Category: Music

AUCKLAND — Universal Music New Zealand is on the hunt for the next generation.

With effect from today, June 4, the major music company presses play on nextWAV., a 12-month industry-first development program that’s designed to find, give a platform to and support emerging young Kiwi talent.

The first-of-its-kind initiative is a holistic one, bringing together organizations and professionals from across NZ’s music industry for provide mentorship and development opportunities for aspiring artists on the way up.

“We created nextWAV. to help shape the future of New Zealand music by supporting local artists at the very beginning of their journey,” comments Matt Kidd, UMNZ co-managing director and co-program creator.

“At a time when discovery is global and competition is greater than ever, it’s critical that aspiring artists are given access to the right tools, networks and opportunities early.”

Adds Myra Hemara, co-managing director, Universal Music New Zealand and co-program creator: “nextWAV. is designed to play a role in this by bringing together the right expertise, partners and support to help shape the next generation of recording artists.”

Participants will receive one-on-one guidance from industry professionals across songwriting, production, branding, live performance and digital strategy, reads a statement, in addition to practical experience in studio environments, creative development spaces and live performance settings.

nextWAV., Kidd continues, “is about building confidence, capability and connection, while establishing a pathway for New Zealand artists to develop sustainable careers both at home and on the global stage.”

The program’s principal funding partners are NZ On Air and Creative New Zealand, while supporters include APRA AMCOS, Big Fan, Live Nation New Zealand, The Tuning Fork, New Zealand Music Commission, Launchpad and Play It Strange.

New Zealand has no shortage of world-class talent, from Lorde, to Benee, Broods, Ladyhawke and the legendary Split Enz, which reunited in 2026 for their first tour in almost 20 years. What NZ and its artists do struggle with are conditions that are no fault of their own. The tyranny of distance and the cost of touring is one challenge, another is being seen and heard above the frontline talent on both sides of the Atlantic, and the mine of golden oldies that lives in perpetuity on streaming platforms.

“Aotearoa has a proven track record of producing globally successful artists and remains an independent and well-established environment for developing talent,” comments Sean Warner, president of Universal Music Australia & New Zealand. “Continued investment in emerging artists is key to sustaining that momentum, and initiatives such as nextWAV. support long-term growth across the wider music ecosystem.”

Those young developing artists (aged 16-18) who are “ready to take the next step” are invited to apply.  Hopefuls must be permanent residents or citizens of Aotearoa New Zealand, have parent or guardian consent, and available to participate in the program on the key dates outlined in the Programme Structure. 

Applications open today, Thursday June 4, 2026 and close Sunday, July 19, 2026. Further information is available at www.nextwav.co.nz.

Stu Mackenzie and Lucas Harwood of King Gizzard and the Lizard Wizard, Julia Jacklin, and trials, lead the first wave of Artist In Conversation sessions at BIGSOUND 2026, one of the most popular daytime spots during Australia’s annual conference and showcase smorgasbord.  

King Gizz, as they’re affectionately known in these parts, are BIGSOUND alum, having performed during the nighttime program back in 2013. The prolific group has gone on to own their lane in the psych-rock space, smashing out a remarkable 25 albums (including five in one year), launching a label (p(doom) Records) and standing out as one of Australia’s leading music exports.

Jacklin, too, has graced the BIGSOUND showcase stages. The indie alt-pop artist made her BIGSOUND debut in 2016, just ahead of the release of Don’t Let The Kids Win, the first of her three studio albums.

A two-time ARIA Award winner, Jacklin this week announced her first-ever global record deal with venerated indie label 4AD, and shared details of her 2026/27 tour that will see her perform throughout North America, the United Kingdom and Continental Europe.

Also confirmed for BIGSOUND’s Artist In Conversation lineup is Ngarrindjeri hip-hop producer, composer and innovator, a founding member of Funkoars and one half of A.B. ORIGINAL, his politically-charged project with Yorta Yorta artist Briggs (an Artist in Conversation participant at last year’s BIGSOUND) that won two ARIA Awards and the coveted Australian Music Prize for best Australian album of the year (with 2016’s Reclaim Australia).

