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BRISBANE, Australia — Three-piece Australian pop outfit Blusher is the latest signing to Atlantic Records, Billboard can exclusively reveal.
Hailing from Melbourne and formed in 2021, Blusher made all the right noises with their debut, the independently-released “Softly Spoken.”
The 2022 tune, a slice of euphoric pop, got support from national youth network Triple J and its Unearthed sister station, and it’s edging towards one million plays on Spotify, where it landed on several playlists, including New Pop Picks and Fresh Finds.
Carrie West, Atlantic senior director of A&R, admits she was “blown away” when she caught the band live. “Blusher embodies the next generation of empowered female artists – a self-contained force of nature who write and produce all of their music,” she comments, lauding their “riveting” stagecraft.
“I look forward to standing alongside them as we continue to channel that irresistible creativity and energy into great records for a global audience.”
Atlantic Records chairman & CEO Craig Kallman welcomes the group into the “Atlantic family.”
They’re among “those rare artists that you know from day one are destined for the world stage, and we’re proud to give this amazing trio the platform to amplify their unique voices and bring their personal visions to life on a global scale,” Kallman notes in a statement.
“From their voracious appetite for creation to their fastidious work ethic, they’re everything we look for in an Atlantic artist.”
Blusher’s career is guided by Powerhouse Management’s Jamie-Rose Fowler (George Alice, Japanese Wallpaper, INXS, ex-YUNGBLUD) and Charlotte Ried (Polish Club, Gretta Ray, Matt Corby, ex-Vera Blue).
The new Atlantic signing is comprised of Miranda Ward, Lauren Coutts and Jade Ingvarson-Favretto, all solo artists before forming the act during the pandemic.
They produce and write together, share vocals on many of their songs and swap instruments during live outings, which have included showcases at the Bigsound conference in Brisbane.
“We’re happy to partner with (Warner Music Australasian president) Dan Rosen and the entire Warner Australia crew to give Blusher the launching pad for what we have no doubt will be a long and successful career,” adds Atlantic’s Kallman.
To celebrate their introduction to major label-world, the trio today (Feb. 24) releases “Dead End,” just their second single — and first with Atlantic.
It’s a crystal-clear pop experience with a chewy bassline and dreamy melodies.
Stream “Dead End” and watch the official music video below.
Pink blasts to No. 1 on Australia’s chart with Trustfall (via RCA/Sony), the U.S. pop superstar’s ninth studio album.
With Trustfall debuting at the summit of the ARIA Chart, published Feb. 24, Pink bags a seventh leader in the parts, bringing her total number of weeks at the top to 44, ARIA reports.
Pink is considered an “honorary Aussie,” and she’s certainly spent enough time here to earn it.
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On her 2009 Funhouse Tour, she criss-crossed the country for an astounding 59 shows, an epic adventure that took three months and saw her sell 650,000 tickets. Not bad for a country of less than 25 million at the time.
For her Truth About Love Tour in 2013-14, Pink completed 46 dates; and for the Australasian leg of her Beautiful Trauma World Tour in 2018, she spent over two months on these shores, nailing 42 arena dates.
According to Billboard Boxscore, Pink is the highest-grossing act of the 2010s in Oceania with about $135 million. She even has her own ladies’ toilet block at the Brisbane Entertainment Centre, where she has smashed attendance records.
Her albums are also surefire hits. Among Pink’s leaders, three have logged more than eight weeks at No. 1 on the ARIA Chart: Funhouse from 2008 (nine weeks), Greatest Hits… So Far!!! from 2010 (13 weeks) and The Truth About Love from 2012 (10 weeks).
The Philly native also ruled the national chart with I’m Not Dead (2006), Beautiful Trauma (2017) and Hurts 2B Human (2019).
Meanwhile, the title track from Trustfall flies 34-19 on the ARIA Singles Chart, for Pink’s 44th top 20 hit in Australia, a feat that includes 37 top 10 appearances.
As Ed Sheeran winds his way around the country for his latest stadium tour in support of = (equals via Atlantic/Warner), two of the Brit’s LPs return to the top 10. His latest release from 2021, equals, rises 17-6, while divide (÷) from 2017 is up 15-8.
