Podcast appearances and mentions of Ali Williams

Interview by Ali WilliamsGerman death metal veterans FLESHCRAWL are entering a major new chapter with Epitome Of Carnage, their 10th studio album and the first to feature Borisz (The Savage) Sarafutgyinov handling all vocals and lyrics. In conversation with HEAVY's Ali Williams, founding drummer Bastian Herzog and Borisz spoke about the refreshed lineup, the record's old-school approach, the pressure of carrying a long-running name forward, and the small matter of trying to get the band to Australia without financially maiming everyone involved.It is a big moment for FLESHCRAWL, although neither Borisz nor Bastian seem interested in dressing it up as some grand reinvention. The feeling is more practical than theatrical. The lineup has changed, the energy has shifted, and the band have used that movement to build something that still sounds unmistakably like FLESHCRAWL. Borisz joined the band in 2021 following the passing of longtime vocalist Sven Gross, and Epitome Of Carnage marks his first album taking full control of the vocals and lyrics. That is no small handover. FLESHCRAWL have been part of the European death metal landscape since 1987, and walking into that kind of history requires more than a decent growl and a reliable calendar. For Borisz, the change in sound comes naturally from the people now in the room. “The lineup is pretty fresh,” he explained, pointing to the two newer guitar players as part of the reason this album feels different. His own voice and lyrics also helped push the material into its current shape, giving the band a new angle while keeping the core intact. Bastian sees it as a new start as well. Coming from a founding member, that carries weight. He has been there since the earliest days, long enough to make most band origin stories look like recent lunch orders. Yet there is no sense of him clinging to the past with both hands and a suspiciously labelled backup hard drive. He sounds ready for this version of FLESHCRAWL to stand on its own. The lyrical direction on Epitome Of Carnage came from a darker place, although Borisz admitted he only fully recognised the pattern once interviews for the album began. War, media doom, social decay and the world's apparent commitment to behaving like a malfunctioning meat grinder all worked their way into the songs. When asked what drove the album, his answer was refreshingly direct. ‘Being pissed off'. Fair. Death metal has never exactly demanded a vision board and has launched entire careers on less.That anger, however, has been channelled with purpose. FLESHCRAWL were clear about wanting the album to feel organic, not manufactured into something overly slick. Borisz spoke about avoiding modern production techniques such as enhanced drums, triggers and excessive studio layering. The aim was to create a record that could connect with older fans while still making sense in 2026. Bastian contributed riffs and also wrote a short instrumental piece for the album, although he was typically understated about his role. Borisz was quicker to point out that everyone contributed across the record, with no strict divisions in the writing process. The band worked as a unit, which also means everyone had the pleasure of annoying everyone else in useful ways. Check out the full interview for much more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsSpanish melodic death metal force BLOODHUNTER returns on June 12 with their new album, Sons Of The Abandoned. It has been both a long wait and a very deliberate one for the band. Four years have passed since the band's previous album, and while fans have been understandably circling the release date like metalheads around a merch table with limited sizes, BLOODHUNTER have not spent that time idling around waiting for inspiration to knock. “It's been a long wait until we finally release the album,” vocalist Diva Satanica explained to HEAVY's Ali Williams, adding that the response from fans has already been overwhelming. “We are very thankful for that.”For Diva, Sons Of The Abandoned is not simply another BLOODHUNTER record with the distortion turned up and the emotional damage left to fend for itself. This time, something shifted. The music still carries that death metal edge, but the album and its inspiration step into more exposed territory lyrically. Diva admits that previously she had hidden behind the metaphors in their lyrics, but this time the writing became more direct. “It has been different this time,” she explains. “Usually, I feel like I hide myself behind the metaphors. It's difficult when you play death metal to find this balance between speaking about things that everybody has in common, but without sounding too cheesy.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsSome bands age quietly into legacy status, then there is The Living End, who appear to have treated the passing of time as a personal dare.After decades of twisting punk, rockabilly, sharp-suited swagger and full-throttle Australian rock into something entirely their own, the band are now being welcomed into the ARIA Hall of Fame. For bass player Scott Owen, speaking with HEAVY Magazine's Ali Williams, the honour is still landing somewhere between pride, disbelief and that very Australian instinct to not make too much of the emotional bit in case someone notices.He admits the induction has made the band stop and reflect, which is no small task when you are part of a group that has spent most of its life moving at the speed of a getaway car with a double bass in the back seat. The Living End's first EP arrived in the mid-'90s, the first record followed in 1998, and Scott and Chris Cheney had already been playing together since around 1990. The mathematics, as Scott cheerfully points out, are “confronting”. Fair. Nobody asked time to come in here with a calculator and start being rude.But that long history is exactly why The Living End still matter. They were never neatly slotted into the machinery around them. In the '90s, when Triple J was a very different beast and Australian alternative music had its own wild ecosystem, The Living End were not simply alternative. They were, in Scott's words, “the alternative to the alternative” - a strange, sharp, highly flammable hybrid of rockabilly and punk that did not fit anywhere and therefore carved out its own corner by force.That identity has not softened. It has become the band's signature. Scott's double bass remains one of Australian rock's great visual and sonic weapons. It is not just an instrument in The Living End; it is part of the architecture. Alongside Chris Cheney's famously elastic guitar work and the locked-in chemistry that only comes from surviving decades of stages, buses, hotels, rehearsals, chaos and suspiciously romantic dinners together, the band still carry a sense of occasion every time they step up. Scott jokes that he and Chris have probably had more romantic dinners together than any couple in the world. Somewhere, a relationship counsellor just threw away their notebook.That chemistry also includes Andy Strachan, affectionately referred to by Scott as “the new guy”, despite having been in the band for around 20 years. Rock and roll timelines are ridiculous. A man can spend two decades behind the kit and still be treated like he has just wandered in with fresh ID and a lunchbox.Swinging back to one of the year's great live surprises: Jimmy Barnes joining The Living End onstage at the Hotel Brunswick. Scott says it was a hard secret to keep after finding out that morning, because the whole point was to blow everyone's minds without warning. Mission accomplished. When Barnesy appears unannounced at a pub gig, that is not a cameo. That is a national incident with vocals.For Ali, who had been in work mode in the media pit before realising she was casually talking to Jimmy Barnes himself, the moment became one of those live music memories that gets filed under: “This is why we leave the house.” It also reinforced something that runs right through the interview: the irreplaceable magic of real bodies, real instruments, sweaty venues and the shared lunacy of a crowd being lifted by noise.That idea sits at the heart of The Living End's current chapter. Their upcoming run carries the spirit of I Only Trust Rock N Roll, a sentiment Scott says came from the same place many of the new songs did: the strange, rattled, post-2020 world where everything suddenly felt unstable and everyone started wondering what, if anything, could still be trusted.For Scott, the answer is simple. Rock and roll still feels real. Still, for all the shifts around them, The Living End's purpose remains gloriously direct. They like to put on a show. They like leaving people wondering what the hell just happened. They like blowing the roof off the joint, whether that joint is a festival stage, a regional venue, or the kind of pub where the walls know more secrets than the patrons.Their latest album bares the same namesake as their upcoming tour - I Only Trust Rock N Roll. The album is available now on all platforms and for tickets and tour information head to www.thelivingend.com.auBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsMetal legends Andy La Rocque (King Diamond) and Nils K Rue (Pagans Mind) hooked up with HEAVY Mag's Ali Williams to chat about their new project Lex Legion and their new album. Joining La Rocque and Rue are Pete Blakk (King Diamond), Mikkey Dee (King Diamond, Scorpions, Mötorhead) and Hal Patino (King Diamond). Lex Legion's debut album is set for release on June 12, and while the band may be newly announced to the world, the machinery behind it has been grinding away for years. What began as riffs and ideas between Andy and Pete back in 2008 was left sitting in the heavy metal vault for a while, not forgotten so much as waiting for the right moment to come stomping back through the door wearing boots. That moment arrived during the pandemic, when the world had been forcibly unplugged and musicians, like the rest of us, suddenly found themselves staring at time like it was an unfamiliar household appliance. Pete started writing again, played some material for Mikkey Dee, and the wheels began turning. Mikkey heard something worth chasing, Andy was pulled back into the fold, and what had once been a half-shelved idea began growing teeth. From there, the lineup expanded with Hal Patino joining the project, before the search began for the right voice. There were names considered, big ones too, but Andy already had someone in mind. Having worked with Nils K. Rue years earlier, he knew the Pagan's Mind vocalist had the right kind of power, range and character to carry what Lex Legion were building. Mikkey agreed fairly quickly, apparently needing only to hear Nils before deciding that, yes, that was the bloke for the job. Convenient, really, when the singer turns out to be the missing piece instead of another three-month committee discussion.The result is a band that may be fresh on paper but is hardly operating on beginner settings. These are players with serious history behind them, but Lex Legion has no interest in being a nostalgia project or a backdoor continuation of King Diamond. Andy was clear that while the connection between members is obvious, the intention was never to clone the past. King Diamond is its own beast. Lex Legion, he explained, needed to be something separate. That distinction matters. The album carries the spirit of late '70s and early '80s heavy metal, the kind that still had grease under its fingernails and a pulse you could feel through the floor, but it is not trapped in a museum cabinet. Andy described the material as less complex and less progressive than some of the old King Diamond work, with more emphasis on flow, melody and straight-up heavy metal punch. In other words, it knows where it came from, but it is not standing there waving a faded flag and yelling at clouds.Lex Legion does not sound like a file-sharing experiment held together by Wi-Fi and optimism. It sounds like musicians who know each other's instincts, know when to push, and know when not to smother a song under unnecessary cleverness. The first single, Sleep Eternally, has already landed with a response that surpassed Andy's expectations, and with another single due before the album, the early signs are strong. The band is not rushing straight onto the road, though. Mikkey's commitments with Scorpions keep him busy through much of the year, so touring is more likely to become a serious discussion for next year. Importantly, Lex Legion is not being treated as a studio-only side quest. Andy made it clear that live shows are part of the plan when the timing lines up, and there are already ideas forming for a second album. Ambitious, yes. Reckless? Maybe a little. But metal has never exactly thrived on sensible office planning. As for Australia, Andy admitted he has never made it down here with King Diamond, though other members have done the trip with their respective bands. The prospect of Lex Legion eventually making their way Down Under was warmly welcomed, and judging by the appetite here for heavy metal with roots, weight and actual identity, there will be no shortage of people ready to greet them with raised horns and mildly concerning enthusiasm. Lex Legion now stand at the beginning of their own first chapter, albeit with a few veterans at the wheel and absolutely no need for learner plates. The debut album arrives June 12, Sleep Eternally is already out in the wild, and if the early reaction is anything to go by, this is not just a side project shuffling politely into the room. It is old-school heavy metal with fresh intent, built by people who know exactly what they are doing and, mercifully, are not interested in polishing all the bite out of it.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

