When Mallrat returned with 2025’s Light Hit My Face Like A Straight Right, the project wasn’t so much a reinvention, but a creative revelation.
With Light Hit My Face (released via Nettwerk in North America, and via Dew Process / Universal Music Australia in Australasia), the Brisbane-raised, Melbourne-based artist built a new world, a universe. It’s a collection that staddles both the future and nostalgia, built with bricks that are both organic and electric.
On it, Mallrat (real name: Grace Shaw) showcases her vocals, which at times take an otherworldly turn with the help of AutoTune; her maturing songwriting; and features an array of collaborations, including contributions from Cub Sport’s Tim Nelson, Australian producer Styalz Fuego, and U.S. producer Buddy Ross. Shaw’s production on Light Hit My Face earned her producer of the year plaudits at the 2026 Queensland Music Awards, a badge she’s particularly proud to wear. Mallrat was also nominated for album of the year at the QMAs, and best solo artist and best pop release at the 2025 ARIA Awards.
“This was the first time that I was super-intentional with the world building with all of the visuals for the album, especially,” Shaw tells Billboard. “The worlds that I was building was a parallel universe, a southeast Queensland, where magic appears through strange little portals.” The album’s artwork features Shaw climbing on board a Hills Hoist clothesline, an Australian icon that’s right up there with Vegemite, koalas and the Lamington. In Mallrat’s world, it’s no ordinary Hills Hoist. This is a portal. “I imagined it as a conductor of magic,” she says with a laugh.
Mallrat presented some of that magic on opening night of Vivid Sydney 2026, with a set at Tumbalong Nights on Darling Harbour last Friday, May 22, where she fronted a three-piece lineup, which included a live drummer and a keyboardist who would switch it up with a guitar for the right number. “Hi Sydney, how’s everyone feeling tonight. I’m so happy you’re here,” Mallrat, wearing a white shirt and matching cans, told the audience after opening with album cuts “My Darling, My Angel” and “Pavement.”
It’s a more robust lineup to Mallrat’s arena tour of Australia earlier this year in support of Kylie Minogue, when she performed alongside a DJ.
Mallrat emerged as a fully-formed indie-pop artist in 2016 with the first of several EPs, Uninvited. Career streams across her catalogue, which include the timelessly charming “Groceries” and the cuter than a bug’s ear “Charlie,” which she performed for Vivid Sydney, are north of 500 million, reps say.
American audiences will get to enter Mallrat’s world later this year. U.S. and Canada live dates get underway June 13 at Seaport District NYC, and include a tour in support of Swedish artist Tove Lo. Those Tove Lo Estrus dates wrap up Oct. 1 in Mexico City, Shaw’s first visit to Mexico’s capital. “I’ve always wanted to go there,” she enthuses. “I’m so excited about that.” It’s her second visit to North America in just 12 months, following Mallrat’s opening spot of MARINA’s run last September and October.
Mallrat’s universe is expanding. The goal, she tells Billboard, is “making more albums. I’m working on maybe what could be two albums, or maybe it’ll just be one. As well as alongside my own music, tinkering away at writing and producing with other artists that I find really exciting. I’ll just have to cross my fingers that all that stuff comes out.”
It’s a too early to lock in the style and sound of Mallrat’s next project. “But I have been playing with a more electronic sample-based direction,” she explains, “and then I’ve been playing with a more live indie direction and then I’ve also been like experimenting with some kind of indie folk stuff. So, what I need to figure out now is where to concentrate my energy. Because it’s all fun.”
Tumbalong Nights is part of Vivid Sydney 2026, which runs to June 13. Vivid Sydney is presented by Destination NSW.
It’s been a long time since Jeff Mills worked his techno wizardry on Sydney audiences. Almost 25 years. Almost a lifetime. He broke that spell Friday night, May 22, with a marathon masterclass at Sydney Opera House, an Australian exclusive performance celebrating his iconic Liquid Room Mix.
Mills is an architect of Detroit techno, a founding member of the Underground Resistance. He’s known fondly as The Wizard for concocting magic at the decks, a world-class vinyl technician who thinks multiple stages ahead of the next drop, pulling at dizzying speed from his crate anonymous, white label cuts that would have the rest of us cooked.