Trials (real name: Daniel Rankine) recently supported Hilltop Hoods on their 10-date arena tour of Australia, and last month released his debut solo project hendle. Also, he has been throwing his support behind Full Stop Australia, one of the country’s leading sexual, domestic and family violence response and recovery services, with profits of his merchandise t-shirt sales from every show donated to the organization.

Previous Artist In Conversation guests have included Tony Watson (aka Tones And I), Kelis, Mallrat, Blur’s Dave Rowntree, and Amy Taylor of Amyl And The Sniffers.

This year’s 25^th anniversary edition of BIGSOUND will play out in the vibrant entertainment district that is Brisbane’s Fortitude Valley, from Sept. 1-4.

International guests confirmed for BIGSOUND 2026 include reps from Partisan Records, Pitchfork, Bonnaroo, Soho House, MOM+POP, ROAM Artists, Reeperbahn, DMT Law Firm, Carpark Records, The Great Escape, True Panther and SXSW.

“BIGSOUND has always been a place where real connections happen, and this year we’re focused on creating even more opportunities for Australian and New Zealand artists and industry to connect with each other and the global market,” comments Kristy Ellis, interim CEO, QMusic, producers of BIGSOUND. “The program focuses on the conversations the industry is having right now — how the business is changing, how we stay ahead, and how Australian and New Zealand artists continue to grow on the global stage.”

Visit bigsound.org.au for more information.

Violet Grohl really is a chip off the old block. The newcomer with the famous surname made her TV debut Wednesday night (June 3) when she stopped by The Tonight Show Starring Jimmy Fallon with a full band.

Want rock? You’ve got it.

Looking cool, calm and dressed right for her late-night premiere in all-black, Grohl performed “Bug in the Cake,” lifted from the grungy rocker’s recently released debut studio album.

It’s been a bright couple months for Violet, who made her official Billboard chart arrival earlier this year as a teenager (aged 19), when “THUM” started at No. 38 on Adult Alternative Airplay. “THUM” marked her first appearance on a Billboard chart as a billed artist, though she did contribute backing vocals to Foo Fighters’ “Show Me How,” which hit No. 21 on Hot Hard Rock Songs in 2023.

Now aged 20, she’s just dropped the 11-track Be Sweet to Me, through Auroura Records/Republic Records, a record that also includes the previously-released “Applefish” and “595.”

Grohl is, of course, the oldest daughter of Dave Grohl, the singer, songwriter and force-of-nature rock star who has been inducted into the Rock And Roll Hall of Fame both with Nirvana (2014) and with Foo Fighters (2021).

According to a release, Be Sweet to Me was recorded from late 2024 into early 2025 at producer Justin Raisen’s Los Angeles home studio with a group of musicians assembled “in the spirit of the Wrecking Crew session players in the ’60s and ’70s,” whose work can be heard on classic recordings by the likes of Sonny & Cher, the Mamas and the Papas, Frank Sinatra and Harry Nilsson, among many others.

“Everything was written in the studio,” Grohl says of her new collection. “I would come in with an inspiration playlist, we would hang and listen for a little while, and then start writing.”

She’s supporting the project with a trans-Atlantic tour, which continues tonight (June 4) with a sold-out performance at New York’s Baby’s All Right.

Watch Violet Grohl’s performance on NBC’s Fallon.

Billboard is now live in India, the world’s most populous nation.

Launched in partnership with Other Side Ventures Pvt. Ltd. and headquartered in Mumbai, Billboard India is said to mark a new chapter in how Indian music is documented and celebrated worldwide. 

The new title will be familiar to readers of the flagship Billboard, coupling a deep range of multimedia editorial content with charts, lists, music awards, and more, cut with a domestic flair to reflect the diversity of India’s vibrant music communities.