00.00.00: Rog Sulking Over Canes Win 00.07.36: Horrible Handshakes 00.14.31: Nipple Planet 00.17.56: Struck By Lightning 00.22.39: Ali Williams 00.32.39: Does Your Name Match Your Job? 00.43.12: Mastermind Monday 00.46.58: The Bryce Is Right 00.50.04: Looking Back (Rumble History + Chris Cornell Tribute)

Mornings with Ric & Chappy - Full Show featuring Ali Williams, Steve Lancaster, Steve Harmison, a Harness weekend preview with Britt Graham, and a Racing weekend preview with Thad Taylor. Plus, Headlines, the Betcha Battle Multi, and the 5-Leg Multi. Betcha brings social betting all into one app. R18. Bet Responsibly. Learn more about your ad choices. Visit megaphone.fm/adchoices

Former All Black Ali Williams joins Ric & Chappy to preview round 13 of Super Rugby, including the Crusaders hosting the Blues in Christchurch, as well as discussing Auckland FC's semi-final against Adelaide this weekend. Learn more about your ad choices. Visit megaphone.fm/adchoices

00.00.00: What Hit Your Car? 00.16.05: Knicks Hype 00.19.06: Dream House Add-Ons 00.34.01: Ali Williams 00.42.39: Heroic Dads 00.48.36: Wahs Hype 00.52.57: Ethan Blackadder 00.58.12: Compromising Positions Your Mum Found You In