Getting down to business in the Studio, a nightclub proper hidden underneath those famous sails, Mills got his Vivid LIVE opening night performance away with a history lesson, a 30-minute documentary on his legendary three-hour set at Tokyo nightclub Liquidroom. Recorded in 1995 at Tokyo nightclub Liquidroom, it’s a moment that’s spoken of in hushed tones. The live benchmark in progressive techno.
All told, Mills mixed more than 200 records on the night. Mills, the producer, worked many of his own tunes into that set for the first time, fresh from the studio to the wheels of steel. They were “so cutting edge,” he explains in the doc, and “reflective of what was happening deep in the underground of Europe and America.”
Many were masters and white labels, and they’d go on to become well known wherever techno is played. Some were pressed on 14” copper acetate, a format that was expensive, hard to find, and which, he says in the film, played at twice the volume as wax. The detonations can be easily spotted on those YouTube streams. “I knew I wanted to make the audience scream,” he recounts of his motivation. “So I knew I had to do something that exploded.”
“The Bells” was one. Perhaps his signature track, Mills made the track on one afternoon. “It took me a few hours,” he admits. After all these years, “The Bells” is still ringing, as it did on opening night in Sydney.
Mills last visited Australia in 2024 with his “Tomorrow Comes The Harvest” jazz-electronic project, a collaboration with Jean-Phi Dary and Prabhu Edouard. And before that in 2016, for a project with the Melbourne Symphony Orchestra (MSO) and fellow Detroit scene-builder Derrick May. On a drizzling night at the SOH, Mills got to work with vinyl, an appropriately austere scaffolding as his backdrop. No pre-programmed bits, no cheating, just lights, lasers, and a tireless smoke machine.
“DJing at a higher level than just mixing records together is quite complex,” he recently told Billboard’s Katie Bain. “It’s like being an athlete, like a tennis player. You have so many things you need to think about at the same time, as time is moving forward. You literally have to split your mind into multiple parts, and you have to pay attention to each one of these things at the same time, so your peripheral sense becomes enhanced.”
Although released by Sony Music on CD and cassette at the time (but not on DVD, against his wishes), the Liquid Room Mix has never been officially available digitally until now. It’d be considered a myth, if the set hadn’t been recorded for posterity.
Mills completed a two-night stand for Vivid LIVE on Saturday, May 23. Vivid LIVE is the annual contemporary music centerpiece of the Sydney Opera House, and part of the broader Vivid Sydney festival, which runs through June 13, and is owned, managed and produced by the New South Wales government, Destination NSW and Feel New Sydney.
Read Billboard’s “20 Questions” with Jeff Mills here.
Hans Zimmer will take it to the next level in Australia later this year, for the superstar screen composer’s second arena tour of these parts in 18 months.
The German-born Oscar and Grammy Award winner will go coast-to-coast on his The Next Level production, which starts Oct. 12 at Perth’s RAC Arena, then heads east for shows in Adelaide, Brisbane, Melbourne and Sydney.
Presented by Presented by Frontier Touring, Semmel Concerts and RCI Global, Hans Zimmer Live – The Next Level will see Zimmer “push the boundaries of sound, staging, and scale, marking his boldest live chapter yet,” reads a statement announcing the tour.
Zimmer will travel with his 19-piece band and featuring various vocalists, including Lisa Gerrard, singer with Australia’s Dead Can Dance, and a newly designed, “striking architectural stage concept” that’s said to blend electronic sound design with powerful orchestration.
The Interstellar composer, arranger and multi-instrumentalist wants the experience to feel something like a party, at a fun park. “I want fans to feel like they’re at a rave party or riding a roller coaster,” he explains in a statement. “For me, every show is a new voyage of discovery. The greatest challenge is the status quo – you have to do everything in your power to leave it behind and find and create something new.”
Australia clearly loves Zimmer and his deep catalogue of compositions, from Gladiator to Pirates of the Caribbean, The Dark Knight, Interstellar, Mission: Impossible, F1, The Lion King, Black Hawk Down, The Last Samurai, Dune and many others. He was last in the market in April 2025, for five east coast arena shows.
Hans Zimmer Live – The Next Level has been a blockbuster in his native Europe. By April 2026, reps say, the tour had completed 50 sold-out shows in 17 countries, shifting more than 600,000 tickets.
All up, Zimmer has scored more than 500 projects across all mediums, which have grossed more than $28 billion combined at the global box office. His treasure chest includes two Academy Awards, three Golden Globes, five Grammys, and an American Music Award.
