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Amy Shark is a lesson in resilience. An overnight success years in the making, Shark now has the ear of the world.

And the world is listening intently.

Shark’s breakthrough single Adore recently passed the 60 million stream mark globally.

The Queensland singer/songwriter has toured the US five times in the last two years before even releasing an album, as well as extensive shows across Europe.

In her native Australia, Shark’s success leading up her debut album Love Monster is remarkable.

Adore reached No.2 on the ARIA singles chart and No.2 on Triple J’s Hottest 100 in 2017 - the biggest music poll in the world with over two million voters.

The song went triple platinum in Australia and became an award magnet.

Shark won Best Pop Release and Breakthrough Artist at the 2017 ARIA awards, while in 2018 Adore won an APRA award for Pop Work of the Year as well as the prestigious Vanda and Young songwriting competition.

Adore was only the beginning. Shark’s first EP, Night Thinker, was a critical and commercial success, reaching No.1 on iTunes and No.2 on the ARIA chart.

It was home to further singles Weekends - an ARIA gold song and winner of a songwriter award at the Queensland Music Awards) and Drive You Mad.

Shark has embarked on a blistering international touring and promotional schedule since the calling card of instant classic Adore.

She has played Australian festivals including Splendour in the Grass, Laneway, Groovin’ the Moo and Bass in the grass, and opened for fellow Australian act Vance Joy in the US as well playing her own headline tours in North America, the UK and Europe and festivals including Austin City Limits, SxSW and Lollapalooza.

Shark has also performed on The Late Late Show with James Corden and The Tonight Show with Jimmy Fallon to an audience of millions.

Love Monster is also home to Shark’s second ARIA Top 10 hit, the radio seducing I Said Hi.

Getting high rotation on both commercial and alternative networks, I Said Hi turned platinum in two months.

In a full circle moment, it’s a statement on those who said she’d never make it that’s now become an anthem for the next generation ready to have their songs heard by the masses.

“It was important to give other musicians who are out there working so hard thinking it’s never going to happen a little glimmer of hope. Just remind them that it’s very rare that someone comes out and they’re an overnight success. That certainly wasn’t me. I wanted it to be an anthem for so many reasons, I didn’t want it to be about my bitterness or have a passive aggressive attitude. I wanted it to be motivational.”

Shark was also featured on the Love, Simon soundtrack at the request of Jack Antonoff, who also secured her as an opening act for his band Bleachers in the US.

As well as showcasing her single-handed songwriting talents, Love Monster includes A-list co-writing collaborations with Antonoff (Taylor Swift, St Vincent), Joel Little (Khalid, Lorde) and Blink-182’s Mark Hoppus.

“It was so great having these experiences, it got me out of my comfort zone, out of my own little writing world. And they’re not just anyone, I was lucky to be able to skip straight to working with the big dogs.”


In Arnhem Land they call Baker Boy the ‘fresh new prince’. Raised in the remote NT communities of Yurrwi and Maningrida, 22 year-old Danzal Baker, aka Baker Boy, raps in Yolngu Matha language representing his bloodlines. A strikingly talented artist on an undeniable rise, Baker Boy kick started 2018 with two of his songs – Marryuna and Cloud 9 – winning their place in triple j’s Hottest 100. He has supported the likes of 50 Cent and Dizzee Rascal, played prime festival slots at Splendour in the Grass, Laneway, Golden Plains and WOMADelaide, and sold out his first headline tour in May 2018. 

22 year-old Danzal Baker aka Baker Boy is related to rising stars Gawurra and Yirrmal. He is the freshest new Yolngu hip-hop talent from the Top End. Young, strong and proud Baker Boy raps in Yolngu Matha language representing his Arnhem Land bloodlines. He knows his value, his worth and he raps so others get it.

What seems to be a whirlwind of success since the debut of Cloud 9 in May 2017, the young star has manifested into a full-blown Cyclone Baker. After infiltrating the Triple J Crew with an instant full rotation addition and prospering in their appraisals Baker Boy’s career has dropped into 6th gear with singles Marryuna, Mr La Di Da Di and Black Magic. Baker Boy is known as a multi-talented, multi-lingual artist, working across rap, dance, acting and graffiti, and he hopes to inspire younger generations to embrace their culture and become leaders in their communities.

