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Bob “Bongo” Starkie, guitarist for the trailblazing Australian rock band Skyhooks, has died at 73 after a year-long battle with acute myeloid leukemia. His death was confirmed Tuesday on the group’s official Facebook page.
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Skyhooks archivist Peter Green announced the news, writing that Starkie “passed away early this morning” after spending the past year undergoing treatment while still hoping to return to the stage. Green remembered him as the youngest member of the band who “embraced the theatrics” that became a signature part of Skyhooks’ identity — from bold makeup and elaborate stage outfits to the irreverent swagger that helped define the group’s rise. “The music always came first,” Green wrote, adding that performing live “was his absolute joy” and that “music was in his blood till the very end.”
Starkie joined Skyhooks in August 1973, replacing his older brother Peter Starkie, who died in 2020 at age 72 following complications from a fall. Peter was one of the musicians who helped establish the early lineup that would go on to dominate Australian rock in the mid-1970s.
In a tribute shared through the band’s page, Starkie’s daughter Indiana said her father “peacefully departed, listening to Chuck Berry, snuggling with his fur baby Bonnie, surrounded by friends and family.” She noted that he was deeply loved by daughters Indiana and Arabella, grandchildren Phoenix and Lucia, partner Chrissy, close friend Ian, and son-in-laws Simon and Chris, adding: “He felt the love till the very end.”
Formed in Melbourne in 1973, Skyhooks quickly became one of Australia’s most influential rock acts. Known for their glam-leaning visual style, provocative lyrics and theatrical shows, the band gave Michael Gudinski’s Mushroom Records its first major commercial breakthrough. Their debut album, Living in the 70’s, spent 16 weeks at No. 1 in 1975 and reshaped Australia’s pop and rock landscape. Skyhooks also made broadcasting history when their track “You Just Like Me ’Cos I’m Good in Bed” became the first song ever played on 2JJ (later triple j) in January 1975.
The group endured tragedy before: frontman Graeme “Shirley” Strachan died on August 29, 2001, at age 49 in a solo helicopter crash near Mount Archer in Queensland. He was piloting a Bell 47 when turbulence caused the rotor to strike the tail boom, leading to the fatal accident.
Skyhooks disbanded in 1980 but reunited periodically, with Starkie remaining one of the band’s most active ambassadors. In 1992, Skyhooks were inducted into the ARIA Hall of Fame, further defining their status as one of Australia’s defining rock acts.
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SYDNEY — Australia’s federal parliament has passed legislation that will enforce content quotas for popular streaming video on-demand platforms.
Earlier this month, the national government announced it would push ahead with quotas, that would require those services with over 1 million domestic subscribers to invest 10% of total program expenditure for Australia, or 7.5% of their total Australian revenue, to support local storytelling.
Now those points become law.
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There’s a strong incentive to play by the rules. The Bill provides the Australian Communications and Media Authority (ACMA) with “substantial powers” to determine compliance. Failure to do so would see the streaming businesses face large civil penalties, with fines of up to ten times their annual Australian revenues.
“We have Australian content requirements on free-to-air television and pay television, but until now, there has been no guarantee that we could see our own stories on streaming services,” comments Australia’s arts minister Tony Burke. “Streaming services create extraordinary shows, and this legislation ensures Australian voices are now front and centre. Now, no matter which remote control you’re holding, Australian stories will be at your fingertips.”
With that investment, the likes of Netflix, Disney, Amazon and other SVOD services operating in these parts will be compelled to create more local content, from drama, children’s programming, documentaries, arts programs and educational shows.
“Today marks a watershed moment for Australian storytelling and the music that brings screen stories to life,” reads a statement from Dean Ormston, CEO of APRA AMCOS. “This legislation means local composers will have unprecedented opportunities to contribute to the next era of local screen creation.”
Passing in parliament on Thursday night, Nov. 27, the Communications Legislation Amendment (Australian Content Requirement for Subscription Video On Demand (Streaming) Services) Bill 2025 should create “substantial new opportunities” for Australian screen composers and music creators, according to APRA AMCOS.
Eligible programs must pass the scrutiny of the Australian Content Test Standards (ACTTS), which sets the bar applied to commercial and subscription television services, including post-production in Australia.
Additionally, the legislation has been supported by the Greens and includes an extra A$50 million ($32 million) in funding for the Australian Broadcasting Corporation (ABC) to invest in homemade children’s and drama content.