Interview by Ali WilliamsClawfinger's Bård Torstensen stopped in for a chat with HEAVY Magzine's Ali Williams to fill in the gaps after their long standing hiatus on new releases. After nineteen years between albums, Clawfinger could have returned with something painfully self-important, full of mythology and creative suffering. Instead, Bård talks about it with the kind of dry honesty that makes the whole thing far more endearing. Before We All Die arrives not as some grand rock resurrection, but as the product of a band that simply figured out how to make it work in a world that had changed around them. Back when the CD market collapsed, the practical choice was to get jobs, keep playing the good gigs, and stop pretending the old model still paid the bills. That pause stretched into nearly two decades, which is a long time to leave fans hanging, but Clawfinger have enough self-awareness to see the humour in that too. One of the key points of interest is that the new record was built remotely, with files flying back and forth instead of bodies standing around a studio trying not to annoy each other. Torstensen makes it sound almost civilised. He could sit with an idea, have a coffee, eat dinner, decide a part sounded awful, sleep on it, then come back the next day and fix it without the pressure of a studio clock ticking away in the background. For a band that has been together long enough to know exactly how each other thinks, that distance sounds less like compromise and more like self-preservation with better acoustics. The result is a process that feels modern without being clinical, and flexible without losing the band's bite. The album title itself came from a manager's plea for the band to make another record “before we all die”, which is funny on its face but also lands neatly in Clawfinger territory. This has never been a band interested in dressing things up with delicate metaphors and interpretive dance. Their whole identity has long been built on staring directly at the mess and saying it plainly. Torstensen points to war, political absurdity and environmental collapse as the obvious backdrop, and in that light Before We All Die stops sounding like a throwaway joke and starts sounding like the most Clawfinger title possible. Grim, blunt, slightly hilarious, and uncomfortably on the money. There's a significant element of reassuring unglamorous quality about the way Clawfinger still operate. The band only rehearses together once or twice a year, which sounds reckless until Torstensen shrugs and points out that sometimes they just walk onstage after months apart and it still works. That kind of confidence only comes from years in the trenches, though he does admit a full new album means a little more homework than the occasional stray song. He also jokes about past drummer changes being a bit Spinal Tap, but beyond that the line-up has been largely steady since 2007, which probably helps when you are trying to restart the machine after a nineteen-year recording gap without the whole thing flying off the rails. For now, the action is centred in Europe, where summer festivals and an upcoming club run through Central Europe have the band moving with real momentum again. Torstensen sounds genuinely excited by the prospect of getting back on a bus and doing a proper tour, and even more encouraged by the fact that tickets are moving well enough for venues to be upgraded. Australia, sadly, remains on the wish list rather than the itinerary. Clawfinger have never played here, and Torstensen himself has never even visited, describing the country as “exotic” in a way that will probably make Australian readers laugh into their coffee. Still, between a new album, a receptive European market and a global fanbase that has clearly not forgotten them, there is a sense that Clawfinger are not just returning for nostalgia's sake. They sound like a band that still has something to say and, more importantly, still knows exactly how to say it without wasting everyone's time. New album out now available on all platforms. Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsHot Mulligan's latest chat with HEAVY finds the band exactly where good bands tend to be after years of grinding away: confident, funny, slightly unhinged in the best way, and still refreshingly free of self-important rubbish. Speaking with Ali Williams ahead of their April return to Australia, the group as a band, have earned its growing reputation. These guys roll on in with the kind of dry humour and sideways banter that suggests Hot Mulligan are far more interested in taking the piss out of themselves than posing like tortured visionaries. Just like their music, their attitudes have pulse, and more importantly, it makes them feel like actual people rather than another touring act reciting the usual promo script. The band are heading back to Australia after a warmly received first visit in 2024, this time with bigger rooms, stronger ticket sales, and enough demand to add a second Melbourne show after the first sold out. They speak about that first Australian run with genuine fondness, describing it as a leap into the unknown that paid off far better than expected. There is a clear affection for the smaller, more intimate venues too, with Hot Mulligan admitting they thrive in rooms where the barrier between band and audience is basically nonexistent. That detail says plenty. For all the upward momentum behind them, they still seem most at home when a show feels sweaty, immediate, and a little rough around the edges. Australia, clearly, gave them exactly that, and now they're coming back for six shows as part of a schedule that barely lets them breathe before moving on to Singapore and then their first-ever tour of Japan. They explain the the band's history without wasting time trying to inflate it into some grand rock fairytale. Their beginnings were deeply DIY, gloriously unflashy, and stitched together from local bands, trial and error, and the kind of long-term persistence that most “overnight success” stories quietly leave out. They talk openly about how the band's growth was gradual at first, before a pandemic-era release gave things a serious push and shifted them into a different gear. Even then, there's no victory lap in the way they tell it. Hot Mulligan sound more amused than amazed by their own rise, which somehow makes it more impressive. They have been at this for over a decade, building audience trust the slow way, and the result is a band with real international pull that still behaves like it can't quite believe people in London, Australia, and now Japan are yelling for them to show up. Between the deadpan cracks about their past, the tongue-in-cheek nonsense about genre labels, and the general feeling that any one of them would happily derail a serious moment for a laugh, there is still a strong sense of gratitude running underneath it all. Hot Mulligan sound like a band fully aware of how lucky they are to be hauling their songs across the world, but also one that has worked hard enough to deserve every sold-out room and every passport stamp. That is really the takeaway here: not some neat genre tag or tidy career narrative, but a portrait of a band whose personality has grown right alongside its audience. They are funny without being flippant, sincere without getting sappy, and busy carving out a global path that still feels grounded in the scrappy spirit that got them moving in the first place. Go check them out and show them some lovin. Tickets, tour dates and information are available at www.ticketek.com.au as well as the bands page https://hotmulligan.band/pages/tourBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsH.E.A.T are not exactly sitting around polishing old trophies and talking about the glory days. When HEAVY's Ali Williams caught up with Jimmy Jay, the Swedish melodic rock machine was holed up in rehearsal mode, fresh off the Spanish leg of their Welcome To The Future 2026 run and already gearing up for the next round of work. In classic H.E.A.T fashion, there is no neat little pause between touring and recording. The band is heading into Hamburg to start work on the next album, with more than twenty songs already written and waiting to be narrowed down to the strongest ten or so. Jimmy made it clear this one is being approached with a more live, in-the-room mindset too, leaning back toward the kind of energy that made earlier releases hit so hard. Less stitched together in separate corners, more five blokes in a room pushing air and rattling the walls. That alone should be enough to get fans interested before a single note has even escaped into the wild. There is also something deeply satisfying about hearing a band twenty years in still sound hungry rather than merely organised. H.E.A.T hit their 20-year anniversary next year, which is long enough for most bands to either implode, become a tribute act to themselves, or start releasing albums that sound like they were assembled by committee and a legal team. Jimmy, though, spoke with the kind of grounded pride that only comes from a band that has genuinely worked for its place. He describes H.E.A.T as classic Scandinavian melodic heavy metal and hard rock, and there is no need to dress that up in fancier language than it deserves. They know what they are, they know what they do well, and they have built a loyal following by sticking a boot through the door not by politely knocking. Coming out of the Stockholm suburbs, with the broader Scandinavian legacy of hard rock and metal humming in the background, has clearly helped shape that instinct. Not in a smug, self-congratulatory way, either. More in the sense that if you grow up in a place where this music is woven into the cultural fabric, it is easier to treat it as something lived rather than borrowed. That authenticity carries through to the band's line-up story, which Jimmy recounted without turning it into some dramatic soap opera. H.E.A.T began as a six-piece, later dropped to five, and have only really had one major shake-up at the microphone. After original vocalist Kenny Leckremo left, Erik Grönwall stepped in for a decade-long run before moving on, with Kenny eventually returning and bringing things full circle. The result now is a band that feels about as close to its original DNA as it possibly can. For longtime fans, that matters. For newer ones, it explains why H.E.A.T still feel connected to their roots instead of merely trading on them. Jimmy also touched on the audience the band attracts, and it was one of the more telling parts of the chat. He reckons the crowd seems to stay roughly the same age, which is a very funny way of saying younger fans keep finding them while the old guard refuses to bugger off. That is not a bad place to be. It means the band has managed the rare trick of staying relevant without trying to act twenty years younger than they are. No desperate trend-chasing, no identity crisis, just a solid crowd of people who actually give a damn about music. Of course, for Australian fans, the immediate excitement is the upcoming run of shows in Brisbane, Melbourne and Sydney this April. It will be the band's third trip Down Under, which means they are well past the polite “great to be here” stage and into the territory of knowing what they are in for. Jimmy spoke warmly about returning, even if the small matter of a 25-hour flight sits between Stockholm and Brisbane like a punishment designed by an especially vindictive travel agent. Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsSamy Elbanna of Lost Society caught up with HEAVY's Ali Williams to talk about all things dark and the journey of coming out the other side. Their chat feels less like a promo interview and more like a long, honest exhale. There's humour, perspective, and the unmistakable tone of someone who's been through the grinder, come out the other side, and is now enjoying the simple pleasure of writing loud music without staring into the void between riffs. Lost Society's sixth album, Hell Is a State of Mind, arrives March 6, and Elbanna doesn't sugarcoat how close it came to not existing at all. The band's previous record was written during an extremely dark period in his life, one where the idea of a future album felt wildly optimistic at best. That's what makes this release feel different. It's not fuelled by misery or desperation, but by rediscovering the fun of being in a studio and remembering why making music mattered in the first place. Rather than chasing trends or trying to outsmart algorithms, Elbanna talks about returning to instinct. Writing music he actually likes. Melodies that feel good to sing. Lyrics that say something without needing to be cryptic for the sake of it. He's visibly proud of this record, and not in the chest-beating way, more in the “I can finally enjoy this again” sense. Hell Is a State of Mind is heavy, unapologetically so, but lyrically it leans toward empowerment and self-acceptance, which is a pretty solid bait-and-switch for a metal album in 2026. The conversation drifts back to Lost Society's early days, which read less like a fairytale and more like a DIY survival manual. Underage, unable to play bars, the band organised their own shows, youth centre gigs, and mini-festivals, entered every competition they could find, and sold homemade demo CDs the old-fashioned way: face to face. No viral clips, no shortcuts, just persistence and a worrying amount of faith. Eventually, a televised performance landed in front of a Nuclear Blast A&R, and things slowly started to snowball. Slowly being the key word. Elbanna is refreshingly realistic about the modern music industry. He's not anti-streaming or anti-TikTok, just anti-bullshit. He points out that “overnight success” usually follows years of unseen work, and that skipping those years doesn't exactly prepare artists for pressure, touring life, or longevity. Social platforms, he says, are tools, not commandments. Not every metal band needs to dance for clicks, and not every promotion strategy has to look identical. Radical concept, apparently. Finland, unsurprisingly, gets its moment in the spotlight. Elbanna credits the country as one of the best places on earth to start a metal band, thanks to accessible venues, youth programs, and a culture that doesn't clutch its pearls when teenagers plug in guitars. Born and raised there, with Egyptian heritage and English as his first language, he's grown up in a musical environment that encourages experimentation rather than punishing it, which helps explain Lost Society's longevity. Looking ahead, the band aren't easing into anything. The album release is immediately followed by a three-week European headline tour, a major Helsinki show, and then straight into festival season. Touring remains the heartbeat of the band, not just for exposure or income, but because that's where the music actually comes alive. Bus life, inside jokes, and temporary escape from normal reality included. Australian fans also get a nod. Elbanna recently toured Australia and New Zealand as a fill-in member for Amaranthe and fell hard for the place, despite being deeply disappointed by the lack of constant spider attacks promised by the internet. Lost Society haven't toured here yet, but it's firmly on the wish list, with this album shaping up as the one that could finally bring them Down Under. At its core, Hell Is a State of Mind isn't a comeback story or a carefully packaged redemption arc. It's a heavy record made by someone who didn't expect to still be doing this, now offering listeners half an hour of noise, catharsis, and a brief sense that things might not be completely cooked after all. Loud therapy, if you will. And honestly, that's a pretty decent reason to press play.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsSome bands talk about changing the world. Others actually try to rewire the power source. When HEAVY's Ali Williams caught up with Lime Cordiale's Ollie Leimbach, he was literally on the floor, charging his laptop somewhere five hours north of Sydney. Very rock 'n' roll. Very Northern Rivers. Very “I may or may not be barefoot and slightly stinky.” Which, frankly, checks out. Between laughs about weather patterns and mild coastal smugness, Ollie casually dropped the fact that Lime Cordiale are putting the finishing touches on album number four . Not that they're rushing it. “We're not a three-week studio band,” he admits. This one's only taken about a year. Growth. Maturity. Slightly less agonising perfectionism. But the real headline here isn't just new music. It's Lime Green Festival, their upcoming off-grid, battery-powered, 5,000-capacity experiment-slash-party happening April 18 off the coast of Adelaide . Yes, battery powered. As in, no diesel generators chugging away backstage. As in, the band is fully prepared to risk a blackout mid-set in the name of progress. Bold. Slightly terrifying. Excellent content. The Lime Green concept was born out of a crisis of conscience. During COVID, the band were working on a farm on the Mid-North Coast, diving into regenerative agriculture and learning how to reduce their footprint. Then touring came back. Planes. Diesel buses. Global laps. Cue existential whiplash. Rather than retreat into eco-guilt or write twelve reggae protest songs (no dreadlocks involved, he promises), Lime Cordiale decided to tackle the industry from within. Their approach is refreshingly non-preachy. No finger wagging. No “stop living your life.” Just practical shifts. They've trialled biodiesel buses in Europe, slashing touring emissions by around 98 percent. They've put a dollar from every ticket toward environmental causes they genuinely connect with. In Adelaide, that means supporting awareness around the current algal bloom crisis devastating local waters . Dead fish, stinging water, beaches people can't swim in. Not exactly tourism brochure material. The Lime Green Festival, though, is the big swing. Fully off-grid. Fully battery-powered. A case study in proving that you can run a major event without defaulting to fossil fuel generators. The battery companies are confident. The production crews are cautious. Ollie seems almost excited about the possibility of chaos. “If there is a blackout halfway through, that's part of the journey,” he shrugs . That's the spirit. Punk rock, but with renewable infrastructure. The lineup includes The Dreggs alongside Adelaide locals Alexia, Pash, and a Triple J Unearthed winner . Capacity sits at 5,000, which would make it Australia's largest fully battery-powered festival to date . Casual. Beyond the headline tech flex, Lime Green will feature practical green initiatives: better waste sorting, encouragement to bring reusable bottles, conscious messaging. Not exactly radical ideas, but when you've ever seen a post-gig floor that looks like a plastic tornado hit a bar fridge, you understand why it matters. Throughout the chat, Ollie keeps circling back to one core idea: don't shame people into change. Don't demand everyone bin their petrol cars tomorrow. Replace things when they break. Upgrade when it makes sense. Let progress feel possible, not punitive. It's a refreshingly pragmatic take in a space that often devolves into moral Olympics. At the end of the day, Lime Green will still be what everyone actually shows up for: good music, a crowd, and a reason to forget your inbox for a few hours. The difference is that it might also quietly prove that the industry can do better without killing the vibe. Album number four is brewing. The future might be battery powered. And if the lights flicker mid-chorus on April 18, at least you'll know you're witnessing a social experiment in real time. Tickets for Lime Green Festival are available now at limegreenfest.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsGenerally speaking, bands spend years in rehearsal rooms crafting a “carefully curated sonic identity.” Others however, make an EP in a uni dorm room in a single day just to “see what happens”. Meet Tom, the founding member of Lismore's Media Puzzle, who definately falls in the latter category. In this week's chat with HEAVY Mag's Ali Williams, Tom proves that sometimes the best things start as a joke and spiral wildly into something very real. What began as a one-man experiment with a drum machine and a “let's just put it out and see” attitude quickly snowballed into a full five-piece outfit reverse-engineering lo-fi chaos into tight, high-energy live shows . Tom describes Media Puzzle as falling somewhere under punk, synth punk and the wonderfully unserious label of “egg punk.” Yes, egg punk. It's fast, scrappy, lo-fi, and occasionally powered by a drum machine that had to be dragged from bedroom obscurity into full band reality . The early worlds of Media Puzzle had no band at all, it was just Tom in his bedroom with a laptop, guitar ,drum machine he could use with synth samples. After showing his one day work of art to his friends, they loved it and wanted in. Tom found himself pulling apart his own recordings, rebuilding them piece by piece like some musical Rubik's Cube. ranslating bedroom experiments into something a five-piece could detonate onstage . There's something beautifully chaotic about having to reverse engineer your own songs because you can't quite remember how you made them in the first place. Most bands polish demos. Media Puzzle disassemble them like they're defusing a bomb. Their upcoming run supporting Regurgitator is a genuine full-circle moment for the band. Ten shows across Ulladulla, Canberra, Albury, Melbourne, Brisbane, Sydney and Bathurst are locked in , kicking off March 13 , marking their first proper tour invite and easily their biggest leap so far . For a few members, it's poetic. Bassist Kelly once snuck into a Regurgitator show at 16 . Now she's sharing the bill. That's not just ironic nostalgia. That's rock and roll karma doing its job. The timing couldn't be better. Media Puzzle are dropping a new album around the same time the tour kicks off . According to Tom, it's a step in a “somewhat different direction” while still sounding like them, which in Media Puzzle terms probably means faster, weirder and somehow tighter all at once. The interview drifts into everything from the widely recognised, now redundant Southern Cross University's Bachelor of Contemporary Music that helped shape Tom and a generation of musicians drawn to the Northern Rivers, to the glamorous reality of balancing band life with a day job at Bunnings. Rock and roll might be chaotic, but sausage sizzles keep the lights on. What makes Media Puzzle compelling isn't just the genre-blending, DIY approach or the scrappy origins. It's the freedom. Tom describes the project as something without rules, a space to try anything and learn in public . In an industry obsessed with strategy, that kind of creative recklessness feels refreshing. From dorm-room experiment to national tour support for one of Australia's most iconic alternative acts, Media Puzzle are no longer just “seeing what happens.” They're making it happen. And come March 13, they'll be doing it loud, fast and proudly egg-shaped. For more info and links to tickets for all of Regurgitators Jukeboxxin Tour head to https://www.regurgitator.net/blog Tell ‘em ya mum sent ya and they'll tell you she loves it.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsLord of the Lost are currently somewhere between frostbite and frequent flyer miles. When HEAVY's Ali Williams caught up with frontman Chris Harms, the band were enjoying an “off day” in Las Vegas, which sounds glamorous until you realise it comes after three straight weeks of snow and a delightful minus 25 degrees in Canada. Celsius, for the record. The kind of cold that makes you reconsider every life choice that led you there. The German dark rock outfit are wrapping up the North American leg of their tour before pointing themselves toward Australia for the very first time. Yes, first time. Seventeen years into their career and they've somehow never made it Down Under.  Not for lack of trying either. A previous Australian run collapsed thanks to the classic rock'n'roll villain arc of a disappearing promoter and vanishing ticket money . Enter Hardline Media and Extratours, who stepped in to resurrect the tour and finally get the band on a plane for the 28-hour trek south That's commitment. Or madness. Possibly both. The Australian run kicks off in Brisbane on February 19 before heading through Melbourne, Sydney and wrapping up in Adelaide It's a tight schedule. Fly in the night before the first show, play, fly, repeat, and then straight back out again No cuddling koalas, no hunting for drop bears, no leisurely beach days. Just work, work, work. Romantic, isn't it? Musically, Lord of the Lost are in the middle of rolling out their ambitious Opus trilogy. Volumes 1 and 2 are already out in the world, with Volume 3 on the way. Two singles from the final instalment have already dropped, meaning Aussie fans will get a taste of the new material alongside the older cuts that built their reputation Harms promises a set that represents the whole journey, not just the shiny new toys. And journey is the right word. Over 17 years, the band have evolved through multiple musical styles, toured with Iron Maiden and even dipped into the Eurovision Song Contest in 2023 tghe result is a fanbase that's gloriously mixed. Older devotees have grown up with the band, while younger fans keep discovering them through playlists and, somehow, TikTok Harms jokes they're “too old for TikTok,” but the algorithm clearly disagrees. As for what Aussie audiences can expect? According to Harms (who answered in jest), “extremely boring shows” with zero effort and maximum disappointment. Given their reputation for theatrical impact and high-energy performances, we'll assume that's the driest German humour you'll hear all summer. After surviving Canadian blizzards and Vegas temptations, Lord of the Lost are trading snow boots for sunscreen and finally ticking Australia off the bucket list. Brisbane, Melbourne, Sydney and Adelaide, prepare yourselves. Seventeen years in the making, and they're not flying 28 hours for a quiet night out.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