Another English superstar pop artist is currently touring Australia, and enjoying sales bumps for his recordings. Harry Styles, who is working his way around the country for the domestic leg of his Love On Tour trek, sees his global hit single “As It Was” (Columbia/Sony) gain 9-5, while its parent album Harry’s House holds at No. 2.
Over on the ARIA Singles Chart, Miley Cyrus’ “Flowers” (Columbia/Sony) beds down for a sixth consecutive week at No. 1.
If it returns for a seventh week at the penthouse, “Flowers” will equal the reign of Miley’s dad Billy Ray Cyrus, with his 1992 smash “Achy Breaky Heart.”
Finally, another pink-tinged artist is making a statement on Australia’s charts. The English singer, songwriter and producer PinkPantheress’s “Boy’s A Liar” (Parlophone/Warner) lifts 3-2, a new peak, thanks to a viral cut featuring rising U.S. rapper Ice Spice.
With their first album in six years, This Is Why (via Atlantic/Warner), Paramore powers all the way to No. 1 in Australia.
This Is Why becomes Paramore’s third leader on the ARIA Chart, following Brand New Eyes (in 2009) and Paramore (2013). It’s their sixth studio album and the followup to 2017’s After Laughter, which peaked at No. 3 in these parts.
The reunited pop-rock trio of Hayley Williams, Taylor York and Zac Farro can boast another neat feat this week; This Is Why is the only new release to impact the ARIA Top 50.
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Completing the podium on the latest ARIA Albums Chart, published Feb. 17, is Harry Styles’ Harry’s House (Columbia/Sony), up 3-2 following his triumphant nights at the BRITs and Grammy Awards; and Taylor Swift’s Midnights (Universal), down 1-3.
Over on the ARIA Singles Chart, Miley Cyrus makes it five weeks in a row with “Flowers” (Columbia/Sony), a record that just seems to grow on fans.
The pop star’s reign could face a challenge from “Boy’s A Liar” (Plg/Warner) by PinkPantheress, the hotly-tipped British singer, songwriter and producer. “Boy’s A Liar” roars 25-3, following the release of a remix featuring U.S. rising star Ice Spice.
Also on the move up is Miguel’s 2010 release “Sure Thing” (Sony), which lifts 11-7 after getting the viral treatment on TikTok. That’s well-up on the original No. 11 peak for “Sure Thing” back in 2011, and it marks the U.S. R&B artist’s second top 10 appearance (his 2013 collaboration with Mariah Carey on “Beautiful” went to No. 6). “Sure Thing” is now three-times platinum certified.
Finally, American rapper and singer Coi Leray’s catchy number “Players” (Universal) is on the rise. It’s up 18-10.
Shania Twain’s long-overdue return to music has been warmly received in Australia, where Queen of Me cracks the top 5 on debut.
Queen of Me is Twain’s six studio LP and first album of new material since Now in 2017, and 2002’s Up before that.
With its No. 5 debut on the ARIA Chart, published Feb. 10, the Canadian country star bags her sixth top 20 in the land Down Under, a feat that includes three leaders — Come On Over (1997), Up, and Now.
The national albums chart is led by Taylor Swift’s Midnights, up 2-1; with SZA’s SOS (up 3-2) and Harry Styles’ Harry’s House — which enjoys a post-Grammys lift (up 6-3) — filling the podium positions respectively.
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Meanwhile, Red Hot Chili Peppers’ recent stadium tour of these parts has seen fans tune in to the California rockers’ classics, and latest. RHCP’s Greatest Hits from 2003 vaults 22 places to break into the top 10 at No. 10, while 2022’s Return Of The Dream Canteen roars 152-31.
Over on the ARIA Singles Chart, Miley Cyrus’ “Flowers” beds down for a fourth consecutive week at No. 1, ahead of SZA’s “Kill Bill” (unchanged at No. 2), and Sam Smith and Kim Petras’ “Unholy,” which enjoys a post-Grammy Awards bump, up 5-3. Also noteworthy is Harry Styles’ “As It Was,” which climbs 15-9 after his winning ways at the Grammys.
The Kid Laroi makes a chart leap with “Love Again,” up 14-6 in its second week. It’s the Sydney-raised singer and rapper’s sixth top 10 single in Australia, a tally that includes leaders “Stay” and “Without You.”
