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The Neighbourhood Drop (((((ultraSOUND)))))+ Deluxe Edition and Add More WOURLD TOUR Dates

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The Neighbourhood have released (((((ultraSOUND)))))+, the deluxe edition of their recent album (((((ultraSOUND))))), adding five new tracks: ‘Start‘, ‘Good Grief’, ‘Lulu‘, ‘Red Flag‘, and ‘Bed‘. The deluxe is out now via Warner Records, and it’s available on digital platforms, plus CD and vinyl (with the track order changing depending on the format).

At the same time, the band has announced more dates for THE WOURLD TOUR, which kicks off in March 2026 and now stretches across North America, Europe, Asia, and Australia. The band says more than 20 dates have been added after the initial on-sale, when nearly every show sold out within minutes.

What’s New on (((((ultraSOUND)))))+

The deluxe edition adds five tracks to expand the album’s universe:

  • ‘Start’
  • ‘Good Grief’
  • ‘Lulu’
  • ‘Red Flag’
  • ‘Bed’

If you’re grabbing it on physical formats, note the track order varies by format, so your CD/vinyl experience may differ from the digital sequencing.

The Perth/Boorloo Bit (Because Of Course)

Here’s the sting for us in WA. There is no Perth date listed in the tour schedule provided. Australia gets Sydney and Melbourne, with Auckland as the NZ stop.

So, if you’re a Perth fan, this is currently a “pick your east coast adventure” situation. If that changes and a Perth show gets added later, you already know we’ll be yelling about it immediately.

Australia and New Zealand Dates

  • Auckland, NZ: Spark Arena, Saturday 4 July 2026
  • Sydney, NSW: The Hordern Pavilion, Tuesday 7 July 2026 (sold out)
  • Sydney, NSW: The Hordern Pavilion, Wednesday 8 July 2026 (sold out)
  • Melbourne, VIC: Margaret Court Arena, Friday 10 July 2026 (sold out)
  • Melbourne, VIC: Margaret Court Arena, Saturday 11 July 2026 (sold out)

Big Tour Add: London Wembley

One of the biggest newly announced additions is a London show at OVO Arena Wembley on Friday 4 September 2026.

The press release also notes tickets for the newly announced UK show go on general sale Thursday 26 February at 11am via LiveNation.co.uk.

Quick Album Context

(((((ultraSOUND)))) has reportedly passed 150M global streams, with ‘Hula Girl’ sitting in the Top 20 at US Alternative Radio (per the press release). The band describes this era as a confident return to their signature West Coast alt-rock DNA, while continuing to stretch into a bigger, more polished sound.

TLDR;

  • The Neighbourhood have released (((((ultraSOUND)))))+ deluxe edition with five new tracks: ‘Start’, ‘Good Grief’, ‘Lulu’, ‘Red Flag’, ‘Bed’.
  • THE WOURLD TOUR has added more dates across North America, Europe, Asia, and Australia.
  • AU/NZ dates: Auckland (4 July), Sydney (7 July, 8 July), Melbourne (10 July, 11 July).
  • Perth Note: No Perth/Boorloo date listed in the schedule provided.
  • Listen to (((((ultraSOUND)))))+http://nbhd.lnk.to/ultrasound_deluxe
  • Order physical vinyl: https://nbhd.lnk.to/deluxephysical

Stay unruly.

Gay Nineties Drop ‘Internet, Sex & Drugs’, A Two-Minute Sprint About Modern Disconnection

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If you have ever looked up from your phone mid-conversation and thought, oh no, I’m the villain in this moment, Vancouver outfit Gay Nineties have arrived with a soundtrack. Their new single, ‘Internet, Sex & Drugs‘, is a bright, restless, just-over-two-minutes burst of indie rock that aims emotional disconnection in a world designed to keep us permanently distracted.

What ‘Internet, Sex & Drugs’ Is About

The band describes ‘Internet, Sex & Drugs’ as a song about romantic tension in a hyper-stimulated world, where distraction keeps replacing intimacy and self-awareness arrives a beat too late. It follows a relationship as it plays out, with one person reaching for something genuine while the other stays glued to the shiny, hollow stuff.

Relatable, unfortunately.

How It Came Together (The Chorus Came First)

The track started with a guitar riff written by bandmate Pascal, then the band built out an early instrumental demo in their rehearsal space. The chorus melody came first, and once it finally clicked, lead vocalist and bassist Parker Bossley says the song came together quickly after a week of feeling stuck.

It Almost Got Scrapped For Being “Too Proggy”

Here is the funny part. The song nearly didn’t happen. The early demo was initially dismissed as too “proggy” (excuse you!), until the band revisited it during rehearsal and found the version that worked. A cleaner approach and a chorused guitar tone flipped the whole thing into focus and kicked the writing process back into gear.

The Sound

Sonically, Gay Nineties are mashing up indie rock momentum with flashes of new wave and power pop, while nodding to the emotional clarity and compositional instincts of artists like The PoliceTom Petty, and Kate Bush. The result is bright and rhythmically driven, with a cheeky lyrical wink to The Rolling Stones’ ‘Start Me Up’, and a general philosophy of tackling darker themes from a place of joy.

Which is, honestly, the only way to survive being online.

Listen

TLDR;

  • Gay Nineties released a new single: ‘Internet, Sex & Drugs’.
  • It is a fast, punchy track about modern emotional disconnection, where distraction replaces intimacy.
  • The chorus melody arrived before the lyrics, and the song nearly got shelved for being “too proggy” before the band reworked it.
  • Sonically, it blends indie rock with new wave and power pop, nodding to The PoliceTom Petty, and Kate Bush.

Stay unruly.

Laneway Perth 2026 Review: Joondalup Felt Like A Big, Gay Sigh of Relief

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Wet Leg by Dani Davies

Laneway Perth/Boorloo 2026 came with a vibe I was not expecting. My shoulders dropped. My jaw unclenched. The whole place read loud, femme, and unapologetically queer, like the site had quietly become a little Pride-adjacent safe pocket for the day.

Then Chappell Roan walked on and made it official.

I went in excited. I’m a fan. Still, I was not ready for how hard she’d send it. Not in a “she was good” way. In a “this is pop superstardom, live, and we’re lucky to be standing here” way. Vocals stayed rock solid. Production looked expensive. The audience did not casually sing along. We committed.

“Laneway 2026 was queer joy.”

Laneway Festival 2026 by Dani Davies

Event Info

EventLocationDateVenue
Laneway Festival Perth/Boorloo 2026Perth/Boorloo, WASunday 15 February 2026Arena Joondalup

Chappell Roan Was Untouchable

Chappell’s set had that rare thing where you can feel the bar lifting. Everything looked intentional. Nothing looked rushed. Nothing looked watered down for a festival slot. The scale suited her, and she carried it like she was born on a stage this big.

The build-up was theatre. A giant gothic fairytale castle sitting there like a threat. Smoke, lights, tension. Then, the Goddess herself appeared, and Arena Joondalup detonated. Pink cowgirl hats everywhere. Drag looks. Glitter. Corsets. Full Chappell cosplay. People packed in tight and ready to scream.

The vocals were the main event for me. Clear, powerful, controlled. This is the part that can wobble when someone is sprinting around in full costume with adrenaline doing cartwheels. Not here. Not once. She sounded locked in from the jump, and she stayed locked in while moving like she was having the best night of her life.

And honestly, that was the most obvious thing in the whole set. She was having fun. Real, visible, can’t-fake-it fun. The kind that turns a massive crowd into a group of besties for an hour because her joy is contagious and you get swept up in it.

She kept it playful, too. At one point, during ‘After Midnight‘, she asked us if we “liked this song” with legitimate surprise, like she couldn’t believe we were losing it as hard as we were. Then she was straight back into it.

Then came the moment that made my stomach drop. During her cover of ‘Barracuda‘, she slunk down to the ground, and the whole place went quiet for a beat. No one knew what was going on. Two staff members came on stage to check on her, and everything had that sharp edge of worry.

And then she popped back up and told us the truth: “I didn’t have a seizure or anything… Blessed be, my nipple was just out.” The relief laugh that ripped through the crowd was instant. From panic to comedy in half a breath. Laneway, baby.

By the time ‘Hot To Go‘ hit, it stopped being a set and turned into a shared ritual. The letter-dance spread like wildfire. Watching a literal horde of people doing it in sync was ridiculous and perfect. She even clocked the one person not doing the dance and called it out, then later apologised, which somehow made it even more endearing.

There’s a point where a crowd stops watching and starts participating. It happened. The choreography spread. The singalongs got louder. The day found its centre.

Laneway 2026 was special. I’m not forgetting it.

Chappell Roan by kjdoyle

The Tonal Shift Was Tangible

Chappell’s presence changed the whole site. You could see it in the outfits, the makeup, the full commitment. Still, it ran deeper than aesthetics.

The grounds had this softness to them. Permission, almost. To be loudly, visibly, obnoxiously yourself without scanning the room for judgment first.

Queer couples everywhere. Drag queens floating through the crowd like glittery gods. People hyping each other up in bathroom lines and at the water stations. That gentle solidarity where strangers stay strangers, but you still don’t feel on your own.

Laneway Festival 2026 by Dani Davies

“The line-up set the rules for how the day felt.

