An introspective yet expansive alt-pop gem, the brand new single Her from Aotearoa New Zealand artist Isla Noon is a driving new outing, also fittingly accompanied today by an intimate and energetic music video.


Opening with wavering synths and the ethereal vocal stylings of Isla Noon, Her buoyantly builds into an empowered and vibrant ode to Noon’s younger self. Nodding to the passionate creations of Sam Fender, the intimate yet atmospheric wiles of Holly Humberstone, and the dreamy hues of American indie pop group MUNA, Her is ultimately a candid and assured triumph, complete with goosebump-inducing melodics and glimmering textures. “I wrote Her alone, at home with my guitar,” reveals Isla Noon. “Her is about my younger self. Life often ends up taking you down a whole lot of roads you could not have anticipated when you were young. I didn’t want to lose my child self in adulthood, because I still have a lot of the same dreams I’ve had since I was a little kid. In a way, I felt like I owed that little kid, like she was counting on me. Writing this song allowed me to open a dialogue with my younger self and let her know; ‘You can trust me to take over now. It won’t be perfect, and some of the things you thought you wanted will change, but you’ll be happy’. It’s me at my most candid and conversational.”


Producing Her alongside long-time collaborator Maude Minnie Morris as well as Chris van de Geer on co-producing and mixing duties, Isla Noon’s experience recording the demo vocals for her latest single proved as memorable as the end result, as she explains, “I wrote the song at home and then brought it into the studio to record with Maude. I was sitting on the couch behind Maude, recording in the demo vocal, and I remember her turning her chair around when the song ended and looking at me like she was about to cry. It only really struck me then that anyone else would understand what I was feeling or connect with the song, it just felt so incredibly personal when I wrote it.”


Also armed with a brand new music video, the kinetic Her rises to new and connective levels, with Her’s accompanying visual concepts organically emerging the very same day Isla Noon penned the sublime track. “I wrote the music video concept the same day that I wrote the song,” she reveals. “I had this mental image of a fake car in a studio environment, driven by people in my life with me as a constant passenger, and ending with me leaving the set and driving my real car.  The fake car in the video is a nod to the driving metaphor throughout the song, but also a metaphor for my life and the way in which I felt I was being driven by a younger self that had high hopes for me. I met with Oshara Ardelean, who also directed the video for Body, and I remember thinking: ‘Oshara is going to think I’m nuts for wanting to construct a life-size model of a car out of cardboard’. But thankfully, she was totally on board. It was a really personal shoot. Full of laughter and also a few emotional moments. The video features a young Isla Noon, played by the absolutely joyous Scarlett Ewen. It also features my best friends Georgia Mismash as the ‘cool 25 year old’, Maude Minnie Morris and Swap Gomez who are also my live band.”

Growing up listening to the likes of Boney M as a toddler before devouring everything from Leonard Cohen through to Caroline Polachek, Wolf Alice and Lorde later in life, Isla Noon’s core musical memories drive vehemently through her powerful pop stylings, merging into creations that are intelligent and intimate in equal measure. Writing music from an early age and first picking up the guitar when she was 10 years old, Isla Noon’s academic pursuits soon merged with her creative passions before she ultimately transformed into the formidable artist as we know her, in the most relatable way possible: by breaking her own walls and notions of perfectionism down and confronting any aversions to vulnerability, ultimately emerging as the authentic and potent performer and songwriter she is today.


From her work being described by Rolling Stone as “glistening, dance-pop perfection” through to a string of local and international successes already under her belt, Isla Noon’s gaze now sits fixed on the near future, with a ground-breaking debut album on the way already paved by the resonating beauty of her new single. “This song allowed me to put into words something that was weighing on me at the time, and now feels like a marker of my growth since writing it,” Isla Noon concludes. “I’m no longer experiencing the weight of those feelings, in fact I’m in a very peaceful place with it now, but it’s only really through writing the song that I moved through and past that block. It felt like a gift to myself to write, and releasing it feels like passing that gift on to anyone who may have ever felt that they were falling behind in some way, or struggling to reconcile expectations that their younger self may have had about where they ‘should’ be in life.”


Her is out today, Friday May 10.


