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Tame Impala pulled a few tricks—and fan-favorite treats—out of the vault on Halloween night in Brooklyn.
Kevin Parker brought his Deadbeat Tour to Barclays Center on Thursday (Oct. 31), performing the live rarity “Sundown Syndrome” for the first time in seven years. The psych-pop gem, originally released as Tame Impala’s debut single in 2009, hadn’t appeared on a tour setlist since 2018.
The moment came midway through night three of a four-night sold-out run at the arena, with Parker and his touring band all dressed in costumes nodding to Parker’s “scarf-era” aesthetic from the early 2010s.
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The Halloween chaos didn’t stop there. Comedian and longtime Tame Impala fan Eric Andre made an unexpected cameo—inside the show’s bathroom cam. Parker has famously included a backstage toilet feed on tour to give fans a surreal behind-the-scenes moment mid-set.
This time, Andre took over the screen, sharing a quick on-camera kiss with Parker, eliciting laughter and cheers from the crowd.
“Sundown Syndrome” joins a string of surprises from the Deadbeat tour, which kicked off earlier this week in Brooklyn with the debut of several new tracks and a cover of Justice’s “D.A.N.C.E.”
The run supports Parker’s latest album, Deadbeat, which launched at No. 1 on six different rankings (dated Nov. 1). It bowed at No. 1 on Top Rock & Alternative Albums, Top Rock Albums, Top Alternative Albums, Top Dance Albums (the act’s first entry on the list), Vinyl Albums and Indie Store Album Sales.
Deadbeat also landed in the top 10 on the all-genre Billboard 200 (No. 4, the act’s third top five-charting project), Top Album Sales (No. 2), Top Current Album Sales (No. 2) and Top Streaming Albums (No. 7).
Deadbeat is Tame Impala’s (Kevin Parker) first release for Columbia Records after signing with the label in July. According to a press statement announcing the album in September, the project was inspired by the Western Australia rave scene.
The Deadbeat Tour continues with its final Brooklyn date on Friday (Nov. 1) before heading to Toronto and beyond.
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“As you might know, this is the first night of the tour,” Tame Impala’s Kevin Parker told a buzzing, sold-out crowd at Brooklyn’s Barclays Center on Monday night. “That means it’s a pretty epic night, and there was nowhere more epic to kick this whole shit off than New York City, obviously.
“That [also] means anything can happen,” the Aussie psych-rocker-turned-arena-star continued. “And by that, I mean for the better, but also anything can fall apart at any moment – just so you know.”
Improbably, Tame Impala has become one of modern rock’s biggest live draws. But its catalog is littered with insecurity and loneliness – from 2010 breakout single “Solitude Is Bliss” to beloved 2012 album Lonerism to “Loser,” now a Hot 100 hit from the just-released new album Deadbeat – and even after headlining festivals, producing a Dua Lipa album, and winning a Grammy, Tame mastermind Kevin Parker still clearly has some imposter syndrome.
Five albums in, Tame Impala now has a large enough catalog that tough setlist choices must be made; always known for lasers and confetti, its stage production is more complex than ever, with far more audio and visual components to possibly malfunction. And prior to Barclays on Monday, Tame Impala hadn’t played a proper headlining show in two-and-a-half years.
But Parker – outside of a mildly worn voice he attributed during the encore to an unspecified ailment – had little to worry about. Critics haven’t embraced Deadbeat in the same way as the band’s past projects, but fans greeted freshly minted hits “Dracula” and “Loser” nearly as rapturously as Tame standards like “Let It Happen” and “The Less I Know The Better.” The excitement extended to other Deadbeat material (the setlist featured 10 of its 12 tracks), which the audience responded to even more than cuts from Tame’s first two acclaimed albums, Innerspeaker and Lonerism. The band’s stage production, meanwhile, was more elaborate than ever, while still channeling the colorful, psychedelic aesthetic that’s always been its calling card.
“The only one who’s really judging you is yourself – nobody else,” Parker sings on Innerspeaker deep cut “Alter Ego,” an unexpected inclusion on Monday’s setlist. As the dance-oriented Deadbeat‘s mixed reception has proven, that’s no longer quite true, at least for Parker. But the Barclays crowd on Monday was clearly in his thrall – as those at the next three shows Tame Impala has planned at the venue this week will also surely be.