Chappell headlining made it feel huge, sure. But the rest of the poster mattered too. There was a noticeable percentage of women holding prime space across the day, and that’s still not how the balance usually tips at big festivals. When a line-up leans femme, the crowd energy shifts with it. It changes what feels normal. It changes who feels comfortable taking up space.

There’s a direct connection between the artists and the people who connect with them, even if festival crowds are always a mix and plenty of people go regardless of who’s on the bill. You’re not going to get the same experience at two diametrically opposed events. Different line-up, different energy, different rules.

I’ve only been to two Laneways, but I’ve been to countless festivals and gigs, and this difference was substantial. The tone carried all day. Kindness felt normal. Queerness felt casual. The camaraderie was right there in the tiny moments, and it made the whole site feel safer for everyone.

Laneway Festival 2026 by Dani Davies

Wolf Alice Were Another Peak

Wolf Alice were a proper palate shift. Ellie Rowsell doesn’t chase attention. She arrives with it. Vocals cut straight through, the band sounded huge, and the set held that push-pull tension that keeps you locked in.

Guitars hit with weight. Then they pulled it right back, and you could hear people actually shut up for once. Unusual at a festival. Massive highlight.

Wolf Alice by Dani Davies

Role Model And The Robert Irwin Moment

Role Model were pure crowd-glue. People who were there for totally different acts still ended up in the same spot, singing along anyway.

And yes, Robert Irwin came out as “Sally” during ‘Sally, When the Wine Runs Out‘.

Arena Joondalup absolutely lost it. Not a polite cheer. A full-body scream that went straight through your ribs. Wholesome chaos. Extremely Australian. If you were there, you already know. If you weren’t, someone in your life will bring it up forever.

Role Model and Robert Irwin by Cedric Tang

PinkPantheress Drew The People She Deserved

PinkPantheress pulled a crowd that made you do a quick scan and go, yep, everyone’s made the same decision.

Her set moved fast, hit after hit, and the pacing stayed tight. Even from further back, you could feel the pull. Phones up, shoulders swaying, people singing along like they’d been holding that slot in their head all day. Is this illegal? It feels illegal. Ha.

Wet Leg Were Pure Fun

Wet Leg are built for festivals. Tight, cheeky, and completely at home in front of a big crowd. If you’d been dragging yourself between stages all day, they had a way of snapping you back into your body.

They were funny without forcing it, and the whole thing had that unifying vibe. Perfect mood shift. Less brain, more movement. Very unruly.

Wet Leg by Dani Davies

The Dare Had A Very Laneway Moment (With Wet Leg)

The Dare at Everything Ecstatic was already a sensory smack in the face. Strobes everywhere. Frenetic pacing. Cymbals getting punished. He’s up there singing songs about sex like shame never existed.

Then Wet Leg popped up for a song.

It happened fast, and the tent went feral instantly. No big build-up. Just that split second of “wait, is that?” and then screaming. Everything Ecstatic ate it up.

The Dare by Dani Davies

Alex G and Lucy Dacus Were A Nervous System Reset

Alex G didn’t need to do much to pull people in. He just played, steady and sharp, and the crowd met him there. One of those sets where you look around and realise people are actually listening, not half-watching while scrolling or yelling to their mates. 

Alex G by Dani Davies

Lucy Dacus carried that same control, just with more feelings in the room. Soft, strong, and properly present. The audience got calmer, voices dropped, and you could feel everyone appreciating the moment.

Teen Jesus And The Jean Teasers Woke The Place Up

Teen Jesus and the Jean Teasers were fast, punchy, and ridiculously confident. Anna Ryan had that cheeky, bouncing-around-the-stage energy, and the crowd threw it straight back at her.

It was physical and loud in the best way. A set that could energise you for the day. Loved these lot. So fun.

Teen Jesus and the Jean Teasers by Dani Davies

Mt. Joy, Gigi Perez, Cavetown: The Sets That Snuck Up On Me

Mt. Joy were warm and easy to sink into. A set that gives you a breather without losing momentum.

Mt. Joy by Dani Davies

Gigi Perez did that thing where a festival crowd stops being chatty and starts being quiet on purpose. No bells and whistles. Just her, her band, the songs, and this emotional magnetism that drags everyone a step closer.

It feels effortless, but it’s not light. The tone is rich, the power is there when she wants it, and the soul in her voice makes the whole set feel bigger than the slot. ‘Sailor Song‘ was the moment. Hands up, arms saving, and a massive sing-along that sounded like people needed it. Gorgeous. Stunning.

Gigi Perez by Dani Davies

Cavetown brought tenderness with structure. Like a big, cosy hug. Festival days don’t always give you that. I’m glad they did.

Cavetown by Dani Davies
Cavetown by Dani Davies

The Site Layout: One Brilliant Call, One Ongoing Headache

The Good Better Best and Never Let It Rest stages being next to each other remains a brilliant idea. Less trekking. Less missing songs because you’re speed-walking across the grounds with one shoe half untied.

The Everything Ecstatic stage, being tucked away in the tent, is where it got harder. I heard people saying it’s a quick walk, and for some people it probably is. For transparency, my disabilities include autism, ADHD, dyspraxia, Ehlers-Danlos Syndrome, and asthma. I wasn’t quick. Later in the day, movement through the thickest parts of the crowd became a slow shuffle, and that tent area became significantly less accessible than the main zone.

Perfect access planning at a festival is hard. Still, there’s room for a clearer, safer path between stage areas so disabled patrons aren’t forced into the densest choke points.

Food Queues Were A Whole Problem

I have endless respect for food vendors at festivals. It looks like the type of work that would make me cry in public.

That said, the queues were long enough that I didn’t want to commit to anything, because I couldn’t tell if it would be ten minutes or forty. If there’s one logistical upgrade I’d vote for with my entire chest, it’s an order-ahead-and-collect option.

Accessibility: A Lot To Love, Plus A Few Clear Fixes

I spoke to a few people about accessibility across the day, and the feedback I heard was overwhelmingly positive. People loved the low sensory space, and they were happy that the disabled viewing platform was central to the main stage and mostly undercover.

Low Sensory Area

The low sensory space was calm and genuinely useful. It had an internal fan, bean bags, and a bench with fidgets, ear defenders, and other calming aids. It was small, but it worked. And honestly, seeing it there at all filled my heart with gratitude. There was a time in my life when something like this simply would not have existed at a festival. The progress is incredible, and Laneway deserves credit for making space for nervous systems that need a break. Thank you, team.

Disabled Viewing Platform

The central placement and the fact that it was mostly undercover mattered. That practical detail is the difference between “I could enjoy this” and “I lasted one set then had to go”.

Where It Got Tricky

A few people mentioned the car park being bumpy and the hill being a challenge to navigate. For me, the bigger issue was access to the tent stage once crowds thickened later in the day.

If you were there and your experience was different, better or worse, we’d love to hear it. Accessibility feedback matters, and it’s never one-size-fits-all.

The Part People Don’t See: Recovery

Here’s the part that doesn’t fit neatly into a cute recap.

The reality of doing an event like Laneway is that there’s a recovery period afterwards. I’m not saying that to whinge. I had an incredible day, and I’m grateful I got to cover it. But as a person with multiple hidden disabilities, it can be hard to talk about what comes next without it being misunderstood.

Unruly Folk exists because we don’t flatten that experience. We tell things through a neurodivergent and disabled lens. That includes the cost.

So yes, I did struggle after the festival.

In typical EDS fashion, I was carrying a lot, moving constantly, and my body made sure I knew about it later. My limbs felt like they were trying to leave my body. I was (am) covered in bruises. My joints were furious. My muscles felt wrung out. Once fatigue hit, my dyspraxia ramped up, which meant everything got clumsier and harder.

Then came the neurodivergent crash. Not “tired”. More like a shutdown, where your brain won’t work, your senses are still beyond max volume, and basic tasks feel impossible. My skin hurts. Everything hurts. Autism and sensory overload don’t stop when the music ends. They follow you home and crawl into bed with you.

Add asthma, heat, crowds, walking, noise, and constant navigation, and my system hit emergency power-saving mode.

It took me a solid two days to properly get up. Honestly, I’m still recovering a week later.

I also had someone who was supposed to attend with me, but they dropped out at the last minute. That’s nobody’s fault, but autism and sudden changes are not friends. It threw me off my rhythm, and I forgot a few things despite trying to be prepared.

Sometimes I live in denial about my capabilities until it hits afterwards. Oh. No. I shouldn’t have done that alone. Yes. I do need help.

Next time, I want a buddy. Not because I can’t do my job. Because I want to do it without wiping myself out for a week.

“I had the best day. I also paid for it. Both things are true.”

How To Prepare So The Crash Doesn’t Flatten You

I can’t promise a magical “no recovery” button. I can tell you what I’ll be doing next time.

Bring A Buddy (Even If They’re Not There For The Music)

Someone who can carry a bit of the load. Someone who’ll notice you haven’t eaten. Someone who’ll say, “hey, you’re going pale, let’s sit”. Someone who’ll help you get home when you’re running on fumes.

If you don’t have a buddy, set up a check-in person by text. Or go with a group and pick one person to be your anchor.

Pack Like You’re Parenting Yourself

Electrolytes, not just water. A salty snack and a quick sugar hit. Pain relief you know works for you. Sunscreen you’ll actually reapply. A spare puffer that lives somewhere you can reach. Earplugs or ear defenders. One comfort object or fidget that helps your nervous system chill out.

Keep it small. Keep it useful.