“Love Again” is lifted from his forthcoming debut studio album, The First Time, due out later this year.
Finally, British producer Fred Again created a lot of frenzy in Australia in recent days with a string of “secret” shows which sold out in minutes and had fans scrambling for tickets. The buzz behind those gigs have translated to a new chart peak for “Delilah (pull me out of this),” up 69-37.
Sam Smith is on top in the land Down Under, as Gloria (via Capitol/Universal) bows at No. 1 on the ARIA Chart.
Gloria is Smith’s fourth consecutive top 10 album in Australia, and second No. 1 after In The Lonely Hour hit the summit in 2014.
The latest LP enjoyed a lift from Smith’s recent visit to Australia, a brief summer break during which the British singer performed for competition winners and VIPs at the d’Arenberg vineyards at McLaren Vale, outside of Adelaide.
It’s not Smith’s first time atop the leaderboard in Australia this year. “Unholy” featuring Kim Petras, the hit song from Gloria, returned to No. 1 last month on the ARIA Singles Chart for a sixth non-consecutive week.
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Smith will return to Australia in October and November 2023 for a run of arena dates, produced by Frontier Touring.
Gloria is one of just three new arrivals on the latest ARIA top 40, published Feb. 3.
Further down the list, Bob Dylan’s Fragments—Time Out of Mind Sessions (1996-1997) The Bootleg Series, Vol. 17 (via Columbia/Legacy) bows at No. 26. The legendary songsmith’s album isn’t quite a new entry, but rather the latest in a series that revisits his Grammy Award-winning 1997 album Time Out of Mind, with a remix of the original set and bonus outtakes, alternate versions and live cuts.
Meanwhile, Lil Yachty sails in at No. 37 on the ARIA Chart with Let’s Start Here (Capitol/Universal), the Atlanta rapper’s fifth album, and a sonic pivot to psychedelic space rock.
Over on the ARIA Singles Chart, Miley Cyrus’ “Flowers” (Columbia/Sony) continues to bloom, for a third consecutive week at No. 1.
Australia-bred singer and songwriter The Kid LAROI returns to the national tally, this time with “Love Again” (Columbia/Sony), new at No. 14. It’s the second taste off the Kid’s forthcoming debut album, The First Time, set for release later this year.
After catching fire on TikTok, Coi Leray’s “Players” (Universal) completes the crossover with a top 40 chart appearance in Australia. The Grandmaster Flash-sampling single, a modern-day spin on the 1982 seminal hit “The Message,” arrives at No. 31.
Finally, a raft of tracks enjoy a lift on the national chart following last Saturday’s (Jan. 28) Hottest 100 countdown on triple j. The winner of the poll, Flume and MAY-A’s “Say Nothing” (Future Classic) returns at No. 4, easily eclipsing its peak of No. 16 from February 2022, while tracks from Spacey Jane, Eliza Rose, Steve Lacy and others enjoy a post-Hottest 100 bump.
Australian audiences will get a taste of BlackPink’s record-busting antics when the K-pop superstars drop by mid-year for an east-coast run.
The BlackPink [Born Pink] World Tour will set down at Melbourne’s Rod Laver Arena for a brace of dates (June 10 and 11), followed by a pair of shows at Sydney’s Qudos Bank Arena (June 16 and 17).
However, the ”originally announced Auckland show will no longer be feasible” due to “unforeseen logistical challenges,” reads a statement from promoters Frontier Touring.
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The Australian dates should sell like hotcakes – if recent chart performance is a good indicator.
Lisa, Jennie, Rosé, and Jisoo smashed chart records in these parts with Born Pink. Its lead single “Pink Venom” flew to No. 1 on the ARIA Singles Chart last August, making BlackPink the first K-pop group to do so, beating the No. 2 start for BTS’ 2020 hit “Dynamite.”
Born Pink went on to debut at No. 2 on the national albums survey.
BlackPink has a special connection with this country. Rosè (aka Roseanne Park) was born in Auckland, New Zealand, and raised in Melbourne. At age 15, the world of K-pop came calling when, at her father’s suggestion, she auditioned for South Korean music company YG Entertainment.
The rest is history – and a growing list of shattered records.
