It’s the result of a collaboration between APPLEWOOD — who have worked with the likes of BLACKPINK, SEVENTEEN, and LE SSERAFIM, to name only a few — plus Australia’s leading festival promoter, Untitled Group.

Here’s all the important details for what promises to be an unforgettable day.

When and where will Hello, Melbourne take place?

The festival will take place against the iconic backdrop of Flemington Racecourse on Saturday, March 14, 2026.

Who is on the lineup?

The festival’s initial lineup has been officially unveiled, and it’s a major coup for Australian K‑pop fans. So far, the following acts are confirmed:

What you can expect on the day

While the full lineup is still being revealed, fans can expect a festival atmosphere complete with:

How to get tickets

Tickets went on sale at 12pm AEDT, Tuesday, December 16.

Tickets are available via Megatix. You can also read more about the ticket tiers, which range from GA to VIP, as well as pricing details.

Feature images: one, two.

The post Everything you need to know about Hello, Melbourne — Australia’s first K-Pop festival appeared first on RUSSH.

Here’s what we know.

Harry Styles reportedly has 12 shows on the horizon in 2026

It’s all thanks to Deux Moi, which alleged in its December 8 newsletter that the singer is gearing up for 12 stadium shows in the UK in 2026, and even more in 2027.

The unnamed source also guessed that Styles might follow a similar touring pattern as Taylor Swift’s mega Eras shows, which utilised London’s Wembley Stadium.

Styles is also a favourite to headline Glastonbury in 2027

While the iconic British festival will go on hiatus in 2026, Styles is currently a rumoured frontrunner to take to the stage in 2027. Of course, fans have been quick to notice that this would align with the above touring dates…

Strengthening this rumour, an unnamed record label source recently told The Daily Mail, “Harry was gutted not to do this year’s [2025] Glastonbury Festival, but he’s near certain to play at the next one, which due to the fallow year in 2026, doesn’t take place until 2027.”

Over on Reddit, other fans have noted that Styles previously waited for a spot at Coachella to debut Harry’s House, so he might do the same at Glastonbury in 2027.

Would it be a stadium tour?

The dominant theory online is yes. With Styles’ fan base only growing, it seems likely that he’d expand his next tour to an arena-style, to maximise the amount of fans who get to attend.

However, one Reddit user pointed out that Styles has previously shown an affinity for stadiums, deep-diving the venues he has previously played in to estimate where he might go next time: “He loves MSG  [Madison Square Garden] and The Forum [California], I don’t see him not playing both of those. Wembley definitely. Probably the new space in Manchester he’s invested in.”

An Australian visit is apparently “100%” on the cards

Yes, that is the sound of us squealing. Back in August, The Fox’s Fifi, Fev & Nick radio show claimed that Styles had not only finished his new album, but was heading Down Under to promote it in 2026.

“I’ve got some hot press,” Fev began on August 21. “It was word of mouth, straight from a very, very close confidant. Harry Styles has now completed his album; it’s been completed for about a month.”

He continued, “He’s going to be releasing that album, maybe late this year or early next year. When an album gets released, what do they do? They tour. He’ll be touring Australia next year. 100% coming to Australia. It’s huge news.”

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Here’s what we know so far…

What’s been announced?

In an Instagram post earlier today, Rocky shared the news on social media, announcing that Don’t Be Dumb is “finally here” and thanking Burton for helping him make the movie.

A post shared by A$AP ROCKY (@asaprocky)

So is it a film or an album?

At this point, it’s confirmed to be Rocky’s fourth studio album. But given the nature of the cinematic talent he’s collaborating with for it – Elfman and Burton – we think there’s likely to be some pretty epic visuals attached. But, we wait for confirmation on that front.

When will it be released?

While there’s still no confirmed release date, the message makes it clear that the album rollout is officially underway: “Coming Soon”.

Fans have been busy speculating, especially after Rocky was spotted wearing a hoodie with the numbers “01162026,” hinting at a possible 16 January 2026 release.

At the same time, Rocky has continued to say the album is expected to drop sometime in 2025 – so for now, the exact timing remains a mystery.

Why was it delayed?

Originally set to drop in August 2024, Don’t Be Dumb has gone through several delays. Tracks that have already been announced include Highjack, Tailor Swif, Ruby Rosary, and Pray4DaGang.