Here are some of the best moments from Tame Impala’s first Deadbeat show – and when you’re done with that, here’s the complete setlist.
Billboard‘s Live Music Summit will be held in Los Angeles on Nov. 3. For tickets and more information, click here.
A Different Crowd
Ten days after dropping its latest album, ‘Deadbeat,’ the Australian psychedelic rock band staged its first proper concert since March 2023.
10/28/2025
As Australian youth broadcaster triple j recovers from its 50th birthday celebrations in January, they’ve announced the festivities will continue with a newly-detailed Hottest 100 poll.
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Officially dubbed the Hottest 100 of Australian Songs, the new countdown will take place on July 26, with voting open to the public, who can select their favorite songs performed by Australian artists.
As usual, there are a few eligibility caveats. Firstly, eligible songs are any tracks which were released prior to Jan. 19, 2025, and must feature a minimum 50% of Australian artists. As a result, New Zealand artists (who are often considered honorary Australians) are ineligible, though Crowded House are eligible, despite being formed by Neil Finn after the dissolution of Split Enz and his move from New Zealand to Australia.
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Notably, tracks recorded for triple j’s long-running Like a Version cover series are not eligible either. Though perennial favorites of triple j’s annual Hottest 100 countdown, the series received its own poll back in 2023, with DMA’S reigning supreme with their acoustic cover of Cher’s “Believe.”
triple j – which launched on Jan. 19, 1975 as the result of new policies by then-Prime minister Gough Whitlam – first kicked off their Hottest 100 countdown in 1989, with the first three years allowing listeners to vote for songs from any year.
In 1994, the station rebooted the concept, this time opening the polls only to songs which had been released the year prior. It’s since become known as – as triple j have labelled it – “the world’s greatest music democracy,” with an average of almost 2.5 million votes being cast each year.
In the ensuing decades, the list of winners has been plentiful, featuring Australian acts such as Spiderbait, The Wiggles, and two-time winners Powderfinger and Flume. Numerous international acts have also taken out the top spot, such as Oasis, Billie Eilish and Kendrick Lamar.
The most recent poll was announced in January 2025, with Chappell Roan being crowned the victor with “Good Luck, Babe!”
Notably, the latest countdown also left a sour taste in the mouth of Australian music-lovers, with the full list featuring the lowest number of homegrown artists in almost three decades. With only 29 Australian artists appearing across the full list of songs, it was the worst showing for Aussies since the 1996 list. Only the debut poll in 1993 and its 1994 follow-up are worse, with 24 and 26 Australian artists, respectively.
Alongside the annual poll, other one-off countdowns have been held over the years, with 1998 and 2009 seeing the release date restrictions lifted once again, 2011 focusing on Australian albums, 2013 allowing songs released in the past 20 years, and 2020 focusing on songs released in the 2010s.
The latter poll may give an indication of what may rank highly in the upcoming countdown, having been topped by Tame Impala‘s “The Less I Know the Better.”
New music from Tame Impala appears to be on the way, with Kevin Parker giving fans a preview of fresh material during a DJ set in Barcelona.
Parker – who formed the Tame Impala project in Perth, Western Australia in 2007 – gave his dedicated fans a taster of new music while in Spain over the weekend. Having made an unannounced appearance at Primavera Sound on Friday (June 6), Parker performed a surprise DJ set the following night at Barcelona’s Nitsa Club.
It was during this latter set that Parker turned his focus to previously unheard material. “You guys want to hear a new song? “You want to hear a new Tame Impala song?” he asked.
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“You’re going to be the first ones to hear it, you realize? There’s no going back from this point on, you realize?” he added. “Alright, let’s do it; get comfortable.”
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Notably, the resulting tune was somewhat removed from what dedicated fans may have expected from the project, with it maintaining many of the dreamy, psychedelic rock influences that have become synonymous with Parker’s music, though adding club-ready beats into the mix.
As it stands, it’s been five years since the last full-length release from Tame Impala. In February 2020, The Slow Rush became the project’s fourth studio record, peaking at No. 3 on the Billboard 200. This was one position higher than the previous album, 2015’s Currents, which served as a commercial breakthrough for Parker.
In the time since the last record, Parker has been busy with myriad other projects. In 2023, second album Lonerism would receive a tenth anniversary reissue, and would be followed by the release of the track “Journey to the Real World” for the Barbie soundtrack.
