Latest news with #WavetoEarth
Economic Times
4 days ago
- Entertainment
- Economic Times
What defines an ‘Australian song'? Triple J's hottest 100 sparks national identity debate
Agencies Triple J's Hottest 100 countdown spotlights evolving definitions of 'Australian songs,' highlighting shifts from pub rock traditions to diverse modern voices like Thelma Plum and Baker Boy. Debating what makes a song 'Australian' As Triple J prepares to broadcast the Hottest 100 Australian Songs on July 26, attention turns beyond the rankings to a broader cultural question: What defines an 'Australian song'? Is it the nationality of the artist, the thematic content, the sonic elements, or a combination of these factors? Musical cultures have existed in Australia for tens of thousands of years. The sound of the didgeridoo, for instance, has often been used to signal 'Australianness' in film, television, and occasionally in popular music. Yet, due to colonization and systemic exclusion, much of this Indigenous musical heritage has been marginalized in the commercial music landscape. Also read: Wave to Earth announce first-ever Aussie & NZ tour; find out when & where they're playing Since colonization in the late 18th century, Australia's music has reflected broader global influences. Settlers imported genres such as jazz, country, rock, and pop, which local musicians adapted. However, questions remain about whether these adaptations constitute a distinctly Australian sound or reflect cultural imitation. These tensions parallel historical questions about Australian national identity — whether it functions as a sovereign country or remains culturally tethered to its colonial past. The legacy of pub rock and cultural identityIn the 1970s, the pub rock movement, characterized by distorted guitars and grassroots energy, emerged as one of Australia's earliest contributions to global post-rock 'n' roll culture. Bands such as Midnight Oil and Cold Chisel gained popularity not only for their sound but also for references to Australian places, politics, and working-class this period, then-Prime Minister Gough Whitlam expanded funding for the arts to help shape an Australian identity. Simultaneously, the launch of youth radio station 2JJ, now Triple J, offered a broadcast platform for emerging local acts. This era laid the groundwork for what is now referred to as the 'Oz rock canon,' a collection of Australian rock music that has shaped cultural Minister Anthony Albanese's selections for the Hottest 100, composed almost entirely of white male musicians, reflect the enduring influence of this canon. Despite political differences, both he and his predecessor submitted strikingly similar lists, underscoring the narrow scope of what has traditionally been recognized as 'Australian music.' Evolving canons and new Australian sounds Triple J's 2009 Hottest 100 of All Time reaffirmed the dominance of the rock canon. However, it also signaled the rising popularity of Australian hip-hop, with Hilltop Hoods' The Nosebleed Section ranking highest among Australian entries. In 2011, Triple J released the Hottest 100 Australian Albums of All Time. Powderfinger's Odyssey Number Five secured the top spot, with entries from electronic groups such as The Presets and The Avalanches reflecting a broader sonic range. Still, the list was male-dominated, with Missy Higgins's The Sound of White at number 29 being the highest-ranking woman-fronted album. Recent years have seen increased Indigenous representation across Australian music. Artists such as Thelma Plum, Barkaa, A.B. Original, and Baker Boy use diverse genres to celebrate cultural identity and critique the national narrative. A.B. Original's January 26, which ranked number 17 in 2016, exemplifies music's role in social commentary. That same year, Triple J moved the countdown from Australia Day to a different date, indicating a shift in public sentiment. Music, disagreement, and national reflection A strong contender in the 2024 countdown is Treaty (Radio Mix) by Yothu Yindi, a track that reached number 11 in 1991's all-time list. Its continued relevance highlights how musical canons can evolve to reflect societal change. Also read: Lorde announces 2026 arena tour in Australia; Know the dates, her family, and net worth Recent controversies, including criticism of Creative Australia's handling of politically-charged art, have sparked debate over how cultural expression intersects with social cohesion. Critics argue that democratic societies must accommodate disagreement and that art plays a vital role in questioning dominant narratives. As Triple J's Hottest 100 continues to showcase a spectrum of artists, it offers a platform for reconsidering Australian identity. Whether through traditional rock or Indigenous hip-hop, the songs selected, and the discussions they prompt, reflect the complexities of what it means to live on these lands today.