“Screen music is fundamental to storytelling – it drives emotional connection and defines the cultural fingerprint of Australian productions,” adds Ormston. “The IP developed by our screen composers represents valuable cultural and economic assets that resonate with audiences both here and around the world.”
Screen Producers Australia welcomed the development. “Today is a landmark day for Australian screen storytelling,” remarks SPA CEO Matthew Deaner, nothing the organization’s members had worked “patiently and tirelessly” on the issue for more than 10 years, roughly the time when Netflix switched on. “It finally puts in place a strong starting point for a regulatory framework that responds to the enormous changes that digital streaming platforms have made to our industry dynamics and viewing habits.
Adds Australian Writers’ Guild CEO Claire Pullen: “This is a watershed moment for Australia’s screen industry. This will give our members and the entire creative community more certainty around their careers, and the industry here at home.”
The new rules should’ve been implemented in 2024 but were delayed over concerns on how they might create a stumbling block for Australia’s trade agreement with the United States.
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Sydney hardcore punk band SPEED has collected the NSW Music Prize, Australia’s most lucrative music awards, presented for the first time this week, while BARKAA and Ninajirachi continued their respective winning streaks.
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Established by the Minns Labor government of New South Wales to “celebrate and inspire local musicians” and strengthen the music industry “in the face of increasing competition from overseas,” the A$160,000 ($104,000) prize pool is split among three categories.
SPEED nabbed top honors for Only One Mode via Last Ride Records (AANZ) and Flatspot Records (worldwide), their debut album from 2024, which impacted the top 10 on the ARIA Albums Chart, debuting at No. 10.
The group, led by Jem Siow (vocals), Aaron Siow (bass), Josh Clayton (guitar), Dennis Vichidvongsa (guitar), and Kane Vardon (drums), has since released the three-track EP All My Angles, with live shows rocking across Australia this December.
An expert panel decided Only One Mode was the release that had “the most significant impact” during the voting period.
“Respectfully,” reads a statement from the band, which bags the A$80,000 ($52,000) winner’s check, “our culture has never been a game nor a competition. But we are honored to receive this recognition and see this as acknowledgment of the values cultivated by the passionate souls around us.”
Meanwhile, BARKAA was awarded the NSW First Nations Music Prize for Big Tidda (Big Apples Music/Island Records Australia/Universal Music Australia). Just last week, BARKAA scooped best hip hop/rap release at the 2025 ARIA Awards, becoming the first Indigenous female artist to do so.
After bagging a hattrick of pointy trophies last week at the ARIAs, Ninajirachi backed it up with the NSW breakthrough artist of the year award for “girl EDM” (NLV Records), a salute to an emerging NSW-based artist or act who has had “a groundbreaking 12 months”. The homegrown EDM producer, songwriter and artist has been shining on the awards circuit in recent weeks and months, winning the Australian Music Prize, triple j’s J Award for album of the year, and more.
Recipients of the First Nations and breakthrough artist prizes are each awarded A$40,000 ($26,000).
“These talented and hard-working NSW musicians deserve this recognition,” comments NSW Minister for Music and the Night-time Economy John Graham. “These awards are about putting the spotlight on NSW, so fans have a chance to celebrate the local music scene. This will give these artists a big career boost, and I also hope it will inspire the next generation to aim high.”
Adds Graham, “the streaming revolution is pushing more American music to Australian listeners. This award is part of our effort support local musicians to cut through and build a fan base.”
All told, 15 acts were nominated for the prize, delivered by Sound NSW, with winners announced Monday, Nov. 24 at the Museum of Contemporary Art Australia in Sydney.
NSW Music Prize 2025 finalists and winners:
3% – Kill the Dead
BARKAA – Big Tidda
Kobie Dee – Chapter 26
Ninajirachi- girl EDM
ONEFOUR- Look At Me Now
Party Dozen- Crime in Australia
RÜFÜS DU SOL – Inhale / Exhale
Shady Nasty – Trek
SPEED – Only One Mode (WINNER)
Vv Pete & Utility – Varvie World
NSW Breakthrough Artist of Year 2025
Don West
Ninajirachi (WINNER)
Royel Otis
Shady Nasty
SPEED
NSW First Nations Music Prize 2025
3% – Kill the Dead
BARKAA – Big Tidda (WINNER)
Djanaba – Did I Stutter?