Rocky has been open about why the album keeps getting pushed back, saying he doesn’t want to rush the process. In recent interviews, he’s described the project as a reflection of personal growth – less focused on excess, but still rooted in fashion, creativity, and self-expression.

Outside of music, Rocky has hardly slowed down. He’s stayed busy with acting roles, creative director gigs with Ray-Ban and an ambassadorship with CHANEL, and family life alongside Rihanna and their children.

Who is involved?

Rocky recently revealed the album artwork was by none other than legendary filmmaker Tim Burton, bringing together hip-hop and Burton’s signature gothic, cinematic style.

Burton’s involvement isn’t just surface-level, either. The director behind cult classics like Edward Scissorhands, Nightmare Before Christmas, and Beetlejuice reportedly created the official album artwork and may be part of a larger visual world tied to the project.

Rocky has previously shared that he played the album for Burton, who was blown away by what he heard and surprised by how wide-ranging Rocky’s sound had become.

Adding even more cinematic energy to the album is Danny Elfman, Burton’s longtime collaborator. Elfman – known for scoring films like Beetlejuice and Men in Black – contributed to multiple tracks on Don’t Be Dumb, reportedly handling portions of the album’s scoring.

One of the songs he worked on was produced by The Alchemist, further emphasising just how eclectic and ambitious the project is shaping up to be.

A post shared by Pigeons & Planes (@pigsandplans)

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But luckily for us, there are still plenty of festivals carrying the torch in 2026. From established heavy-hitters like Laneway and Dark Mofo to more boutique festivals popping up like The Works and Summersalt. For the music lovers among us, we’ve collated a list of every Australian music festival slated for 2026, below.

1. The Works (1-25 January 2026)

A post shared by THE WORKS (@theworks.live)

Where: Sydney, NSW

Tickets: are available now via the Carriageworks website. Underworld and Chris Stussy are already sold out.

Lineup highlights: Underworld, Ben Böhmer, Chris Stussy, I Hate Models, CamelPhat

2. Field Day (1 January 2026)

A post shared by Field Day (@fielddaysyd)

Where: Sydney, NSW

Tickets: first release tickets are now available via Moshtix.

Lineup highlights: The Presets, Jamie Jones, Deborah De Luca

3. Party in the Paddock (5-8 February 2026)

A post shared by PARTY IN THE PADDOCK (@partyinthepaddock)

Where: Carrick, Tasmania

Tickets: available now via the Party in the Paddock website.

Lineup highlights: Sophie Ellis-Bextor, Sofi Tukker, The Temper Trap, Mallrat, The Preatures

4. Laneway Festival (5-15 February 2026)

A post shared by Laneway Festival (@lanewayfest)

Where: Auckland, Gold Coast, Sydney, Melbourne, Adelaide, Perth

Tickets: available now via Ticketek. Melbourne and Sydney are currently sold out, but waitlists are available to join.

Lineup highlights: Chappel Roan, Role Model, Lucy Dacus, PinkPantheress, Geese

5. WOMADelaide (6-9 March 2026)

A post shared by WOMADelaide (@womadelaide)

Where: Adelaide, SA

Tickets: first release tickets are available now via the WOMADelaide website.

Lineup highlights: Grace Jones, Marlon Williams, Badbadnotgood, Barkaa, Baker Boy

6. SummerSalt (7 March 2026)

A post shared by SummerSalt (@summersaltaus)

Where: Canberra, Torquay, Lake Macquarie, Sunshine Coast and Adelaide

Tickets: available now via

Lineup highlights: Ocean Alley, Skeggs, Allah-Las, Babe Rainbow

7. Pitch Music & Arts (6-10 March 2026)

A post shared by Pitch Music & Arts (@pitchmusicandarts)

Where: Moyston, VIC

Tickets: first release tickets are available now via the Pitch Music and Arts website.

Lineup highlights: Charlotte de Witte, Girls Don’t Sync, Job Jobse, DJ Nob

8. Golden Plains (7-9 March 2026)

A post shared by Way Dynamic (@way_dynamic)

Where: Golden Plains, Victoria

Tickets: are currently sold out. However, you can join their waitlist for a resale ticket on their website.

Lineup highlights: Basment Jaxx, Smerz, Marlon Williams.