Scoop
04-07-2025
- Entertainment
- Scoop
Wave To Earth Announce Second Sydney, Melbourne & Auckland Shows For 0.03 World Tour Due To Huge Presale Ticket Demand
Press Release – Frontier Touring Company Due to overwhelming presale ticket demand, Frontier Touring are proud to announce second and final Sydney, Melbourne and Auckland shows for South Korean indie pop three-piece Wave to Earth on their 0.03 World Touro of Australia and New Zealand this November and December! 'This is our first time playing in Australia and New Zealand, and we're absolutely stoked! We've heard so much about the amazing energy from the fans, and we can't wait to experience it live. See you soon!' – Wave to Earth Wave to Earth – singer-songwriter Daniel Kim, drummer Dong Kyu Shin, and bassist John Cha – will now play seven shows across Australia and New Zealand, kicking off at the Enmore Theatre, Sydney on Saturday 29 November (presale allocation exhausted) and Sunday 30 November (NEW SHOW), The Forum, Melbourne on Tuesday 2 December (presale allocation exhausted) and Wednesday 3 December (NEW SHOW – ALL AGES), The Fortitude Music Hall, Brisbane on Friday 5 December before heading to the Powerstation, Auckland on Sunday 7 December (presale allocation exhausted) and Monday 8 December (NEW SHOW). General on sale for all seven shows begins Tuesday 8 July, 9am AEST / 11am NZST. Tickets and tour info via: Wave to Earth produces indie pop with a lo-fi sound based on jazz drumming, creating a unique sense of the seasons and a dreamy atmosphere in the music. The three-piece debuted with the single ' wave ' in 2019, followed by EPs wave 0.01 and summer flows 0.02 and in April 2023 dropped their highly anticipated first full-length album, titled 0.1 flaws and all. The band's catalogue includes the hits ' seasons ', ' bad ', ' love. ', ' light ', ' wave ', ' nouvelle vague ' and ' calla '.
Scoop
04-07-2025
- Entertainment
- Scoop
Wave To Earth Announce Second Sydney, Melbourne & Auckland Shows For 0.03 World Tour Due To Huge Presale Ticket Demand
Due to overwhelming presale ticket demand, Frontier Touring are proud to announce second and final Sydney, Melbourne and Auckland shows for South Korean indie pop three-piece Wave to Earth on their 0.03 World Touro of Australia and New Zealand this November and December! "This is our first time playing in Australia and New Zealand, and we're absolutely stoked! We've heard so much about the amazing energy from the fans, and we can't wait to experience it live. See you soon!" - Wave to Earth Wave to Earth - singer-songwriter Daniel Kim, drummer Dong Kyu Shin, and bassist John Cha – will now play seven shows across Australia and New Zealand, kicking off at the Enmore Theatre, Sydney on Saturday 29 November (presale allocation exhausted) and Sunday 30 November (NEW SHOW), The Forum, Melbourne on Tuesday 2 December (presale allocation exhausted) and Wednesday 3 December (NEW SHOW – ALL AGES), The Fortitude Music Hall, Brisbane on Friday 5 December before heading to the Powerstation, Auckland on Sunday 7 December (presale allocation exhausted) and Monday 8 December (NEW SHOW). General on sale for all seven shows begins Tuesday 8 July, 9am AEST / 11am NZST. Tickets and tour info via: Wave to Earth produces indie pop with a lo-fi sound based on jazz drumming, creating a unique sense of the seasons and a dreamy atmosphere in the music. The three-piece debuted with the single 'wave' in 2019, followed by EPs wave 0.01 and summer flows 0.02 and in April 2023 dropped their highly anticipated first full-length album, titled 0.1 flaws and all. The band's catalogue includes the hits 'seasons', 'bad', 'love.', 'light', 'wave', 'nouvelle vague' and 'calla'.
Korea Herald
18-03-2025
- Entertainment
- Korea Herald
More Southeast Asians are debuting as K-pop idols. What's driving this trend?