“India is already one of the world’s largest music markets by volume,” comments Priyanka Khimani, media advisor and driving force behind Other Side Ventures. “Our growth story isn’t from one city or one language. It’s from every corner of this country,”

Legendary composer Ilaiyaraaja is the first cover star of Billboard India. The homegrown screen music icon has composed for 1,500 film soundtracks, and this year celebrates his 50th year in music.

“There couldn’t have been a more superlative name to launch our first cover than Ilaiyaraaja,” adds Khimani. “His legacy, body of work and music superiority speaks for themself. It was our privilege to be able to capture him as he celebrates an important milestone in his career.”

A culturally rich nation, India, of course, is home to Bollywood, a film industry that creates stars who shine globally. Its 1.4 billion population is mostly young, and many are plugged into the country’s music and movie industries. Some 450 million Indians are under the age of 30, and, according to the IFPI, are increasingly captivated with the next generation of Indian music stars that are crossing over from the silver screen.

Experts predict a boom is on the way. Domestic creator collections roared to roughly US$75 million in 2024, according to data published by CISAC data, representing a 42% year-on-year increase. Separately, India now ranks as the world’s 15th largest recorded music market, the IFPI reports.

The new platform has no shortage of content to explore. Billboard India will capture the dominance of film soundtracks, through to the explosive rise of independent artists, a statement reads, and serve as the “definitive voice” of Indian artists across all languages, including Hindi, Punjabi, Tamil, Telugu, and more.  

Its leadership team is helmed by Preeti Nayyar, who is appointed chief operating officer, and Mohini Chaudhuri as content strategy director. Other key appointments include, Amruta Ramesh (creative director), and Vidya Sivalenka (charts lead). 

“At Billboard, we are committed to celebrating any music ecosystem that includes artists, executives, trends, achievements and stories shaping today’s global music landscape,” notes Mike Van, CEO of Billboard. “Billboard India marks an exciting step in that mission, as the Indian music industry and its global diaspora continue to command growing attention and influence worldwide. With a market as culturally rich and diverse as India, this launch reflects both the scale of the opportunity and the strength of the Billboard India team, whose depth and editorial ambition set a powerful foundation for what’s ahead.” 

Billboard India is headquartered in Mumbai and is now live at billboardindia.com and across social platforms. 

It’s been 15 long years since R.E.M. called it a day. Michael Stipe isn’t looking back.

The Rock Hall-inducted singer stopped by Jimmy Kimmel Live on Tuesday night (June 2) for a performance of “I Played the Fool,” the theme song for the new Steve Carrell HBO comedy Rooster.

For the late-night spot, Stipe, bathed in green static light and wearing a beard that would make Santa envious, was joined by a full band featuring Grammy Award-winning producer, songwriter, and musician Andrew Watt, who co-produced Paul McCartney’s new solo album The Boys of Dungeon Lane and composed and produced the original score for Rooster.

Since R.E.M. officially disbanded in 2011, Stipe has released several solo songs including “Your Capricious Soul” (2019), “Drive to the Ocean” (2020) and “No Time For Love Like Now” with Aaron Dessner’s Big Red Machine side project (2020).

There’s still no word on when his long-awaited debut solo album will be released into the world. Stipe did touch on it in April during an interview with Stephen Colbert on the late-night talk show’s now-defunct Late Show. “One of the songs is the sound of a tree hearing itself for the first time,” he said at the time, cryptically, explaining that a friend had recorded the sound of a tree in his backyard in Georgia and then played it back to said tree for a song he described as Daft Punk-like. He added that he would be including his version of the standard sea chanty “Drunken Sailor” on the unnamed LP.

R.E.M. did reunite, briefly, in 2024 when the Athens, GA natives — Stipe, Mike Mills, Bill Berry and Peter Buck — got the old band back together to sing “Losing My Religion” at the Songwriters Hall of Fame gala in New York, on the night of their induction. Prior to that, the band’s last full public concert was in November 2008 in Mexico City, although the foursome did play a private party in 2016.

Watch Stipe and Watt’s performance on ABC’s Kimmel below.