Courtesy of Reebok
Reebok unveiled its new seasonal campaign in partnership with global brand ambassador, Karol G.
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Following its “Born Classic. Worn for Life.” campaign, the cultural sports brand now presents its “Born Classic. Worn Together.” installment that celebrates connection, self-expression and community through its Reebok Classics sneaker.
“What I love most about Born Classic. Worn Together. is that it’s rooted in joy, energy, and community,” the Colombian superstar said in a press statement. “We brought together people of different ages, backgrounds, and perspectives to celebrate what makes each of us unique while showing how we’re all connected. That message is incredibly important to me, and I’m proud to be part of a campaign that reflects Reebok’s commitment to individuality, self-expression, and togetherness.”
The commercial campaign—shot by Alfred Marroquín in Mexico City—draws inspiration from the orange hues that represent Karol’s Tropicoqueta era and spotlights a diverse group of people celebrating fashion and human connection as they dance together to her feel-good mambo tune “Tropicoqueta.” Her album of the same name debuted No. 1 on the Hot Latin Songs chart and No. 3 on the all-genre Billboard 200 last year.
In January, Billboard exclusively announced the “Bichota” singer as Reebok’s new global brand ambassador with a multiyear partnership that marked the return of the Reebok Classics sneaker.
News of the second installment comes on the heels of Karol announcing her forthcoming studio album No Me Arrepiento de Sentir Tanto and kicking off her extensive Viajando Por El Mundo Tropitour that will run through 2027 in the United States, Latin America and Europe.
Courtesy of Reebok
Charli XCX comes in hot on the ARIA Albums Chart, as Music, Fashion, Film debuts at No. 1.
It’s Charli’s fourth appearance in the top 10, a tally that includes No. 1s for Crash in 2022 and the remix release of BRAT in 2024.
With that fast start, the British singer and producer blocks Amy Shark from a fourth consecutive ARIA No. 1 with soft pop, new at No. 2. Shark led the all-genres albums chart with Love Monster in 2018, Cry Forever in 2021 and Sunday Sadness in 2024.
Olivia Rodrigo completes the podium with you seem pretty sad for a girl so in love, down 2-3.
Icelandic singer and songwriter Laufey kicks off her seven-date Australian tour Friday night, July 31 in Melbourne, a trek that powers-up her album A Matter Of Time: The Final Hour. The album spikes 39-6 on the ARIA Albums Chart, several places adrift from its No. 2 peak.
Also new to the ARIA Chart, published late Friday, July 31, is the Strokes’ Reality Awaits. It’s new at No. 10, for the New York indie rockers’ sixth top 10 appearance, a run that includes a 2011 leader with Angles.
Close behind is Gentleman, the debut studio album from Australian singer and songwriter Budjerah. Gentleman is new at No. 14.
South African singer Tyla opens her account at No. 28 with A*Pop, her sophomore album. That’s by some distance a new career high, besting the No. 48 peak position for 2024’s Tyla.
Canadian country music superstar Shania Twain enjoys another top 40 appearance with Little Miss Twain, her seventh studio album. It’s new at No. 30. Twain has bagged three ARIA Chart leaders during her glittering career. According to ARIA, 1999’s Come On Over logged 20 weeks at No. 1, while 2002’s Up! and 2017’s Now both checked in for a week at the chart summit.
Meanwhile, Sydney rocker Body Type starts No. 42 with Tally. It’s their third album and first to crack the ARIA Top 50.
Over on the ARIA Singles Chart, Ella Langley enters an eighth non-consecutive week at No. 1 with “Choosin’ Texas.” It’s another all-female top three, with Olivia Dean’s “Man I Need” holding at No. 2 and the British singer’s collaboration with Sam Fender, “Rein Me In,” unchanged at No. 3.
The top new release belongs to international girl group Katseye, whose “Animal” debuts at No. 8. Co-written with Ed Sheeran, it’s the act’s fourth top 50 hit here after 2025’s “Gabriela” (No. 27), 2026’s “Pinky Up” (No. 19) and “Iconic By Mistake” (No. 39) with Le Sserafim and Illit. The members of Katseye visited Australia in May for a series of showcases and fan events. “Animal” is the only fresh cut new top ARIA Top 50.
Bright lights, damp smells, electronic sounds bouncing from the walls. For Generation X, video game arcades were the gateway to dance parties.
