Australia will get more of Tame Impala later this year, with new shows added on both coasts due to “overwhelming demand” during presales.

Kevin Parker’s two-time Grammy Award-winning psychedelic pop outfit will embark on a national arena tour this October in support of Deadbeat, Tame Impala’s fifth and latest studio album.

That run balloons to nine shows, including newly-added dates at Rod Laver Arena, Melbourne, on Friday, Oct. 16, and RAC Arena in Parker’s hometown of Perth, on Sunday, Oct. 25.

“It’s official: Australia just can’t get enough of Tame Impala,” reads a statement from Frontier Touring, which is producing the jaunt.

Multiple award-winning Australian electronic artist, songwriter and producer Ninajirachi is special guest on the tour, the first in these parts by Tame Impala since 2022.

On that occasion, Parker and Co. were supporting 2020’s The Slow Rush with an arena visit delayed by the pandemic. Parker did play arenas in Sydney, Melbourne and Brisbane in the final weeks of 2025, although in a different capacity; for that run, he was the opening DJ for French electronic maestros Justice.

Deadbeat opened at No. 2 on the ARIA Chart last October, continuing a streak that has seen all five of Tame Impala’s studio albums crack the national top 5, starting with Innerspeaker (from 2010) and Lonerism (2012), both of which peaked at No. 4. Tame Impala’s previous two albums, Currents (2015) and The Slow Rush (2020), went all the way to No. 1.

All told, Tame Impala has won 13 ARIA Awards, one BRIT Award and now two Grammys. Parker can add to his stacked trophy room with the coveted song of the year at the 2026 APRA Music Awards, for which “End of Summer” is shortlisted.

Parker has assembled a new six-piece touring band for the Deadbeat tour, which got underway with 12 sold-out shows across North America last October and November. A tour of Europe and the United Kingdom will begin this April, followed by a return to United States and Canada from June for an arena run featuring guests Djo and Dominic Fike.

Tickets for all Australian shows go on sale tomorrow, Friday, Feb. 27 at frontiertouring.com/tameimpala.

Alice Ivy collected producer of the year and Ninajirachi snagged a brace at the 2026 MPEG Awards, presented Wednesday night (Feb. 25) in Sydney, ensuring female studio professionals dominated the annual ceremony.

Ivy (real name: Annika Schmarsel) has been on a year-long hot streak, collecting multiple trophies at the 2025 MPEG Awards and cleaning up at last year’s AIR Awards in Adelaide. When her name was called out for producer of the year, MPEG’s top honor, the German-born, Melbourne-based creative noted the shift for the good in the studio landscape.

“You know, PinkPantheress has just won producer of the year at the BRIT Awards,” she remarked. “That award has existed for 47 years and it’s the first time a female has won it. So I feel like the universe is colliding. Which is really, really cool.” She added, “It’s so amazing seeing the girls get up this year.”

Ninajirachi, too, is coming off a brilliant year on the awards circuit, all of it reward for her debut studio album I Love My Computer. The producer, DJ and artist, who is currently abroad on tour, added self-producing artist of the year and breakthrough producer to her heaving trophy cabinet. 

“I have been producing music since I was a young girl,” she remarked on a pre-recorded video accepting the breakthrough award. “I taught myself a bunch of software when I was a little girl and I think it’s something I’m going to be doing until I die. Basically I love producing music so much. I really feel like more of a producer than any other role of being an artist, truly.”

As previously reported, veteran hitmaker Mike Chapman was recognized with the lifetime achievement award. Baby Animals bandmates Suze DeMarchi and Dave Leslie were on hand to induct Chapman, a studio legend who turned their debut album into the musical equivalent of precious metal. Or in his own words, “one of the best rock albums ever.”

In a pre-taped thank-you, Chapman offered “one little warning. AI is here. AI is a challenge. And it’ll be more so going forward. So, if you use it, use it with respect and care. And remember, we are in the business of trying to make rock stars, not robots.”

The topic of artificial intelligence and the threat of taking voices away from the creative community was a common thread to the evening’s acceptance speeches.

All nominees were selected following an open submission process, with entries assessed by a panel of carefully selected judges based on work released during the eligibility period.

Now in its third year, the MPEG Awards is the only national awards event dedicated to celebrating outstanding achievement across music production, engineering and studio practice in Australia.

An initiative of the Music Producer and Engineers’ Guild of Australia (MPEG), the ceremony was presented at The Darling Rooms Dockside at Cockle Bay Wharf.

MPEG was established in 2022 to advocate for, recognize and elevate Australia’s producers and engineers, representing their commercial interests and strengthening the professional community through engagement and visibility.

Sponsors this time were Shure/Jands, Neumann.Berlin, AVP Imports, Avid, PPCA, Music Australia, Considered Commercial and Entertainment Law, Yamaha, Marsh, and APRA AMCOS.