Use Timers

Set alarms for water, electrolytes, food, sunscreen, and sit breaks. Festivals scramble interoception. Timers bring it back.

Use The Low Sensory Space Early

Go in for five minutes even if you feel okay. It’s a reset button, not a last resort.

Don’t White-Knuckle The Walks

If a longer route is less packed, take it. If you need to skip one thing to protect your body, that’s not failure. That’s pacing.

Plan The Exit Before You’re Cooked

Pick a meeting point. Have a backup plan. If rideshare is going to be chaos, leaving a few minutes early can be the difference between tired and wrecked.

Protect The Next Day

If you can, keep the day after completely clear. Treat it like part of the event. Recovery isn’t optional if you want to keep doing this long-term.

Arena Joondalup Versus Last Year

I preferred last year’s venue (Wellington Square). Arena Joondalup was harder to get to, and finding a lift home afterwards took well over an hour. I wasn’t alone in that either. Plenty of people seemed stuck in the same post-festival limbo.

End-of-night logistics matter, especially when you’re already running on empty.

Festival Accessibility Improvements

If Laneway wants to keep levelling up, here’s what I’d love to see next time.

  • More viewing platforms across the site
  • A clearer, more direct accessible route between the main stage zone and the tent
  • More capacity in the low sensory space
  • Better ground smoothing or matting in key traffic areas
  • A food ordering option that doesn’t require gambling your set times in a queue
Gigi Perez by Dani Davies

Accessibility Snapshot

Accessibility Snapshot (Updated: 21 February 2026)
Legend: Confirmed = Observed on-site. Reported = Feedback from attendees I spoke to. Not Confirmed = Not assessed.

CategoryFeatureOptionsNotes
SensoryLow Sensory AreaConfirmedInternal fan, bean bags, bench with fidgets, ear defenders and calming aids. Small, but useful.
MobilityDisabled Viewing PlatformConfirmedCentral view of main stage and mostly undercover.
MobilityGround / Hill / Car ParkReportedSome attendees found the car park bumpy and the hill challenging.
MobilityAccess To Tent StageReportedTent stage area was harder to access later as crowds thickened.
Crowd FlowMovement Between StagesReportedA clearer direct route could reduce the worst crowd crush points.
FoodQueue ManagementReportedLong lines made it hard to commit without missing sets. Order-ahead and collect would help.
GeneralOverall SentimentReportedAccessibility feedback I heard on the day was overwhelmingly positive overall.

Accessibility experiences vary. If you attended Laneway Perth/Boorloo 2026 and your experience was different, we’d love to hear it.


TLDR;

  • Chappell Roan delivered a headline set that read true pop superstar, no compromises. Vocals did not budge.
  • The overall vibe leaned femme, queer, and warm. Drag queen realness and Chappell cosplay everywhere.
  • Wolf Alice was another peak. Huge sound, zero fluff.
  • Other sets we caught and loved included Role Model (with Robert Irwin as Sally), Wet Leg, Teen Jesus and the Jean Teasers, Gigi Perez, and Cavetown.
  • Accessibility wins included the low-sensory space and the central main-stage viewing platform. The biggest access headache was the tent stage route once crowds got dense.
  • Recovery is rough. If you’re disabled or neurodivergent, pacing and support can be the difference between tired and flattened for a week.

Happy 21st birthday, Laneway. It was an honour to celebrate with you. You’re our favourite.

And I need to say a proper thank you. To every beautiful soul I spoke to or crossed paths with on the day. The artists. The photographers. The organisers and PR. Pit security, who are an absolute delight with every interaction. Vendors grinding through those brutal queues with a smile. The gorgeous queen in the VIP Pamper Station who saved my entire life with wet wipes, deodorant to de-stank, and a huge fan when I was close to overheating. To our Unruly Folk readers who recognised me and came over to say hi. To the drivers who got us in and out when everyone was cooked, and my legs were jelly. You all made the day what it was. Let’s do it again.

Stay unruly.

Picture This Are Bringing Their Big Irish Energy Back to Australia, With Sam McGovern In Tow

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Picture This by Cian Duignan

Ireland’s Picture This are heading back our way for a May 2026 run across Australia, and they’ve just made it a little sweeter. Western Australian artist Sam McGovern has been added as a special guest, and there’s now a brand-new New Zealand stop in Auckland to round it out. 

Tickets are already on sale, so this is not a drill.

The Update That Matters: Sam McGovern On Support

First of all, huge love to any tour that doesn’t pretend Western Australia is a myth.

Adding Sam McGovern as special guest makes this tour feel a bit more local and a bit more intentional, especially for the Perth date. If you’re the kind of person who loves discovering your next favourite artist before they blow up (or you simply enjoy being insufferable about it later, ha), showing up early is now the move.

Auckland Added: New Zealand Date Locked In

New Zealand friends, you are officially in the cool club. Picture This will play The Tuning Fork in Auckland on Thursday, 28 May 2026, newly added to the run. 

That venue is a great size for the kind of show that feels close enough to scream-sing without needing binoculars.


Tour Dates And Venues

Event Info

CityDateVenueTickets
BrisbaneWed 20 May 2026The TriffidOn sale now 
SydneyFri 22 May 2026Metro TheatreOn sale now 
MelbourneSat 23 May 2026170 RussellOn sale now 
PerthTue 26 May 2026Astor TheatreOn sale now 
AucklandThu 28 May 2026The Tuning ForkOn sale now 

Perth note: Live Nation’s listing for the Astor show indicates All Ages (always double-check your ticket page for any updates or conditions). 

Perth Friends, Astor On A Tuesday Is Actually Kind Of Perfect

Look, I know “Tuesday night gig” sounds like a threat if you work a standard schedule, but the Astor is one of those venues where even a midweek show can feel like a proper event. Also, it means you can still be a responsible little creature the rest of the week. Allegedly.


Accessibility Snapshot

Click to location to expand.

Brisbane – The Triffid (Wed 20 May 2026)

Venue Accessibility: The Triffid – Venue Accessibility

CategoryFeatureOptionsNotes
Venue AccessStep-free entryConfirmedStreet level, no steps at entrance. 
Venue AccessWheelchair accessConfirmedGround floor access incl. Beer Garden + Live Room + amenities. 
Venue AccessLift accessNot ConfirmedMezzanine is stairs-only (no lift listed). 
ToiletsAccessible toiletConfirmedAccessible, gender-neutral toilet in main foyer. 
SeatingSeating on requestConfirmedChair can be provided; contact ahead. 
EntryPriority entryConfirmedArrange priority wheelchair entry via venue. 
SupportCompanion CardConfirmedVia Moshtix fan support (per venue page). 
SupportAssistance animalsConfirmedWelcome; contact ahead for planning. 
SensoryDecompression spaceConfirmedStaff can help find a spot; mezzanine may be quieter (stairs-only). 
VisualLighting notesConfirmedLow lighting notes; contact for strobe concerns. 

Sydney – Metro Theatre (Fri 22 May 2026)

Venue Accessibility: Metro Theatre – Disabled Seating

CategoryFeatureOptionsNotes
SeatingWheelchair accessible seatingConfirmedCall Box Office and speak to the Box Office Manager. 
Venue AccessStep-free entryNot ConfirmedNot clearly stated on the venue’s wheelchair seating page. 
ToiletsAccessible toiletNot ConfirmedNot clearly stated on the same page. 
SupportCompanion CardNot ConfirmedNot clearly stated on the same page. 
SensoryQuiet space / sensory supportsNot ConfirmedNot clearly stated on the same page. 
VisualStrobe/lighting infoNot ConfirmedNot clearly stated on the same page. 

Melbourne – 170 Russell (Sat 23 May 2026)

Venue Accessibility/FAQ: 170 Russell – FAQs

CategoryFeatureOptionsNotes
Venue AccessWheelchair EntranceConfirmedAccess via glass doors at 180 Russell Street (see security at front). 
SupportCompanion CardNot ConfirmedNot visible in the snippet we pulled; check full FAQ page sections or contact venue. 
EntryPriority access/PositioningNot ConfirmedNot clearly stated in the snippet we pulled; recommended to contact ahead. 
SeatingSeating on RequestNot ConfirmedNot clearly stated in the snippet we pulled. 
ToiletsAccessible ToiletNot ConfirmedNot clearly stated in the snippet we pulled. 
VisualLighting/StrobeNot ConfirmedNot clearly stated in the snippet we pulled. 
Perth – Astor Theatre (Tue 26 May 2026)

Venue FAQ: Astor Theatre Perth – FAQ

CategoryFeatureOptionsNotes
Venue AccessStep-free access (stalls)ConfirmedStalls accessible with no steps
Venue AccessBalcony accessConfirmedTwo flights of stairsno lift
ToiletsAccessible toiletsConfirmedNo accessible toilets inside; accessible toilets external within ~100m. 
SensoryQuiet space / sensory supportsNot ConfirmedNot listed in venue FAQ. 
VisualStrobe/lighting infoNot ConfirmedNot listed in venue FAQ. 
Auckland – The Tuning Fork (Thu 28 May 2026)

Venue Info: The Tuning Fork – Getting Here

CategoryFeatureOptionsNotes
SupportAccessibility needs supported on requestConfirmedVenue asks patrons to contact ahead for accessibility requirements. 
SupportAccessible seating infoConfirmedTicketmaster venue page repeats the same guidance to contact the venue ahead. 
TransportParkingConfirmedNo on-site public parking; nearby options listed. 
Venue AccessStep-free entryNot ConfirmedNot explicitly stated on the official page (contact ahead). 
ToiletsAccessible toiletNot ConfirmedNot explicitly stated on the official page (contact ahead). 
SensoryQuiet space / sensory supportsNot ConfirmedNot explicitly stated; contact ahead recommended. 


