Icehouse will mark the 40th anniversary of their landmark album Man of Colours with a 2027 Australian tour that doubles as their first indoor headline run in more than 20 years.
Across June and July 2027, the Australian rock band led by Iva Davies will perform the 1987 album in full for the first time — including songs they have never played live — alongside a set of career-spanning hits. “We’ve never played some of the songs from the album, so this tour is going to include some firsts for us as well as our fans,” Davies said. He noted the seated, indoor format marks a shift from the band’s recent output: “Compared to the big outdoor shows we’ve mainly been playing over the past 15 years, indoors means we get to play more songs and create an even bigger show for us all.”
The six-date run opens at the Newcastle Entertainment Centre on June 5 and travels to Brisbane, Sydney, Melbourne, Adelaide and Perth, wrapping July 10. Fan-club and PayPal presales begin Sept. 16, with general tickets on sale Friday, Sept. 18 at 11 a.m. local time via TEG Live. Special guests are to be announced. Beyond the album, the shows will feature signature tracks including “Great Southern Land,” “Hey Little Girl,” “We Can Get Together” and “Love in Motion.”
Man of Colours, released in September 1987, was the commercial peak of Icehouse’s career. The band’s fifth studio album, it spent 11 weeks at No. 1 on the Australian albums chart, also topped the New Zealand chart, and has sold more than one million copies. It won ARIA Awards for Album of the Year and Highest Selling Album in 1988.
The album also gave Icehouse their biggest U.S. success. “Electric Blue” — co-written by Davies and John Oates of Hall & Oates — became the band’s only Australian No. 1 single and reached No. 7 on the Billboard Hot 100, their highest-charting U.S. single, while “Crazy” climbed to No. 14. Both were also top 10 hits on Billboard’s Mainstream Rock chart, and Man of Colours reached No. 43 on the Billboard 200.
ICEHOUSE — MAN OF COLOURS 40TH ANNIVERSARY + THE HITS, AUSTRALIA 2027
June 5 — Newcastle — Newcastle Entertainment Centre
June 12 — Brisbane — Brisbane Entertainment Centre
June 19 — Sydney — TikTok Entertainment Centre
June 26 — Melbourne — Margaret Court Arena
July 3 — Adelaide — Adelaide Entertainment Centre
July 10 — Perth — RAC Arena
The Fray are returning to Australia and New Zealand in February 2027 for the Summer of Light Tour, less than two years after selling out their last run Down Under.
The eight-date trek pairs four indoor headline shows with four outdoor dates staged as part of the Lookout Festival series, and will conclude in Auckland for the band’s first-ever performance in New Zealand.
The indoor run, presented by TEG Live, opens at Melbourne’s Margaret Court Arena on Feb. 5 and continues through Wollongong, Sydney’s Hordern Pavilion and Auckland’s Eventfinda Stadium, with support from Dashboard Confessional and Australian artist Rachael Fahim. The Lookout Festival dates, presented by Face to Face Touring, add British indie-pop act Bastille to the bill alongside Dashboard Confessional and local acts Killing Heidi and Little Birdy, running across Torquay, Perth, Lake Macquarie and Sandstone Point.
The tour supports A Light That Waits, the Denver band’s first full-length album in more than a decade, released in March. It is also their first as a core trio of singer-guitarist Joe King, guitarist Dave Welsh and drummer Ben Wysocki.
“We had such an incredible time touring in Australia in 2025. The energy from those crowds was unbelievable,” King said. “To come back and be able to share A Light That Waits alongside the songs fans have grown up with — and to have our long-time friends Dashboard Confessional with us — is going to make these nights unforgettable.”
The Fray rose to prominence in the mid-2000s as one of the defining piano-rock acts of their era. Their 2005 debut album How to Save a Life was certified four-times platinum in the U.S. and remains one of the best-selling digital debuts of all time, powered by two enduring singles: “Over My Head (Cable Car)” and the title track. “How to Save a Life” became a cultural touchstone through its use on ABC’s Grey’s Anatomy, reached No. 3 on the Billboard Hot 100, spent a marathon 58 weeks on the chart and has since been certified Diamond by the RIAA. The band’s 2009 self-titled follow-up debuted at No. 1 on the Billboard 200, and across their career they have earned four Grammy nominations and three Billboard Music Awards.
Tickets go on general sale Thursday, Sept. 17 at 10 a.m. local time, following artist and promoter presales earlier in the week.
