No Promises – Drive

Sometimes you bring two things together and the result is bigger than the sum of the parts. Eric Collier and Janine Garvey, both accomplished singers and musicians in their own right, have demonstrated their abilities individually. Now bringing their voices together on ‘Drive’, we sense alchemy. Gold made from constituent parts. A connection that provides something that is bigger than their combined abilities.

A drought of live performances in South Gippsland during the COVID-19 period of 2020, saw the birth of No Promises. Janine and Eric discovered a strong artistic connection during a number of writing and rehearsal sessions in the middle of the year. The result was the decision to create their own collaborative project, forming No Promises.

Are they country, pop or rock? Most artists relish the opportunity to be defined by a genre in which they feel comfortable. Eric and Janine refuse to do that – they write, create and record music that transcends a single, easy-to-label and definable genre box. Take their debut album ‘Acoustic Sessions Volume One’ for example. Released in December 2020, the album has spawned two very different singles. Compare these two tracks – ‘Liar’ that would sit comfortably on a Melissa Etheridge album, and their first single off the album, the emotional ballad ‘Break The Fall’ – with notes of Stevie Nicks and the clear influence of Fleetwood Mac. Then line up their very first standalone release, the country heartbreaker ‘Love Me Or Leave Me’, that you could just as easily find on a Kasey Chambers album, or second release, the very rocking ‘Private Wasteland’ that could belong on a Powderfinger album.

This is genre-busting music at its best. Janine is a prolific songwriter having already written over 150 songs in just 10 months, crossing those genre boundaries, and combined with Eric’s songs and musical arrangements, the catalogue of studio-ready material ensures that the second No Promises album, due later this year, will deliver another stunning collection of great tracks. Most bands and artists strive to create music that will be well received by a particular demographic. The demographic that will enjoy Janine and Eric’s work can only be defined as “most music lovers”.

Cuco – Paradise

Today, Cuco returns to share a new song and video. “Paradise” marks a fully-realized return to form: the song taps into the infectious, lovesick psychedelia that turned him into one of his generation’s brightest musicians. The song is his first official single since his 2019 debut album Para Mi, which The New Yorker described as “effortless and abundant.”

Rejuvenated after a 2019 that saw him release a critically-acclaimed debut album on Interscope, headline a North American tour, and get the keys to his hometown of Hawthorne, California, Cuco is set to push boundaries in 2021 as he comes back emboldened with new music that tightens his signature sound and showcases his growth as a songwriter.


Morris Mills is an artist who likes to keep his audience guessing. He won’t be predictable. When we last heard from him, he had dropped “Revival,” the very, very funky gospel song that found him singing about the transformational and saving power of Christ. However, Mills probably would not remain in the spiritual realm very long.

Then too, saying that Mills moved from the spiritual realm because his topic has moved to more earthly matters is perhaps making too hard of a boundary between the sacred and the secular. That line has always been blurred by a bunch of artists over the last century, and Prince – the artist that Mills counts as a mentor and influence – certainly paid it no mind. So, when Mills and his band The Assembly cover Prince’s hedonistic anthem “Uptown,” they are doing more than giving us a funky and faithful rendition of a very funky song. Mills is also paying homage to “Uptown’s” message of spiritual freedom from societal expectations and norms. It’s interesting to think that Prince brought that message in 1980, when many viewed “Uptown” (and the entire Dirty Mind album) as heretical. Mills reminds us just how far ahead of the times Prince Rogers Nelson was. Check out “Uptown” here.

Crowded House – To The Island (Tame Impala Remix)

Having just completed a hugely successful tour of New Zealand, iconic band CROWDED HOUSE have placed their current single To The Island in the hands of Tame Impala to work their remix magic.
The To The Island Tame Impala remix is accompanied by a visualiser – view HERE – and will also be released on 7″ vinyl with a previously unreleased remix of the track from Unknown Mortal Orchestra, via the band’s D2C store – pre-order HERE.
Neil Finn said, “With all the world upended and nothing in its right place we became curious to hear how our favourite contemporary musicians and record makers might reimagine a Crowded House song. I emailed our version of To The Island to Kevin Parker (Tame Impala) with an invitation to take it apart and reassemble in his own unique way. Happily, he really liked the song and it was an absolute delight to hear what he made from it , an exotic fantasy I would call it.”
to The Island is the second single to be lifted from the band’s forthcoming seventh studio album, Dreamers Are Waiting, set for release on June 4 via EMI Music Australia.
Crowded House is Neil Finn, Nick Seymour, Mitchell Froom, Liam Finn and Elroy Finn.

Tierra Whack – Link

In an attempt to live in space forever, Tierra Whack and the LEGO Group partner up for her light-hearted visual “Link.” With the help of Philadelphia school children and director Cat Solen, Whack’s imaginative vision gets a fun boost, as they help create different inter-galactic creatures, rocket launchers, hummingbirds and castles to enhance the video’s dynamic. Inspired by Whack’s playful childhood memories, “Link” proves to be an entertaining and exploratory watch for people of all ages. Watch HERE.