Just last week, Lisa nabbed a hattrick of Guinness World Records and, earlier in the month, they were announced as headliners for Coachella 2023 — a booking that would make the quartet the first Asian act to do so.
BlackPink is currently on an extensive tour through Asia.
General public tickets for the four Australia shows go on sale next Thursday (Feb. 9).
BlackPink Australia Tour June 2023:
June 10 — Rod Laver Arena, MelbourneJune 11 — Rod Laver Arena, MelbourneJune 16 — Qudos Bank Arena, SydneyJune 17 — Qudos Bank Arena, Sydney
With three nominations, Vance Joy is the leader of the pack heading into the 2023 Rolling Stone Australia Awards.
The Melbourne singer and songwriter lands nominations for best record (his third studio album, In Our Own Sweet Time, which peaked at No. 3 on the ARIA Chart), best single (“Clarity”), and the coveted Rolling Stone Global Award, details for which were announced Tuesday (Feb. 1).
Also snagging multiple nominations is ARIA Award-winning star-on-the-rise Budjerah, veteran kid’s entertainers the Wiggles, indie-rock faves Spacey Jane, rock act Gang of Youths, and country star Keith Urban.
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Urban will have his work cut out in the Global Award category. It’s a starry list, in which he’s named along with Alison Wonderland, Gang of Youths, Iggy Azalea, Kylie Minogue, Rüfüs Du Sol, Tash Sultana, The Wiggles, Tones And I, Troye Sivan and Vance Joy.
Each year, Rolling Stone Australia invites international writers, including editors from the U.S. and U.K. brands, to vote in the Rolling Stone Global Award category.
“We take great pride in the fact that, by hosting our third annual Rolling Stone Australia Awards, we get to play a part in recognizing Australian music’s growth,” comments Poppy Reid, editor-in-chief at Rolling Stone Australia publisher the Brag Media.
The Rolling Stone Australia Awards return to Sydney on April 4. Sponsors this year include headline partner Shure alongside Australis, Canna, Panhead, JMC Academy and Jim Beam.
In the weeks ahead, RS Australia will reveal hosts, performers and the nominees in the Rolling Stone Readers’ Award.
“I am immensely proud to be part of the team pushing local acts worldwide through our awards judging process, and our editorial partnership with Rolling Stone parent company PMC,” adds Reid.
Winners at last year’s ceremony include Genesis Owusu, The Kid LAROI and King Stingray, with live performances from Amy Shark and Ruby Fields.
2023 Shure Rolling Stone Australia Awards Nominees:
Best SingleAmy Shark – “Only Wanna Be With You”Budjerah – “Ready for the Sky”Courtney Barnett – “Rae Street”Keith Urban – “Brown Eyes Baby”Ruel – “Growing up is _”Spacey Jane – “Hardlight”The Kid LAROI – “Thousand Miles”Vance Joy – “Clarity”
Best New ArtistBlake RoseBudjerahEliza & The DelusionalsForest ClaudetteJames JohnstonLara DMerci, MercyTeen Jesus and the Jean Teasers
Best Record5 Seconds of Summer – 5SOS5Gang of Youths – angel in realtimeJulia Jacklin – Pre PleasureParkway Drive – Darker StillSpacey Jane – Here Comes EverybodyThe Wiggles – ReWiggledThelma Plum – MeanjinVance Joy – In Our Own Sweet Time
Rolling Stone Global AwardAlison WonderlandGang Of YouthsIggy AzaleaKeith UrbanKylie MinogueRüfüs Du SolTash SultanaThe WigglesTones And ITroye SivanVance Joy
BRISBANE, Australia – It’s a new year, and one filled with fresh optimism in the Australian music industry after the federal government presented its national cultural policy — a five-year action plan that puts in place sorely-needed infrastructure, investment and ideas.
Prime minister Anthony Albanese and arts minister Tony Burke were on hand Monday (Jan. 30) for the launch of Revive, which, as its title suggests, establishes the groundwork for what government and industry hopes will facilitate a robust music space.
It’s a document years in the making. And it’s stuffed with strategic and policy investment for contemporary music, many of them ideas put forward by a united front of music industry organizations, 18 in total.