THE FRAY — AUSTRALIA & NEW ZEALAND 2027
Indoor shows (TEG Live)
Feb. 5 — Melbourne — Margaret Court Arena
Feb. 10 — Wollongong — Waves
Feb. 11 — Sydney — Hordern Pavilion
Feb. 17 — Auckland — Eventfinda Stadium
Lookout Festival (Face to Face Touring)
Feb. 6 — Torquay — Torquay Common
Feb. 7 — Perth — Kings Park & Botanic Garden
Feb. 13 — Lake Macquarie — Speers Point Park
Feb. 14 — Sandstone Point — Sandstone Point Hotel
BIGBANG brought its 20th anniversary run, the BIGBANG 2026-2027 World Tour ‘XX : COSMOS,’ to MetLife Stadium for the only East Coast date on the entire trek — and for the trio’s first show in the tri-state area since two nights at Newark’s Prudential Center in October 2015. G-Dragon, Taeyang and Daesung are touring the world together for the first time since 2017, and for the first time as a three-piece, a fact the night never sidestepped but instead absorbed into the celebration.
The set ran through 30 songs across roughly three hours with era-defining K-pop hits (“Fantastic Baby,” “Loser,” “Bang Bang Bang,” “Haru Haru,” “Lies”), solo showcases for each member (who shared their personal affinities for hip-hop, R&B, ballads and even Korea’s traditional trot music), and the live rollout of BIGBANG’s first new single in four years, “BiiiG,” after its official release on Aug. 19 to mark 20 years to the day since the group’s debut.
Behind all of it, YG Entertainment shared that the show came to life via a 23-ton mobile LED structure, a stage by Tony and Olivier Award–winning designer Es Devlin, direction from 2025 Super Bowl Halftime Show creative director Mike Carson, plus a live band led by Wow Jones, whose work spans Usher, Rihanna, Janelle Monáe and Sabrina Carpenter.
From MetLife, ‘XX : COSMOS’ heads across the Atlantic to Paris’ Stade de France and London’s Tottenham Hotspur Stadium for shows on Sept. 19 and 26, respectively, before swinging through Asia and Oceania on the world tour’s 36-show, 19-city run that stretches into February 2027.
From an unhinged “SOBER” performance to the promise to keep going “on and on,” the K-pop legends made their MetLife debut count. Read on for Billboard‘s best moments.
Fatboy Slim is f***ing in heaven. And next year he’ll be playing coast-to-coast dates in Australia.
Norman Cook’s dancefloor alter ego will visit these parts in March 2027 for seven tour dates across Fremantle, Sydney, Brisbane and Melbourne.
On this trip, which includes a three-night stand at Carriageworks in Sydney, the Brit will play “more personal,” underground and urban outdoor spaces, he explains.
“For this tour to Australia I wanted to get up close with my people, play venues with real atmosphere and have a proper party,” he says in a statement. “Bridges, rivers, parks, old railway sheds – if it’s a bit weird and the sound system’s loud enough, I’m there.”
Fans can expect to hear the DJ and producer’s hits such as “Right Here Right Now,” “Praise You” and “Weapon of Choice,” along with recent releases “Satisfaction Skank,” a mash-up of his own “The Rockafeller Skank” and The Rolling Stones’ “Satisfaction,” and his current single with Brazilian DJ Carola and Felix Da Housecat, “Funk Drunk.”
Fatboy Slim has had a large year, one that has included spots at Coachella, four nights at his local, Brighton Beach, and a closing slot at Rock in Rio in Brazil, and his debut album Better Living Through Chemistry is celebrating its 30th birthday. To mark the occasion, the collection will be reissued digitally on Sept. 25 via BMG, with special-edition LP and CD editions following on Oct. 2. Its followup, 1998’s You’ve Come A Long Way Baby dropped, spent four weeks at No. 1 in the United Kingdom, and cemented his reputation as one of the best in the electronic music business.
Visit fatboyslim.net for more.
Fatboy Slim Australian Tour 2027
March 3 – Esplanade Park, Fremantle WA
March 5 – Carriageworks, Sydney NSW
March 6– Carriageworks, Sydney NSW
March 7 – Carriageworks, Sydney NSW
March 10 – On The Banks, Brisbane QLD
March 12 – The Underpass, Melbourne VIC
March 13 – The Underpass, Melbourne VIC
Australian Crawl and Men at Work have added two new co-headline shows to their 2026 Australian run, following strong demand for their previously announced Red Hot Summer Tour dates.