Before creating “Link,” Whack sat down alongside children from ages 6-9 to build a myriad of objects out of LEGO┬« bricks to inspire her innovative video. The kids’ imaginations ran wild as they built whatever came to mind. Whack, serving as a blank canvas, received their suggestions whole-heartedly and helped realize their concepts to the best of her abilities.

“I was so excited to work with kids because their energy is fun, exhilarating, never-ending, and full of surprises,” says Tierra Whack regarding the creative process. “I really trusted them, and I knew they were going to come up with something great. What I loved most about the process was being able to partner with such an iconic company like the LEGO Group because we could make anything happen!”

As part of the LEGO Rebuild the World campaign, Whack joins the likes of award-winning US perspective artist Alexa Meade, stage and screen icon Billy Porter and architect and RIBA Gold Medalist Sir David Adjaye OBE in a series of films which explore the importance of creative play to show how this inspires kids to express their individual creativity and develop vital skills such as self-confidence, resilience, and collaboration.

“Link” serves as Whack’s first video since her October 2020 release “Dora which was directed by conceptual artist Alex De Corte. Whack doubled the ante and released two more records in “feel good” and “Peppers and Onions” to wrap up her 2020.

After being lauded for her lyrical bravery and masterful vision in 2018, the following year, GRAMMY-nominated lyricist and fast-rising superstar, Tierra Whack stormed back with five new tracks in five consecutive weeks as part of her acclaimed “Whack History Month.” In June 2019, her stellar wordplay abilities earned her a coveted slot as an XXL Freshman. Last year, she covered Teen Vogue for their March 2020 issue.

Mimi Webb – Good Without

Rising UK pop sensation Mimi Webb has released her fourth official single ‘Good Without’.
‘Good Without’ is a bold, striking pop-ballad that explores the emotions of a tough relationship and how ultimately people are better off leaving.
The track has already started picking up spot plays on BBC Radio 1!
Mimi’s vocal range is absolutely incredible, and is delivered through her vivid lyricism and storytelling in this song.
This single follows ‘Reasons’, which was added to BBC Radio 1’s Introducing Playlist, and was added to the Evening List on BBC Local Radio.
Despite the success of ‘Reasons’, fans are obsessing over ‘Good Without’. The track has more than 150K AU streams in just one week of release.
‘Good Without’ has twenty times more the amount of streams than ‘Reasons’ when comparing the tracks in the first week of release.
Mimi has a solid TikTok presence, with ‘Reasons’ having more than 12.9K videos made. Her first post about ‘Good Without’ on TikTok has more than 2.6M views!
Charli D’Amelio is a long-time fan, having used Mimi’s previous track ‘Before I Go’ in a couple of her TikToks.
She just announced a show in London which sold out in 60 seconds!
She’s been championed by Refinery 29, Schon magazine, Celeb Secrets, Flaunt and EQ Music, among many others.


Three-piece THE RIOT returns today with their strongest statement yet, a song that speaks to the trio’s vision and ability to find unity in a time of chaos.

Opening with an almost Moses Sumney-like choral part before ducking and weaving through rap and hardcore, ‘See it Believe it’ is an anthem for those who have never had one written for them, a siren call to those unseen by a failing system.

Written in the wake of George Floyd’s heinous murder and the subsequent protests that sprung up across the globe, ‘See it Believe it’ is not a ‘protest song’ in any traditional sense, it’s a song for those who have suffered under the hand of a cruel system.

It’s for people of colour who saw themselves and their oppression reflected in the news over the past year; it’s for LGBTQIA+ people, still persecuted around the globe; for impoverished and suffering workers, doing back-breaking labour for cents under the hands of tech companies; for women diminished by a society geared against them; for anyone who has ever looked up and felt the unseen hands of government and capitalism toying with their fate like the flip of a coin.


The scene in which THE RIOT formed is almost too perfect, too indicative of the music that would eventually come. It was 2016: JD, a Sydney transplant on the Gold Coast, was due to head home after a jaunt staying with a friend. Thinking he would go out to mark his final night in town, JD found himself at a venue like any other. Only, this being Surfers-adjacent – and little symbolising the excesses of capitalism like Surfers Paradise – he found himself knocked back because he didn’t fit the dress code.

JD’s denial would prove fateful: at the same time, Scotty and Tyler – also relative fish out of water, hailing from New Zealand – were looking for a way into the venue, themselves having been knocked back too. The three got to talking, and found that they shared a frustration with the status quo, a desire to provide voice to those oppressed by the system, and an acknowledgement that, despite the disparity between their upbringings and cultures, they felt a consciousness that linked them. Soon, they got to playing together, and found that their musical tastes fit, too: JD, a seasoned solo artist steeped in rap culture and influenced by the kinetic power of performing in a church choir as a child, meshed well with hip-hop and punk-loving Scotty and classic rock and emo indebted Tyler. As they started to become closer as a band, they realised that the venn diagram of their interests was a circle – JD loved the classics as much as Tyler loved Frank Ocean, and Scotty loved Dilla, and so on. THE RIOT, like any riot, was formed through a clash of cultures and a unity of vision.