Accessibility can vary depending on venue configuration and event setup. Always check your ticketing page and venue info close to the date, and don’t be shy about emailing ahead for clear answers.


TLDR;

  • Picture This are touring Australia in May 2026, now with Sam McGovern as special guest. 
  • New Zealand date added: Auckland, Thu 28 May 2026, The Tuning Fork. 
  • Perth: Astor TheatreTue 26 May 2026 (listing notes All Ages). 
  • Tickets are on sale now via Secret Sounds. 

Official Ticket Link: Secret Sounds

Stay unruly.

Last Flag Exclusive Hands-On: Dan and Mac Reynolds Team With Matthew Berger on a Hide-and-Seek Capture the Flag Shooter

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I joined a dev play session for Last Flag at 2.30 am here in Western Australia, fresh off photographing a Laneway Festival, and my brain was doing that special brand of late-night buffering where sentences become optional. Then the match kicked off, and I was locked in, shouting callouts at my monitor like I’d been hired to commentate on a sport that does not exist.

That’s the trick with Last Flag. It looks like a bright 5v5 third-person shooter. It plays like a tactical prank war where the most dangerous thing on the map is what the other team thinks you’re doing. Your time to make mischief has begun.

Night Street Games was founded by Dan Reynolds and Mac Reynolds, with Matthew Berger as Game Director. This session made one thing very clear. These are people with serious chops, and they care about the craft in a way that’s impossible to fake for 90 minutes straight.

Dan and Mac Reynolds, the brothers behind Imagine Dragons and co-founders of Night Street Games

Words Failed Me, the Devs Did Not

Somewhere around that unholy hour, I may have misspoke in a sleep-deprived, middle-of-the-night ADHD moment and called Last Flag a “passion project”. I meant it in the “the passion is pouring out of the walls” way. The devs heard the other meaning, the one that can shrink years of work into “cute little hobby.”

They corrected me immediately, and honestly, I’m glad they did. It was one of the most revealing moments of the whole night.

Night Street Games: “Passion project sounds like a hobby. This is what we want to do for the next 20, 30 years of our life.”

That line reframed everything. Because yes, the passion is ridiculously obvious when they talk about Last Flag. But what they’re building is also bigger than excitement. They’re building a studio, a team, and a long-term commitment to making games, with actual intent behind it.

And they weren’t shy about backing each other’s skills either, especially when people assume musicians are “visiting” game dev for a novelty lap.

Mac Reynolds: “Dan is actually a pretty decent coder… the truth is he’s an excellent coder at C Sharp.”

Matthew Berger: “Dan and Mac are very, very present on the day-to-day development of this game.”

Also, yes, the Reynolds surname (and Imagine Dragons) will get some people through the door. The important bit is what happens after that. You load in, you start hunting, and suddenly you’re arguing over tower control like your rent depends on it.

How Last Flag Actually Works

At its core, Last Flag is Capture the Flag rebuilt around a simple idea. You can’t win the objective if you don’t know where the objective is.

Every match opens with 60 seconds to hide your team’s flag somewhere on your side of the map. Then the game flips into the fight for information, space, and control.

Steal the enemy flag, run it home, plant it, then defend the plant for 60 seconds to lock the point. Steam describes it cleanly as “Hide your flag. Find the enemy flag. Run it back, then defend for a minute to win it.” 

And crucially, the game never lets you forget what actually matters.

Night Street Games: “Your kill deaths… they help… but that’s not how you win.”

If you like shooters where teamwork matters more than padding your K/D, this is speaking your language.

Radar Towers, the System That Makes Hide-and-Seek Competitive

The smartest thing Last Flag does is solve the “we’re just guessing” problem.

The core tools are the radar towers, three towers in the middle of the map, A, B, and C. Hold them, and they narrow the search area over time by clearing squares that definitely don’t contain the enemy flag.

Night Street Games: “The core tools are the radar towers. So there’s three towers in the middle of the map. You’ll see A, B, and C. These towers help you find the enemy flag, by narrowing the search area over time.”

Night Street Games: “It’ll turn red. That’s how you’ll know. Okay, red square, don’t look there.”

They were also really open about the design problem they had to crack. Early hide-and-seek versions were fun, but too dependent on luck.

Mac Reynolds: “Hide and seek was great, but it felt a little bit too much like roulette and too much like luck. And we really wanted to feel like poker.”

Mac Reynolds: “We wanted it to feel like poker, not roulette.”

Once you’ve played it, you get it. Your whole match becomes a constant trade. Tower control narrows the map. Searching wins the round. You’re always choosing what you’re willing to sacrifice.

Healing, Revives, and Why Fights Stay Scrappy

Last Flag’s tempo also comes from how it handles recovery and sustain. It keeps fights messy and mobile instead of turning every mistake into a long walk back from spawn.

Night Street Games: “If you damage an enemy enough, they go to zero hit points, they’ll go down to their hands and knees… if you go up to them and hit F… you will finish them off, and you will heal.”

Night Street Games: “If you see one of your allies crawling on the ground and you go up to them and hit F, you’ll bring them back into the fight, and you’ll both get a little bit of health.”

Night Street Games: “If you have less than 50 percent of your health and you’re not in combat you will slowly heal up to 50.”

Towers also help with sustain if you control them.

Night Street Games: “You can also obviously go to the radar towers… if you own that… you’ll heal that way.”

It’s a small thing that ends up feeling huge, especially in a game where tower control is already the centre of your decision-making.

The Upgrade System Encourages Experimentation (Without Punishing You)

Teams earn money primarily by killing cash bots, and the money is shared across the whole team.

Night Street Games: “Anytime somebody on your team kills one of our little cash bots, everybody on the team earns money.”

You spend that money upgrading abilities, and here’s the part that made my brain sit up despite the hour:

Night Street Games: “If you change characters you don’t lose your upgrades.”

So hero swapping isn’t treated like a mistake. It’s treated like a tactic. You can respond to what the match is doing without deleting your progress.

Matthew Berger: “Anytime you die, you can change character.”

That’s one of those systems that quietly nudges people into trying things, rather than sticking to the one safe pick forever.

“Fun First, Balance Second”

Matthew’s philosophy is blunt, and it explains why the game feels more like a competitive party brawl than a misery simulator.

Matthew Berger: “We really have… I have very much a fun first attitude of balance second.”

He’s also not chasing “1% perfection” balancing for the sake of it.

Matthew Berger: “I am not interested in getting a, hey, everybody’s within 1% of everybody else all the time. I want you to have spikes where you’re amazing and other moments where you’re struggling.”

If you’ve ever played a live game that got balanced into blandness, you know exactly why that matters.

Depth Without Turning It Into Homework (And Why They Don’t Want a Massive Roster)

Mac laid out their long-term strategy in a way that felt very player-minded.

Mac Reynolds: “We want this game to have depth and not complexity.”

He talked about how rough it can feel to return to a game after a break and discover you need a spreadsheet to re-enter.

Mac Reynolds: “You come back after a few months and so much has changed… there’s so many characters you have a hard time finding your footing again.”

Then the capper:

Mac Reynolds: “We probably won’t ever have a massive roster… because that doesn’t really serve the type of game we’re trying to make.”

They’re still building more heroes, though.

Mac Reynolds: “We already are… working on our our tenth hero.”

Characters, Weapons, and Why They Avoided Rigid Roles

One of the more thoughtful answers in the Q+A was about character design and why they didn’t go hard into strict front-line/back-line archetypes.

Night Street Games: “We didn’t want our characters to be one-dimensional… you don’t have a front line that you’re pushing… you kind of have to do a lot of different things sometimes you’re chasing someone sometimes you’re defending… sometimes you’re attacking.”

It matches what the game actually asks of you. One minute you’re tower camping, next you’re sprinting across the map because someone pinged a suspicious cave, and now the whole team is panicking in unison.

Built “Three or Four Times”, and the Map Came First

This section is where the craft really showed through. They talked about rebuilding the game multiple times as they moved from prototype to Unreal.

Mac Reynolds: “Really challenging. And we took it in stages. We actually built this game three or four times from prototype in Unity into Unreal.”

And then Mac hit us with a quote that is both dramatic and accurate if you’ve ever watched a project get rebuilt from scratch.

Mac Reynolds: “Every time it was like making a katana, just like folding the steel in Unreal, folding the steel.”

They also explained why the map was the foundation.

Mac Reynolds: “The first thing we focused on actually was the map… once you have the map where there’s enough space to hide the flag, but it’s not too big, then you can start to build on that.”

Match Length, Overtime, and the ‘Super Mario Kart’ Comeback Goal

They want matches that can swing late without dragging forever.

Night Street Games: “Typically in 10 to 15 minutes… at 15 minutes overtime rules kick in… the game will never go longer than 20 minutes.”

And when they talked about comebacks, they went straight for the most relatable reference possible:

Night Street Games: “It’s all about the comebacks for sure. One of our biggest goals was to have a game that can turn on a dime. It’s not quite like the Super Mario Kart effect, but you’re never completely out. You really always have a chance to kind of pull off a victory, which does make for the funnest games.”

