The Avalanches Set Six-Date Australian Tour for 2027

Lena Brandt
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The Avalanches will play six Australian shows in February and March 2027 ahead of ‘No Bad Memories.’ Dates, venues and ticket details

The Avalanches are bringing ‘No Bad Memories’ home. This week, the Melbourne-formed electronic group announced a six-date Australian tour for February and March 2027, stretching from Perth Festival to the Sydney Opera House Forecourt. The run arrives as Robbie Chater, Tony Di Blasi and Andy Szekeres prepare to release their fourth studio album on Oct. 16, and early demand suggests the homecoming is already one of the hotter tickets on the 2027 calendar.

That demand showed up before the full itinerary did. The group’s Sunday, Feb. 28 date at Perth Festival‘s East Perth Power Station sold out, prompting a second show at the venue on Saturday, Feb. 27. From there, the tour moves to Adelaide’s Hindley St Music Hall on March 4, Melbourne’s Royal Botanic Gardens on March 5, Brisbane’s On the Banks on March 6 and the Sydney Opera House Forecourt on March 7. The Melbourne date, staged in the Gardens’ Observatory Precinct, is part of the Live at the Gardens series.

Australian-born, London-based producer and DJ HAAi will support the three east coast shows. Her 10-track club record ‘DIGITiSE’ arrives Oct. 9 via Mute Records, following last year’s ‘HUMANiSE’. The band, for its part, is keen to get back in front of home crowds. “We’re crazy excited to be back on home soil playing these shows in Australia,” the trio said, promising a set that pairs new material with older favourites.

A Global Run Before the Homecoming

The Australian dates cap an increasingly busy live stretch. In recent months, The Avalanches have played Primavera Sound Barcelona and sold out two nights at London’s Roundhouse. They also played their first-ever show in Mexico and staged a surprise pop-up at Sydney’s Club 77 in Darlinghurst. Before heading home, the group will finish a run of dates across continental Europe.

Venue partners are treating the return as an event. Ben Marshall, head of contemporary music at the Sydney Opera House, praised the group for more than 25 years of delighting audiences worldwide, both on headphones and on the dancefloor. That longevity traces back to 2000’s ‘Since I Left You‘, the debut that turned sampling into something closer to collage and still anchors the band’s reputation.

Inside ‘No Bad Memories’

‘No Bad Memories‘ is the group’s first album in six years. It follows 2020’s ‘We Will Always Love You’, which won the Australian Music Prize and earned nominations for album of the year and best group at the 2021 ARIA Awards. The new LP is sprawling even by Avalanches standards, spanning 31 new productions, including three digital exclusives.

Its concept is rooted in obsolete hardware. Chater says the project grew out of “rhythmic experiments using the sonic leftovers and hallmarks of the technologies we grew up with,” with recordings of hard drives, computer equipment and forgotten technology folded into the album’s palette.

The rollout has leaned on a deep bench of collaborators. Previously released singles include ‘Together’ with Nikki Nair, Jessy Lanza and Prentiss; ‘Every Single Weekend’ with Jamie xx; ‘Blue Shadows’ with Karen O; ‘Can’t Get Over Losing You’ with Portraits of Tracy; and most recently ‘Far Away’ with John Glacier and Khadija Al Hanafi.

The group shot the ‘Far Away’ video in Tokyo and Minakami in December 2025 on a 2001 Sony Handycam, a fitting tool for an album obsessed with outdated machines. Al Hanafi appears on five tracks, and the wider cast includes Rivers Cuomo, Panda Bear, Barry Can’t Swim, Ryoji Ikeda, Haruomi Hosono and Mike Patton.

Tickets and Dates

Fans who pre-order the limited-edition holographic tour lanyard before 8 p.m. AEST on Thursday, Oct. 1 can access the artist presale, which opens Friday, Oct. 2 at 9 a.m. local time. General sale begins Tuesday, Oct. 6 at 9 a.m. local time through the band’s website.

Author
Lena Brandt

Lena Brandt

Lena Brandt grew up in Hamburg in a city where the clubs never fully closed and the argument about whether techno counted as music or just noise was settled long before she was old enough to get in. She covers electronic, EDM, and club culture for Latetown Magazine, with a particular focus on the producers building scenes that exist entirely outside the festival circuit. She spent five years writing for a Berlin-based electronic music platform before relocating to the US, contributing to several dance music publications along the way. She believes the most important music being made right now is happening in warehouses with no Instagram presence and considers it her job to find it.

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