Additionally, Tame Impala would also be credited with remixes of songs from Crowded House and Elvis Presley, and would appear as a guest artist on cuts from Diana Ross and Gorillaz.
In 2024, Parker would serve as a producer and guest musician for Dua Lipa‘s Radical Optimism album, and would also serve as a guest artist on two tracks from French outfit Justice‘s Hyperdrama album. One of those collaborations, “Neverender,” would see Parker win his first Grammy for best dance/electronic recording in 2025.
Australian punks Amyl and The Sniffers have taken out the song of the year at the 2025 APRA Music Awards, held Wednesday (April 30) at Melbourne Town Hall.
The Melbourne group received the coveted peer-voted award for their track “U Should Not Be Doing That,” which was released as the lead single for their 2024 album Cartoon Darkness. The record itself became the group’s second consecutive release to hit No. 2 on the ARIA charts, while the single received a nomination for best video at the 2024 ARIA Awards.
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The award caps off an impressive run for the four-piece, having recently wrapped up two weekends at Coachella as part of their North American tour, and taking out both best live act and best LP/EP at the 2025 Rolling Stone Australia Awards.
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Troye Sivan, meanwhile, was named songwriter of the year, just shy of the one-year anniversary of “Rush” being named song of the year at the 2024 ceremony.
“Songwriting is my favorite thing that I get to do. I think it’ll be something that I do for the rest of my life,” Sivan said of his win. “I feel like it’s, one of the greatest gifts that I was born with. Not even the ability to write a good song, just the ability to create at all.”
While Otis Pavlovic and Royel Maddell of Royel Otis received the emerging songwriter of the year award just months after winning four trophies at the ARIA Awards, Tame Impala frontman Kevin Parker emerged as the night’s big winner, being honored in the categories of most performed Australian work and most performed pop work.
In both instances, Parker’s win was for Dua Lipa‘s “Houdini,” which he co-wrote alongside Lipa and international writers Caroline Ailin, Danny Harle and Tobias Jesso Jr. Released in November 2023, the single topped the Hot Dance/Electronic Songs chart, and reached a respectable No. 11 on the Hot 100.
Sia‘s “Unstoppable” was named most performed Australian work overseas, while Tate McRae’s “Greedy” took out most performed international work. King Stingray, Ziggy Alberts, Make Them Suffer, Kaiit, Lithe, and Dom Dolla also emerged victorious in their respective genre categories, while Kylie Minogue took out the previously-announced Ted Albert Award for Outstanding Services to Australian Music.
The 2025 edition of the APRAs cemented “another huge year for Australian music, both at home and overseas,” comments APRA AMCOS CEO Dean Ormston.
“It’s heartwarming to see so many first-time winners this year, showcasing the incredible breadth of talent Australia produces, and it’s a testament to the opportunity of Australia becoming a global songwriting powerhouse,” he added.
“With an election just days away, we hope that both sides of government can see the immense talent we have here, and the opportunities to build a stronger, fairer, more vibrant future for Australian music, recognising our music as the global cultural powerhouse and valuable export that it so clearly is.”
Established in 1982, the Australasian Performing Right Association’s annual songwriters’ ceremony is one of the Australian music industry’s most treasured events, a worthy counterpart to Britain’s Ivor Novello Awards.