Baker Boy has the industry talking, and is fast becoming one of this country's greatest hip hop stars. Since of his debut song Cloud 9 in May 2017 Baker Boy has won over 21 key awards across the country and played a multitude of prime festival slots (70+ gigs and festivals). 


Returning to their anthemic best, The Potbelleez have been writing and recording new material at studios across the world, while at the same time remaining one of the Australia most in-demand and electrifying live acts. The groups previous single Keep On Loving smashed the ARIA Club Chart peaking at #5 in Jan 2018.  'Keep On Loving' saw The Potbelleez collaborate on a Music video with Australia's very own viral dance king Tommy Franklin. The video was shot on location on Venice Beach, California.

As one of Australia’s most successful dance groups The Potbelleez made their name performing on the very biggest Festival stages worldwide. The Potbelleez performances include Stereosonic –Future Music Festival – MTV Ibiza  - Global Gathering Korea – Electric Picnic Ireland  as well as club shows in Russia – Germany – UK – Korea – Thailand -  India in March 2018. The Potbelleez have enjoyed a golden run of hits in Australia as well as Europe with co-penning anthems Don’t Hold Back and Are You With Me and which have all featured prominently across major advertising and television campaigns including the Apprentice, Samsung, Kia and of course as Jeep Australia very own TV anthem for over 10 years!

The Potbelleez have sold over 1 Million singles and albums in Australia and are known for some of the biggest dance tracks over the past few years including Keep On LovingGo For GoldHelloFrom The MusicAre You With MeSaved In A Bottle and the triple platinum, top 5 single, Don’t Hold Back.



Hot on the heels of opening up the main stage at Good Things Festival in Parramatta this past weekend, Sydney-based screaming rap-rock-electro-pop mutants RedHook today unleash a brand new music video for their fresh single ‘Turn Up The Stereotype’ and announce that they will be joining Hands Like Houses on their huge -Anon. album tour in February of 2019.

Since its release on October 26, Turn Up The Stereotype has exploded with over 200K streams across YouTube and Spotify, scoring triple J Unearthed rotation as well as multiple spins on Triple J (2018 With Richard Kingsmill, Good Nights, Home & Hosed, & more), and even earning a coveted 5-star Unearthed review from presenter, Bridget Hustwaite.

Now, the band unveils the official visuals for the song, unfolding a new chapter in the RedHook mythology that carries on chronologically from their debut offering Minute On Fire.

Kicking off with guitarist Craig Wilkinson “sadboi” and vocalist Emmy Mack “strngegrrl” being kidnapped by a bunch of demonically creepy scientists and subjected to a bizarre genre-bending experiment, the ‘Turn Up The Stereotype’ clip was co-directed by RedHook and Her Name Is Murder Productions (Norma Jean, Ocean Grove) in collaboration with Haus Party’s Chris Elder (The Amity Affliction, Peking Duk).

“It was a super fun way to use the cinematic RedHook universe to visually represent our real life experience of trying to figure out where the hell we fit in the music industry,” Mack explains of the clip, which was half-filmed inside a decommissioned slaughterhouse in western Sydney, and half-filmed inside the band’s bathroom shower.

“Since we launched this project back in June, a lot of our brushes with the industry have involved people trying to pin us into some kind of genre box. And I guess this is our way of rejecting those boxes.

“By playing a fun game of dress-ups and blowing things up,” she adds.

A combustible cocktail of Mack’s acidic lyricism and venomous vocal hooks and guitarist Craig Wilkinson’s groove-fuelled riffage and EDM-influenced production, Turn Up The Stereotype was produced by Stevie Knight (Trophy Eyes, Stand Atlantic) and Dave Petrovic (Northlane, Tonight Alive), mixed by James Paul Wisner (Paramore, Hands Like Houses) and mastered by Steve Smart (Parkway Drive).

After toasting the release of Turn Up The Stereotype in their hometown of Sydney with a totally SOLD OUT live launch at alternative nightclub AM//PM, headlining Australian Music Week 2018’s first ever curated heavy music showcase and opening up the inaugural Good Things Festival in Sydney this past weekend, RedHook will now embark on their first full Australian tour alongside scene heroes Hands Like Houses, Ocean Grove and Endless Heights.