The new concerts are set for Friday, Nov. 20, at Brisbane’s Riverstage and Sunday, Nov. 22, at Melbourne’s Sidney Myer Music Bowl. The two bands will be joined at the newly announced shows by Vika & Linda and Boom Crash Opera.
The additions follow a run of sold-out dates across the Red Hot Summer Tour, including stops at Sandstone Point, Berry, Manly, the Hunter Valley, Coolangatta, Mornington and Swan Valley. Shows in Toowoomba, Ballarat and Glenelg are also selling fast, according to the announcement.
Presales for the newly announced Brisbane and Melbourne concerts begin Wednesday, Sept. 9, at 10 a.m. local time via Red Hot Summer Tour and Face to Face Touring. General onsale begins Thursday, Sept. 10, at noon local time.
The 2026 shows will bring together two of Australia’s best-known bands from the late ’70s and ’80s. For Australian Crawl, the run centers on the reunion of James Reyne and David Reyne, who will perform together in celebration of the band’s catalog. The shows mark the first time in more than 40 years that the original members will share the stage, according to the announcement.
The Australian Crawl lineup for the upcoming shows also includes John Watson, who played with the band from 1983 to 1986, alongside Brett Kingman, Josh Owen, Andrew McIvor, Sean Johnson, Melinda Jackson and Nicole Kurta.
Men at Work remain one of Australia’s biggest U.S. crossover stories. The band topped the Billboard Hot 100 with both “Who Can It Be Now?” and “Down Under,” while their debut album, Business as Usual, spent 15 weeks at No. 1 on the Billboard 200 in the early 1980s.
The co-headline dates add to a wider summer schedule for both acts, with the Red Hot Summer Tour also featuring Birds of Tokyo, Eskimo Joe and Killing Heidi’s Ella Hooper on select dates.
The newly announced dates are below.
Nov. 20 — Brisbane, Australia @ Riverstage
Nov. 22 — Melbourne, Australia @ Sidney Myer Music Bowl
Finely Tuned’s multi-day warehouse event series The Works will return to Sydney’s Carriageworks, with Armand Van Helden, Overmono, KI/KI, Jayda G, Ewan McVicar, salute, Sam Alfred, Job Jobse and more joining the 2026-27 program.
The Australian promoter announced the latest edition on Tuesday (Sept. 8), confirming a run of events across December and January at the inner-Sydney arts venue. The series will begin with an already announced, sold-out Pegassi all-night-long set on Dec. 5, before continuing across New Year’s Eve and four January dates.
The New Year’s Eve bill is led by Armand Van Helden, whose Billboard history includes “You Don’t Know Me,” which reached No. 2 on the Hot Dance/Electronic Songs chart, and Duck Sauce’s “Barbra Streisand,” which hit No. 1 on Dance Club Songs and No. 89 on the Hot 100.
Canadian DJ and producer Jayda G adds further pedigree: her 2020 track “Both of Us” earned a Grammy nomination for best dance recording, part of a career that’s also included a Peabody-nominated science documentary and a Mixmag Album of the Year win for 2019’s Significant Changes.
Welsh electronic duo Overmono, made up of brothers Tom and Ed Russell, headline Jan. 8. The pair appeared among Billboard’s Charts First-Timers in 2023 following the release of their debut album, Good Lies.
The season will close Jan. 9 with Amsterdam producer and DJ KI/KI, whose high-speed sets draw from acid, techno, trance and rave sounds. Her tracks include “5 Mins of Acid,” “Leave It to the Vibe” and the Armin van Buuren collaboration “Put Your Bassline.”
The Works launched in 2025 as part of Finely Tuned’s Sydney events calendar, presenting large-scale electronic music shows at Carriageworks. Its first edition featured artists including Underworld, Ben Böhmer, Chris Stussy, CamelPhat, I Hate Models, Michael Bibi and Pretty Girl.
Founded in 2006, Finely Tuned has built a portfolio across Australian festivals, club events, tours and brand activations, including Lost Paradise, Lost Sundays, Above and Paradise Club.
Presale for The Works begins Sept. 15 at 10 a.m. AEST, with general onsale following Sept. 16 at 10 a.m. AEST.
The Works 2026-27 dates are below.