9. CMC Rocks (20-22 March 2026)

A post shared by CMC Rocks (@cmcrocksfest)

Where: Willowbank, QLD

Tickets: first release tickets are available now via AXS.

Lineup highlights: Jordan Davis, Old Dominion, Riley Green

10. Byron Bay Bluesfest (2-5 April 2026)

A post shared by Bluesfest Byron Bay (@bluesfestbyronbay)

Where: Byron Bay, NSW

Tickets: first release tickets are available now via Moshtix.

Lineup highlights: Split Enz, Earth, Wind and Fire, Buddy Guy, Sublime, The Black Crowes

11. Ultra Australia (11-12 April 2026)

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Where: Melbourne and Gold Coast

Tickets: you can register for presale tickets now on the Ultra Australia website. Presale opens Tuesday 16 December 10am AEDT, and general on-sale on sale Wednesday 17 December.

Lineup highlights: Yet to be announced.

12. Dark Mofo (11-22 June 2026)

A post shared by Dark Mofo (@dark_mofo)

Where: Hobart, TAS

Tickets: are not on sale yet. What you can do is subscribe on the Dark Mofo website for updates on ticketing when they’re announced.

Lineup highlights: Yet to be announced.

13. Mundi Mundi Bash (20-22 August 2026)

A post shared by Mundi Mundi Bash (@mundimundibash)

Where: Broken Hill, NSW

Tickets: available now via the Mundi Mundi Bash website.

Lineup highlights: The Teskey Brothers, Jon Stevens, Boy & Bear, Jessica Mauboy

14. SXSW Sydney (official dates TBC, but generally happens in October)

A post shared by sxswsydney (@sxswsydney)

Where: Sydney, NSW

Tickets: are not available yet. What you can do is sign up for ticketing updates on the SXSW Sydney website to be the first to hear when they drop.

Lineup highlights: Yet to be announced.

15. Earth Frequency Festival (23-26 October 2026)

A post shared by Outra (@outra.official)

Where: TBA (in 2025, it was held in the Sunshine Coast, QLD)

Tickets: not yet available.

Lineup highlights: Yet to be announced.

16. Meredith Music Festival (11-13 December 2026)

A post shared by @reverie.australia

Where: Golden Plains, Victoria

Tickets: not yet available.

Lineup highlights: Yet to be announced.

17. Beyond The Valley (28 December 2026 – 1 January 2027)

A post shared by Beyond The Valley (@beyondthevalleyfest)

Where: Barunah Plains, VIC

Tickets: not available yet

Lineup highlights: Yet to be announced.

18. Lost Paradise (28 December 2026 – 1 January 2027)

A post shared by Lost Paradise (@lostparadiseau)

Where: Glenworth Valley, NSW

Tickets: not available yet.

Lineup highlights: Yet to be announced.

The post Every music festival happening across Australia in 2026 appeared first on RUSSH.

Everything we know so far, below.

What has she confirmed so far?

Speaking recently on The Tonight Show Starring Jimmy Fallon, Allen didn’t dodge the rumours. When Fallon mentioned that West End Girl was being discussed as a potential play, Allen replied simply, “That’s true.” Pressed on whether she was personally involved, she added, “The ink is not dry … but I’m definitely having some conversations with people about it. It’s very exciting.” In other words: it’s happening, just not officially – yet.

Will Allen be the play’s lead?

At this point, whether Allen will perform in a stage version of West End Girl remains unclear, but it wouldn’t be surprising. She’s already proven herself as a stage actor, earning an Olivier Award nomination for her West End debut. We could very well see her taking the role of leading lady.

Where would the play be staged?

At this stage, there’s no confirmed answer. Though The Guardian says there’s potential for it to be adapted “possibly for the West End itself.”

Why is it being adapted into a play?

If you’ve listened to West End Girl, it’s easy to see why it’s sparking theatrical interest. The album plays like a narrative from start to finish, charting the rise and collapse of a marriage with dialogue, interjections and even sound effects. Allen has said the record was inspired by her own marriage to actor David Harbour (of Stranger Things fame), though she’s been careful to stress that not every lyric is strictly autobiographical.