Stiff Gins – Crossroads
Ziggy Ramo – Human?
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Aminé is bringing his Tour de Dance world tour to Australia in early 2026, confirming a four-show run across Sydney, Brisbane, Melbourne and Perth.
The dates extend a touring cycle that has already taken the Portland rapper through more than 40 shows across the United States, the United Kingdom and Europe behind his latest album, 13 Months of Sunshine.
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The album, released earlier this year, marked Aminé’s first solo full-length since 2020’s Limbo and arrived after Kaytraminé, his 2023 collaborative project with Kaytranada. 13 Months of Sunshine saw the rapper take a more introspective turn, weaving themes of heritage, grief, identity and growth into a 16-track set featuring guest appearances from Waxahatchee and Toro y Moi.
Tour de Dance has become Aminé’s most expansive run yet, hitting major festivals and headlining venues across North America and Europe throughout 2024 and 2025. The Australian leg marks the rapper’s first return to the country since 2023 and the fourth visit of his career. His most recent Australian shows followed the release of Kaytraminé and included festival appearances and sold-out headline dates.
Aminé has remained a consistent presence on the touring circuit since breaking through with “Caroline,” which peaked at No. 11 on the Billboard Hot 100 in 2017. He followed that with charting singles including “REDMERCEDES,” “Spice Girl” and “Shimmy,” and landed two albums on the Billboard 200: Good for You and Limbo, the latter peaking at No. 16.
The upcoming Tour de Dance dates will see Aminé return to mid-size theatres and halls, beginning Jan. 10 at Enmore Theatre in Sydney. The run continues Jan. 13 at Fortitude Music Hall in Brisbane and Jan. 15 at The Forum in Melbourne, before wrapping Jan. 20 at Metro City in Perth. Pre-sale tickets open Nov. 26 at 10 a.m. local time, followed by general on-sale Nov. 28 at 10 a.m. local time.
13 Months of Sunshine is available now via CLBN and distributed by Virgin Music Group. Ticketing and tour information can be found via Live Nation.
Trending on Billboard Yungblud’s 2026 Australian tour dates will move ahead as scheduled, even as the U.K. singer halts all remaining performances for the rest of 2025 due to medical advice. Explore See latest videos, charts and news The Doncaster-born artist revealed over the weekend that recent vocal and blood test results prompted doctors to […]
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Peach PRC is set to headline her biggest shows yet, announcing a string of arena and theatre dates across Australia and New Zealand for March 2026.
The Australian pop star will launch her Wandering Spirit tour in Melbourne on March 12 at the Palace Foreshore, followed by stops in Adelaide, Sydney, Brisbane and Perth. She’ll then make her New Zealand headlining debut with performances at Shed 6 in Wellington on March 28 and Powerstation in Auckland on March 29.
The tour follows a blockbuster two years for Peach, who released her debut EP Manic Dream Pixie in 2023. That project debuted at No. 1 on the ARIA Albums Chart and featured the breakout single “Perfect for You,” which went on to win Best Single at the 2024 Rolling Stone Australia Awards.
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Earlier this month, Peach returned with her latest single “Miss Erotica” — a provocative, high-fantasy ode to strip clubs and the showgirls who shaped her early adulthood. Co-written in Los Angeles with Ryan Linvill and Maya Kurchner (Olivia Rodrigo, Chappell Roan), the track marks a bold creative turn for the singer, ushering in what she has described as her most empowered era to date.
Across her catalogue, Peach PRC has racked up over 230 million global streams, alongside more than 2 billion social views and 27 million video views. Her early hits — including “Josh,” “God Is a Freak” and “Forever Drunk” — earned her a loyal online following, but her live presence has grown in tandem. The 2026 tour marks her most extensive run to date, following support slots for Yungblud and previous sold-out headline dates in Sydney and Melbourne.
Joining her on all Australian dates are New York pop singer Maude Latour — who released her debut album Sugar Water in 2024 and has appeared at major festivals including Lollapalooza and Governors Ball — and rising Sydney artist Salty, whose viral 2024 single “See U in 3” kicked off a new era of theatrical, emotionally rich pop.
Frontier Touring will host a members-only presale beginning 1 p.m. local time on Thursday, Nov. 13. General sale begins Friday, Nov. 14 at 3 p.m. local time.
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The Oasis Live ‘25 Tour kicked off its Australian leg last week (Oct. 31), and it continues to dominate music headlines as the shows roll along.