If you've ever wondered what it's like to survive 30 years in an Australian band without a punch-up, a lawsuit, or at least a few costume changes, Quan Yeomans of Regurgitator is here to tell you—it's mostly sweat, setlist amnesia, and just the right amount of “naive courage” to dive headfirst into the circle pit of life.Ali Williams catches up with Quan mid-tour, somewhere between a billion-degree beach day and Quan's Melbourne “hoodie weather.” Regurgitator's recent shows clock in at a marathon hour and 55 minutes, a feat even Quan admits is “too much for me.” The band briefly flirted with the idea of an intermission—abandoned after realising it just broke the groove. Audiences now get an uninterrupted slab of Gurge, and honestly, no one's screaming for an encore after that much garage rock. As Quan puts it: “I played everything!”The current tour isn't just another lap around the sun—it's a madcap dive into the Regurgitator singles catalogue, dusting off tracks they haven't played in years (thank you, Google, for those forgotten lyrics). There are over 50 singles, so no, they're not playing them all (unless you fancy a three-hour endurance test). But the setlist is a living, breathing thing, evolving with every gig—much like the band themselves. Expect some surprises, and don't get too comfortable: they change it up to avoid “getting bored” and keep the fans guessing.Forget the urban legend about meeting band members Ben Ely and Quan meeting on a Brisbane bus—turns out Ben first rocked up at Quan's mum's place to score weed. “He just happened to walk downstairs where I was tinkering with my 4-track,” says Quan, and the rest is history. Brisbane in those days was a tight little scene: cross a few one-way streets and you'd bump into half your future bandmates (or get hopelessly lost, if you're Ali).Regurgitator's music has always balanced piss-taking parody with actual substance—something Quan admits is often missed by casual listeners. “I'm amazed how many people don't listen to the lyrics,” he laughs, despite the fact he obsesses over every word. These days, their songs show up on random playlists, introducing a whole new generation of fans (many thanks to TikTok and Spotify—“even if Spotify's evil,” Quan quips). The band's legacy now stretches from ‘90s moshers to 19-year-olds who think The Angels are edgy vintage.Despite three decades of gigging and a few legendary bust-ups (including one that almost ended in a lawsuit—cheers, Martin), Quan says the band feels more like a family than ever. New members like Sarah have slotted in seamlessly, proving sometimes a bit of stability trumps creative friction. That said, Quan reckons the secret to not going stale is “reinventing yourself—take a page from Bowie.” But these days, the wild competitive spark of youth has mellowed into something more sustainable: “Now it's way easier to tour. It's easygoing, it's lovely.”Swerving into songwriting, journalism, and the perils of letting technology do all the heavy lifting. Quan's not shy about the state of AI writing: “My god, the writing part is so bad. It's terrible… it just messes it up every time. It's such a slop.” For Regurgitator, the real art comes from putting in the work, not “pressing buttons.” So, aspiring artists—take note: it's called a work of art for a reason.As Quan wraps up, he drops the essential plug: “You can catch us playing at a rural town near you, and probably a big city as well, so please come along. We'd love to see your face. It'll be a good time.” So, whether you're an OG Gurge tragic or a TikTok kid who thinks Polyester Girl is a deep cut, Regurgitator's Jukeboxxin' tour is your chance to see living legends in the flesh.Check out Regurgitator's upcoming Jukeboxxin' dates—from the Top end to Tassie and everywhere in between. Expect singalongs, sweat, and possibly a history lesson in Aussie music, all delivered with Regurgitator's signature sideways grin. Tickets available now—don't sleep on it.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Auckland FC Co-Owner Ali Willams chats with Chappy about the collaboration with AFC, Warriors & Auckland Thoroughbred Racing for the NZB Kiwi, The Peoples Horse, excitement from an AFC perspective, why they have come together & more Learn more about your ad choices. Visit megaphone.fm/adchoices