Listen: HER

Stream: HER

Watch: HER






“…a deeply powerful statement of devotion to country and his Kamilaroi and Tongan cultures.” – The Music


Renowned for his immersive melding of hip hop and soul alongside his dynamic vocal performances, Kamilaroi and Tongan artist Radical Sonreturns today, teaming up with Australian leading electro-pop wizard Stereogamous, aka Paul Mac, to conjure an unforgettable remix of RadicalSon’s single Elder. Coated in a contemporary sheen, Elder (Stereogamous Remix) effortlessly heightens the commanding messaging of the original track, with the original also set to feature on Radical Son’s impending sophomore album Bilambiyal (The Learning) due out on Thursday July 11.


Expanding the potent narrative of its original, Elder (Stereogamous Remix) finds Radical Son, aka David Leha, mightily connecting with his cultural roots, while also calling on others to do the same. With unwaveringly sharp intensity and authenticity, Radical Son soars singing, “I wish to be an elder, an old man on this land”, surrounded in its new remixed form by trance-like beats, swirling electronic elements and fluctuating textures that take you from breathless to catharsis and back again. While certainly not Radical Son’s first foray into the world of remixes, with his singles Warrior, Black Baptism and Wicked all featuring remixes on his EP Soul Passenger, Elder (Stereogamous Remix) presents as a fluid continuation of Leha’s soul and hip hop-hued stylings, ultimately emerging as a powerful modern conduit for the track’s significant essence alongside the sleek input from Stereogamous. I think remixes are a great way to get your music out,” Radical Son shares of the new remix. “I have a great deal of gratitude to my team and all those that are getting behind us and supporting what we do. I’m really looking forward to hearing the feedback from others. It’s such an honour knowing that remix may take it to new audiences. A great message to pass on.”


Teaming up with Stereogamous, aka the multi–ARIA Award-winning composer, songwriter, musician and producer Paul Mac, Radical Son’s brand new remix bridges Elder’s powerful narrative and core with modern hues that respectfully and positively translate into a contemporary setting. And, as Mac explains, the Stereogamous remix of Elder has already proved to be a resounding success in a live setting, shared and heightened by the power of dance. “Elder is a vital song that speaks to honouring those who have gone before us and a positive call for our place in emerging futures,” shares Mac. “As veterans of the LGBTIQA dance scene, we are grateful to see our dancefloor as a safe space for intergenerational community. We are thankful to have been given the opportunity to remix this powerful track with uplifting chords and earthy beats and to share it via dancing. You’re never too mature to belong on a dancefloor. We have road tested the Stereogamous remix throughout Mardi Gras season from Bondi views to sweaty basements and outdoor raves – and the response is always joyful.”


Elder’s original form is also set to shine on Radical Son’s upcoming new album Bilambiyal (The Learning), with the hotly anticipated full length set to further showcase Leha’s cultural connection, innate integrity and powerful perception across its 12 tracks. Releasing via Leha’s own label, Wantok Musik, and following on from his debut LP Cause ‘N Affect, Bilambiyal (The Learning) was also crafted alongside a powerhouse team, including Full Circle Audio, Marcus Longfoot, Andy Robinson, David Bridie, Frank Yamma and Emma Donovan and many more. Opening with the starkly intimate Elder Reprise, Bilambiyal (The Learning) from start to finish is a compelling and routinely beautiful experience, from Leha’s spellbinding delivery on the warm and driving How Long Must I Wait through to swirling bluesy soul (All My Life), ambient, meaningful ballads (Until You Call My Name), reggae tinges laced with hope (Only One Life) and gripping narratives from Leha’s Kamilaroi roots, particularly front and centre on the undeniably dynamic Yuluwirri Wandabaa, aka Rainbow Demon.


An album that is as stylistically diverse as it is captivating, the ultimate lustre driving Bilambiyal (The Learning) is Leha’s powerful devotion to his country and his soul, shown vividly on the stunning might of the original version of Elder, as well as the album’s own title track, with the latter offering an unforgettable emotive punch as Leha declares: “How many days should I go on, how many times must I do wrong, how many tears must I cry, ‘til I learn the meaning of life?”. And it’s ultimately Leha’s raw and ravishing soul-searching and nuanced calls to action layered throughoutBilambiyal (The Learning) that drives home the Radical Son core message: “Life’s a journey and we all have so much to learn. And my pet hate: people who think they know it all and those with no humility.”