When Glen Matlock published his memoir I Was A Teenage Sex Pistol in 1996. he “thought I’d never have to talk about (the story) again.”
But 30 years later, he’s doing it again.
The Sex Pistols‘ founding bassist — who co-wrote 10 of the 12 songs on 1977’s seminal Never Mind the Bollocks, Here’s the Sex Pistols before parting ways with the band that year — is now the subject of a documentary also titled, wait for it… I Was a Teenage Sex Pistol. Based on the book, of course, the 94-minute film begins streaming May 26 on Apple TV and Prime Video. It’s directed by Andre Relis (Randy Rhoads: Reflections of a Guitar Icon) and Nick Mead (Who Do I Think I Am? ).
Amidst its reams of vintage footage and images is commentary from Matlock and a wealth of friends and associates, including Billy Idol; Blondie members Debbie Harry, Chris Stein and the late Clem Burke (Matlock’s been touring with the band since 2022); the late Wayne Kramer of the MC5; Spandau Ballet’s Gary Kemp; Rat Scabies of the Damned; Slim Jim Phantom of Stray Cats; Kenney Jones (the Faces, the Who); Cheetah Chrome (the Dead Boys, Rocket from the Tombs; L.A. Guns’ Tracii Guns; and members of the Vandals, Bazooka Joe, Doctors of Madness and more.
Sex Pistols frontman John Lydon (aka Johnny Rotten), the band’s late manager Malcolm McLaren, and the late Sid Vicious, who replaced Matlock during February of 1977, are represented via archival footage and audio clips.
“It’s no real kind of MGM, the big lion thing,” says Matlock, who co-produced the film. “It’s a little bit more of a DIY project. People have been interested over the years; it didn’t come together, and then I met Nick Mead, who introduced me to Andre Relis a couple of years ago, and we slowly went about piecing it all together. I think it’s come together really well.”
He adds that, “I think what’s quite good about it is Andre… is sort of a bit late to the punk rock thing. So he asked people questions that may be a bit naive, but he gets a more straightforward answer out of them than somebody who knows it already and asks some tricky question instead.”
The point of the I Was a Teenage Sex Pistol documentary is much the same as the book — essentially restoring Matlock’s somewhat obscured contributions and his place in the band’s groundbreaking legacy. “I thought this might make a slightly different take on the Sex Pistols story,” he explains. “I’ve always felt I’ve been passed over a little bit in the public eye. People like to paint me as the guy from the Sex Pistols that nobody knows; there were so many people involved that they’ve all got their own take on the story. This is mine.”
That notion is certainly supported throughout the film. As Joe Escalante from the Vandals says on camera, “We’re kind of fed a Sid Vicious story, that Sid Vicious was punk rock and Sid Vicious is the Sex Pistols. And we found out Sid Vicious could not play bass, did not play bass, and there’s some other guy named Glen Matlock. And we’re like, ‘Who’s he?’”
Matlock — who’s long contended that he chose to leave the band while others have maintained he was fired — says that he’s “really pleased with the quantity and the caliber of people who stood up to pick me up a little bit — friends, acquaintances, work colleagues. That can only boost your confidence a little bit, and it’s interesting to hear the slightly different takes on things.”
What …Teenage Sex Pistol does make clear is the key role the bassist played in the band’s formation and its music, including its first single, “Anarchy in the U.K.,” and the equally iconic “God Save the Queen.” In the documentary Matlock demonstrates show they came about, playing the chord progressions on his bass for the camera. “I always tried to get Steve (Jones) doing something on the root (progression), which he’d pick up on and lay around with a little bit,” Matlock explains. “Then I’d give it a bit more color, like what (John) Entwistle did on (the Who’s) ‘My Generation’ — nowhere near as good as that, but counterpoint rhythms and things like he does.”
The documentary also explores the roots of punk rock in the United Kingdom, with observations from the figures such as Alex McDowell, an acclaimed production designer who booked what was to be the first Sex Pistols concert, at the Central School of Art and Design, and Mike Thorpe, a record executive who signed the band to its ill-fated first contract with EMI. “I did subscribe to the socio-politico kind of thing myself,” Matlock says now, “but that could be misconstrued because everybody in the band had totally different ideas about it. Paul (Cook, drummer) might have been more along my lines. (Jones) couldn`t give a s— as long as he got paid and there were some girls involved. And John ended up more on the sort of (politically) right end of things, which I’m certainly not. I’m not an out-and-out socialist, but I’m leaning that way. So there was a big split in the camp.”