PNAU made the leap. And somehow, that trip is fused into AHHCade, the electronic duo’s seventh studio album, out today (July 31) via Sydney-based indie label etcetc, part of TMRW Music.
“We started out this record trying to do something different and trying to make darker music,” co-founder Nick Littlemore explains in a sitdown chat with Billboard. “We talked about the idea of making it quite industrial, going back to my roots.”
That didn’t quite end up happening.
Instead, PNAU, the project of high school buddies Littlemore and Peter Mayes, reached deep into the memory banks, and those formative, dingy rooms that sucked up our pocket money and triggered dopamine dumps.
“Arcades were such an exciting place as kids. I don’t know if they were safe spaces, but they were exciting and they gave us a window to a future that other generations didn’t have,” Littlemore explains. In an earlier, simpler life, the young generation was “going to the arcades, making mixtapes for friends, representing yourself on your pencil case.”
Playing the “Spacies,” as Aussies of a certain vintage have in their vernacular, “the fact they weren’t necessarily that safe is a bit like going to raves. They were the precursor to going into other dark rooms, with dodgy foods being sold somewhere. And blinking lights, mad sounds. And very electronic. You were interfacing with it.”
Those sensory overload rooms were the first to enable youngsters to get a buzz by burying their faces in screens. “Music isn’t work; you don’t work music. Arcades, it’s a play time, isn’t it?,” Littlemore reckons. “There’s a playfulness to it.”
Playtime was “naive back then in a beautiful way. I never want to lose that.”
The new collection houses the previously-released belter “Tu Corazon (Your Heart)” featuring Mexican rock act The Warning; the bubbly single “Nirvana” with EARTHGANG and sadMONTH; and the new single “Serotonin,” which features Kurtis Wells and arrives today. Other features include Master Peace, Kungs, MEDUZA, Maleigh Zan, The Flints, LATASHA, and Marieme.
PNAU formed in Sydney in the mid-1990s, the golden era of Australia’s underground electronic music scene. Their debut album, Sambanova, dropped in 1999, and won an ARIA Award for best dance release. More would come, as would AIR Awards. Long-overdue international recognition came when PNAU joined forces with Elton John on the Rocket Man’s 2012 remix album Good Morning to the Night, which went to No. 1 on the Official U.K. Albums Chart. PNAU and Elton teamed up again for the 2021 remix “Cold Heart” with Dua Lipa, and landed a bonafide global monster.
PNAU will support the new release with a national tour, kicking off Sept. 19 for Brisbane’s Night at the Parkland event. Littlemore, one half of Empire of the Sun, is a reluctant touring artist. “I want to wind up my personal touring by the end of the year. Ideally. I tried to do it last year. But I would like to move just purely into production and composition,” he insists. “I’ve been making a classical album, with an amazing arranger, and all these modular synths. Oh, my God. No one’s gonna listen to her, but I’m really enjoying making it.”
Littlemore admits he and Mayes and have “100s of songs and ideas” on standby. “Songs are spells. They’re wishes and they’re spells, and you want to put good spells in the universe,” he insists. “There are enough bad spells out there, anyway.”
AHHCade brings some balance to the equation. Eleven good spells, a half-hour playtime.
Stream it in full below.
Glenn A. Baker, for generations a familiar name in Australian media for his work as a music historian, author, presenter and pundit, and a long-time Billboard correspondent, died Friday morning, July 31. He was 74.
“Glenn’s contribution to the Australian rock ’n’ roll music landscape was immense, but his family remembers him as a loving father of six and grandfather of thirteen,” reads a statement posted on his official social channels.
“Glenn’s passion for music, travel, food and his family (still not entirely sure of the order) was, like his personality, larger than life.”
Born in Sydney, New South Wales, in 1952, the eldest of four children, Baker left school aged 15 to support his family and was “galvanized” by seeing the Beatles on TV.
In the mid-‘70s, Baker launched his radio career as part of a research team whose work led to the creation of 2JJ, which would became triple j, the national youth network within the Australian Broadcasting Corporation.
Baker always cut a flamboyant figure on TV, which was often, in the 1970s through to recent times. A true music allrounder, Baker managed the band Ol’55 and, in 1979, co-founded the Australian record label Raven Records. He topped the BBC’s “Rock Brain of the Universe” on three occasions during the 1980s, and twice won the Australian Travel Writer of the Year Award twice (1995 and 2000).
A prolific writer, Baker penned 17 books, sleeve notes for more than 600 albums, and served as Billboard’s Australia correspondent for over 20 years.