Missed the show this morning? No worries, catch all the action right here from Sport Nation Mornings with Ric & Chappy featuring, Karl Budge, Ali Williams, Betcha Battle Multi, Marc Peard, All-Time Draft, Logan van Beek, Nick Quinn. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we're re-releasing a classic episode with All Black legend Ali Williams, initially recorded in 2024.At the time of recording, Ali had recently launched Auckland FC with his wife Anna Mowbray, so we dive deep into his goals and vision for the team (much of which has come to fruition since). We also go into the best stories from across his rugby and All Blacks career, as well as an open conversation about the loss of his father.This episode is brought to you by our proud sponsors TAB - and Steve and Seamus are proud to be dressed by Barkers. Hosted on Acast. See acast.com/privacy for more information.

Interview by Ali WilliamsIf there were a Frequent Flyer program for alternative rock bands visiting Australia, Anberlin would have Platinum for life. In this sun-drenched, laugh-out-loud podcast throwdown, HEAVY's Ali Williams checks in with Anberlin's resident rhythm wizard, Nate Young—straight from muggy Florida to the Gold Coast—about their upcoming Aussie invasion, a band that keeps dodging retirement like it's a game of whack-a-mole, and why their passports deserve a spot in the ARIA Hall of Fame. Anberlin are rolling in with a brand-new frontman, a rebooted classic album, and a fan base that's as loyal (and occasionally unhinged) as a Queensland summer. With headline shows locked in, for An Emo Extravaganza presented by Destroy All Lines, Anberlin aren't just making another comeback—they're turning it into an art form. It's official: Anberlin is heading back to Oz in February 2026, and if anyone knows how to party like it's 2005, it's these guys. After racking up at least a dozen prior Australian jaunts, “I keep throwing around 12 or 13,” Nate confesses, they're still genuinely excited—borderline addicted—to our beaches, weather, and, let's be honest, fans who go harder than the humidity in a long hot Oz summer. On this tour, Anberlin will be hitting Brisbane, Melbourne, and Sydney, with a power-packed line-up including Cartel, This Wild Life, and Hot Chelle Rae. Yes, they're headlining, and yes, it's going to be loud. Plus, as if that wasn't enough, they're also landing at the Froth and Fury Festival, so get ready for an emotional, sweaty sing-along with thousands of other kids who still pretend they're 22 at heart. What's a reunion tour without a twist? This time, Anberlin's dusting off their classic album Never Take Friendship Personal—but giving it a fresh coat of paint thanks to new frontman Matty Mullins. After re-recording the album with Matty's pipes - “just to give fans a way to hear what these songs are going to sound like with him singing” - Nate admits the switch wasn't exactly easy street—“switching out a singer is not easy and usually just doesn't work… but we're thankful fans seem to be cool with it.” And if any hardcore purists complain? Well, that's just part of being a band with a pulse. Mullins isn't just a newbie, either—he grew up a genuine Anberlin fan. Nate grins, “He's an absolutely ripping singer and just a good frontman, really positive energy for us.” The new era isn't just a reboot—it's evolution, and for Anberlin it's proof you can keep relevant by daring to change (instead of fading into permanent hiatus, or, worse, nostalgia-bloated obscurity). The pair get real about age, confidence, and what it means to be an “alternative rock” band in a post-genre world. For Nate, growing up in the spotlight since he was 14 means he's learned not to sweat the small stuff (or the labels). “Time is a construct,” he deadpans, “so none of it matters.” Emo, alt-rock, post-hardcore—whatever you call it, Anberlin's brand of high-octane anthems and gratitude-fuelled stage presence hasn't aged a day. From message boards to TikTok, Nate reflects on the perks (and weirdness) of being able to actually connect with fans now—sometimes for better, sometimes for audacity that's usually… for sure, or respectfully if you will. Still, he wouldn't trade the chaos of social media for the pre-Internet “mystique” of old: “It's given us a connection with our fans that's really special.” Anberlin are back in Australia in February 2026, headlining shows in the main capitals, a big set at Froth and Fury Festival, and an all-new take on Never Take Friendship Personal that'll remind you why this band has lasted the distance. And in true Anberlin fashion, they're not slowing down or growing up quietly—just growing better, louder, and a hell of a lot wiser. Tickets and event info at official outlets—don't snooze, or you'll be stuck watching old clips on TikTok, wondering why you missed the reunion of the year.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsIf you've ever wondered what happens when progressive death metal collides head-on with a full-blown orchestra (spoiler: nobody wears a tux, but plenty of heads bang), Persefone's latest adventure has the answer. In a good vibes interview with HEAVY Magazine's Ali Williams, Bobby Verdeguer from Persefone takes us behind the scenes of the band's new live album, out now, and gives us a taste of the chaos, genius, and caffeine that went into its creation. Persefone's new release, Live In Andorra, isn't just another concert recording—it's a mad scientist experiment: death progressive metal and live orchestra in the same room. Recorded during a one-off orchestral show at the National Auditorium of Andorra in May 2024, the album celebrates the band's 20-year history and their return home after a decade, featuring a full collaboration with the Orquestra Nacional Clàssica d'Andorra. Bobby admits that making a live album in today's “attention-deficit” age is, in his words, “a stupid idea.” But when the end result is this sublime, who cares about market logic? If you want new music, you're out of luck—this is a celebration of the band's 20th anniversary, featuring songs from across their catalogue, played with enough complexity to make even a Swiss watch blush. What results when you have an orchestra, a death metal band, and two rehearsals—one the morning of the show? “Stressful” is an understatement. The orchestra arrived the day before the recording, and after a couple of quick run-throughs, it was showtime. The whole thing was captured live, meaning there was “extra pressure of not fucking things up,” as Bobby charmingly put it. The musical tightrope walk paid off, resulting in a performance that's as raw as it is sophisticated. The artwork for their latest release is mint, so you know the merch is gonna slap. As for vinyl? You'd better buy two copies: “One you open, one you keep sealed for street cred.” He's not joking about the collector mentality, either—just don't expect to find a Persefone vinyl in a bargain bin anytime soon. Touring has been relentless, including recent festival runs in the US and a debut Australian tour with Belakor and Orpheus Omega. Oh, and if you're ever planning to fly from Andorra to Australia, prepare for two days, four stopovers, and a test of your will to live (someone, please, sponsor these guys an airline). With the live album freshly set forth on the world, Persefone aren't about to rest on their laurels. Upcoming plans include shows in France, a stint on the 70,000 Tons of Metal cruise (yep, the floating festival of your dreams), and a US tour (still under wraps). Most importantly for fans: they're already working on a new studio album of fresh material, aiming to top even this ambitious milestone. If you're new to Persefone, Bobby promises this album is the perfect entry point—a wild snapshot of the band's evolution, energy, and international weirdness. For longtime fans, it's a high-octane victory lap, packed with classic tracks and orchestral bombast. In the immortal words of Bobby: “Go listen.” Live in Andorra is out now —get ready to be crushed, caressed, and possibly convinced you need more vinyl in your life. For more interviews, reviews, and unfiltered metal mayhem, keep it locked on HEAVY Magazine.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsStrap yourselves in, metalheads, because the legends in Mortal Sin are roaring back onto the scene, and they're not tiptoeing in—they're drop-kicking the door open and headbanging straight through it. HEAVY Mag's Ali Williams caught up with frontman Mat Maurer for a chat. It's been a minute (okay, a decade or so) since Mortal Sin hit the highways, but when Mat ran into Andy and Nathan at a Baby Animals gig, talk of the band's 40th anniversary snowballed into what's become the biggest tour in their history. They're talking nine shows up and down the East Coast, Froth and Fury Festival in Adelaide, a Perth date, and even more to come with Part 2 hitting North Queensland, Tasmania, and (possibly) New Zealand. Hell, there might even be a Broken Hill pitstop, just to prove they're covering every inch of Oz. And no, it's not just the “old die-hards” crawling out of their man-caves—Mat reckons even the grandkids are getting in on the action. “All the grandkids,” he laughs. “That's the cycle of heavy metal for you.” If you thought a mega-tour was enough, think again. Mortal Sin are celebrating with a special 40th anniversary vinyl reissue of their 1986 classic Mayhemic Destruction. But in true Mortal Sin style, there's a twist: the cover art is so secret, only the band has seen it. “We're even going to release it in a brown paper bag,” Mat teases. “You won't see it till you crack it open—and trust me, you're gonna lose your mind when you do.” Vinyl nerds, start queuing now—Mat's even promising a splatter-wax collector's edition.The guys are taking the mayhem global, with Germany's Keep It True Festival on the cards, a month of shows across Europe in August, and the calendar jammed so tight they're turning down offers from South America just to catch their breath. Locally, they'll be headlining Shredfest in Brisbane on May 2 at The Mansfield Tavern, with more Gold Coast and regional shows in the pipeline. If you're not planning on seeing Mortal Sin live in 2026, are you even trying? When HEAVY asked Mat for some of his most memorable highlights from decades of carnage, he rattles off support slots for Metallica's ...And Justice For All tour and opening the main stage at Wacken in front of 60,000 maniacs. Not bad for a band that's survived line up changes, pandemic boredom, and the rising cost of vinyl pressing (seriously, it's not cheap). And just so you know, Mat collects PEZ dispensers—1,500 of the little suckers—Ali confesses she's been hunting for the elusive Elvis model, and Mat says he's still yet to find one himself. Metal never dies, and apparently, neither does novelty candy. There's a lot of love in the air—between the band, their fans, and the sheer thrill of playing live again. There's are weird magic that happens when artists and fans meet face-to-face, sober (usually), and sweating it out at the front of the stage. “Playing is always a highlight,” Mat says. “You can't do that from your lounge chair.” Mortal Sin are back, bigger and rowdier than ever, serving up nostalgia with a side of fresh chaos. Don't sleep on this—unless you're too old to mosh, in which case, bring the grandkids and let them jump in the pit for you. Make sure you save the dates and find a local show for their 40th anniversary. Grab your tickets at www.churchesofsteel.com or hit up their Facebook page. See you on the road!Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsIf you thought progressive metal was all serious faces and minor chords, think again. Mitch from Dyssidia joined HEAVY's own Ali Williams for a wild, winding, and refreshingly unfiltered chat—spanning everything from vinyl snobbery to deadly Frisbees and Adelaide's criminally underrated music scene.Dyssidia just dropped their sophomore album Deeper Wells of Meaning—only five years after their debut, because, you know, global pandemics and musicians' creative “pauses.” Mitch spills on the pain of planning an album launch, only to have COVID crash the party two weeks later. The silver lining? More time to marinate, mature, and, presumably, stare at the ceiling thinking about vinyl colour options. Forget digital downloads; Mitch's passion for vinyl is a religion. The band doesn't just release albums—they curate tactile experiences. The latest artwork, painted by Adam Burke (with an actual brush—no AI here, people), is so gorgeous that Mitch reckons at least 20% of positive feedback is just fans drooling over the cover. Want a double LP with wild colours? Dyssidia's got you. Want a band-branded stubby cooler? Even better—just watch out for Mitch's plans to weaponize plastic frisbees at shows. Rock and roll, but with dental insurance. The band's gearing up for their album launch in Adelaide, with Adriatic, Wings of Thanatos, and Kuiper joining the chaos. Touring across Australia is like prepping for the Olympics—distances are brutal, costs are bonkers, and sometimes even the koalas get confused by daylight savings. Perth fans: you're loved, you're loyal, but unless someone donates a private jet, don't hold your breath for monthly Dyssidia visits.Dyssidia have re-joined forces with Wild Thing Records—mainly because the contracts are so chill they're basically handshakes, and the friendships are the real glue. According to Mitch, it's not about the business as much as it is about the hang. “Most of the time, you're just trying to survive and connect with other bands, so your mini-tour isn't just you in a van talking to yourself.”There's no road map for being a modern prog-metal band. Dyssidia is all about that flexible, DIY, make-it-work spirit—embracing the weirdness of the times, working from home, and enjoying the freedom to create on your own terms. New music is brewing (eventually), Adelaide is still underrated, and at least Ali and Mitch are now Facebook friends. In the words of the great philosopher: Thanks babe.”Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsIf you thought punk rockers lived only for chaos, let Joey Cape of Lagwagon shatter that illusion—with a story or two about lawn bowling and beer in the sunshine. In a recent HEAVY podcast sit-down with Ali Williams, Joey offered up vintage Lagwagon charm, plenty of self-deprecating wit, and a clear message: after 34 years on the circuit, he and the crew are still stoked to be heading Down Under for another round of Australian mayhem. Joey barely remembers his first Australian tour in the mid-90s—blame it on time, touring, or maybe just the volume of beers shared with local mates like Melbourne's One Inch Punch. These days, he jokes, it's less punk bars and more dinner with friends (and, yes, the occasional barefoot lawn bowl). Apparently, there's nothing quite like sizing up a crew of retirees on the green and wondering if you're officially “the young guy” again. Lagwagon is hitting the Australian summer hard in late January, with a run that includes the Froth and Fury Festival and a string of headlining shows, before popping over to New Zealand and—on brand—wrapping up with some R&R in Hawaii. Joey's bringing his partner along for the ride, so expect extra stories and possibly a few more lawn bowling anecdotes at the merch table. This tour is something of a “31st Anniversary” bash for their classic album Hoss (punk math: book a 30th, play the 31st, still call it a party). But, as Joey laughs, “Old albums are 30 minutes long—so you basically play the album, then two times more music just to make it a set.” Setlists? Lagwagon's “text thread democracy” means every show gets a different flavour, with Joey confessing that every band's got “that one guy who refuses to play that song.” Still, you'll hear the fan-favourite May 16th—immortalized in Tony Hawk's Pro Skater—plus deep cuts for the diehards. Ever wondered about the real story behind May 16th? Joey lays it bare: it's the date of his best mate's wedding… that he wasn't invited to, thanks to an unimpressed bride. Fast-forward: Joey stumbles onto the ceremony from a stranger's window after a night out and channels heartbreak into punk rock legend. Decades on, the couple is now are divorced, and they're mates again, and Joey declares, “Stick around long enough, you always win.” If you catch Lagwagon this tour, don't expect a bunch of solemn, over-rehearsed rock stars. Lagwagon's vibe is about enjoying the ride, whether it's smashing out classics or just soaking up the sun. “The shows are always great—the band's playing better than ever—but honestly, that's the least interesting part. It's everything else you look forward to.” Lagwagon hits Australia in late January, headlining Froth and Fury Festival (WA and SA) and shows across the country, then heading to New Zealand. Check local listings for details, pack your sunscreen, and maybe a bowling hat. Confirming that perseverance, a bit of stoic attitude, and a good sense of humour are the secrets to making it this far—both in punk and in life, Lagwagon are guaranteed to not disappoint, fans of old and those of new can expect some top shelf shows from these sublime legends. Tickets and info: sbmpresents.com/tour/lagwagon-2026/Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsPrepare your necks and your livers, because Cryptopsy are barrelling towards Australia with all the subtlety of a freight train loaded with blast beats. In this HEAVY interview, frontman Matt McGachy drops in for a chat with our Ali Williams that's equal parts comedy, chaos, and tour-warrior wisdom, as the band prepares to hit Aussie shores for their first tour down under since 2016.McGachy serves up the kind of charmingly blunt honesty only a death metal veteran can muster. He riffs about the pure madness of juggling jet lag, extreme humidity, and trying to deliver guttural vocals without spontaneously combusting on stage. As the band heads for Australia's to celebrate over three decades of metal with four headline shows McGachy is equal parts fired-up and amused, promising that Cryptopsy's live show will be an all-out assault, but with just enough Canadian politeness to (probably) avoid getting deported. The conversation is peppered with tales of culture shock (shoutout to Saudi Arabia's “no moshing” rule), the band's accidental foray into death metal history, and the awkward logistics of ageing in a genre that's all about speed. McGachy laughs about getting older, likening band life to a bad marriage with four stubborn partners and swearing that Cryptopsy's legacy will never involve “Ric Flair-ing” themselves into oblivion. Instead, he promises the band is tighter than ever, running on pure adrenaline, camaraderie, and maybe a few electrolyte tablets. For those craving the inside scoop: yes, the band is stoked for a long overdue return visit, yes, the set will be relentless, and yes, there may be some backstage chaos involving local support acts and sweaty gear changes.  Expect tales of power outages, sonic carnage, and the kind of crowd energy that only Aussie metalheads can conjure. If you want a taste of what's coming, McGachy hints at the band's sharpened focus, a “no repeats, no half-measures” attitude, and a set list that'll leave both new fans and long-timers in a state of delighted ruin. The whole chat is a perfect storm: fun, irreverent, and bursting with that raw energy only Cryptopsy can deliver. By the end, you're left convinced that this tour will be the kind of glorious mess you'll brag about surviving for years to come. Craving the gory details, band banter, and the full run of McGachy's stories? You'll have to catch the full podcast. This is just the opening riff... Tickets www.hardlinemedia.netBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