After leaving the Sex Pistols, Matlock formed Rich Kids with a then-unknown Midge Ure, then went on to the short-lived Vicious White Kids with Sid Vicious, Spectres and the all-star International Swingers. He also worked with Iggy Pop, the Damned and the reformed Faces before his tenure with Blondie.
Cook and Jones appear in …Teenage Sex Pistol, their relationships with Matlock largely repaired since he rejoined the band for its 20th anniversary Filthy Lucre tour in 1996 and continues working with them. “Me, Steve and Paul have always gotten on enough,” Matlock notes. “They always blame (McLaren) for what happened. We’re not the best of friends, but we’re not the worst of enemies. We sort of hang together and enjoy each other’s company when we do that.”
But Matlock remains unhappy with Pistol, the 2022 British TV miniseries which was based on Jones’ memoir Lonely Boy: Tales from a Sex Pistol, and executive produced by the guitarist. “I did tell Steve, I said, ‘Mate you got a shocking memory,” he says. “I wasn’t that happy with it, but that’s not why I made this movie.”
Matlock says there were “a few people I did ask” to be interviewed for the film but refused. “They were maybe more in the John camp,” he notes, “so probably said ‘no’ because it could’ve been awkward. Lydon was not approached, under the assumption he “just wasn’t interested. He’s moved on from (the Sex Pistols) now. But good luck to John; he’s got the Public Image (Ltd.) thing going. People say we’re a tribute band without John, but there’s three of us, and he’s the only Public Imager. I think he’s painted himself into a corner of a very big hallway.”
Asked if he’d be open to having Lydon back in the Sex Pistols if he wished, Matlock is silent for a moment before saying that, “It’s just not gonna happen.”
Matlock, Jones and Cook are happy enough with the current incarnation of the Sex Pistols, however. British singer Frank Carter began fronting the band during 2024, at the suggestion of one of Matlock’s sons; the group will be going on a 50th anniversary Jubilee tour this year, starting June 11 in Europe — with several festival appearances — with U.S. dates beginning Sept. 11 in Dallas to make up for shows canceled last fall after Jones broke his wrist.
“Frank has given us a new lease on life,” Matlock says. “It’s a bit like the beginning in the band, when we first started out, before John got his face in the papers. Jenny, (Cook’s) wife), came to see us and said, ‘Y’know what; that’s the first time I’ve ever seen you guys come off stage with a smile on your face.” And he predicts that bonhomie might even lead to some new music from the quartet.
“I’d like to,” Matlock says. “I’ve got some tracks; they’re not finished songs, just sort of earmarked if that (opportunity) comes up. I think Frank would like to. The only thing is Steve lives in L.A., I live (in London), Frank’s out of town. When we get together (to tour) we have enough time to do what we need to do. There’s not a lot of hanging around. But who knows. We’re beginning to run out of time a little bit, but never say never, right?”
T.O.P knows exactly what he was doing when he opens his first-ever solo album with a baby voice cooing, “I may be 99 percent angel, but that one percent gets me in trouble.”
It’s unexpectedly disarming, slightly devastating, but also funny, and ultimately sets the tone for TOP SPOT – ANOTHER DIMENSION. Despite the innocent intro, the opening track “SELF CRUCIFIXION” brings a boom-bap beat and a sampled soul singer pleading to “set me free,” before a torrent of news clips, pulled from Korean and English broadcasts, discuss highs and lows throughout 20 years in the entertainment world.
While T.O.P’s voice is temporarily buried beneath the headlines and as others step forward to define him — marijuana charges, a hospitalization following a medication overdose, being named the first Korean civilian for a lunar mission — the audio drops out and he reclaims the mic by the song’s end: “What am I doing these days? I make my music. Our music.”
It is rare for any artist to deliver a full account of their lowest moments, especially one raised in the K-pop scene. Yet, T.O.P approaches it as an artistic act of empowerment instead of an apology.