One of the most compelling artists in the Australian cultural scene, Radical Son, the son of an Aboriginal woman and Tongan man, channels his experiences from his past into immense power and resolve, with his trademark sound pulsing with the urgency of hip hop and emotionally-charged soul. A festival favourite, cemented by his show-stopping cover of his mentor Uncle Archie Roach’s Walking Into Doors in 2022, Radical Son has performed to standing ovations at Bluesfest, St Kilda Festival, VIVID, the AFL Dreamtime 2032 game, and the official Uncle Archie Roach memorial in Melbourne and Sydney.


A highly skilled concert artist, with performances alongside classical ensembles and high-profile collaborations under his belt, Radical Son’s artistry also expands to film and TV, with credits including Defining Moments, a six-part NITV documentary exploring life-defining experiences, and theatre work, including the lead role of Pemulwuy in I am Eora at the 2012 Sydney Festival.


Studying as a musician at The Eora Centre for Visual and Performing Arts in Redfern, as well completing a Bachelor of Music from Newcastle Conservatorium, Radical Son’s creative prowess and steadfast substance is only matched by his otherworldly stage presence that repeatedly transfixes; and this fact is only set to heighten with the upcoming release of Bilambiyal (The Learning), as well as Radical Son’s upcoming performance in July as part of QPAC’s Warriors Concert for 2024’s Clancestry Festival in Brisbane, alongside Andrew Gurruwiwi Band, Jungaji and J-MILLA.


“After having played the new songs a few times now and enjoying the positive responses, I’m really excited to see where this goes,” Radical Sonconcludes. “I believe I’m performing better than I ever have. Radical Son is playing with a new lineup. I’m looking forward to playing with new musicians, fans can expect to see an old Warrior that still burns brightly. And we are already writing new songs for the next album.”


Elder (Stereogamous Remix) is out today via Wantok Musik.

Bilambiyal (The Learning) is due out on Thursday July 11.



Tickets available from



Whoever said two is company and three is a crowd clearly never witnessed three simultaneous singles released from singer-songwriter, actor and all-around compulsive creative Presley Davis Jr. Today releasing three new singles of varying sonic shades, Presley flexes his balanced creative muscles, spanning sultry blues on How Can I, slinky, vintage jazz via Crazy, and bouncy bluegrass courtesy of Petunia. With all three singles also offering a peek behind the curtain into Presley’s upcoming three albums, Birdlife, Roadside Magnolia and Torana Americana which will all form into the amalgamated Eclecta Trifecta project set to release this July, genres and creativity take full flight in the capable hands of Presley Davis Jr; and there is truly something for everyone with his latest offerings.

Flying the flag for blues and soul and taken from the impending album Birdlife, Presley’s first single How Can I swoons with nods to the likes of Albert King, Donny Hathaway and Mavis Staples, with its soft swagger and tempered sensuality showcasing Presley Davis Jr’s charismatic warmth as he regales a tale of tumultuous romance, as the man himself explains, “This song came to mind without much, lyrically, other than a few turns of phrase. I knew it was about someone who was living a double love life. I used details from a friend’s declining relationship which was a real cheat-fest to fill in the blanks.”

Next up, grab some old-timey jazz goodness courtesy of Crazy, aka Presley Davis Jr’s vintage take on the classic single penned by Willie Nelsonand made famous by Patsy Cline, set to feature on the upcoming album Roadside Magnolia. Complete with sparking piano lines, stomping brass and oozing jazz flourishes, Presley’s Crazy is a stunning ode both to its source material, influences like Dr. John, Anders Osborne and Leon Redbone, and, ultimately, his very own upbringing. “My father was obsessed with tenor banjos and early jazz,” he shares. “The only other music he seemed to enjoy was Willie Nelson. Patsy Cline made this song famous, but Willie Nelson wrote it. One morning I woke up to find a recording of myself playing this country classic in this really old-time jazz style. It had been emailed to me from ‘Friday Night Presley’ if you know what I mean.”