Which, as a gamer who is kinda terrible at gaming, hits on a spiritual level. Love.

League of Legends, Arcane Brains, and the Path Not Taken

Yes, they brought up League of Legends, and yes, my Arcane-loving heart perked up instantly.

Dan Reynolds: “League of Legends is, like, maybe my current favourite game.”

Dan also admitted he argued for a different camera view early on.

Dan Reynolds: “I love overhead views… I argued with Mac a lot in the beginning… it needs to be an overhead view with Fog of War.”

Mac pushed hard for the third-person shooter lane.

Dan Reynolds: “Mac really loves third-person shooters that are, like, Overwatch.”

That tug-of-war is part of why Last Flag lands where it does, the shooter feels, with information control as the real centre of gravity.

Aesthetic, Music, and Why They Wanted It to Sound Human

Dan talked about leaning into the ’70s and building an organic soundtrack.

Dan Reynolds: “Everything is live instruments.”

Dan Reynolds: “We wanted everything to be very organic.”

He also explained a frustration with how games sometimes treat music.

Dan Reynolds: “I think a lot of times in gaming the music always feels like an afterthought… very like plug-and-play very digitised.”

Then he dropped the most charming influence, The Sims.

Dan Reynolds: “One of my favorite games growing up was the sims…”

Dan Reynolds: “The lyrics. There’s a lot of made-up words and then some real words thrown in.”

He was talking about that very specific magic trick where something isn’t “in English,” but your brain still understands it completely, because the emotion and intention say it all. That’s what he’s aiming for here, songs that feel like a language you and your best mate invented as kids, half nonsense, half accidentally profound, but somehow you still get the message.

And yes, he confirmed he did voice work too.

Dan Reynolds: “Also did the voice acting for the training, for Mr Effects.”

Teamwork Tools, and Designing for People Not on Comms

Matthew Berger: “This needs to be fun for people who are not on voice comms and who may not know one another.”

They’re improving the ping system.

Matthew Berger: “We do have a ping system. We’re trying to improve it, but there’s a ping system.”

They’re adding voice lines that reinforce cooperation.

Matthew Berger: “Adding voice lines… when you go down you ask for help when you bring someone up they thank you.”

They’ve got announcer callouts for key state changes.

Matthew Berger: “We have our announcer… Some of them are comedic, but some of them are meant to kind of go, hey, the flag’s been found.”

And then the decision that will make a lot of players feel safer immediately:

Night Street Games: “There is no proximity chat. There’s only team chat. We don’t want people to say mean things to one another. We want everybody to have a good time.”

Ranked Mode, Not at Launch, But On the Table

They can see a future where ranked makes sense for the game, but they’re not forcing it in on day one just to tick a box.

Night Street Games: “We would love to explore a rank mode that made sense for Last Flag that was a little bit more unique to us. It’s something that we’re looking at, it’s something that we’re talking about internally, but it’s not something that we’re at a point where we’re going to do anything about it right away.”

Events, Holidays, and Not Doing Lazy Reskins

They want to do more than slap a new coat of paint on the same map and call it seasonal content.

Night Street Games: “I’m actually actively right now working on what we want to do with our events like that. I think I would like us to do more than just reskinning the map.”

“Our second map is a snow map, so it’s visually very different. We’ve experimented with weather and environmental effects, and for the moment, we haven’t found anything we really like that would meaningfully change the gameplay. Every time we do something different, we’re really trying to bring something fresh”

Monetisation, and the Deliberate ‘No Battle Pass’ Stance

This part was refreshingly direct.

Night Street Games: “Our game will be a… one-time modestly priced purchase.”

And yes, they said it:

Night Street Games: “There are no plans for a Battle Pass release.”

Cosmetics are earned through play.

Night Street Games: “Skins and execute animations and victory poses… you can unlock as you play the game… and level up.”

Platforms, Servers, and the Practical Reality

There is a 2026 release window, plus an anti-cheat system and a demo is already available. 

Night Street Games: “PC version is going to come first and very soon.”

Night Street Games: “Console version, though, is pretty quick behind it.”

On servers:

Night Street Games: “We’re going to be scaling up as it’s called for anywhere, so… that’s our plan with servers simply.”

Fingers crossed it won’t take too long to hit Oceania. We Aussies are in a constant battle against the lag.

Easter Eggs and Lore for the Conspiracy Board People

If you love pausing trailers for frame-by-frame details, they are actively encouraging your behaviour.

Night Street Games: “There is Easter eggs in every single trailer we’ve released. If you haven’t found them, go looking for them.”

Why This Session Mattered (Beyond Mechanics)

The mechanics are strong. The radar towers solve a real problem. The upgrade carry-over supports experimentation. The “team chat only” stance is a rare and welcome call.

But the part that stuck with me was how they articulated what Night Street Games is trying to be. They’re not asking for trust because of name recognition. They’re earning it with iteration, clarity, and a very specific idea of what makes this game fun with friends, and manageable when you’re playing with strangers.

Night Street Games: “This is what we want to do for the next 20, 30 years of our life.”

That’s not a throwaway line. That’s the whole plan.


Accessibility Snapshot

Accessibility Snapshot, published February 17, 2026.
We’re committed to highlighting access as information becomes available.

Legend: Confirmed = publicly listed on Steam or official pages. Reported = stated by developers during the Q+A.

CategoryFeatureOptionsNotes
AudioFull AudioEnglishConfirmed on Steam. 
SubtitlesSubtitlesMultiple languagesConfirmed on Steam. 
LanguageInterface Languages17 supported languagesConfirmed on Steam. 
CommunicationIn-Game ChatYesConfirmed on Steam. 
CommunicationTeam Chat OnlyYesReported by devs, no proximity chat.
NavigationPing SystemYesReported by devs, currently in and being improved.
VisualColourblind OptionsMentionedReported by devs, specifics not publicly detailed yet.
SensoryFlag Proximity CueAudio and visual cueReported by devs, visual added to support audio cue near flags.
ReadingText SizeNot confirmedNot publicly detailed yet.
InterfaceUI ScalingNot confirmedNot publicly detailed yet.
ControlsRemappingNot confirmedNot publicly detailed yet.
Visual EffectsCamera ShakeNot confirmedNot publicly detailed yet.
MotionMotion Blur ToggleNot confirmedNot publicly detailed yet.
StreamingStreamer ModeIn progressReported by devs, on their radar, but prioritised with other work.

Accessibility options can vary by platform and build. Always check in-game settings when available, and keep an eye on official updates as launch approaches.


Last Flag | Demo Trailer


Game Info

ItemDetails
TitleLast Flag 
Developer / PublisherNight Street Games 
Release Window2026 
PlatformsPC (Steam and Epic) confirmed, consoles planned “pretty quick behind” PC. No plans for Switch. 
Mode5v5 online PvP 
Anti-CheatEasy Anti-Cheat 
DemoLast Flag Demo available on Steam 
LanguagesEnglish full audio, 16 more interface/subtitles 

TLDR;

  • Last Flag is a 5v5 third-person Capture the Flag shooter where matches start with 60 seconds of hiding before the hunt begins. 
  • The radar towers are the key system; they narrow the map over time and turn searching into a tactical contest.
  • The design goal is summed up perfectly by the devs, “We wanted it to feel like poker, not roulette.”
  • Healing, revives, tower sustain, and regen keep fights moving and give teams chances to recover.
  • Hero swapping is encouraged, and upgrades carry across characters, so adapting mid-match is part of the plan.
  • Monetisation is a one-time “modestly priced purchase” with “no plans for a Battle Pass release.”
  • PC is first (Steam and Epic), consoles are planned, and servers will scale based on demand. 

Stay unruly.

Absolum’s Threads of Fate Update: Mystic Ordeals, Corrupted Runs, and a Big Ol’ Pile of Free Stuff

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I love when a game you already cannot stop playing looks you dead in the eye and goes, “Cool. Now do it again, but harder, weirder, and with better loot.” That is the exact vibe of Threads of Fate, the free 1.1 content update that landed for Absolum on 12 February 2026

What is Threads of Fate?

Threads of Fate is a chunky free update aimed squarely at the part of your brain that goes “Aaah, just one more run.” It adds a new endgame mode, reshapes how post-campaign runs work, and drops a heap of unlocks and quality-of-life tweaks across the board. 

If you have already finished the main quest, this is basically the game handing you a fresh set of reasons to come back and get bodied (affectionate). 

Mystic Ordeal is the new “prove it” mode

The headline addition is Mystic Ordeal, a new mode unlocked after finishing the main quest, built around dozens of modifiers that can radically change your run. 

You can:

  • Take on preset ordeals built by the devs (including things like boss-rush-style gauntlets and horde pressure). 
  • Mix and match modifiers to make your own cursed little nightmare run. 
  • Share your Custom Ordeal setups via codes, because suffering is better with friends. 

Also, co-op players. Yes, there are ordeals that force you to coordinate properly, including scenarios where friendly fire becomes a real consideration. 

Corrupted Regions (Corrupted Biomes) remix your campaign runs

Once you have beaten the campaign, Threads of Fate adds optional Corrupted Regions that can show up on your journey, offering bigger rewards if you can survive the extra danger. 

Some outlets are describing these as Corrupted Biomes, and patch notes frame them as a post-Azra system visible at the start of each run. Either way, the idea is the same. Riskier paths, better loot, and your run suddenly feeling a lot less predictable. 