“We’re so bloody excited,” Mack says. “Craig is the ultimate HLH fanboy, he even has the collectable Dissonants socks which he’ll no doubt be rocking every night of the tour, lord help us all.”

After a year spent earning a dedicated following on the live circuit and sharing stages with the likes of Dream On Dreamer, The Getaway Plan, Stand Atlantic, Thornhill and Dear Seattle, RedHook are now launching full force, with an arsenal of more huge tunes still to come.

Sundowner Line Up


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Ash Grunwald is part of Australia's blues and roots scene, a one-man band who belts out his songs on guitar and stompbox at festivals around the country. Like a lot of blues and roots musicians, he's something of a young hippie, and many of his songs deal with subjects like escaping from the big city and spending time with nature. He even has a song thanking a pod of dolphins for saving him from a shark while he was out surfing.

Grunwald's grandfather played bass and at the age of ten they first started jamming together while he was learning to play the guitar. That began his obsession with the blues, expanded into an expertise by listening to the blues shows on Melbourne's community radio stations as a teenager. By his early 20s, Grunwald had been in and out of several bands including the Blue Grunwalds and the Groove Catalysts, as well as playing in a couple of duos. He found that he preferred playing solo, however, booking small shows along the coastline wherever there was a good beach he could surf at, even if it meant playing unnoticed for hours in the dark corner of a restaurant.

Still independent and without a manager, he recorded a collection of his songs and several blues covers live (including songs by Howlin' Wolf and Robert Johnson), Introducing Ash Grunwald, and released it himself in 2001. Shortly after that he discovered Tom Waits, and in particular his work from the '80s and after, which involved experimental percussion with everything from pots and pans to a dumpster. In 2004, Grunwald recorded a second album, I Don't Believe, again live and solo, this time using spanners and hammers for percussion and adding several covers of Waits' songs. It was also the first time he used samples and live loops on an album. Songs from those first two albums were then combined together in a new release called Live at the Corner, for which he won an Australian Blues Award for Album of the Year.

The popularity of blues and roots had exploded in Australia with independent, dreadlocked musicians like the John Butler Trio suddenly capable of topping the charts, and Grunwaldwas caught up in the boom. The JJJ radio station was responsible for spearheading the trend, and in 2005, Grunwald's youthful fascination with radio came full-circle when he became host of JJJ's Roots N All show, a position he held for 18 months. He also worked on Give Signs, his first album to consist only of original songs on which he continued to experiment with unusual percussion, like the sound of a cricket ball bouncing on the floor and his own boots stomping down the steps.

Every year, Mushroom Publishing holds a songwriting workshop in which two songwriters from different genres work together to create a song in a day; in 2008 Grunwald participated in this workshop and was teamed up with Count Bounce, the beatsmith from hip-hop group TZU. The two had a passing acquaintance from sharing the bill at festivals, but working together they discovered they had more in common than it first seemed. The two continued working together on Grunwald's 2008 album, Fish Out of Water, which was the first of his albums not to be recorded purely live or on his own.


Pierce Brothers have taken their unique brand of folk music from busking on the streets of Melbourne to touring the world. 

Comprising of twin brothers Jack and Pat Pierce, the multi-instrumentalists have been shaking dance floors and selling out rooms across UK, Europe, Canada, USA and their native Australia. Their irresistible energy and world class live show has generated a word of mouth buzz not seen for some time. 

Having established themselves as a figurehead of the folk, blues & roots community here in Australia and abroad, the band have toured relentlessly – honing their craft and gaining fans across the globe as they go. The band’s music has grown with them over the years and has seen them release two Top 10 ARIA EPs (The Records Were Ours and Into The Dirt), receive over 7 million global streams (1.7 million in Australia since Jan 2015), as well as over half a million YouTube views.

The Pierce Brothers released their full-length debut album Atlas Shoulders last year to rave reviews. The album came in at number #13 on the aria chats and was produced by Garrett Kato. 

2019 will see the boys embarking on a massive world tour, including a string of headline dates and support slots to Tash Sultana, across USA, Europe, UK and Australia.