His knowledge of music was as vast as his collection of records. In 2024, Baker, through Lloyds Auctions, put his immense haul under the hammer. Over 80,000 items were put up for sale, including over 50,000 LPs “primarily representing rock’n’roll and popular music of the second half of the 20th century,” the listing stated.
Winarch Group’s founder and director Paul Lambess bought the goods.
Speaking with 702 ABC Sydney, Baker’s son Orson revealed that his father had experienced a “period of illness,” was “declining for a while” and had experienced a stroke.
His dad was “somebody who absolutely grabbed life, throttled it, and did everything that he wanted to do”.
As news of his passing spread, the music community reached out.
“I am very sorry to hear of the passing of Glenn A Baker today,” writes Iva Davies, spearhead of ICEHOUSE. “Glenn was someone who lived life on his own terms – his passion for music and for the industry made him a force for discovery of new artists and to advocate with business and government to improve conditions for creators.”
Cold Chisel frontman Jimmy Barnes remembered Baker as “the first person I’d turn to whenever I needed to know anything about our music history. He was always ready to help, drawing on his vast knowledge of popular music.” It was Baker who sent Barnes the Easybeats song “Good Times” when the rocker was looking for a song to record with INXS. “I’ll miss his insights, his incredible knowledge, and our conversations about music whenever we met.”
ARIA Hall of Fame inductee Marcia Hines reflects on Baker as “a man to whom music was more than music. It was part of his life blood. His big, beautiful brain held the keys to a treasure trove of deep cuts that he rejoiced in and wrote about with the same prolific passion that is usually reserved for what readers/listeners would usually view as ‘the hits.’”
Baker had celebrated his birthday just three days earlier. “While the family wishes for privacy,” reads the family statement, “if you do wish to honor Glenn or continue his legacy in some way, have a passionate conversation today with somebody about your favorite Australian muso or band. Rock on Glenn! You will be missed.”
Cardi B wants you in the club this summer. The Bronx native returned with her first single of the year on Friday (July 31), as “Ah Ha” arrived on streaming services at midnight ET.
The Bardi Gang went into a frenzy when Cardi previewed the hard-hitting single on Monday (July 27), which saw her rapping while taking a stroll on the beach in a Dominican Republic flag bikini.
Looking to capitalize on the buzz and momentum, Cardi and Atlantic Records didn’t waste any time setting a release date for the catchy single, which the Grammy-winning artist officially announced on Wednesday (July 29).
“A n—a can’t trap me, I won’t keep it/ B—es really hate me, so be it/ Bathroom floors and these hoes both heated/ It goes three, two, to the one in this b—h/ I’ll give a hoe exactly what she want in this b—h,” she raps on the new song.
Cardi also dissed Donald Trump on the track. “Black trucks at the club look like Trump in this b—h, f–k him/ A hoe never played with me once in this b—h,” she spews.
Even without any new music prior to “Ah Ha,” Cardi has been booked and busy so far this year. She kicked off 2026 with the Little Miss Drama Tour, which served as her first headlining North American trek. The 33-year-old also came in at No. 1 on Billboard’s Hottest Female Rappers list for the first half of 2026.
It’s unclear if “Ah Ha” is the launch of a new era or a one-off release. Cardi’s sophomore album, Am I the Drama?, arrived in September 2025 and topped the Billboard 200.
Stream “Ah Ha” below.
Following his breakthrough album, Where I’ve Been, Isn’t Where I’m Going and its inescapable cross-format hit, “A Bar Song (Tipsy),” Shaboozey returns with a full-on concept album, The Outlaw Cherie Lee & Other Western Tales, out Friday (July 31) via his American Dogwood imprint distributed through Empire.
The story, laid out through songs and short, spoken-word vignettes, tells of Cherie Lee — who, after seeing her sheriff father murdered by the Bootcut Boys, seeks to avenge his death. Along the way, she falls in love with one of the outlaws, and ultimately (spoiler alert!) chooses revenge over romance. Prompted by Shaboozey’s longtime love of Westerns, the project has been a labor of love for quite some time.
Shaboozey’s rise to stardom over the past few years allowed him to call on some famous friends when he cast the album, including Oscar winner Jamie Foxx and Oscar nominees Sam Elliott (who knows a thing or two about westerns) and Teyana Taylor. They are joined by Gunna, Leon Bridges, Orville Peck and Kehlani, who all make solid contributions.