The story begins on a hopeful note, with a move to New York and the thrill of building a shared life. But cracks quickly appear, especially when career demands pull Allen back to London to perform in a play – something she actually did in real life with 2:22 A Ghost Story. From there, the album dives into messier territory: infidelity, addiction, open relationships, and the strange emotional wasteland of modern dating apps. It’s raw, funny, painful, and – crucially, for a Lily Allen album – very human.

Released in October, West End Girl became one of the biggest pop culture moments of 2025. It reached No. 2 on the UK charts and marked Allen’s first album since 2018. The success hasn’t been limited to the UK either. The album has found a strong audience in the US, with Allen returning to Saturday Night Live last weekend and preparing for a stateside tour in 2026 (and hopefully, an Australian tour after that… ).

The post Lily Allen is in talks to bring ‘West End Girl’ to the stage appeared first on RUSSH.

But soon the myth herself is headed to Australia for a series of performances across the country. The legendary musician and artist expressed her thrill in returning to the country, saying, “I love Australia and am so thrilled to be coming back.”

Here’s everything you need to know so far.

Where and when is she playing?

Jones is set to play a slew of dates across Australia, including:

Jones’ Melbourne show is strictly 18+ only, while her Brisbane show is 15+ (and those aged 15-18 years need to be accompanied by an adult).

Where and when are tickets on sale?

The presale begins on December 18 via Handsome Tours. You’ll need to sign up for access.

You can also buy a ticket for Jones’ Melbourne show on Ticketek from Tuesday 16 December 2025 at 10am (AEDT).

You can buy a ticket for Jones’ Brisbane show via QPAC from Friday 19 December 2025 at 9am (AEST). You can join QPAC’s On the Banks waitlist to be among the first to hear when Grace Jones goes on presale.

You can buy a ticket for Jones’ Sydney show via the Sydney Opera House website. Insider’s pre-sale starts at 10am AEDT on Tuesday 16 December. What’s On pre-sale starts at 10am AEDT on Wednesday 17 December. Promoter pre-sale starts from 10am AEDT on Thursday 18 December, and General Public on sale starts at 9am AEDT on Friday 19 December.

Who is Grace Jones?

Jones has always been more than just a performer. She is a cultural phenomenon whose influence extends far beyond music. Emerging in the 1970s as a model in New York and Paris, Jones quickly became a staple in the iconic Studio 54 scene. Her distinct androgynous look, combined with a revolutionary fusion of new wave, reggae, and post-punk music, solidified her place in pop history. Her early albums, such as Portfolio, Fame, and Muse, made waves in the international club scene, with songs like I Need a Man and La Vie en Rose becoming anthems of the era.

In the 1980s, Jones further pushed the boundaries of sound and style with her Compass Point trilogy, including Warm Leatherette, Nightclubbing, and Living My Life. Her collaborations with music legends such as Iggy Pop, Chrissie Hynde, and Sting became seminal moments in music history, while her visual collaborations with artist Jean-Paul Goude turned stage appearances into a stunning piece of performance art. She continued to redefine pop culture in the years that followed, influencing not only music but fashion and film, with notable roles in Conan the Destroyer and A View to a Kill.

The post Grace Jones is heading to Australia appeared first on RUSSH.

My friends and I fell in love with 070 Shake during her live performance at Splendour in the Grass back in 2023 (remember that old thing?), so when speaking across the void it always feels a little more special, intimate and real when the artist has their camera on. I’m always looking to see what parts of their conversational selves are hidden within their performative onstage DNA, and with Shake, she’s just as cool; eating a croissant in Paris.

When doing my research, I know she likes red wine to ‘keep it classy’, so as I have a sip of mine, I reassure her this is not an alarming breakfast-time habit; it’s evening here. Perhaps with relief she tells me she’s a red wine girl too, “always.”

“There’s something about putting something out that makes me feel a little bit detached from it. It starts to feel a little bit impure, it feels tainted a little bit.”

I feel it’s always the sign of a good record when it’s hard to explain what genre it is or immediately pin point references, Petrichor – the New Jersey musician’s third studio album – is definitely one of those records. It having been out for a while, I’m curious to know how it sits with her, but she seems to step away from the concept of reception altogether.

“I don’t pay attention enough to the aftermath of dropping something,” Shake tells me. “There’s something about putting something out that makes me feel a little bit detached from it. It starts to feel a little bit impure, it feels tainted a little bit.”