Dec. 5 — Pegassi (all night long) — sold out
Dec. 31 — Armand Van Helden; Ewan McVicar b2b salute; Jayda G
Jan. 6 — Rossi.; Dean Turley b2b Jamback; Stacie Fields
Jan. 7 — Sam Alfred b2b Job Jobse (open to close)
Jan. 8 — Overmono
Jan. 9 — KI/KI
Jay-Z has spent his summer making a case for his legacy. In July, he took over New York’s Yankee Stadium for three nights, celebrating 30 years of debut LP Reasonable Doubt, 25 years ofThe Blueprint and the defining hits that have stapled his career. Across the shows, the rapper was joined by an eye-watering selection of hip-hop and pop heavyweights, with Beyoncé, Alicia Keys, Usher, Eminem, Nas, Pharrell Williams, Rihanna and Slick Rick among the guests. Billboard’s Angel Diaz, reporting from the run, called it “a masterclass show” – so the bar for what came next was already sky-high.
London, for its part, is far from unfamiliar territory. Jay first came to the capital in 1989 with his mentor Jaz-O and then rocked a British crowd at Notting Hill Carnival back in 1997; by 2008 he was headlining Glastonbury’s Pyramid Stage, opening with a cover of Oasis “Wonderwall” to answer critics – including one Noel Gallagher – who didn’t think hip-hop “belonged” at the festival. His only U.K. shows of 2026 landed at Tottenham Hotspur Stadium on Sept. 4 and 5, marking his first performances in the market since 2018’s On The Run II tour with wife Beyoncé, and first solo dates here since 2013’s Magna Carta World Tour.
Night one of the double-header set an impressive benchmark: Idris Elba’s spoken-word intro, Lauryn Hill and Wyclef Jean reuniting for a run of Fugees songs, Giggs performing “Talkin’ Da Hardest” and a stadium-wide “Happy Birthday” to Beyoncé, watching on from a private suite. Night two, by comparison, was more subdued, with only Sampha and Dave joining Jay him onstage. Jay proved he didn’t need the spectacle of the night before. He had the songs – and three decades of well-honed performance – to carry the night on their own.
As Jay-Z closed out his London run on Saturday (Sept. 5), these were the nine best moments.
Beabadoobee will play in arenas on her tour of Australia in early 2027.
The Filipino-British indie-pop artist will visit the east coast next March for her The Powerlines Tour, with shows at the Brisbane Entertainment Centre (March 15), Melbourne’s Rod Laver Arena (March 18) and Sydney’s Afterpay Arena (March 20) — her biggest venues yet in these parts.
Those dates are in support of her forthcoming fourth studio album Pylon, due out Sept. 18 via Dirty Hit / Interscope Handsome Tours, triple j and Laneway Presents.
Expect Bea to perform tracks from across her career, which include the U.K. No. 1 album from 2024, Is How Tomorrow Moves, 2022’s Beatopia (U.K. No. 4) and 2020’s Fake It Flowers (U.K. No. 8), and her new era, which is said to be “louder, angstier and grittier” than anything she has done before.
The forthcoming, 14-track collection houses the previously-released tracks “Sun Has Set,” “Switchblade” and “Memories,” which she has performed live with appearances at Lollapalooza and Hinterland festivals, and at the iconic Red Rocks Amphitheatre.
On Pylon, Beabadoobee (real name: Beatrice Laus) assembled an all-star cast of collaborators: Hayley Williams sings on “Nothing To Prove”, while Brendan Yates (Turnstile) offers a verse to “Powerlines.” There are also appearances from Evan Stephens Hall (Pinegrove), Chino Moreno (Deftones), and Shane Moran (Title Fight), as well as production contributions from Dirty Hit labelmates Matty Healy and George Daniel (The 1975).
It’s named after the steel electricity towers used to support overhead high-voltage power lines that impress on the landscape of every major artery in the world, or, as a press release explains, “[pylons] remind Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.”
Beabadoobee’s tour continues in the United Kingdom, before skipping the Atlantic for a full month of shows in October, followed by more dates in the U.K. and Europe. Tickets for the Australia shows are on sale Thursday, Sept. 10 local time at handsometours.com.
Beabadoobee’s 2027 “The Powerlines Tour of Australia”
Monday, March 15 — Brisbane Entertainment Centre, Magadjin / Brisbane (Tickets here)
Thursday, March 18 — Rod Laver Arena, Naarm / Melbourne (Tickets here)
Saturday March 20 — Afterpay Arena, Eora / Sydney (Tickets here)
It was scorching – and nearly every artist commented on the intense heat. From Rachel Chinouriri stating, “it’s f—ing hot, Jesus…the U.K. ain’t like this” during her 12:30 p.m. set to Chappell Roan introducing her hit “HOT TO GO!” near the end of her 7 p.m. by saying, “this next song is very fitting, I feel.” Bikini Kill’s Kathleen Hanna, Mitski and Doechii were among those who reminded fans to hydrate – with Hanna herself taking long sips from her reusable bottle boasting an “f–k ice” sticker.