And from sonic throwbacks and soulful swoons through to shimmering bluegrass, Presley’s sonic hat-trick rounds out today with Petunia, lifted from the upcoming album Torana Americana; a potent and rhythmic bouncing blast, laced with percolating strings, inspiration from Bill Monroe, Ricky Skaggs and Paul Kelly, and ultimately emerging as a jaunty ode to Presley’s real-life experiences, as he reveals, “Petunia is a slacker’s lament. Or in my case an undiagnosed ADHD lament. I never intentionally dragged my feet in life, but I have pancaked a lot and find myself constantly starting anew. Turns out this is common for people with my diagnoses. This song is basically for my partner who has always supported me.”

A creative chameleon, Presley Davis Jr’s experiences during the pandemic years led to the talented artist evaluating himself both professionally and personally and ultimately settling on the idea to release a three-album project, with all three albums in three different styles to release on the same day. Thus, the Eclecta Trifecta project was born, consisting of the forthcoming full-lengths Birdlife, Roadside Magnolia and Torana Americana. OnBirdlife, Presley embraces rhythm and blues influences, exploring blues, funk and soul vibes that he was steeped in while playing in bands around Chicago and St Louis. For Roadside Magnolia, Presley presents a faithful old-time jazz record, honouring the music taught to him by his late father and featuring tenor banjo, tuba, piano, trombone, clarinet and vocals. And Torana Americana celebrates all things country, with bluegrass songs alongside traditional country and western tunes, all focused on harmony vocals and an array of boot-tappin’ tunes.

Starting work on his country and soul material first, Presley began the entire Eclecta Trifecta process on his own in Melbourne before connecting with some local industry friends to ultimately bring the three eclectic albums to fruition. With mixing courtesy of Alejandro Rosenblat (Roadside Magnolia) in Argentina and Jason Torrens (Birdlife and Torana Americana), and a global army of musicians, the Eclecta Trifecta is a celebration of styles, ingenuity and, ultimately, unbridled creativity. “I bought an interface, a few microphones and watched a lot of YouTube videos,” sharesPresley of the creative process behind his new material. “I just persisted and finished one track on my own. I then sent that to a few of my mates who know about recording. They encouraged me to continue. Jason Torrens was one of those mates. He owns Debasement Studios in Ferntree Gully Victoria and has worked with Bodyjar, You Am I, Slipknot, and he is Senior Program Leader at Collarts. I would record everything and edit things to the best of my ability and then upload the session for him to take over. That was the process for the country songs, and the soul songs. For the jazz songs, we did the drums and piano live with me playing and singing along. We recorded those bits at Four4ty studios in Eltham over 3 days. I then re-recorded the vocals, added banjo, guitar at my house. The best part of that was having Nathan Ford come around to my house to record the tuba for all my neighbours to hear – I had never recorded tuba before. And because of the pandemic, I ended up getting people from all over the world playing on these records, just sending their parts through.”

Adopting his stage name to honour Sammy Davis Jr., it seemed predestined that Presley Davis Jr would find himself immersed in the arts. Receiving his first guitar and tenor banjo at the age of eight from his father, a member of the Nicky Capodice Banjo Band, Presley was contracted to sing old jazz favourites six nights a week by the age of 17 and was touring North America by the age of 25, performing with different bands in different styles spanning bluegrass, blues, soul and rock. Eventually moving to his wife’s hometown of Melbourne, Presley would find himself hemmed in by the world’s longest lockdown during the pandemic years; but rather than dull his creativity, Presley turned to his work and aspired to conjure something entirely for himself, as he concludes, “Covid forced me to think about my mortality. I realised that for most of my musical career I have been a travelling performer. Playing gigs to pay my bills. I have recorded with bands, but I suddenly felt the need to do something for myself. It feels great to finally be releasing these tracks after so much time in the studio. For a while there, I thought the light at the end of the tunnel was accelerating away from me.”

How Can I, Crazy and Petunia are out today, Tuesday April 30.

Birdlife, Roadside Magnolia, and Torana Americana, aka the Eclecta Trifecta, are due out on Tuesday July 23.

Listen: HOW CAN I Listen: CRAZY  Listen: PETUNIA