Revive will provide a much-needed boost of strength, energy and funding into our Arts community:✔️Establishing Creative Australia✔️ The establishment of Music Australia✔️ $70 million injection into Music Australia✔️ Supporting the artist as a worker and a creator https://t.co/56aXgFrPt9— APRA AMCOS (@APRAAMCOS) January 30, 2023
Among the cornerstones of Revive is the creation of Music Australia, within Creative Australia. Government will find nearly $70 million for Music Australia, which will support and invest in the development of Australian contemporary music, and which Albanese is keen to see launch in 2023.
Speaking at the presentation at Melbourne’s Esplanade Hotel, Albanese gave the music community a well-deserved thank-you. He also mapped out a timeline for legislation which would enforce local content quotas on streaming platforms; a regional push for the Double J network, part of the Australian Broadcasting Corporation; and a 50% boost for Sounds Australia, which supports homegrown artists taking their music to the world.
“Today is a bright moment for (the music) sector but it’s also an overdue one. You have endured a decade in which opportunity wasn’t so much missed as thrown away. Capped by the years of the pandemic,“ he says.
Revive, he continues, “puts the arts back where they’re meant to be – at the heart of our national life.”
Revive is structured around five interconnected pillars, First Nations First; A Place For Every Story; Centrality of the Artist; Strong Institutions and Reaching the Audience. And with it, a commitment for new, additional investment totaling A$286 million over four years.
“This is about our soul, this is about our identity,” Albanese adds. “It is so important because it’s about who we are and being able to express ourselves. It is literally through the arts that we build our identity as a nation and a people.”
When the center-left Labor government was formed in 2022, ending the nine-year administration of the center-right Liberal Party, Burke made an early commitment to develop a cultural roadmap through consultation with the music industry.
ARIA welcomes the new National Cultural Policy announced today by the Hon. Tony Burke MP and the Department of Infrastructure, Transport, Regional Development, Communications and Arts. https://t.co/w2hlbCkxju— ARIA (@ARIA_Official) January 30, 2023
This policy, and its instructions, “restores the place of art, of entertainment of culture, for all Australians,” Burke says.
Artists and the industry behind the music are “essential workers” he adds.
“You touch our hearts and you are a A$17 billion contributor to our economy. You create art and you create exports. You make works and you provide work. You are entertaining, you are essential, you are required.”
For video streaming platforms, a timeline is locked in. In the second half of this year, legislation will be introduced to the parliament and in July next year, Australian content obligations will apply to the streaming companies.
Revive pledges that, through binding rules on content, Australian music “remains visible, discoverable and easily accessible across platforms to all Australians, driven by a vibrant, agile, sustainable and globally facing local music industry.”
👏Today we welcome the National Cultural Policy, bold new chapter and a transformational moment for Council as we work to build Creative Australia, a new First Nations body, Music Australia, Writers Australia, and the Centre for Arts Workplaces.https://t.co/fRtBTMEwID— Australia Council (@AusCouncilArts) January 30, 2023
With the publication of Revive, the music industry is celebrating an ideal start to the week, and the year.
“The government has responded to our collective call, which I think is a real positive,” Dean Ormston, CEO of APRA AMCOS tells Billboard. “For the first time ever, there’s a whole of government recognition of us as an industry. They’re actually referring to us as an industry for the first time in my living memory. Which I think is an enormous win.”
Though the industry remains largely unsure of what are the next steps, conversations with government in the days ahead should clear-up matters.
Regardless, the opportunities are laid out. “There’s an enormous opportunity in terms of how music Australia interfaces with industry and specific government portfolios,” says Ormston. “There’ll be an evolving opportunity to have a much stronger relationship with portfolios, like education. We’ve already called out, for instance, that Music Australia should have a policy and a strategy related to songwriting in schools. That would be the beginning of the foodchain and the pipeline to improving our export opportunities.”
Although the industry will need to wait for the presentation of the May budget to see full detail, the federal government “is listening and responding,” says Stephen Wade, chair of ALMBC, whose hundreds of members represent all areas of the live music sector.
ARIA and PPCA CEO Annabelle Herd welcomed the policy. “It is true that Australian music is facing a crisis in streaming and that it is harder than ever for Australian musicians to have a charting hit in Australia,” she comments.