Many artists I have spoken with seem to have this shift – where the personal and almost hermetic joy of their art mutates into something that other people can tear apart. “I always like songs, to me, way better before I put them out,” she continues. “They completely change once I know they’re out. I could really, really love a song, and then once I put it out, I’m just like… not really that in love with it anymore.”

For an artist who is actively documenting love, I push a little deeper, and she explains her process a little further. “When I’m in the process of making something, it’s just pure and it is what it is. It doesn’t have to be criticised. I just… I keep it safe, you know? I keep it safe. But that’s just part of the process.” Before people can objectify the work or criticise it, “it is what it is.”

Shake has spoken before about journalling and poetry as integral to her process, naturally I ask to know more about the writers that influence her own lyricism and poetry, Audre Lorde? Sylvia Plath?

“There are people that are way more seasoned than I am [in poetry]. But I kind of lock into certain things.”

“I really love Sylvia Plath,” she says. We talk about Mirror, Plath’s poem about female self-perception and ageing, and then about Anne Sexton, whose work Shake says her friend Mustafa put her on to, and whose work she frequently returns to. “Anne Sexton is incredible,” she says with emphasis. She brings up the poem Sexton wrote to Plath after her death, dedicated to her friend and rival.

“They spoke about suicide a lot to each other,” Shake says quietly. “In a way, they kind of kept each other alive. And then Sylvia went on to, you know, do that, unfortunately.” She paraphrases Sexton’s lines about death arriving like a prize one friend took without the other. “It almost felt like a competitive thing,” she says. “Like, the fact that ‘you did it without me’.”

She speaks with the passion of a scholar yet protests not to be well-versed in poetry. “There are people that are way more seasoned than I am. But I kind of lock into certain things.”

If poetry shapes the language of her music, cinema shapes its visual architecture. Although Shake says she would never call herself a cinephile in the rigorous, archivist sense, she would have films like Bergman’s Persona playing on mute during her recording sessions.

“I don’t mean to be such a regular – because Paul Thomas Anderson is one of many peoples’ favourite directors, and I think there’s a good reason for that. He’s made a lot of my favourite movies. I would dream to, you know? I mean, that’s another level.”

“I do love movies,” she admits. “I’m very, very passionate about it; very intrigued by it. It’s a big part of my music-making process.” And if she was asked to do a film soundtrack for anyone? “I don’t mean to be such a regular,” she laughs, “because Paul Thomas Anderson is one of many peoples’ favourite directors – and I think there’s a good reason for that. He’s made a lot of my favourite movies. I would dream to, you know? I mean, that’s another level.”

However, whilst PTA might be the dream, on scoring she’s pretty open: “Anybody that allows me to, honestly,” she says. “I’m not precious about it.”

Cinema obviously plays a huge role in her visuals, each video or image creating a unique world rather than a consistent universe. “Visuals for music are very important,” she tells me. “It further gives life to a specific kind of communication, which is music. It adds to the mould of it, into the body of it. It’s arms and legs, you know?”

“[Music’s visuals] add to the mould of it, into the body of it. It’s arms and legs, you know?”

“When you get the opportunity to make a visual that properly helps mould that vision, it feels very satisfying. You feel like you have a full thought, a full vision. It’s complete.”

When you think of 070 Shake, you can’t help but draw to mind an androgynous love of denim, but the weight with which she carries such a staple has made her a muse for Irish fashion designer Jonathan Anderson, first at Loewe and as of earlier this week, as an ambassador at Dior. “One of my musician friends actually introduced me to Jonathan Anderson,” she says. “Ever since that, he’s been very, very sweet.”

“When he was at Loewe, I worked with him there,” she continues. “Luckily I was able to be part of that team. I feel very grateful about it, and very grateful to Jonathan.”

Shake is often described as androgynous in style, but she sees that as entirely compatible with Anderson’s sensibility. “When you’re a fashion designer, one of your many talents is being able to, you know, break that barrier between gender,” she says. “I think he’s very talented, and I really respect his style, and I trust his style. So it’s very easy to fit into his world, because it just feels very natural to me. Whenever I’m wearing something that he’s created, it feels like something I would have picked out from a store anyhow.”

“Whenever I’m wearing something that he’s [Jonathan Anderson’s] created, it feels like something I would have picked out from a store anyhow.”