Full List of 2025 APRA Music Awards winners:
Peer-Voted APRA Song of the Year
Title: U Should Not Be Doing ThatArtist: Amyl and The SniffersWriters: Declan Mehrtens / Fergus Romer / Amy Taylor / Bryce Wilson
Songwriter of the Year
Writer: Troye SivanPublisher: Universal Music Publishing
Emerging Songwriter of the Year
Writers: Otis Pavlovic & Royel Maddell (Royel Otis)Publishers: Kobalt Music Publishing obo Ourness Songs
International Recognition Award
Keanu Torres (Keanu Beats)
Most Performed Australian Work
Title: HoudiniArtist: Dua LipaWriters: Kevin Parker / Dua Lipa*^ / Caroline Ailin / Daniel Harle / Tobias Jesso Jr.^Publishers: Sony Music Publishing / Warner Chappell Music* / Universal Music Publishing^
Most Performed Australian Work Overseas
Title: UnstoppableArtist: SiaWriter: Sia Furler / Christopher Braide*Publishers: Sony Music Publishing / Concord Music Publishing ANZ*
Most Performed Alternative Work
Title: ParadiseArtist: CoterieWriters: Brandford Fisher / Conrad Fisher / Joshua Fisher / Tyler Fisher / Robby De Sa*Publishers: Concord Music Publishing ANZ / Sony Music Publishing*
Most Performed Blues & Roots Work
Title: New LoveArtist: Ziggy AlbertsWriter: Ziggy AlbertsPublisher: Kobalt Music Publishing
Most Performed Country Work
Title: Take Forever (Hally’s Song)Artist: Cooper AlanWriters: Kylie Sackley* / Timothy Cooper^ / Justin Morgan+Publishers: I Love You More Music Worldwide* / BMG^ / SHOUT! Music Publishing+
Most Performed Dance/Electronic Work
Title: Saving UpArtist: Dom DollaWriters: Dominic Matheson / Clementine Douglas* / Toby Scott^ / Caitlin Stubbs^Publishers: Sony Music Publishing / Mushroom Music Publishing* / Kobalt Music Publishing^
Most Performed Hard Rock/Heavy Metal Work
Title: EpitaphArtist: Make Them SufferWriters: Sean Harmanis / Nicholas McLernon / Jordan Mather / Alexandra Reade / Jeff DunneCooking Vinyl Publishing
Most Performed Hip Hop / Rap Work
Title: Fall BackArtist: LitheWriters: Josiah Ramel* / Omid KhasrawyPublisher: Concord Music Publishing ANZ obo Boss Level*
Most Performed International Work
Title: Greedy Artist: Tate McRae Writers: Tate McRae / Amy Allen* / Jasper Harris^ / Ryan TedderPublishers: Sony Music Publishing / Warner Chappell Music* / Concord Music Publishing ANZ^
Most Performed Pop Work
Title: HoudiniArtist: Dua LipaWriters: Kevin Parker / Dua Lipa*^ / Caroline Ailin / Daniel Harle / Tobias Jesso Jr.^Publishers: Sony Music Publishing / Warner Chappell Music* / Universal Music Publishing^
Most Performed R&B / Soul Work
Title: SpaceArtist: KaiitWriters: Kaiit Waup / Jake Amy / Anthony Liddell / Jaydean Miranda / Justin Smith
Most Performed Rock Work
Title: Through The TreesArtist: King StingrayWriters: Theo Dimathaya Burarrwanga / Roy Kellaway* / Campbell Messer / Yirrŋa Gotjiringu Yunupingu* / Yimila Gurruwiwi / Lewis StilesPublisher: Sony Music Publishing*
Ted Albert Award for Outstanding Service to Australian Music
Kylie Minogue
Licensee of the Year
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Tame Imapala mastermind Kevin Parker has further diversified his role within the music industry, this time launching a new musical “ideas machine”.
Dubbed Orchid, the new device is less of an instrument and more of a digital polysynthesizer designed for musicians and producers to explore new ideas.
Per a press release, the way Orchid works is “by employing a unique chord logic system, combined with a multitude of ways to shape and alter the chords to maximize creative musical expression”.
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“All this is brought into sonic existence by a lush and powerful 16-voice polyphonic synth engine with onboard ambience and modulation FX, plus a separate bass synth engine solely for bottom end,” it continues.
Designed by Telepathic Instruments co-founder Ignacio Germade, Orchid largely operates as a chord generating system. A ’70s-styled product video shows Orchid in action and illustrates how an operator can choose a root note from its single-octave keyboard, and utilise a its eight “chord-type selecting and chord modifying keys”.
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Put simply, hitting the ‘E’ on the keyboard and the ‘Minor’ chord modifying key will provide an E minor chord, with the ability to modify it further.
Orchird also utilises a patent pending voicing system which uses a rotary encoder to “re-pitch and re-position chords”, ultimately expanding the chords’ potential outside of the 12 keys found on the unit. The Strum, Slop, Arpeggiator, Pattern and Harp performance modes also add versatilty to the way the aforementioned chords are ‘played’ by the user as well.
“While other chord generators deliver a static and rigid outputting platform, Orchid paints a new landscape,” the press release adds.
Orchid is set to be released in December, with 1,000 units made available to US buyers at a cost of $549. A wider launch will follow in 2025.
Parker’s Tame Impala project last released an album in 2020, with The Slow Rush peaking at No. 3 on the Hot 100 – one position higher than its Platinum-selling predecessor, 2015’s Currents.
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