Samantha Wolf explains how bonding with reality TV during the pandemic inspired her new piece for Ensemble Offspring.

KLASSIK underground founder Tahlia Petrosian believes that a broader approach to classical music sows the seeds for a thriving future.

Avant-garde multi-instrumentalist Benjamin Skepper talks about his desire to bring science and technology into his art practice.

Elliott Gyger explains why each movement of his new viola solo Solitaire follows a strict set of rules.

Percussionist Louise Devenish explains how oystershell and underwater video feature in a project exploring the history of Australian rivers.

Ahead of a Sydney Festival performance, Matthias Schack-Arnott talks about opening up John Cage’s Sonatas and Interludes.

Linda May Han Oh’s Ephemeral Echoes explores the nature of transience and time, and brings the composer home to Perth for its world premiere.

Katie Yap, the 2022 Freedman Classical Fellow, tells us about the project she is undertaking as a result of her win.

ACO Underground now has its own band, whose genre-bending gigs include everything from their own punk tunes to Nick Drake and Bach.

Why taking music out of the concert hall has been a key element in Lamorna Nightingale's programming for BackStage Music.

Experimental music festival Audible Edge is raising the stakes by exploring new possibilities from within its weird, warm-hearted community.

Eugene Ughetti discusses the changes he’s seen since founding Melbourne’s Speak Percussion 20 years ago, and their latest project Scream Star.