The issue with a concept album is making sure there are songs that stand alone outside of the theme that work for radio and listeners not invested in the project. Shaboozey, who co-wrote 17 of the 20 tracks, smartly has a few of those here that still play well with the songs that solely move the narrative along. Because of the Western theme, there is a uniformity — think minor keys, fiddles, harmonicas and acoustic guitars — to some of the songs here, but the engaging project moves along quickly.
It will be interesting to see where Shaboozey goes with this, as it would easily translate into a short film given the story line and the cinematic themes. He’s already released a graphic novel companion that he was touting at Comic Con.
Below is a ranking of the tracks with one caveat: Billboard ranked the short spoken-word and musical interludes at the bottom — not because they don’t work, but simply to separate them from the full songs.
Like flowers from a tomb, Ariana Grande‘s new album has found its way to us.
Led by her 10th Billboard Hot 100 No. 1 single, “Hate That I Made You Love Me,” Petal — the eighth studio album from the Grammy-winning, Oscar-nominated superstar — arrives a little over halfway through her ongoing, arena-headlining Eternal Sunshine Tour.
With Grande handling lyrics by her lonesome and co-executive producing alongside longtime collaborator Ilya, Petal finds the pop juggernaut shape-shifting into a darker, more guitar-driven sound that builds on the ethereal glimmer of 2024’s Eternal Sunshine and its 2025 Brighter Days Ahead deluxe tracks. After spending her last record processing the dissolution of her marriage and the subsequent emergence of a new love, Grande uses Petal to survey the two years since Eternal Sunshine — and it’s pretty much a manicured middle finger aimed directly at the public.
From her hair and weight to her romantic life and vocal preservation techniques, Grande is constantly at the center of vicious public discourse. Things came to a head during the unfairly derailed Wicked: For Good press run, with heaps of misogyny (specifically misogynoir in the case of co-star Cynthia Erivo), feigned concern from armchair medical experts and an unwarranted nitpicking of Grande’s mere existence doing their best to define the final month of a key chapter of her career.
Petal finds Grande not just directly addressing the precarious relationship between her celebrity and person — as she so deftly does on the excellent title track — but also celebrating the first signs of new life born out of particularly volatile periods like 2025. Some of that new life (petals in the pavement, if you will) looks like a rejuvenated perspective on privacy, maturation and the beautiful unknown of the path not chosen (“Freak”), and other parts of that new life are anchored by a sense of self that’s stronger than ever because it embraces and cherishes all of its past iterations (“Never Get Over Me”).
Fans of Dangerous Woman and Thank U, Next will feel right at home with Petal, as the 12-track set effortlessly balances straightforward pop bangers (“Stay”) with quippy, candid songwriting (“Oh Well”). Intro track “Kiss Me” helps establish an undertone of shoegaze that courses through nearly every track, including moodier garage-indebted moments like “Nowhere, Nobody” and the rollicking pop-rock energy of “Bad Thing (Bunny Hop),” a spiritual successor to “The Boy Is Mine.” Where earlier albums had moments that felt as though Grande was acting out a caricature of her pop persona; Petal seems to emerge from somewhere much more grounded, which allows Grande to sneak in meaningful personal revelations in between genuinely hilarious digs.
But that’s not to say Positions fans don’t get some love, too. “Big Feelings” is another instant standout thanks to its sultry R&B groove, and “Like I Do” recalls the dramatic darkness of mixtape-era The Weeknd. Petal somehow simultaneously sounds like nothing Grande’s ever made before while still clearly nodding to virtually all seven of her other studio albums — and that’s what she’s been trying to get across ever since she sang, “Cause I’m still the same, but only entirely different” on “Hampstead” last year. And for what it’s worth, if you missed the questionable-yet-charming enunciation of pre-Wicked Grande, you’ll be all set with Petal.
Even when her immaculate tone and sense of melody are the only saving grace for, at times, underdeveloped lyrics, Grande fully commits to the concept of Petal; her vocal performances brim with ever-so-slightly reserved hope that stands on a foundation of trauma-induced survival mode. But she’s also angry here — far past annoyed and almost downright irate — and rightfully taking up the space to get snarky. Where Eternal Sunshine felt warm, Petal is really, really cold. Grande’s no damsel, and that tenacity is what continues to make her such a compelling pop star and artist. This is also an album clearly crafted to be performed live — perhaps more so than any of her previous LPs — which makes the era’s future all the more exciting.