2026 MPEG Awards winners:

Producer of the Year — Alice Ivy

(Nominees: Alex Burnett, Anna Lunoe, Aidan Hogg, Robby De Sa)

Breakthrough Producer of the Year — Ninajirachi

(Nominees: Xavier Dunn, Fletcher Matthews, Jonathon Tooke, Moss, Sophie Edwards)

Writer-Producer of the Year — Lucy Blomkamp

(Nominees: Anna Lunoe, Robby De Sa, Rob Amaruso, Aidan Hogg)

Recording Engineer of the Year — Simon Cohen

(Nominees: George Carpenter, Lewis Mitchell, Rohan Sforcina, Wayne Connolly)

Mix Engineer of the Year — Thomas Purcell p.k.a. Wave Racer

(Nominees: Simon Cohen, Eric J Dubowsky, Nao Anzai, Nick Herrera)

Mastering Engineer of the Year — Joe Carra

(Nominees: Nao Anzai, Lachlan Carrick, Nicholas Di Lorenzo, Andrew Edgson)

Studio of the Year — 4000 Studios

(Nominees: Pughouse Studios, Empire Studios, Synth Temple, Audrey Studios)

Self-Producing Artist of the Year — Ninajirachi

(Nominees: Harvey Sutherland, Alice Ivy, Anna Lunoe, Skeleten)

Overseas Achievement — Keanu Beats

(Nominees: Tim Tan, Catherine Marks, Styalz Fuego, Dom Dolla)

Outstanding Community Work — Music Producers Development Program

(Nominees: Songmakers, Kool Skools, Music Production for Women, Resonate)

Lifetime Achievement Award — Mike Chapman

Whitney Houston‘s “I Have Nothing” is one of the greatest breakup songs of all time — and at least 1 billion people agree.

Earlier this month, the music video for the powerhouse ballad — the third single from the soundtrack of The Bodyguard, Houston’s 1992 film debut — reached 1 billion views on YouTube. Released as a single after the successes of “I Will Always Love You” and “I’m Every Woman,” “I Have Nothing” peaked on the Billboard Hot 100 at No. 4. Meanwhile, the Bodyguard soundtrack spent 20 weeks atop the Billboard 200 albums chart and is also the highest RIAA-certified soundtrack of all time.

This is Houston’s second music video from The Bodyguard to join YouTube’s Billion Views Club: With more than 1.8 billion views so far, the video for her blockbuster cover of Dolly Parton’s “I Will Always Love You” could be on track to surpass 2 billion views in the coming months.

The modern-day success of “I Have Nothing” appears to have happened organically: The song isn’t currently trending on social media and hasn’t been revived by a current TV show or film. The ballad is a masterclass in vocals, and its enduring success speaks to Houston’s timeless legacy.

Fans of the late legend are celebrating the song’s accomplishment online. “Congratulations Whitney! Still making history!” one commenter wrote on the r/whitneyhouston subreddit announcing the milestone. “Im sure 675 million of these streams were me,” another said in response to a post by Facebook fan page For The Love of Whitney.

Join the ranks and watch the iconic “I Have Nothing” music video below.

Junior H and Gael Valenzuela’s DEPR</3$$ED MFKZ debuts at No. 1 on Billboard’s Top Regional Mexican Albums chart (dated Feb. 28).

The 15-track set marks the label mates’ first collaborative album, and a significant milestone for Valenzuela who transitions from his role as a songwriter to a lead artist. The set, Valenzuela’s first, also bows at No. 3 on the overall Top Latin Albums.

DEPR</3$$ED MFKZ, which meanes ‘Depressed Motherf—ers, starts with 32,000 equivalent album units earned in the United States in the week of Feb. 13-19, according to Luminate. Most of the album’s starting sum stems from streaming activity —equating to 33.4 million official streams of the album’s tracks (minimal activity derives from traditional album sales and track-equivalent units from song sales).

DEPR</3$$ED MFKZ is the fifth No. 1 for Junior H on the Regional Mexican Albums chart. It follows $ad Boyz 4 Life II, which peaked at No. 1 in Sept. 2025 and dominated for 10 consecutive weeks —his longest coronation. The latter contained eight songs crediting Valenzuela as a songwriter.

In addition to its No. 1 start on Regional Mexican Albums, DEPR</3$$ED MFKZ launches at No. 3 on Top Latin Albums, marking the sixth top 10 for Junior H.

Valenzuela — a corridos tumbados singer-songwriter from Guanajuato, Mexico, — made his Billboard chart debut just a month ago, when “Mi Gata,” the album’s lead single, debuted at Nos. 10 and 14 on the Hot Regional Mexican Songs and Hot Latin Songs charts, respectively (dated Jan. 24). On this week’s ranking, “Mi Gata” climbs to No. 8 on the Hot Regional Mexican Songs chart.

DEPR</3$$ED MFKZ‘s success extends to the all-genre Billboard 200, where the album debuts at No. 15 — the second top 20-charting project for Junior H.

Adding to DEPR</3$$ED MFKZ’s splash across the charts, 13 songs from the album reach the multi-metric Hot Latin Songs chart, which combines radio airplay, streaming date and digital sales. “Droga Letal” with Peso Pluma, the album’s only collaborator, leads the new recruits, debuting at No. 12, mostly powered by 3.9 million official streams registered during the tracking period. The sum leads a No. 16 start on Latin Streaming Songs, likewise Valenzuela’s first entry there. Plus, it gives Valenzuela his first visit to the all-genre Billboard Hot 100, at No. 100.

Here’s a rundown of Junior H and Gael Valenzuela’s DEPR</3$$ED MFKZ tracks on this week’s Hot Latin Songs chart, where “Mi Gata” returns for a fifth week, at No. 26:

No. 12, “Droga Letal,” with Peso Pluma (debut)
No. 19, “En Dónde Está$” (debut)
No. 20, “MI$ LLAMADA$” (debut)
No. 22, “Errore$” (debut)
No. 26, “Mi Gata” (reentry)
No. 27, “No Tenga$ Miedo” (debut)
No. 31, “Cholo” (debut)
No. 33, “Demencia” (debut)
No. 34, “No Te Dolió” (debut)
No. 36, “Pole Dance” (debut)
No. 41, “Valle de $ombra$” (debut)
No. 46, “Pink Cake” (debut)
No. 49, “La Cama” (debut)