HEAVY Mag's Ali Williams sits down with Jesse and Ben from Stellar Circuits for a wide-open deep dive into the band's next chapter—one built on evolution, experimentation, and a whole lot of beautifully unhinged studio energy. What unfolds is a refreshingly candid chat that shows a band not just levelling up, but completely reshaping their creative DNA. Band members Jesse (bass) and Ben (vocals) dive into how they've pushed themselves into sharper, heavier, more emotionally charged territory—balancing precision with instinct, layering expansive melody over crushing groove, and building songs that feel bigger and bolder than ever. Opening up about refining their workflow, the unexpected twists behind the writing sessions, and the tight chemistry that keeps everything firing even when the studio turns into beautiful bedlam. Phantom Phoenix is the brand-new album that dropped on November 14, a release they describe as their most fully realised statement yet. With fresh material ready to tear the roof off, they tease early-2026 touring plans and promise a live show that brings all that density, detail and wild energy onto the stage.It's a behind-the-scenes look at a band levelling up—sonically, creatively, and collectively—right as they unleash their biggest release to date. The guys unpack how their sound has shifted into fiercer, bolder territory: thicker riffs, cleaner melodic contrast, and songwriting that feels more intentional without losing the raw edge fans connect with. They describe the ongoing challenge of balancing brute force with emotional vulnerability, and how leaning into that tension has become a defining feature of their new material. From the studio, we get stories of organised chaos, last-minute re-writes, and the kind of hyper-focused intensity that only comes from a band locked in and hungry. They joke about the hair-whipping mania of their live sets, the internal battles over tiny sonic details, and the weird rituals that somehow keep everything on track during the most demanding recording sessions. Phantom Phoenix is described as their “most complete, most deliberate, and most aggressively honest” body of work to date. They touch on its themes, its tonal shifts, and the creative risks that set it apart from anything they've done before. It's a release that marks a clear milestone: the moment Stellar Circuits fully step into who they are as a modern heavy act. Rounding things out, the band tease early-2026 touring plans, promising a live show designed to translate the album's depth and weight directly into the crowd. Expect bigger dynamics, wilder performances, and the kind of immersive atmosphere that turns a gig into an experience. In short: this is Stellar Circuits at their most ambitious, most dialled-in, and most unapologetic. If the interview is any indication, the next era of the band is set to hit with force.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsUK's powerhouse Architects are gearing up for a massive return to Australian shores and fans are in for something fierce. In a raw, witty and refreshingly honest chat with HEAVY Mag's Ali Williams, drummer and principal songwriter Dan Searle pulls back the curtain on the emotional and creative engine powering the band's new era — just as they prepare to bring their latest evolution to stages across Australia.Speaking from a fog-laden UK morning, Searle dives into everything from sonic reinvention to the rediscovery of joy in writing heavy music after years of pressure, burnout and relentless expectations. He explores why the band refuses to stay static, how vulnerability thrives inside heaviness, and why evolution isn't just an artistic shift — it's a survival instinct.Its been 6 long years since the bands been here on tour in full, drawing on the eagerness of themselves to return and for fans to see them again, we get insight and introspective, as Searle's rifs on touring life, fan energy, and the tightrope between catharsis and chaos that has become Architects' trademark.With their Australian tour on the horizon, Searle hints that fans can expect that same creative fire — sharpened, recharged and more explosive than ever. If this interview is any indication, Architects aren't just returning to Australia. They're returning transformed: heavier in spirit, freer in intention, in all the best ways.Tickets and full Australian tour details are available now via the band's official channels and authorised ticketing outlets.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Former All Black Ali Williams sits down with Paula for a surprisingly candid chat about life after rugby, raising a blended family of five and why he thinks Auckland is “the best city in the world” yet held back by stagnant decision making. He shares how a shower conversation sparked Auckland FC, why the club recruits on character as much as talent and how he and Anna Mowbray keep their kids grounded.See omnystudio.com/listener for privacy information.