Petal marks the official follow-up to Eternal Sunshine, Grande’s seventh studio album, which spent three weeks atop the Billboard 200, spawning two Hot 100 chart-toppers in “Yes, And?” and “We Can’t Be Friends (Wait for Your Love)” and winning the 2025 MTV Video Music Award for video of the year for her Christian Breslauer-helmed Brighter Days Ahead short film.
Check out Billboard’s preliminary ranking of every track on Ariana Grande’s Petal below.
Ariana Grande‘s eighth studio album has blossomed, with the pop star finally unveiling Petal — on which she allows herself to be angrier and more authentic than ever before — on Friday (July 31).
Hitting streaming services at midnight ET, the set features a total of 12 tracks, all but one of which fans hadn’t heard before. The only song Grande released as a single ahead of time was “Hate That I Made You Love Me,” which dropped in June and debuted atop the Billboard Hot 100, marking the star’s 10th career No. 1 on the chart. She’d also posted snippets of the a cappella vocals from “Oh Well” and “Freak” on Instagram, as well as debuted the album’s phenomenal title track at an Eternal Sunshine show in Montreal.
Beyond the music itself, Grande also revealed before Petal‘s arrival that it was “written from a place … [of] unfiltered rage.” Upon the delivery of the full bouquet of songs, it’s clear that the previously unheard portions of the album definitely live up to that description, with the Wicked actress holding nothing back as she takes stock of her relationship to the public and the gossip about her personal life she’s faced for years.
The new album marks Grande’s latest since Eternal Sunshine, which dropped in 2024 and spent three weeks atop the Billboard 200, spawning two Hot 100 No. 1 hits: “Yes, And?” and “We Can’t Be Friends (Wait for Your Love).” Last year, she treated fans to a deluxe version of the LP featuring five brand new songs accompanied by a short film.
The Grammy winner is now more than halfway done with her Eternal Sunshine trek, the rest of which may or may not feature additional Petal tracks incorporated into the setlist. After closing out the tour with a 10-night stay at the O2 Arena in London, she’ll prepare for the promotional cycle of her next acting project, Focker-in-Law, which premieres in November, after which she’ll star alongside Jonathan Bailey in a West End production of Sunday in the Park With George in 2027.
Listen to Petal below.
With five wins, Ninajirachi was untouchable at the 2026 AIR Awards, presented Thursday evening (July 31) at Adelaide Town Hall.
The EDM producer and DJ (real name: Nina Wilson) scooped the night’s big categories, including independent album, independent producer, and best independent electronic album or EP for I Love My Computer, while her breakthrough song “iPod Touch” took out best independent electronic single and independent song of the year.
Co-written with Darcy Baylis, “iPod Touch” took shape in 2024 and was “one of the hardest songs to finish, ever,” Ninajirachi explained in a taped acceptance speech. “A lot of my album tracks just fell from the sky and they were so easy. ‘iPod Touch’ had 100,000 versions and at a point I really didn’t think it was going to make it onto the album. But I’m so happy it did. It’s a real lesson in persistence and I’m so grateful that it’s won.”
Ninajirachi has been an all-conquering force on the awards circuit since I Love My Computer dropped a year ago. In the months since, she bagged three ARIAs, the Australian Music Prize for album of the year, J Awards, the NSW Music Prize for breakthrough artist, and took out second place in the Vanda & Young Global Songwriting Competition for “iPod Touch.” Prior to Thursday evening, she had never won an AIR Award.
After attending last year’s ceremony, Ninajirachi had an excellent reason to miss the AIR Awards this time; she’s currently touring the United States, with a show a Lollapalooza in Chicago on the same day as the indie awards. “If I could teleport, I would,” she insisted in a precorded bit.
I Love My Computer also swept the industry segment of the 20th annual AIR Awards, with the independent mix, studio or mastering engineer of the year honor (Thomas Purcell PKA Wave Racer), independent publicity team of the year (Melody Forghani’s Twnty Three) and independent marketing team of the year (NLV Records, The Orchard).
The good times didn’t end there. Nina Las Vegas (real name: Nina Agzarian) and her team at NLV Records snagged the last of 24 awards announced on the night, independent label of the year. In her victory speech, Las Vegas recounted a grumpy email sent five years ago to the team at The Australian Independent Record Labels Association (AIR), producers of the awards and the annual Indie-Con, also presented this week in the South Australian capital.
