and metamorphosis. Opening track ‘God’s Lonely Man’ pits furious guitars against Iggy Pop’s raw vocals, while a reimagined Kraftwerk collaboration with Laurie Anderson turns digital intimacy into a shadowy soundscape.
Inspired by parenthood and existential questioning, the EP is cinematic, introspective, and dramatic–a tight four-song ride that pulls you into her universe without mercy.
Parissa Tosif
Parissa Tosif shares ‘Mysterious (دریا)’, a stunning blend of Iranian instrumentation and contemporary electronic production. Produced by Alice Ivy, the track draws from family history and generational storytelling, balancing the ethereal and the intimate.
Daf, tombak, and oud meet synths to create a reflective, otherworldly soundscape that captures identity, memory, and resilience. Tosif’s vocals guide the listener through quiet narratives with profound emotional depth.
LamBros
Northern Beaches duo LamBros serve soul-blues perfection with ‘You Won’t Call’. Crunchy guitars, commanding vocals, and a pendulous 6/8 groove carry the sting of being let down, turning personal heartbreak into hypnotic musical catharsis. Connor and Harry Lambrou wrote, recorded, and produced the track themselves.
It’s a small-scale, deeply felt, and perfect for live shows that make you feel every note.
The Sooks
Sydney’s The Sooks reveal EP Wasting All My Time, a coming-of-age snapshot of ambition, uncertainty, and self-discovery. Frontman Corey Fitzsimons navigates doubt and growth over sun-soaked indie riffs, blending reflective storytelling with anthemic hooks.
Tracks like ‘Take It Slow’ and ‘Separate Ways’ turn somber moments into uplifting sing-alongs, creating an intimate yet universally relatable portrait of young adulthood.
The Sun Harmonic
After six albums exploring every corner of rock, Canadian trio The Sun Harmonic go back to basics on their self-titled seventh LP. Recorded live off the floor, the record delivers raw, high-energy punk and hard rock, with first singles ‘Homesick’ and ‘Glory Days’ hinting at relentless, sweaty gigs.
Kaleb Hikele, Dave Skrtich, and Ian McLennan prove they’ve still got the fire and the chops to own a stage, and then some.
Sweet Pill
‘Smoke Screen’ is Sweet Pill at their most cathartic. The final single from Still There’s A Glow navigates depression, therapy, and personal growth with lyrical honesty and indie-rock punch. Written across a transformative period in frontman Youssef’s life, the track balances introspection with hope, creating a song that feels both deeply personal and universally resonant.
It’s raw, luminous, and proof that emotional vulnerability can hit harder than distortion ever could.
The Pretty Littles
Melbourne’s The Pretty Littles return with ‘In Our Times’, a scathing, riff-heavy track that channels apocalyptic dread. Jack Parsons’ vocal paranoia rides relentless guitars and pounding drums, delivering a brutally honest commentary on a chaotic world.
Following sold-out shows and support slots for DZ Deathrays and Bad//Dreems, the band continues to harness raw energy and darkly witty lyricism, proving their live shows are not for the faint-hearted.
Mudgoose
Wellington alt-country favourite Mudgoose drops Chasing Horse, a warm, idiosyncratic mix of molasses guitars, crystalline synths, and cheeky humour. Fletcher Ng’s songwriting drifts between bittersweet ballads and rattling cult-rockers, all recorded on tape for extra texture.
Think Pavement meets indie whimsy. With hooks you’ll hum long after, the album proves Mudgoose is not only cool—it’s irresistible, and confirms his place among Aotearoa’s most endearing alt voices.
Reveri3
North Carolina trio Reveri3 debut ‘Provider’, an ethereal-metal storm of rage and resistance. Blending distorted guitars, classical piano, and haunting vocals, the song channels feminine fury at the patriarchy, mixing early-2000s emo aesthetics with sharp social commentary.
Bailey McCowan’s lyrics cut with biting sarcasm, reflecting anger and frustration while demanding space in a system stacked against women. It’s fierce, cathartic, and impossible to ignore.
DESTINEZIA
Adelaide indie-rockers DESTINEZIA return with ‘crooked teeth.’ The single leans into vulnerability, embracing rawness and imperfection while maintaining high-energy anthemic drive. Following their debut EP DO THEY KNOW?, the band mix passionate performances with honest songwriting, creating music that feels alive and unpolished.
It’s a bold step forward, proving DESTINEZIA’s voice is both fresh and commanding on the city’s thriving indie scene.
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source happymag.tv ’