Debuting with the stage name T.O.P as a member of BIGBANG in August 2006, Choi Seung-hyun became one of K-pop’s most recognizable global figures as he and his band mates broke new ground for the Korean-pop scene after accepting the inaugural best worldwide act trophy onstage at the 2011 MTV Europe Music Awards, beating out the likes of Britney Spears for the honor. With that, the act became the first K-pop group to send an album to the Billboard 200 (when 2012’s ALIVE reached No. 150) and showing their live prowess with two world tours (hitting multiple U.S. arenas in 2012 and 2015).
To date, BIGBANG have five No. 1s on Billboard‘s U.S.-based World Digital Song Sales chart, and even scored their first Top 10 hit on the Billboard Global 200 with the special 2022 reunion single “Still Life” that marked T.O.P’s final release with the group.
While he was a key songwriter and rapper for the group, T.O.P ended his contract with BIGBANG’s YG Entertainment in 2022 and formally left the band the year after as part of a retreat from the spotlight after a series of personal and legal issues and controversies.
But 15 years after T.O.P earned one of the very first K-pop albums to bow on World Albums with his collaborative GD & T.O.P record in 2011 with BIGBANG band mate G-Dragon, the star is back on the music scene — and the charts — after constructing what he has described as “a gift to my fans.” With a digital-only release in the States, TOP SPOT – ANOTHER DIMENSION debuted at No. 20 on the April 18, 2026-dated World Albums chart, marking his debut solo appearance via the first-ever release from his newly created independent label, TOP SPOT PICTURES.
“This album is especially meaningful to me because it’s my first full-length solo album,” T.O.P shares in an exclusive interview with Billboard. “So, being able to enter the Billboard World Albums chart with this record, as a solo artist, truly means a lot to me. The members of BIGBANG and I make very different kinds of music now, but I’ll always support and respect their music…it’s been such a long time since I returned with music, so I sincerely thank everyone for the overwhelming response and love you’ve shown me.”
T.O.P
Courtesy of TOPSPOT PICTURES
T.O.P
Courtesy of TOPSPOT PICTURES
Co-producing and writing every track, T.O.P shared that he spent a decade working on a collection that isn’t just his 11 best songs, but “a 37-minute film that freely crosses different genres according to my own taste” and “an album built from multiple perspectives.” The connection to cinema seems particularly important as T.O.P only fully returned to the promotional spotlight for his role in the second season of Netflix’s Squid Game, playing the failed, drug-addicted rapper nicknamed “Thanos,” who lost his wealth in a cryptocurrency investment. With his TOP SPOT PICTURES boasting a Hollywood studio-esque name, T.O.P is approaching his new work with a director’s eye that needs to consider all aspects of the production.
Inspired by Notorious B.I.G., Tupac and other ’90s hip-hop greats, T.O.P’s longtime influences are present within the record, as are references to his time with BIGBANG, but DIMENSION also uncovers new sides of T.O.P’s talents. “THE GIANT” lets T.O.P the vocalist take center stage with a controlled, pop-star-quality that recalls early Adam Levine. His lyrics also touch new personal parameters where T.O.P, a noted art collector, compares his work to South Korea’s Leeum Museum on “SEOUL CHAOS” while seemingly making comments on fame via the aptly titled “A SMALL, FILTHY SHOW WINDOW.”
“For many years, my goal with this album was to create something with a truly original composition, like an art exhibition, and present it as a gift to my fans,” T.O.P explains. “I wanted it to reflect my personal taste — not just as an auditory experience, but as something visually memorable as well, almost like a collectible work of art. I wanted everyone who owned this album to feel that it had real value as an object to keep and treasure…the album turned out exactly in line with my taste, and now that the music is finally out in the world, I’m happy that so many people are able to hear it.”
For as personal and special as the process has been for him, T.O.P wasted no time sharing his favorite online reviews and unboxing videos from YouTube to his 20 million Instagram followers. He adds, “When I watch fans unboxing the album and sharing those videos online, it feels as though pieces of the dream I once imagined are finally coming true one by one. I’m incredibly grateful that my new music is allowing me to reconnect with my fans again after such a long time.”
Looking ahead, T.O.P shares that more DIMENSION trackswill soon have music videos released beyond the singles “DESPERADO” and “Studio54,” with visuals created using a “completely different approach from anything I’ve done before.” While he laughs when he says that his future acting plans “are still a secret,” he also notes that his ambitions expand beyond singing and acting.