THE RIOT couldn’t have taken any other name. The noun that hangs above the Gold Coast-based trio is one that implies simmering tension, followed by chaotic, profound release. It speaks to community, shared struggle, an anarchic form of altruism and an altruistic form of anarchy. In one word, it tells a story of the voiceless claiming a voice, the diminished reclaiming space after years of being ignored. It is a word that connotes fission and fusion – of cultures, textures, classes, ideologies. For the three men who make up THE RIOT, JD, Scotty, and Tyler , it is noun, verb, and guiding light. It is the only word that could possibly encompass all that this young but incendiary band represents: truth and power, rage and relief.

Emalia – MISTAKE

Emalia has released new track ‘Mistake’, which is confidentially off her forthcoming debut EP “Unmuted”! The visualizer was shot by Other Studio (Madison Beer, CVIRO, GXNXVS) – WATCH HERE!

Previous single ‘IOU’ featuring Guapdad 4000 was featured in Spotify’s NMF US (3.7m followers) on release, and added into global playlists Fresh Finds (US – 721k), Fresh Finds: Hip Hop (US – 110k), EYESCREAM (JP – 10k), plus local playlists R&B Connect (165k), Pop n’ Fresh (102k), RADAR AU & NZ and more. The single was also added to Nights & Weekends at The Edge.

Featured as a guest vocalist in Taka Perry’s standout triple j LAV performance last year with A.GIRL and Gia Vorne- watch here!

Support act for #YouTubeMusicSessions Jessica Mauboy episode, which has over 1.2m views! Watch here .

‘Suga Rush’ video has had over 105k views and featured Winston Sky, a dancer & choreographer who has over 325k+ TikTok followers.

Hosted Madison Beer AU/NZ virtual fan event.

Has had featuring in a diverse range of Spotify local playlists over her single releases including: Front Left, R&B Feels, R&B Connect, RADAR AU & NZ, Pop n’ Fresh, Women of AU & NZ and more.

Troy Cassar-Daley – The World Today

Troy Cassar-Daley releases his latest single ‘The World Today’ the title track from his new album to radio today
The World Today is the 11th studio album from the multiple ARIA and Golden Guitar winner and is his most personal album to date dealing with loss, acceptance and ‘story’, all while finding a will to grow stronger and move forward in these troubling times.
Troy explains, “An old uncle of mine used to say ‘it’s not all beer and skittles’ and that saying is so true. Over the last couple of years the family life and work life balance that I’d always had, shifted. It became a monumental struggle”. He added, “On top of that I lost my Dad in 2019. People knew of his passing but what I didn’t share is that he took his own life. It hit me incredibly hard and I feel I didn’t give myself the time to grieve. Then came Covid and that’s when I really hit rock bottom.”
Pulling himself from that dark time, Troy found joy in writing with old friends and playing bass and drums on some of the rough demos in his home studio, then in Sydney in the hands of producer Matt Fell with a handpicked bunch of incredible musicians and engineer Ted Howard – the record was finished in just under a month.
Troy’s songs have been the soundtrack to the everyday triumphs, struggles and good times for Australians from our small towns to the big cities and this record is no different. It’s testament to the longstanding career of the 50th inductee into the prestigious Australasian Roll Of Renown, who has also been awarded numerous accolades including 37 Golden Guitars, 4 ARIAs, 3 APRA Song of the Year awards, 9 Deadlys (Australian Indigenous Artist Awards), 4 CMAA Entertainer of the Year awards plus 2 NIMAs (National Indigenous Music Awards).
After spending the majority of 2020 writing and recoding at home, Troy is recently finished touring with MIDNIGHT OIL & First Nations Collaborators – ‘MAKARRATA LIVE’ and has a run of solo dates coming up, including Bluesfest Byron Bay, Gympie Music Muster, Deni Ute Muster and Savannah in the Round. For more information, visit

Capital Theatre – Force To Fight

NZ Rock Band CAPITAL THEATRE have spent the past six months recording their debut album with Guns N’ Roses producer Mike Clink, and will release the new single, “Force To Fight” to radio on Monday March 29.

The concept album follows a hero’s journey from track 1 to 10 with Force To Fight being the crescendo of the battle. Given the global events that have unfolded in 2020, it was agreed that the stage has been set for an explosive rock track like Force To Fight to enter the zeitgeist.

The music video shot in New Zealand by acclaimed director Gregor Nicholas is set in a boxing ring where characters from extreme factions of the left and right scrap it out. Nicholas says “This is an in-your-face satire, an allegorical depiction of the fraying of American society where each opponent in the ring represents a different archetype. The boxing ring is a metaphor for a nation polarized and convulsed by division, its factions encouraged by their leader to meet violence with violence.”

Targetting the US election, the red and blue corner match ups provide a commentary on some of the social, political, and racial divides that we see not only in America 2020, but worldwide.

“The song itself was written in 2019 as a prediction of things to come, but yes, the video definitely is an examination of the way the world is in 2020. Are we on the verge of absolute chaos, who knows? But there are so many clear examples of how extreme it is becoming in a global society fixated on social media, with social media giants and irresponsible politicians fueling the fire,” Says Capital Theatre’s Adam Stevenson.