New unlockables: The Soul Tree is eating good

If you are the kind of person who sees “new permanent upgrades” and instantly sits up straighter, the Soul Tree has new rewards tied to Mystic Ordeals. 

The update adds:

  • Two new skins for each playable character
  • Six extra emote sets
  • New ways to start runs with an Inspiration already in your pocket (normally earned from boss fights) 

This is the good kind of cohesion. You take your shiny new upgrades into the next run, and suddenly your “previously pimped out build” has a whole new branch to grow. 

Options, settings, and a pile of quality-of-life fixes

Threads of Fate is not just “big new mode”. It also brings practical tweaks that make the moment-to-moment play cleaner:

  • Toggle damage numbers on or off.
  • New inputs for throwable items.
  • PC gets a new uncapped framerate option.
  • A “trove” of fixes and balancing, including changes around the post-game systems and rewards (plus a lot of general refinements). 

If you are already deep in Absolum, this is the kind of patch that quietly smooths the edges while also handing you new knives.

Elite mounts are here, and they hit harder

Mount nerds, rejoice. There is now an Elite rank of ridable mounts, with more damaging attacks and new behaviours. 

This feels like one of those additions you do not fully appreciate until you accidentally chain a fight together with a mount you now refuse to give back.


Absolum | Threads of Fate Trailer


Accessibility Snapshot

Accessibility Snapshot current as of 13 February 2026.

We prioritise accessibility details wherever they’re available, and we’ll clearly label what’s confirmed vs what isn’t.

CategoryFeatureOptionsNotes
ControlsKeyboard AloneConfirmedCan play with just the keyboard.
ControlsRapid Repeated Pressing OptionalConfirmedRepeated fast button pressing isn’t required; can be skipped or switched to holding a button.
DifficultySelect DifficultyConfirmedPreset difficulty options available.
DifficultyCustomise DifficultyConfirmedIndividual difficulty criteria can be adjusted.
Getting StartedSave Progress AnytimeConfirmedSave any time / Stop without needing a specific save point.
ReadingSome Speech SubtitledConfirmedSome spoken content includes subtitles (not everything).
ReadingSome Dialogue is Voice ActedConfirmedSome dialogue/narrative is voiced (not everything).
AudioBalance Audio LevelsConfirmedSeparate music and SFX audio level controls.
UIText Size / UI ScalingNot ConfirmedNot documented in the publisher/store-page cross-check.
ControlsRemappingNot ConfirmedNot documented in the publisher/store-page cross-check.
VisualColourblind OptionsNot ConfirmedNot documented in the publisher/store-page cross-check.
MotionCamera Shake ToggleNot ConfirmedNot documented in the publisher/store-page cross-check.
VisualCaptions (Non-speech)Not ConfirmedNot documented; subtitles are listed for some speech only.
NavigationNavigation AssistanceNot ConfirmedNo navigation accessibility features documented.
CommunicationCommunication OptionsNot ConfirmedNo communication accessibility features documented.

Accessibility features can vary by platform and version. Check the in-game options menu on your platform first, then store listings/patch notes if you need specifics.


Game Info

CategoryDetails
GameAbsolum
GenreRogue ’em up (roguelite beat ’em up)
UpdateThreads of Fate (Version 1.1), free
Release Date12 February 2026 
PlatformsPC, Nintendo Switch, PlayStation 5, PlayStation 4 
DevsDotemuGuard Crush GamesSupamonks
Price (base game)A$36.50

TLDR;

  • Threads of Fate (1.1) is a free update for Absolum, live as of 12 February 2026
  • Mystic Ordeal adds a new post-game challenge mode with loads of modifiers, plus shareable custom trials. 
  • Corrupted Regions / Biomes bring optional high-risk areas into post-campaign runs for better rewards. 
  • New Soul Tree goodies include skinsemotes, and new run-start options. 
  • Visit https://playabsolum.com/ for more.

Stay unruly.

‘Jessie’s Girl’ But Sapphic: Run Remedy’s Version Rules

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The most iconic thing you can do in 2026 is take a straight(ish) classic about yearning, gently rotate it until it’s gay, and then commit to the bit so hard you end up swapping the guitar solo for a banjo. That’s the energy Run Remedy is bringing to her brand new cover of Jessie’s Girl, out today. 

A Classic Crush Song, Now Properly Queer

Alt-pop artist Run Remedy (the project of Robin Koob) has reimagined ‘Jessie’s Girl’ through a “soft-girl, sapphic daydream” lens, and it fits as if it were always meant to be here.

In this version, all the characters are women, which immediately changes the song’s whole vibe from “why is this guy telling me this at a barbecue” to “oh no, I am also emotionally spiralling in a very specific way”. It’s still got that instantly recognisable riff, but Koob dresses it up with lush instrumentationplayful key changes, and a lot more warmth than you’d expect from a song that originally thrived on peak early-Australia-meets-United States radio melodrama. 

“That level of cringey yearning is timeless, so obviously I had to make my own sapphic spinoff.”

The Video Is Pure Camp (In the Best Way)

Run Remedy didn’t just cover the song; she recreated the music video, too, with an affectionate, wink-wink commitment to the original’s famously camp energy. According to Koob, the shoot was a one-day, gorilla-style sprint around Manchester, ending with everyone passing around the wig like it’s a sacred artefact. Goofy as. I live.

If you love the original video’s chaotic theatre-kid intensity, you’re going to have a good time here.

Who Is Run Remedy?

If Run Remedy is new to you: welcome, you’re about to have a great week.

Koob is an American-born songwriter now based in Manchester, and her work often sits in that sweet spot between confessional indie storytelling and genre-hopping arrangements. Her debut album, Xtian Skate Night, was released in June 2025 and explores identity, self-acceptance, grief, and growing up queer in an ultra-Christian environment.

Live Dates

If you want to catch this live (and you should, because a dramatic queer key change in a room full of people is basically community care), Run Remedy has a tidy stack of dates across the UK and US.

The New Colossus Festival (New York City, US)

  • 3 March 2026 – Pianos (Upstairs), 8:45 pm
  • 4 March 2026 – Pianos (Showroom), 7:30 pm 

UK Dates

  • 23 April 2026 – The Eagle Inn, Manchester (supporting Charlotte Carpenter) 
  • 2 May 2026 – FortyFive Vinyl Cafe, York (supporting Katie Rigby) (announced in the press info)

Kendal Calling (Cumbria, UK)

  • 2 August 2026 

Watch It


TLDR;

  • The wonderful Run Remedy has released a sapphic, soft-girl rework of ‘Jessie’s Girl’ today. 
  • Yes, the iconic riff survives. No, the guitar solo does not. (Banjo rights.) 
  • There’s a lovingly recreated video with maximum camp commitment. 
  • Live dates include The New Colossus Festival in NYC and Kendal Calling in the UK.

Stay unruly.

Hilary Duff Announces ‘The Lucky Me Tour’ 2026–2027, And Yes, We’re Ready for That Choreo

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Hilary Duff is officially entering her arena era again, and we are so ready.

Ahead of her sixth studio album‘ luck… or something’ dropping February 20, Duff has announced ‘the lucky me tour’, her first full global headline run in almost two decades. It kicks off June 22 in Florida and stretches right through to February 2027, with Australia and New Zealand getting their turn in October.

And yes, Perth is on the list. We love a dramatic West Coast finale.

Arena Hilary Is Back

This is:

  • Madison Square Garden
  • Red Rocks Amphitheatre
  • LA’s Kia Forum
  • London’s The O2
  • Rod Laver Arena
  • RAC Arena

Support across Australia and New Zealand comes from La Roux, which feels extremely 2010 Tumblr-coded, and y’know what? I’m not mad about it.

Hilary teased the tour at her final ‘Small Rooms, Big Nerves’ show in LA by bringing fans onstage to recreate the viral ‘With Love’ dance moment. You know the one. The choreography that launched a thousand TikToks. The stiff-arm classic. The “are we witnessing pop history or Year 9 assembly?” era.

She’s since leaned into it, performed it knowingly, and reclaimed it. Which means we are absolutely ready to witness it served in person at full arena scale. Respectfully.


Australia & New Zealand Dates

Mark it in your calendar app immediately:

  • October 20 – Auckland, Spark Arena
  • October 22 – Brisbane, Brisbane Entertainment Centre
  • October 24 – Sydney, Qudos Bank Arena
  • October 26 – Melbourne, Rod Laver Arena
  • October 29 – Perth, RAC Arena

Perth, closing the Australian leg, is deeply correct energy. Let us have the final glitter fallout. Cheers, babes.

Tickets & Presales

Important stuff:

  • Artist presale sign-ups are open now
  • General on-sale begins Friday, 20 February
    • 10 am local US, Canada, Ireland, UK
    • 11 am local Mexico
    • 1 pm local Australia and New Zealand

Mastercard presale in Australia:

  • Wednesday 18 February, 2 pm local
  • Ends Friday 20 February, 12 pm local

Full details: www.hilaryduff.com/live

VIP packages will also be available, because obviously.


The Album Era

The tour celebrates Duff’s upcoming album’ luck… or something’, arriving February 20.

So far we’ve had:

  • Roommates – co-written with Matthew Koma and Brian Phillips, climbing at Pop and Hot AC radio
  • ‘Mature’ – glossy, sharp, grown but still very Hilary

This is her first new album since 2015’s ‘Breathe In. Breathe Out.’