In a landmark move for Australia’s live music sector, Victoria’s government shut down bulk ticket scalping for Oasis’ recent Melbourne shows (Oct. 31, Nov. 1-4) at the Marvel Stadium by designating them under the Major Events Act 2009. The act allows the Minister for Tourism, Sport and Major Events to formally declare events that then become subject to anti-scalping protections.Under this special declaration, it became illegal to advertise or resell tickets on platforms such as Viagogo and StubHub for more than 10% above the original face value; if they flouted these restrictions, scalpers could be fined between $908 and $545,000 (AUD). A subsequent report from the Herald Sun states that 180,000 tickets for the sold-out shows went to fans as a result of the government effectively shutting out scalpers.
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Oasis’ management applauded the news, saying it could set a new benchmark for fairness in the live music market. “It’s great to see Victoria’s Major Events Declaration doing exactly what it’s meant to — Viagogo can’t list our Melbourne shows — and that’s a huge win for real fans,” they told the Herald Sun.
“When the government and the live industry work together, we can stop large-scale scalping in its tracks,” they added. “We’d love to see other states follow Victoria’s lead so fans everywhere get a fair go.”
Before last week, Oasis had not performed in Australia in nearly two decades. After tonight’s (Nov. 4) final Melbourne gig, they’ll head to Sydney (Nov. 7 and 8), before performing across Argentina, Chile and Brazil, wrapping up proceedings in São Paulo on Nov. 23.
Earlier this month in the U.K., the country’s culture minister, Ian Murray, confirmed that the current Labour government will press ahead with plans for a price cap on resale tickets.
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An industry consultation that took place in January invited views from venues, promoters, fans and other parties on the proposed price, which ranged from no profit being permitted on any ticket to a mark-up of up to 30% of face value.
Writing in the Daily Record last month (Oct. 5), Murray said: “We asked a direct question — should the UK follow countries like Ireland, where resale profiteering is capped in law? The response from fans could not have been a clearer — ‘yes.’”
“So let me tell you what we’re doing,” Murray continued. “First, we will cap resale prices. No more outrageous mark-ups of 500% or 1,000%. We are examining a range of options, from face value to a reasonable uplift.”
UK Finance, which represents 300 financial services outfits including Lloyds, NatWest, HSBC and Barclay, has lobbied against the decision for fear of customers losing out in an unregulated market. Adam Webb of the Fan Fair Alliance, however, disputed these claims in an interview with The Times. “I would advise UK Finance actually speak to experts in those countries, rather than rely on the self-interested research of unregulated offshore websites who promote industrial-scale ticket touting and exploit British audiences,” he said.
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A new entrant to Australia’s live music market has officially landed, with the inaugural edition of Strummingbird, a touring country music festival presented by Live Nation and Kicks Entertainment, drawing tens of thousands across three cities over two weekends.
Held in the Sunshine Coast (Oct. 25), Newcastle (Nov. 1), and Perth (Nov. 2), the multi-date, all-ages event marked one of the most ambitious country-focused touring formats launched in Australia in recent years.
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The 2025 lineup combined U.S. charting acts like Jelly Roll, Shaboozey, and Treaty Oak Revival with a strong mix of emerging and established domestic talent, including James Johnston, Kaylee Bell, Wade Forster, The Dreggs, and Rachael Fahim.
Beyond traditional main stage performances, organizers leaned into fan engagement and social content opportunities, from line-dancing workshops and crowd-wide Nutbush dance breakouts to surprise collaborations — including Jelly Roll bringing out both Shaboozey and Bell during his Newcastle and Perth sets, and Johnston filming a live music video during his Sunshine Coast appearance.
The debut comes amid rising interest in country-adjacent genres across the Australian market. Jelly Roll has achieved notable chart success in Australia, with his 2024 album “Beautifully Broken” peaking at No. 19 on the ARIA Top 50 Albums chart. On the ARIA Top 40 Country Albums Chart, “Beautifully Broken” peaked at No. 3 and has maintained a strong presence. Meanwhile, local breakout James Johnston recently scored a top-five ARIA album debut — a rare feat for an independent country act.
Programming across cities was localized, with unique artist configurations in each market and strong integration of Māori and First Nations acknowledgments. The event’s Sunshine Coast leg sold out in advance, and Newcastle received strategic backing from Destination NSW as part of its tourism and major events initiative.