“We thank the government for acknowledging the need for greater support of Australian commercial music as a business that is facing key issues surrounding discoverability and export. It is our hope that the introduction of Music Australia will make important strides toward providing solutions to these issues, including a reassessment of commercial radio quotas and streaming policy.”
Today we launched our National Cultural Policy ‘REVIVE’. One of it’s main policy components is the establishment of Creative Australia. pic.twitter.com/nlc8judwUD— Tony Burke (@Tony_Burke) January 30, 2023
Read the document here in full.
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Any plans that Ye aka Kanye West might have on visiting Australia might be on hold as officials from that nation publicly suggest that he would be banned over his past anti-Semitic behavior.
According to reports, the artist has reportedly been eager to visit the country in recent days. The reasoning behind the potential trip is to visit the family of his new wife, Bianca Censori who grew up in Melbourne. This has sparked conversation among members of the government who have suggested that Ye would be denied entry due to his recent anti-Semitic comments.
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“People like that who’ve applied for visas to get into Australia in the past have been rejected,” Minister for Education Jason Clare said in an interview with local network Channel Nine. “I expect that if he does apply he would have to go through the same process and answer the same questions that they did.” This was echoed by opposition leader Peter Dutton, who had been minister of immigration under the previous government. “His anti-Semitic comments are disgraceful, his conduct [and] his behavior are appalling,” Dutton told 3AW radio. “He’s not a person of good character and the minister has the ability to stop somebody coming into our country of bad character.”
Peter Wertheim, co-chief executive officer of the Executive Council of Australian Jewry, met with the rest of the council members on Tuesday (Jan. 24th) to issue in writing their argument that they are opposed to Ye visiting. “We had a sympathetic hearing,” Wertheim said to reporters. “We’ve made the case that this particular individual does not meet the character test and that it would be in the national interest not to grant him a visa and we set out our reasons in some detail in that letter.”
There is precedent for Ye to be denied a visa by the Australian government over his comments and behavior, which falls under the purview of “good character”. Far-right figures have been denied visas, such as Proud Boys founder Gavin McInnes who was banned in 2018 after a public outcry including a petition signed by 81,000 people. According to the Australian Citizenship Policy and the Migrant Act of 1958, “good character” is defined as behaving in an ethical manner and by the rules of the nation’s society once a visitor arrives and during their stay.
Archie Roach, the legendary Indigenous Australian artist whose song “Took the Children Away” was recognized with a Human Rights Medal, has been posthumously awarded in the Australia Day honors.
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Roach is appointed as a Companion of the Order of Australia (AC) for his service to the performing arts and to Indigenous rights and reconciliation, officials announced on Jan. 26 — Australia’s national day.
The Gunditjmara (Kirrae Whurrong/Djab Wurrung), Bundjalung senior elder, songman, prolific storyteller and First Nations champion contributed some of this country’s finest works, across a 30-year-plus career, spanning eight albums.
Few songs can touch quite like Roach’s 1991 song “Took The Children Away,” a heartbreaking tale of the enforced separation of First Nations children from their families.
The song received an international Human Rights Achievement Award, the first time that the honor had been bestowed on a songwriter.
Roach, or Uncle Arch as he was lovingly known, was celebrated on numerous occasions during his lifetime. He was made a Member of The Order of Australia (AM) (in 2015), and received the Ted Albert Award for Outstanding Services to Australian Music (in 2017).
The songsmith was inducted into the ARIA Hall of Fame in 2020, marking the 30th anniversary of the release of Charcoal Lane, his debut full length album which carried “Took The Children Away.” The song is now preserved in the National Film And Sound Archive Of Australia.
Throughout his life, he dedicated himself to supporting others. In 2014, he founded The Archie Roach Foundation which established to “nurture meaningful and potentially life changing opportunities” for young First Nation artists.
When he died July 30, 2022 after a long illness, at the age of 66, prime minister Anthony Albanese led tributes.
Though Roach has left us, his music continues to resonate. At the 2022 ARIA Awards, Roach posthumously won best independent release for “One Song,” the final song he wrote.
“One Song” is one of 20 contenders for the coveted song of the year at the 2023 APRA Music Awards, set for April 27 at Sydney’s ICC.
See the complete Australia Day Honours List here.