“TOP SPOT PICTURES will continue to be the label through which I release my new music,” he confirms. “In the future, I naturally hope to nurture the next generation of artists as well and, eventually, I also dream of producing films.”
Although his mission to visit the moon aboard a SpaceX Starship as part of the DearMoon lunar tourism project was ultimately canceled in 2024, T.O.P remains keen on visiting the site of one of his greatest inspirations: “Themes related to the moon and outer space have now become deeply connected to my music and, personally, they’ve become incredibly important motifs in my artistic world as well. Because I sincerely hope that the music I continue to release in the future will keep drawing inspiration directly from the moon, I truly believe that one day, I’ll make it there,” he says with a laugh at the end that boasts an undeniable sense of determination.
T.O.P
Courtesy of TOPSPOT PICTURES
One of the album’s last tracks, “FOR FANS,” sees T.O.P speaking to supporters not via a throwaway thank-you cut typical of K-pop records, but a vulnerable letter of admission he’s been worried they’ll leave him. It’s the overarching point T.O.P returns to several times while discussing ANOTHER DIMENSION: the decade of work is ultimately in service of refusing to let his relationship with fans go cold.
“There’s also something I’ve wanted to say to my fans for a long time that I wanted to share my new music with you even a little sooner,” T.O.P adds. “Starting with this album, I will continue to give back to you through music and I’ll keep striving to be an artist who always brings sincerity and something new to my work.”
Twenty years in, it truly sounds like T.O.P has shared the artist he has always known himself to be. Even if T.O.P is 99 percent angel — as he hints to at the very beginning of the LP — the rest is up to him to create whatever kind of art — or trouble — he wants to express himself.
Rise Against will return to Australia and New Zealand this November and December for their first headline run in the region since 2018, bringing Dropkick Murphys along for the ride on what will be the largest shows either band has played in the region.
The seven-date tour opens in New Zealand with shows at Christchurch’s Wolfbrook Arena on Nov. 21 and Auckland’s Spark Arena on Nov. 24, before the Australian leg takes in Melbourne’s John Cain Arena (Nov. 26), Brisbane’s Riverstage (Nov. 29), the Sydney Opera House Forecourt (Dec. 1) and Perth’s Red Hill Auditorium (Dec. 4).
Both bands will also appear at Meltdown Festival at Gosford’s Entertainment Grounds on Nov. 28 alongside The Living End and Jebediah. Mastercard presale opens Wednesday, May 27 at 12 p.m. local time, with general on sale Friday, May 29 at 1 p.m. local time.
The news comes following Rise Against frontman Tim McIlrath teasing the return in a 2025 interview with The Music. “We are currently conspiring to get down and bring the show to Australia,” he said. “This is a place that has supported us for so long, so we are definitely coming back.” The band last visited Australia in early 2024 as support for blink-182’s arena tour.
The tour supports Rise Against’s tenth studio album Ricochet, released Aug. 15, 2025 via Loma Vista Recordings and produced by Grammy winner Catherine Marks — her first collaboration with the band. The Chicago quartet have placed five consecutive albums in the top 10 of the Billboard 200, with their most recent pre-Ricochet effort, Nowhere Generation (2021), debuting at No. 9.
Dropkick Murphys join behind their thirteenth studio album For the People, released July 4, 2025 on their own Dummy Luck label. The Boston Celtic punk stalwarts have scored three Billboard 200 top 10 entries, with 11 Short Stories of Pain & Glory (2017) debuting at No. 8 and topping both the Top Rock Albums and Alternative Albums charts simultaneously — the first time the band had reached No. 1 on either chart. Their signature track “I’m Shipping Up to Boston” remains one of the most recognisable songs in American sports, having become synonymous with the Boston Red Sox following the team’s 2007 World Series run.
Rise Against with Dropkick Murphys — Australia & New Zealand Tour 2026
Nov. 21 — Christchurch, NZ — Wolfbrook Arena Nov. 24 — Auckland, NZ — Spark Arena Nov. 26 — Melbourne, AUS — John Cain Arena Nov. 28 — Gosford, AUS — Meltdown Festival, Entertainment Grounds* Nov. 29 — Brisbane, AUS — Riverstage Dec. 1 — Sydney, AUS — Sydney Opera House Forecourt Dec. 4 — Perth, AUS — Red Hill Auditorium