Why This Still Hits

Hilary Duff is one of those artists who quietly shaped a generation. Lizzie McGuire was early representation of big feelings, inner monologues, and being a little socially off but still worthy of love.

Then the music soundtracked our teenage years. ‘Come Clean’ remains one of the most emotionally destabilising rain-soaked pop songs of all time. I don’t make the rules.

Now she’s back with a new record, La Roux on support, and the confidence to lean into her own pop lore. Good for her.


TLDR;

  • Hilary Duff announces ‘the lucky me tour’, her first global headline run in nearly 20 years
  • New album ‘luck… or something‘ out February 20
  • Australia & NZ dates in October 2026
  • Perth closes the Australian leg at RAC Arena on October 29
  • La Roux supports AU/NZ shows
  • AU/NZ general on-sale: Friday 20 February at 1 pm local
  • Full ticket info: https://www.hilaryduff.com/live

We will be there. Possibly attempting the choreo. Possibly pulling a hamstring.

Stay unruly.

30-Minute Friends #1: A 74-Year-Old Guitarist, a Comedy House, and the Retirement Problem

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Perth by Tibor Janas

My commute is, if I’m lucky, about 30 minutes or so long enough for a ride to be either peacefully silent or for a stranger to tell you their entire origin story before you’ve even mentally arrived at the traffic lights.

This one was the second kind.

I’m calling this series 30-Minute Friends because that’s what it feels like. You meet. You chat. You get a weirdly intimate snapshot of someone’s life. Then the door opens, you step out, and it’s over like it never happened.

Quick note, because it matters. I’m a woman alone in a car with someone I don’t know. In the moment, I keep it calm. I keep it neutral. I’m sharing what was said because it’s an honest record of the conversation, not because I agree with every opinion or joke that landed in the space.

Anyway. Episode one.

He was 74, recently retired, born in Zimbabwe back when it was Rhodesia, with family ties to South Africa. His wife is Australian. He plays guitar. He’s chatty in that old-school way where you can tell he genuinely likes people.

Canal boats and the UK holiday he can already see in his head

We started with a daydream. He’d been thinking about the UK canals, the kind you rent a narrowboat for, and just… drift.

Driver: “That’s how big those canals are. They go all over the country.”

I asked if he had a particular place in mind, and he shrugged it off like the point wasn’t the destination. It was the pace.

Driver: “Just… a short trip up and down. Pull up at some village and get a counter meal and a beer… then move on to the next one.”

Honestly, that’s probably the calmest holiday plan I’ve heard in a while.

“I’m an immigrant. I’ve been here 40 years.”

Somewhere between canals and traffic, the conversation shifted into the stuff Perth conversations always end up circling: where you’re from, how you landed here, what “home” means once you’ve lived in more than one place.

Driver: “I love it here. I consider it home now… I’m an immigrant. I’ll be here 40 years.”

He’d gone back to Africa three times. He’s done with it.

Driver: “Every time I go back, I’m disappointed. Crime rates through the roof, poverty. It’s not like I remember it.”

Me: “So it’s better in your memory.”

Driver: “That’s exactly right.”

He mentioned British grandparents and how that’s part of why so much of his family ended up in England.

Driver: “Because you’ve got grandparents, you can come and live.”

Then he tossed out a detail that sounded almost funny until you sit with it.

Driver: “I’ve got a British passport I’ve never used.”

He told me it was a big deal to get, but he didn’t need it. He got into Australia on his South African passport, became a citizen after three years, and kept the British one for one reason only.

Driver: “I just kept it out of nostalgia.”

That’s such a specific kind of immigrant artefact. Not practical. Just proof that your history has layers.

Why Perth has so many South Africans (and why it makes sense once you say it out loud)

I mentioned that I’d met a lot of South Africans here, and he immediately had an answer ready.

Driver: “That was the reason… it’s pretty close to Africa… and there’s a couple of advantages… they share cricket and rugby.”

He talked about how South Africa and Zimbabwe (and Australia, honestly) have a lot of overlap in the cultural basics: outdoors, barbecues, fishing, camping. The “we’d rather be outside” spirit.

Driver: “We’re very much a barbecue country… we like the idea of being outdoors and fishing and camping. Lots of shared culture.”

It was one of those moments where Perth suddenly made more sense as a place. People follow familiarity, even if they don’t call it that.

British names, African soil

He said his family is from South Africa, but he was born in Zimbabwe, “the next country up above South Africa.” Then he described his childhood in a way that was funny and bleak at the same time.

Driver: “We were very British… my surname’s [removed]… I went to school with a lot of McDonald’s and Mackenzie’s and Jones’s and Smith’s.”

Driver: “There weren’t many African names at my school.”

If you want the short version of colonial history, it’s sitting right there in a classroom roll call.

The Queen’s anthem in a cinema… in Africa

The monarchy came up, as it tends to with people raised in Commonwealth worlds. Then he said something I’ll be thinking about for a while.

Driver: “When I was growing up, we’d go to the movies. Before the ad started, they used to play the Queen’s anthem… and every person stood up. That’s in the middle of Africa.”

A whole cinema standing up before the previews. The kind of ritual that bakes respect into you, whether you question it or not.

He said people are shocked when he tells them that.

Driver: “We always believed that she was our queen.”

We talked briefly about how the monarchy’s image has shifted, how scandal and tabloid obsession have flattened the mystique. He mentioned the constant headlines and the confusion around what’s true.

Driver: “You don’t know what to believe… one minute the King’s really sick and then suddenly you see him out shaking hands and he seems fine.”

He meant Charles. The whiplash of modern coverage, where everything is “breaking” and nothing has time to settle.

I said something I genuinely believe: we know too much about everyone now. Or at least, we know too many fragments, delivered loudly.

The Crown, and the actress question

We touched on The Crown, too, and he got stuck on the actor changes.

Driver: “What was her name… the young Queen… I was quite disappointed… why did they have different actors?”

Me: “Claire Foy.”

Driver: “Yeah, she was really good.”

He loved how intimate the series felt, while also feeling like that intimacy chips away at the old aura.

Driver: “It takes away from this intrigue… and respectability.”

“So what is Britain?” (The definition, and then the real-life version)

Then he asked a question that has started fights at pubs and on the internet since the dawn of time.

Driver: “We’ve got England, we’ve got Scotland, we’ve got Ireland and Wales. What is Britain?”

So I gave him the clean version: Great Britain is the island with England, Scotland, and Wales. The United Kingdom is Great Britain plus Northern Ireland. Ireland is its own country. “Britain” gets used loosely as shorthand for the UK so often that the meaning blurs.

Then I added the part that matters in everyday conversation.

In my experience, the people who actually live there usually go by their country. English people say they’re English. Welsh are Welsh. Scottish are Scottish. Irish are Irish. “British” gets used by outsiders more than it gets used inside the UK, and it lands differently depending on who you’re talking to.

Driver: “If I was a Scot, I’d call myself a Scot.”

Rhodesia, race, and the DNA result that rewrote the family story

From there, the conversation deepened without anyone announcing it.

He talked about identity in Rhodesia and why people labelled themselves the way they did.

Driver: “In Rhodesia… we were right in the centre of Africa. We would never call ourselves Africans… because we come from a racist country.”

He said the white population in South Africa called themselves South Africans. In Rhodesia, he said, people didn’t call themselves African.

Driver: “We’re white Rhodesians. That’s how we used to describe ourselves.”

Then he told me he’s mixed race, and he only found out specific details through DNA testing.

Driver: “I’ve got Indian mix, and I only found that out through my DNA.”

He’d always suspected something in the family, based on old photos.

Driver: “My mother… pale olive complexion… her brother was very dark… my grandfather… he looks very Indian.”

But nobody talked about it.

Driver: “We lived in a racist country where nobody wanted to be… mixed blood.”

He said if he’d grown up in Australia, he wouldn’t have been indoctrinated the same way.

Driver: “Indoctrinated to white society. You can’t help it.”

His mother, he said, used to dodge the conversation with made-up stories.

Driver: “Tell them you’re Jewish. Tell them you’re Italian.”

Then his daughter pushed him to do the test, partly because she wanted to know before having kids.

Driver: “I didn’t want to know… she made me do a DNA… came back 33 Indian, 50 Anglo-Saxon… a bit of Viking… a bit of Spanish…”

He said it explained why he had darker skin, and that his mother took the truth “to her grave.”

Then came a line that landed awkwardly in the car. He told me his daughter couldn’t wait to tell her husband.

Driver: “He hates Indians. Now he’s going to have two half-Indian sons.”

That’s one of those comments that just sits there. It’s funny in the way life can be: blunt, uncomfortable, a bit too real.

He said his grandsons look different, too. One is fair. The other is his double.

Driver: “I showed him a photograph of me when I was about six… I said, who’s this? He said, that’s me. I said, no, that’s Poppy.”

DNA also solves crimes now, which is both cool and horrifying

At that point, I asked about something else I’ve been hearing more and more: crimes being solved because relatives uploaded their DNA.

Me: “Have you heard about certain crimes being uncovered because of the DNA testing that people are doing now?”

He had.

Driver: “To find DNA on a body, they go through the register… it could be your DNA… and you find out your brother happened to be in that.”

It’s genuinely phenomenal. It’s also a bit terrifying. Imagine doing a cute ancestry kit because you’re bored, then accidentally helping solve a murder. Family group chat would never recover.