For Shake, style is an outward articulation of an inner condition, ego meeting ID. “Style is obviously a physical thing,” she says, “but it’s kind of a representation of your inner expression. It’s an extension of the self.” The denim, the considered silhouettes, the controlled looseness: they are all, in her view, simply “how I feel inside,” made visible. At this point, I resist the urge to sing to her The Smith’s lyric, ‘I wear black on the outside because black is how I feel on the inside.’

When it comes to process, Shake is almost aggressively unpretentious, she treats influence like a vast internal archive to be accessed as needed. “I have so many influences,” she says. “The way that my brain retains music and stuff that I’ve listened to; there’s a part of my brain where all these things are stored. Sometimes I’ll just come out with a very 70s melody, or even production-wise I’ll do chords from the 60s. I kind of just do what speaks to me,” she says simply.

Almost always, it begins with the building blocks. “Ninety per cent of the time, I start with chords,” she tells me. “It all starts with the chords. The chords can lead me into different spaces.” She is drawn to the holy trinity of starting points: synth, piano or guitar. And, most recently, has been loving the Telepathic Instruments Orchid, claiming it to be very impressive.

Naturally, a Prophet 5 comes up as a great synth, but she tells me she leans toward the guitar and we joke that all guitars are created equal, when she reveals no real preference. We don’t discriminate.

“Ninety per cent of the time, I start with chords… The chords can lead me into different spaces.”

Shake is known for her various collaborations and has spoken on them prior, but I’m more interested in her interior process. “When I’m writing for myself, it’s very insular,” she says. “For my own projects, I never really think about collaboration in that way. It kind of just always falls on my lap. It’s not really something I seek out – not because I’m not open to it, but just because I’m so focused on my own world.”

Her approach to life is similarly reactive, rather than grasping for structured direction. “I kind of just follow the course of the world and the Universe,” she says. “Everything happens how it does. I’m in my own world until things just fall on my lap.”

“Everything happens how it does. I’m in my own world until things just fall on my lap.”

When I ask about writing love songs, particularly in the context of Petrichor’s intimate dissection of love’s tumultuous ride, she resists any idea of strategic construction. “My music is a reflection of what I’m going through internally,” she says. “I’ve never thought about making a love song. It just happened to be that that’s what I was feeling in the moment, and it was reflected in music.”

Perhaps her process encapsulated is: “You write a love song if you’re in love. If you’re not, then maybe you write sad songs, which I’ve done. It comes from your experience. When you’re experiencing it, it’ll come naturally.”

Whilst Shake’s hometown of New Jersey is part of her soul and musical DNA, travel is incessant – perhaps the shifting landscapes feed into a diversity of sounds and textures? Shake tells me she’s excited to head to Australia later this month for Beyond The Valley and Wildlands Festivals, although she “doesn’t really know what to expect.”

Whilst myself and doubtless thousands of others lucidly remember her 2023 Australian shows, her memory is a little blurrier. “What’s crazy is, I don’t remember anything about that trip,” she admits with a small laugh. We can only hope to make this trip a little more memorable, inspiring and fuelled with creative performance.

Oh, and Pinot Noir, or a French red from Bordeaux, or a Barolo – just as a heads up for her rider…

Tickets to 070 Shake’s Australian tour dates in Melbourne and Sydney, Beyond the Valley festival in Victoria (now sold out) and Wildlands Festivals in Brisbane and Perth are on sale now.

The post In conversation with 070 Shake on intuition, love songs and red wine appeared first on RUSSH.

It’s actually been in the works for a while, with Eilish announcing that the film’s director, Oscar-winner James Cameron, was in the audience at her Manchester show back in July. So, what have the duo been cooking up? Everything you need to know about this movie-music hybrid (which, yes, is in 3D), below.

Watch the trailer

What is Billie Eilish’s film with James Cameron about?

Details have bene kept under wraps until recently, with Eilish taking to Instagram to break her silence on the project.

”This is one of my favourite tours everrrrrr and being able to capture it and co-direct this film with [James Cameron] has truly been a dream come true,” she wrote to her followers. “Can’t wait for you all to see it.”