“I just work really hard to get what I wanted, and I really wanted this,” she told the full house of industry guests. Earlier in the week, Las Vegas and her team launched the latest Ninajirachi single, “WannaCry,” a collaboration with Porter Robinson.
With a trio of trophies, the ceremony was a massive success for Folk B*tch Trio. The rising act won for best independent blues and roots album or EP, breakthrough artist of the year and independent music video of the year for “Cathode Ray” (Bridgette Winten).
Other artist winners included Wilsn (best independent soul/RNB album or EP), Devaura (best independent hip hop album or EP), Ruby Gill (best independent country album or EP), Way Dynamic (best independent pop album or EP), Playlunch (best independent rock album or EP), Thornhill (best independent heavy album or EP) and These New South Whales (best independent punk album or EP).
Meanwhile, Sebastian Chase, founder of MGM Distribution, earned the outstanding achievement award. The industry veteran’s son Michael Chase was on hand to read a speech prepared by his dad.
The awards were first established in 2006 as an effort to “recognize, promote, and celebrate the success of Australia’s Independent Music sector.” AIR itself was founded 30 years ago to the month, in July 1996.
At the top of the 2026 edition, Hilton Gumbys, a Labor member of the Legislative Council in the South Australian Parliament, announced two additional years of state funding for the awards and Indie-Con, to secure the event in Adelaide until at least 2028.
Performers including The Tullamarines, Cookin’ on 3 Burners, Georgia Knight, and Elsy Wameyo, and Dylan Lewis and Jessica Braithwaite were back on hosting duties.
“Tonight we’re celebrating you,” AIR CEO Maria Amato told guests at the invite-only gathering. “The independent artists that do things that you love, on your own terms, and don’t let anyone stand in your way.”
Check out all the winners here and below. Listen to AIR’s nominee playlist on its supporting partner platforms YouTube here and Amazon Music here.
Best Independent Blues And Roots Album Or EP
John Butler – Prism
Folk Bitch Trio – Now Would Be A Good Time (WINNER)
Liz Stringer – The Second High
Melbourne Ska Orchestra – The Ballad Of Monte Loco
Sons Of The East – Sons
Best Independent Jazz Album Or EP
Natalie Gauci – Pictures Of Mars
Phia – When I’m Holding You, I’m Holding Me
Temporary Blessings – Sumbisori (WINNER)
The Cat Empire – Bird In Paradise
Touch Sensitive – In Paradise
Best Independent Classical Album Or EP
Andrea Lam – Piano Diary
Australian String Quartet – Vanessa Perica, String Quartet No.1 No Feeling Is Final
Joseph Tawadros – The Forgotten Path To Humanity
Rose Riebl – Dust
William Barton, Omega Ensemble – Gift – Our Breath Of Life (WINNER)
Best Independent Children’s Album Or EP
Diver City – Weekend Baby
Emma Memma – Dance Island Party
Justine Clarke – Mimi’s Symphony
Teeny Tiny Stevies – Brain Fart (WINNER)
The Wiggles, The Tree Of Wisdom – The Tree Of Wisdom
Best Independent Country Album Or EP
Emily Lubitz – Two Black Horses
Hayley Jensen – Country Soul
Imogen Clark – Choking On Fuel
Ruby Gill – Some Kind Of Control (WINNER)
Wade Forster – Gooseneck Party
Best Independent Soul/RnB Album Or EP
Bumpy – Kanana
Cookin’ On 3 Burners – Cookin’ The Books
Don West – Give Me All Your Love
Felivand – My Body’s My True North
Wilsn – Bloom (WINNER)
Best Independent Pop Album Or EP
Georgia Knight – Beanpole
Montaigne – It’s Hard To Be A Fish
Stella Donnelly – Love And Fortune
The Tullamarines – Safety Blanket
Way Dynamic – Massive Shoe (WINNER)
Best Independent Rock Album Or EP
Playlunch – Sex Ed (WINNER)
Spacey Jane – If That Makes Sense
Teen Jesus And The Jean Teasers – Glory
The Belair Lipbombs – Again
The Southern River Band – Easier Said Than Done
Independent Marketing Team Of The Year
Mushroom Music – Bliss N Eso, The Moon (The Light Side)
Nlv Records, The Orchard – Ninajirachi, I Love My Computer (WINNER)
Playlunch, Abc Music – Playlunch, Keith
Secretly Group – Folk Bitch Trio, Now Would Be A Good Time
The Annex – Ocean Alley, Love Balloon
Independent Music Video Of The Year
Ball Bass John – Ninajirachi, Fuck My Computer
Bridgette Winten, Folk Bitch Trio – Folk Bitch Trio, Cathode Ray (WINNER)
Claudia Sangiorgi Dalimore – Miss Kaninna, Backstreets
Tas Wilson, James Adams – Jem Cassar-Daley, Kiss Me Like You’re Leaving
Jasper Van Daatselaar – Way Dynamic, People Settle Down
Independent Mix, Studio Or Mastering Engineer Of The Year
Becki Whitton, Timothy Harvey, Hannah Cameron – Ruby Gill, Some Kind Of Control
Leon Zervos – Ocean Alley, Love Balloon
Michael Carpenter – Imogen Clark, Choking On Fuel
Stephen Mowat – Wilsn, Bloom
Thomas Purcell Pka Wave Racer – Ninajirachi, I Love My Computer (WINNER)
Breakthrough Independent Artist Of The Year – Presented By PPCA
Folk Bitch Trio (WINNER)
Georgia Knight
Rageflower
Rona.