Trunk calls, WhatsApp, and the future arriving too fast

From DNA, we drifted into technology in general, and he was in full “I can’t believe we live like this” mode.

He talked about WhatsApp and calling family overseas.

Driver: “Family in Liverpool… it’s like they’re just here… we talk for about an hour… cost of that? Costs nothing.”

Then he explained the old way of making overseas calls in the 80s, and this part was so specific it felt like a museum exhibit.

Driver: “You dial zero… talk to an operator… place a trunk call… they’d call you back… then connect… they’d ring the other person and say, are you happy to take the call… two or three minutes… about thirty dollars.”

Now he just talks to his phone like it’s a butler.

Driver: “Hey Siri… oh she’s listening. Cancel… call [relative]… next thing I’m talking to my nephew.”

The speed of it still seems to delight him, which, honestly, is kind of sweet.

The comedy house, the music nights, and the Monty Python shopping spree

Then we landed on the part that made me want to be invited, purely as a spectator.

He and his wife, he said, have always been entertainers. She works in real estate. He’s a musician. He plays guitar on weekends.

Driver: “We’ve both been entertainers all our lives.”

Their house hosts events.

Driver: “Every month we have a comedy night… amateurs… five or eight minute act.”

Driver: “In November we have a music night… ukulele or a banjo or a recorder… whatever.”

About 50 guests show up.

Driver: “We get about 50 people that come along.”

He even got momentarily lost in his own story, realised, and said:

Driver: “Anyway, where am I going with this.”

Me: “Buying things.”

And then he explained: they’ve got a comedy night coming up in late February, and they’re doing a Monty Python French Taunter sketch.

Driver: “We’ve decided to do… the French taunter… looking for the Holy Grail… we’ve worked that out…”

So he ordered props. All of them.

Driver: “Backdrop of a castle… t-shirts that look like chain mail… swords… a crown… this massive thing… horse heads… all of this for 76 bucks to be delivered to my home.”

Five days. From China.

Driver: “Isn’t that incredible?”

He sounded genuinely amazed, like the internet is still magic to him even after all these years.

Perth shipping, Temu, and the Great Shoe Debate

Then he compared online shipping to local shopping, and honestly, every Perth resident has made this complaint at least once.

Driver: “If you go to a shop in Perth and you order something… it takes twice as long… then if you order it on Temu, three days later you get a box at your front door.”

We got onto shoes. He refused to buy them without trying them on.

Driver: “I wouldn’t buy a pair of shoes without trying them on.”

His wife buys them online anyway and apparently nails it about 90% of the time.

Then came the wardrobe situation.

Driver: “We got a large walk-in robe… and all my clothes are in the spare bedroom.”

He said he’s proud of her because everything she buys is “on sale” (according to her).

Driver: “These were normally eight hundred dollars and I only got them for five… so I’ve saved 300 bucks.”

Then he hit me with the Perthest, most dad-coded line of the entire ride:

Driver: “I could go to bloody Kmart and buy a thousand shoes for what you paid for one pair.”

Why he drives, and the jokes I didn’t want to laugh at

Eventually, we got to the “why do you do this job” part.

He retired mid-2024, stayed home for just over a year, and hated it.

Driver: “To be honest, I was going nuts.”

Driving gives him a reason to get out, plus the parts that matter to him.

Driver: “I love chatting… I love hearing what other people do.”

Driver: “An air-conditioned car… I’m not doing any heavy lifting or in the heat… and I go home with a bit of pocket money.”

Then he slid into the “wife banter” routine. Some of it was classic old-guy comedy, designed for a cheap laugh from strangers.

Driver: She says, “People must think I’m the biggest bitch in the world.”

He explained he’s basically painted a deliberately bad picture of his wife as a running gag, and he knows it’s unfair. She knows it’s a bit. He’s doing it for the laugh.

I gave him my safest possible “oh nooo” in a playful tone that still made my disapproval clear. You pick your battles in a moving car.

Then he went again.

Driver: “This is my second wife… I’m so happy with her. I hope my third wife is good.”

That got an “oooof” from me. Same deal: jokey enough to keep the atmosphere light, clear enough that I wasn’t cheering it on.

He said his wife is sick of the repeated jokes. Yeah, I don’t blame her.

Still, he ended that whole section on something I fully agree with.

Driver: “That’s what it’s all about. Humour… it keeps you going.”

The last part: choosing your destination, and why drivers don’t see yours anymore

At the end, he told me he was heading down south to visit his brother in a nursing home, then he’d work around that area after.

Driver: “If I keep going, I’ll end up with lots of trips all around town… so I’ll turn it off… visit him… then do work around that area.”

He also explained why drivers don’t get destinations upfront anymore.

Driver: “In the early days, it would come up and tell you where the destination was… drivers would cancel… so now I don’t really have a clue until I pick you up.”

He said he’s never cancelled a trip.

Driver: “I’ve never cancelled a trip yet.”

Then the car stopped, I thanked him, and the conversation evaporated. Like they always do. You walk away holding this tiny pocket-sized universe somebody handed you for half an hour.

TL;DR

  • 30-Minute Friends is an Unruly Folk series built from unscripted ride conversations on my commute
  • Episode one: a 74-year-old retired musician who drives to stay busy, chat to people, and keep some freedom
  • We talked UK canal-boat holidays, immigration, British passports kept for nostalgia, why Perth has so many South Africans, the Queen’s anthem in a cinema in Africa, Charles and tabloid whiplash, The Crown, Britain vs UK confusion, Rhodesia and identity, DNA surprises, crimes solved through DNA databases, WhatsApp miracles, old-school trunk calls, comedy nights at home, a Monty Python sketch fueled by $76 of props, Perth shipping gripes, and the Great Shoe Debate
  • Shared as a record of the conversation, not a stamp of approval on every opinion or joke

Stay unruly.

Jeff Goldblum Is Bringing His Jazz Orchestra to Australia in 2026

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Jeff Goldblum & The Mildred Snitzer Orchestra are officially bringing The ‘Night Blooms’ World Tour to Australia in April–May 2026, with dates in Melbourne, Perth, Brisbane, Adelaide, and Sydney.

And yes, this is the point where I say: I need to be there. I’ll… find a way.

What Is This Tour, Exactly?

According to the tour info, the run is tied to Goldblum’s forthcoming album Still Blooming: Night Blooms, with the record set for release on 5 June 2026 via Universal’s relaunched Fontana label.

The show is billed as an “intimate yet exuberant” night of jazz + storytelling (the exact vibe you want when your brain needs a little sparkle but your soul also wants to sit down).

The Sydney date is being framed as a special one. A one-night-only performance alongside The Metropolitan Orchestra conducted by Sarah-Grace Williams at Sydney Opera House.


Australian Tour Dates and Venues

These are the dates currently listed on the official tour page: 

CityDateVenueTicket Link (Official)
MelbourneFri 24 Apr 2026Palais TheatreTicketmaster (via TEG Dainty) 
PerthTue 28 Apr 2026Riverside TheatreTicketek (via TEG Dainty) 
BrisbaneThu 30 Apr 2026Brisbane Convention & Exhibition CentreTicketek (via TEG Dainty) 
AdelaideSat 2 May 2026Festival TheatreTicketek (via TEG Dainty) 
SydneyTue 5 May 2026Sydney Opera HouseSydney Opera House site (via TEG Dainty) 

Tickets are on sale now.

Jeff Goldblum & The Mildred Snitzer Orchestra present ‘Still Blooming: Night Blooms’


Accessibility Snapshot

Accessibility Snapshot (Publish Date: 8 February 2026)
We’re pro-access and anti-guessing. This is what’s publicly visible right now; always confirm with the venue and your ticketing page before you buy.

Legend: Confirmed = Stated on official event listing. Reported = Mentioned by secondary sources. Not Confirmed = Not currently listed.

CategoryFeatureOptionsNotes
BookingOfficial Ticket LinksConfirmedLinks are listed per city on the TEG Dainty page. 
Venue AccessWheelchair AccessNot ConfirmedVaries by venue; check the venue accessibility pages before purchasing.
SeatingAccessible SeatingNot ConfirmedLook for “accessible seating” options in your ticketing flow.
Audio AccessHearing Loop / Assistive ListeningNot ConfirmedSome venues offer this, but it’s not listed on the tour page.
CaptioningLive CaptionsNot ConfirmedNot listed on the tour page.
AuslanInterpreted PerformanceNot ConfirmedNot listed on the tour page.
SensoryQuiet/Low-Sensory SpaceNot ConfirmedNot listed on the tour page; venue-dependent.
EntryEarly Entry / Queuing SupportNot ConfirmedVenue-dependent; worth asking if you need it.
Companion CardAcceptedNot ConfirmedVenue/ticketing dependent.

Standard disclaimer: Accessibility features can differ by venue, event configuration, and ticketing provider. If something is essential for you (seating type, audio support, captioning, step-free route), contact the venue or ticketing provider before buying.


TLDR;

  • Jeff Goldblum & The Mildred Snitzer Orchestra are touring Australia Apr–May 2026
  • Dates: Melbourne (24 Apr), Perth (28 Apr), Brisbane (30 Apr), Adelaide (2 May), Sydney (5 May)
  • Official tour/tickets hub: TEG Dainty listing (city-by-city links). 
  • Sydney show is positioned as a special one with The Metropolitan Orchestra conducted by Sarah-Grace Williams. 

Stay unruly.