As region's influence on K-pop industry grows, more idols from Indonesia, Vietnam, Philippines enter K-pop scene K-pop's evolution has always been shaped by its audience. In the 2010s, Korean agencies turned to China and Japan for fresh talent. Now, the spotlight is on Southeast Asia. Once dominated by Thai idols, the scene is further expanding as agencies tap Indonesia, Vietnam and the Philippines, responding to the region's overwhelming influence on the industry. It's not just about talent — it is also the numbers. With millions of engaged fans, a booming digital ecosystem and economies on the rise, Southeast Asia is fueling K-pop's next wave of expansion. The industry is not just welcoming Southeast Asian idols; it is realizing they could just be essential to K-pop's continued global growth. Southeast Asia's social media power reshapes K-pop's reach Southeast Asia, home to over 630 million people, is experiencing rapid economic growth, with a steady increase in combined gross domestic product of 4 to 5 percent per year. Along with the region's digital connectivity, this economic strength has positioned it as a major driver of K-pop's global expansion. Engagement with K-pop on social media in Southeast Asia surpasses global averages, with platforms like TikTok, in particular, playing a crucial role in fueling trends. 'When something goes viral on TikTok in Southeast Asia, it often spreads beyond Asia. Over the past few years, entertainment companies have realized the growing importance of short-form viral marketing,' music critic Lim Hee-yun said Friday. 'For example, a Korean indie band called Wave to Earth was initially overlooked in Korea, but after going viral in Thailand, they are now on a world tour. They even have more Spotify followers than IU," Lim added. "K-pop agencies, which rely heavily on data analytics, are well aware of these trends." The annual Year on TikTok report, analyzing the most beloved songs and artists on the platform, showed that in 2023, five of the 10 most popular global acts on TikTok were K-pop: Blackpink, BTS, Enhypen, Le Sserafim and NewJeans. The trend became even more pronounced last year, with K-pop grabbing seven of the top 10 spots. Additionally, a joint study by TikTok and market research company Kantar in 2024 found that TikTok users in Indonesia, Thailand and Vietnam spend significantly more on Korean cultural products than non-TikTok users. 'In Indonesia, 3 out of 5 people pay to stream Korean music, and their listening hours are among the highest globally. Among TikTok users, 31 percent consume K-pop daily — 2.3 times more than non-TikTok users,' a TikTok Korea official said Friday. 'This shows that Southeast Asian TikTok users are not only engaged K-pop fans, but also active content creators, accelerating the genre's global reach.' Thailand has produced some of the most successful K-pop idols, with Blackpink's Lisa leading the way. Since debuting under YG Entertainment in 2016, Lisa has become one of the most influential figures in K-pop, even being recognized by the Guinness World Records as the most-followed K-pop artist on Instagram with over 105 million followers. She also made history as the first K-pop singer to perform at the Academy Awards on March 2, cementing her status as a global icon. Lisa's success has inspired a wave of Thai trainees. 'Trainees always have role models, and in Thailand, there are already many successful cases — especially Lisa, a powerful example. A strong role model means a larger talent pool, which ultimately results in more prepared trainees,' said a YG Entertainment official said Friday. Continuing this trend, YG Entertainment debuted two more Thai idols, Pharita and Chiquita, in Baby Monster. Other prominent Thai K-pop idols include Natty of Kiss of Life under S2 Entertainment, Minnie of (G)I-dle under Cube Entertainment and Ten of NCT under SM Entertainment, the first Thai artist to debut under the company. Indonesia: Rising force in K-pop Last month, SM Entertainment debuted Carmen, an Indonesian member of Hearts2Hearts, the first trainee from the country to join one of the 'Big Four' agencies comprising SM Entertainment, JYP Entertainment, YG Entertainment and Hybe. While some speculate that Carmen's inclusion was a strategic move to tap into the Indonesian market, SM Entertainment has denied the notion. 'It wasn't about targeting Indonesia. Carmen was selected as a vocal member because she fit the group's sound,' an SM official said Friday. "Her nationality was not a factor." Still, Indonesia's potential as a K-pop market is undeniable. With some 270 million people, it is the world's fourth most populous country, with approximately one-third aged between 10 and 29, creating a strong demand for K-pop content. Indonesian capital Jakarta has become a key stop for K-pop world tours, often alongside Bangkok, yet the country has produced relatively few K-pop idols compared to Thailand. Carmen's debut follows Indonesian idols including Dita of Secret Number, Kim of VVUP and Via of Beauty Box. Additionally, Indonesia ranked third in Korean music imports last year, following Japan and Taiwan, according to Luminate's 2024 Year-End Music Report published in January, further reflecting Indonesia's strong demand for K-pop. Vietnamese and Filipino K-pop idols are also making inroads. The most prominent Vietnamese K-pop idol is NewJeans' Hanni, though she was born in Australia and has dual nationality. Hanbin of Tempest and Kien of ARrC are among the first male Vietnamese idols in K-pop, having debuted in March 2022 and August 2024, respectively. The Philippines has also gained representation, with rookie girl group UNIS debuting Elisia and Gehlee in March 2024. Their popularity led to sold-out concerts in Manila and Cebu in October 2024. Elisia, who won TV competition 'My Teenage Girl,' became the first foreign winner of such a K-pop audition program, drawing significant attention in the Philippines.