Such was the ethos of the day: stand for something, and look out for one another.
It was just two months ago that Olivia Rodrigo announced Daisy Chain Fields, her very own music festival, along with its Daisy Chain Fields Fund. “Truly never felt more excited to share a piece of news with you all,” Rodrigo wrote on Instagram at the time. “I’ve had a dream of doing this festival for years and I am so ecstatic it’s finally coming true!!”
Today, Saturday (Aug. 29), fans felt firsthand that Daisy Chain Fields was always meant so much more than just a festival – and in fact, it could even change how such events operate going forward. Boasting an all women lineup of Olivia’s “heroes and friends”and with 100% of the net proceeds going to charities dedicated to advancing and advocating for women and girls, Rodrigo created something much greater than a day of music. She amplified a mission and supercharged a movement.
The day before fans flocked to Irvine, Calif. for the one-day festival (on Friday, Aug. 28), Rodrigo held a press conference to share a sizeable piece of news: ticket sales alone brought in $10 million for the fest’s 10 nonprofit partners. (Partners include Baby2Baby, Black Mamas Matter Alliance, Center for Reproductive Rights, FreeFrom, Jhpiego, Johns Hopkins Center for Indigenous Health, National Domestic Workers Alliance, National Institute for Reproductive Health, National Women’s Law Center and Planned Parenthood.)
While speaking at the presser, Rodrigo also name-checked the iconic Lilith Fair, saying its founder, Sarah McLachlan, was one of the first people she called while in the early stages of making her dream a reality. Tonight, to cap off her own historic first fest, Rodrigo welcomed McLachlan – along with Alanis Morissette and Stevie Nicks – on stage during her stellar headlining set.
Prior to performing, Rodrigo welcomed Melinda French Gates to the stage to announce the philanthropist had doubled the $10 million in funds raised – bringing Daisy Chain Fields’ total donation amount to $20 million.
In Rodrigo’s same Instagram caption from two months ago, she had ended it by saying: “I firmly believe that joy, community and music can be the drivers of meaningful change and I’m hopeful this festival will be just that.”
In its first year, it already was. And thankfully, as Rodrigo revealed at the end of her set, it will continue to be. As she enthusiastically declared, “see you next year!”
Until then, read on for the best moments from the inaugural Daisy Chain Fields music festival.
Earlier this week, Charli xcx took a trip down memory lane. Sitting with BBC Radio 1’s Jack Saunders, she reflected on her previous appearances as a performer at Reading Festival over the years. She was hard on herself in the way you can be when confronted with your younger, more idealistic, carefree self. “It’s cringing me out, if I’m honest,” she said of her 2017 performance. Her review of her 2019 show? She didn’t like her fringe much, she added. “This is a collection of some of the worst hairstyles and hair dyes ever throughout Reading & Leeds, it seems.”
This is typical Charli, though. Few acts in modern times are as achingly aware of their presentation, their overarching narrative as a creator, or how their music or eras are received. This mindset fueled Brat, an unapologetic riposte that had, indeed, buckets of intentionality behind it. Music, Fashion, Film, her new LP, finds her ruminating deeply on the direction of her career and if being a recording artist is even something she wants to do anymore, particularly as her head is turned by acting roles.
So how will Charli xcx look back on her headline set at Reading Festival on Friday (Aug. 28)? It seems safe to say she will look back on the set with bullish pride. This set is loaded with additional subtext: It’s the first U.K. performance since the release of Music, Fashion, Film, her second No. 1 on the Official Albums Chart in 2026 following Wuthering Heights soundtrack in February 2026. It was also her first time headlining the iconic festival she grew up attending, as mentioned in her BBC Radio 1 interview. The stakes were high, not least because of Charli’s own expectations.
The striking new stage production — first debuted at Lollapalooza last month — brings a thrilling edge to Charli’s performance and the songs sound fuller, less bitty than they do on record. She commanded the stage with a singular focus and was bolstered by a live band in places and a group of dancers; the result was a statement of epic proportions.
These were the five best moments from Charli’s headline debut at Reading Festival.