Festival co-presenter Live Nation, which has been expanding its genre footprint across ANZ through a mix of pop, country, hip-hop and Latin offerings, is already planning a return in 2026.
In addition to the core music offering, activations included the “Strummo Bowlo”, a communal dancefloor space where attendees engaged with both country and crossover pop tracks, including viral moments set to Charli XCX’s “Brat” anthems — a programming nod to Gen Z festivalgoers.
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Liam Gallagher has called out a fan who launched flares into the crowd during Oasis’ opening Australian tour stop at Melbourne’s Marvel Stadium on Friday night (Nov. 1), describing the individual as a “seriously f**ked up” person in a profanity-laced post on social media.
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The incident occurred during the final song of the night, “Champagne Supernova,” when two flares were seen flying into the densely packed floor section of the sold-out stadium.
One concertgoer told Australian outlet news.com.au that the flares sparked visible flashes among the crowd. “Each time you saw this flash, it looked like a fire, and then it was contained fairly quickly,” said Virginia, who attended the show with her 13-year-old daughter. The pair exited the venue early due to safety concerns.
Security reportedly conducted thorough bag checks at the gate, though it remains unclear how the flares entered the venue or whether any injuries occurred. Marvel Stadium has yet to comment.
Gallagher, never one to mince words, addressed the flare-thrower directly on Saturday morning.
“To the massive C*** who launched that flare into the crowd last night at the gig in Melbourne you are 1 seriously f***ed up individual and you will get yours trust me,” the singer he wrote on X.
During the performance, fans say Liam was visibly displeased, reportedly wagging his finger and mouthing “naughty, naughty” from the stage. His brother Noel Gallagher appeared concerned, though the band did not stop the performance. It is unclear if there were any injuries as a result of the incident.
The Melbourne concert marked the first show of Oasis‘ long-awaited Live 25 reunion tour Down Under. The group is scheduled to play three shows at Marvel Stadium before heading to Sydney’s Accor Stadium for two nights.
Before taking the stage, Liam greeted fans with, “G’day Australia! Did you miss us? Because we missed you!” The sold-out show drew massive crowds, with fans queuing from 5 a.m. to secure front-row spots and breaking into spontaneous singalongs outside the venue.
The Live 25 tour sees Noel and Liam Gallagher reuniting alongside Gem Archer, Andy Bell, and drummer Joey Waronker. Mike Moore is filling in for original guitarist Paul “Bonehead” Arthurs, who is undergoing treatment for prostate cancer.
Nessa Barrett is set to return to Australia in December for her biggest headline shows to date, building on a breakout global run that’s seen her grow from rising star to certified pop contender.
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The Aftercare artist will perform three major headline dates, starting Dec. 9 at Melbourne’s Margaret Court Arena, followed by Sydney’s Hordern Pavilion on Dec. 10 and Brisbane’s Fortitude Music Hall on Dec. 16. The run complements her previously announced appearances at all four dates of the 2025 Spilt Milk Festival, where she joins a lineup that includes Kendrick Lamar, Doechii, Dominic Fike, Sombr and more.
The new shows follow Barrett’s sold-out Australian debut in 2023 on her Church Club for the Lonely Tour, which formed part of her first global tour. That trek spanned 60 dates and saw the singer perform to over 83,000 fans across North America, Europe, and Australasia, as well as appearances at major festivals such as ACL Main Stage, Reading & Leeds, and Pukkelpop.
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Barrett’s second studio album Aftercare, released in late 2024, introduced a more refined electro-pop direction while retaining the confessional songwriting that built her initial fanbase. The record includes singles “PASSENGER PRINCESS” and “MUSTANG BABY,” a collaboration with breakout U.K. artist Artemas.
With more than 2 billion global streams, Barrett has quickly carved out her space in a new class of Gen Z artists balancing streaming success with live impact. Her debut album Young Forever helped solidify her early buzz and featured viral singles like “i hope ur miserable until ur dead” and “la di die” with jxdn and Travis Barker.
Barrett was named to Billboard’s 21 Under 21 list in 2024, earned a slot on Billboard’s Emerging Artists chart and made her debut on the Billboard 200 with Young Forever in 2022.
Tickets for the AFTERCARE Australian tour go on sale Friday, May 23 at 1 p.m. local time, with a Frontier Members presale beginning Wednesday, May 21 at 12 p.m.