Speaking to the audience during a performance for the Hit Me Hard and Soft tour in Manchester, Eilish also spilled a few details, saying,  “So, you may have noticed there’s more cameras than usual up here. Basically, I can’t say much about it, but what I can say is I’m working on something very, very special with somebody named James Cameron, and it’s going to be in 3D.”

She continued, “So, take that as you will, and these four shows her in Manchester, you and me, are part of a thing that I’m making with James.”

If Cameron’s previous works are anything to go by, expect this to be a considerably bigger production than your usual concert film. ICYMI, Cameron is best known for the Avatar films, as well as Titanic, and The Terminator (among other things).

As for Eilish, it’s not the first time we’ve seen her talents translated to film. In 2021, she released her deeply personal documentary, The World’s A Little Blurry, with Apple TV+. And the same year, the BBC released a 45-minute interview with the singer titled Billie Eilish: Up Close, which charted things like growing up in the spotlight, and confronting internet trolls.

When will it come out?

The film will hit theatres on March 20, 2026.

Perhaps it could be a nice prelude to the (hopeful) release of BE4 next year? Only time will tell…

Feature image: one, two.

The post The trailer for Billie Eilish and James Cameron’s 3D concert film is here appeared first on RUSSH.

So, is Rosalía touring Australia?

At this stage, the tour kicks off in Lyon, France, on March 16, and will go all the way until September 3 in Puerto Rico. Naturally, it’s not lost on fans that both Asia and Australia have been left off the tour schedule. But as we’ve seen with big artists in the past, often, these locations are tacked on to the existing tour – and considering there’s plenty of time between shows on the Lux tour, that’s still highly possible.

Its also worth noting that Rosalía has actually never brought her music to Australian shores – so her biggest tour yet seems like a fitting time to break tradition.

When would Rosalía come to Australia?

Nothing is confirmed yet, but if a second wave of dates is coming, mid-to-late 2025 feels like the most realistic window — especially if her tour moves through Asia around that time. There’s also the possibility she could here tied to a festival slot, which would make a surprise lineup announcement entirely plausible.

As always, we’ll keep you updated the moment anything official drops. For now, Australian fans aren’t giving up, and neither are we. In the meantime, we’ll be listening to Lux on a loop.

Want more live music updates? We’ve rounded up every artist touring Australia in 2026, including when you can catch them, and how to get tickets.

Feature images via Instagram.

The post Is Rosalía bringing her ‘Lux’ tour to Australia? appeared first on RUSSH.

For her first Sydney stop on the Ma Vie World Tour, Doja unleashed the full spectrum of her manic pop-rock-princess persona at Qudos Bank Arena – a hybrid of performance art, cartoon villainy, and an ‘80s fever dream.

Her look alone set the tone. A cherry-red mullet. A bedazzled, low-cut zebra-print bodysuit. Leopard-print gloves clashing intentionally – gloriously – with lavender stockings that shimmered as she prowled across the stage. It was a wink to the glam eras of David Bowie and Tina Turner, filtered through her own brand of unapologetic chaos. Her makeup only amplified the theatrics: every smirk, grimace, and wide-eyed stare channelled the unhinged charisma familiar from her many chaotic livestreams.

The staging matched the madness. A blocky neon construct, flanked by a live jazz band, created an atmosphere that felt like Studio 54 colliding with a cyberpunk theatre set.

Even from the seated sections, no one stayed seated for long. The arena pulsed with bodies – swaying, jumping, sweating, shrieking – all hungry for Doja. Her vocal range shape shifted effortlessly: velvety jazz (bolstered by an insanely talented ensemble), guttural rock belts (with Demons as a standout), and the rapid-fire pop-rap that first launched her into stardom. Classics like Streets, Tia Tamera, and Agora Hills arrived in freshly twisted arrangements – funk breakdowns, punk-edged riffs – surprises lurking at every turn.

At one point, a lone cow costume bobbed above the crowd, sending OG fans of MOOO! into near-feral applause. Opening act Sailorr had set the mood earlier in the evening with a hazy, bass-heavy set that slotted perfectly into Doja’s universe.

What makes Doja so magnetic is ultimately her playfulness – that deviant, chameleonic charm that turns chaos into performance art. She’s a manic diva, a multi-hyphenate force, a pop icon who refuses to stay in one lane.

Raving reviews from me? Absolutely. She’s one of the best in the business.

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