Yes Boone
Best Independent Hip Hop Album Or EP
Bliss N Eso – The Moon (The Light Side)
Devaura – Vol 1. Learning In Public (WINNER)
Elsy Wameyo – Wameyo
Jamaica Moana – Bud & Deni
Teether & Kuya Neil – Yearn Iv
Best Independent Electronic Album Or EP
Essendon Airport – Mor
Mel Blue – No More Jackets Please
Ninajirachi – I Love My Computer (WINNER)
Rona. – It’s All Here (EP)
Shouse – Collective Ecstasy
Best Independent Dance/ Club Single
Confidence Man, Jade – Gossip
DJ Pgz And Yikes – Ouss Ouss
Fisher – Stay
Shouse – Sunrise
Vv Pete – Wassa Feat. Utility, Formation Boyz (WINNER)
Best Independent Electronic Single
Cosmo’s Midnight – 45
Keanu Nelson – Place Where I Go / Kapi Ngalyananni
Ninajirachi – Ipod Touch (WINNER)
Robert Baxter & Sweatbaby – Icy (Take It Off)
The Superjesus & The Journey – Something Good
Best Independent Punk Album Or EP
Press Club – To All The Ones I Love
Private Function – ¯_(ツ)_/¯
Radio Free Alice – Empty Words Ep
These New South Whales – Godspeed (WINNER)
Wet Kiss – Thus Spoke The Broken Chanteuse
Best Independent Heavy Album Or EP
Battlesnake – Dawn Of The Exultants And The Hunt For The Shepherd
Hands Like Houses – Atmospherics
Npcede – Npcede
The Maggie Pills – Hearts Induring Lingering Loss
Thornhill – Bodies (WINNER)
Independent Album Of The Year
Folk Bitch Trio – Now Would Be A Good Time
Ninajirachi – I Love My Computer (WINNER)
The 046 – Legacy In Motion
The Belair Lipbombs – Again
Way Dynamic – Massive Shoe
Independent Song Of The Year
Jem Cassar-Daley – Kiss Me Like You’re Leaving
Keli Holiday – Dancing2
Ninajirachi – Ipod Touch (WINNER)
Playlunch – Keith
Way Dynamic – Miffed It
Independent Label Of The Year
ABC Music
Astral People Recordings
College Of Knowledge
Mushroom Music
NLV Records (WINNER)
Independent Publicity Team Of The Year
Cult Logic – Ocean Alley, Love Balloon
Mushroom Music – Bliss N Eso, The Moon (The Light Side)
Mushroom Music – Wilsn, Bloom
Twnty Three – Folk Bitch Trio, Now Would Be A Good Time (WINNER)
Twnty Three – Ninajirachi, I Love My Computer
Independent Producer Of The Year
Angus Stone – Dope Lemon, Golden Wolf
Benjamin Stewart – Slowly Slowly, Forgiving Spree
Dylan Young – Way Dynamic, Massive Shoe
Nick DiDia – Ocean Alley, Love Balloon
Nina Wilson – Ninajirachi, I Love My Computer (WINNER)
2026 Outstanding Achievement Award
Sebastian Chase (WINNER)
Raúl de Molina, uno de los conductores de “El gordo y la flaca”, reveló que ha perdido gran parte de la audición y que los médicos ya le recomendaron un implante coclear debido al avance de su condición.
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