Interview by Ali Williams90's alt-rock legends Everclear are heading back down under in November, ready to kick off their 30-year Anniversary tour of their debut album Sparkle and Fade. HEAVY Mag's Ali Williams caught up with frontman and founder Art Alexikas to chat about the tour, their huge success in Australia and what fans can expect when they swing through in a few weeks.Hailing all the way from Portland, Oregon, Everclear started making a name for themselves in the early 90s when their debut, independently released album World of Noise (1993) would gain them credit on the home front and East Coast Alt Rock scenes. But that was nothing compared to the epic surge they felt after signing to Capitol Records. In 1995, Sparkle and Fade was released, and in what felt like overnight, the world fell in love with them.Australian audiences couldn't get enough, with the album going platinum soon after its release and reaching 9th place on the ARIA charts of the same year. Their music has that Cali Coast grunge vibe and lyrics that struck a chord with those who could relate.Singing about growing up left of centre, trying to make it in the world, overcoming childhood trauma, teenage angst, underwritten by the influence of recreational drug use and powered by the sex drive of a young adult in top gear still learning the road rules, seemed to resonate with young listeners, and their following albums had the same effect.For many Australians who were teenagers in the 90s, Sparkle and Fade was the soundtrack to their misspent youth, cassette tapes played on repeat, driving along the coastline, windows down, the summer heat thick, mixed with the distinct pungent odour of leaded petrol and dank kush being choofed in another bong hit billowing out of their prized Datto 120Y in clouds of fury. Life was good.Art recalls the moment he realised that their track Local God had become an anthem in Australia when the head of EMI Records asked him before a show why it wasn't on the set list. He couldn't believe it and from then on says “we can't come to Australia and not play Local God,” surprised that a song written as a soundtrack for Baz Luhrmann's remake of Romeo and Juliet had struck such a chord with Australian audiences.Alexikas also shares some insight into what it's like still touring and battling MS, a debilitating, lifelong chronic illness. At 63, Art is definitely showing no signs of slowing down, although he admits he's a little slower than the fast pace he'd once lived. Tickets for Sparkle and Fade are available from www.ticketmaster.com and www.everclearmusic.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Interview by Ali WilliamsHZED band's leading lady Tenaye swung to chat with HEAVY's Ali Williams amidst their hectic rehearsal schedule for their new single release Save Yourself. Released on October 17, Save Yourself is the latest single from Melbourne's HZED. The band has had some recent line-up changes, and with that comes fresh, new vibrant energy.The female lead group have been on the circuit for a number of years delivering riff-driven old school rock with raw, new energy. Having recently had their heads down and in the studio writing new material, HZED is about to bring their new tracks to the stage with a couple of performances over the coming weeks for their home crowd in Melbourne.Temaye speaks of the commitment the bands had to staying consistent and working hard to get the results they want, and it shows; their new track slaps hard. Coming together every week to rehearse plays a big role in being able to go out there and perform live. With hopes to add some more shows to their roster for next year, they are also focusing on eventually releasing another album sometime in the near future.Proudly doing it for the girls, Tenaye's vibrant energy and passion for heavy metal is infectious as she hopes to inspire more girls to get out there and shred it. She's definitely an asset to the band and an inspiration for females in the rock industry.Save Yourself is out now and available on all platforms, and information about their shows and tickets can be found on the band's Facebook page https://www.facebook.com/HZEDBANDBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

This week on Your Best Day Yet, Chief Victory Officer Eric Guy is joined by Ali Williams, entrepreneur, business developer at Elite Paving IL, and founder of Vintage Blacktop Co. From navigating instability in her early years to finding belonging in the world of construction, Ali's story is one of resilience, purpose, and vision. Together, Eric and Ali explore her mission to shift cultural perceptions of the trades, empower women and youth to pursue meaningful careers, and lead with integrity and authenticity in a world that often overlooks quiet leadership.

Welcome back to the Top Contractor School Podcast, where contractors learn how to scale smarter, lead stronger, and build businesses that last.  In this episode, Eric Guy sits down with Ali Williams of Elite Paving and founder of Vintage Blacktop Co. to talk about her unexpected journey into the trades, stepping into leadership in a male-dominated industry, and her mission to bring pride, visibility, and representation to the paving world. From leaving behind a career as a nanny to building a company with purpose, Ali's story is proof that courage and vision can change everything. 

After hours of discussion, Auckland Councillors have not voted on banning helicopters in residential areas, and instead supported an amendment that asks for guidance from the Environment Court. The original motion was put forward by Councillor Mike Lee - who said it was an ambush that his motion was not voted on. It comes after news this week that Auckland rich-listers Anna Mowbray and Ali Williams' approval to build a helipad at their Westmere home will be challenged at the Environment Court. Jessica Hopkins reports.

Councillors will today debate the private use of helicopters in residential areas, following an Environment Court challenge to Anna Mowbray and Ali Williams' approval to build a helipad at their Westmere home. Whau Ward Councillor Kerrin Leoni spoke to Ingrid Hipkiss.

This debate about Anna Mowbray and Ali Williams' helicopter has just got really, really silly in the last day. There is now a push for Auckland Council to ban private choppers in residential areas altogether when they next review the unitary plan for Auckland city, and at least 2 councillors now back that. And one of the councillors backing it is the councillor whose ward covers the Mowbray property. Now I'm sorry, but helicopters are a legitimate form of travel for people who can afford them. They are fast, they avoid traffic jams, and if that is what the Mowbray-Williams family want to use to make their lives easier so they can get from A to B as quickly as possible, all power to them. They can afford it. I feel sorry for the neighbours, I do. I have empathy. I wouldn't want to live next to a property with a chopper that was landing consistently, but nor would I want to live next to a property where the neighbour has a noisy motorbike. And yet - we're not banning noisy motorbikes, are we? Some noisy motorbikes, by the way, are as noisy as choppers. They can hit 116 decibels, which is pretty much exactly the same as the 118 decibels that you can get if you're standing right next to a chopper landing. And there is no ban on those noisy motorbikes, is there? There's no council limit on how many times your neighbour can use one of them, there's no council saying: "Oh, you can use it 10 times a month, but that's it, no more." So why are we doing the same with the chopper? I can't help but feel that some of this anti-chopper sentiment is coming from an anti-rich person place, and we need to get over that. Cause we are lucky, actually, that the Mowbrays have chosen to live in New Zealand. These people are gangster rich, they can live anywhere in the world, and yet they're living here in New Zealand. They're living in Auckland, they're providing work for the people who work in their household, they are paying their mega-dollar taxes into our country, they are pumping money into this economy. Let's not make it harder for people like that. Let's not make it easier for people like that to leave this country by getting weird about helicopters. LISTEN ABOVESee omnystudio.com/listener for privacy information.

In today's episode, the Government announces it will introduce new penalties for those who hurl coward punches, to reflect the gravity of their crime. The weight-loss injection Wegovy, that has the same active ingredient as Ozempic, hits shelves in New Zealand. The Auditor-General reprimands the Defence Force for accepting gifts and hospitality from commercial suppliers. Billionaire entrepreneur Anna Mowbray and her former-All Black husband Ali Williams, have been given permission to build a helipad at their 24 million dollar luxury Auckland waterfront home. And New Zealand golfer Ryan Fox is lending his support to the campaign to save the Takapuna Golf Course on Auckland's North Shore.

Billionaire entrepreneur Anna Mowbray and her former-All Black husband Ali Williams, have been given permission to build a helipad at their 24 million dollar luxury Auckland waterfront home. Elena Keith from Quiet Sky Waitemata opposed the application, she spoke to Ingrid Hipkiss.

On the Mike Hosking Breakfast Full Show Podcast for Tuesday 1st of July, we've got a new police college opening in Auckland today – is it a case of build it and they will come? What is it about helicopters that gets us so exercised? Mike has some thoughts on Ali Williams and Anna Mowbray's helipad getting approval. We haven't caught up with Ryan Fox since his success on the PGA Tour, so we catch him before he jets off to the UK for the Open Championship. Get the Mike Hosking Breakfast Full Show Podcast every weekday morning on iHeartRadio, or wherever you get your podcasts. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Helicopters are such an Auckland issue. I love helicopters. I have flown in a lot of helicopters. Our place is on a flight path north. People who go to the Bay of Islands and to the flash golf courses north of Auckland fly over our place. On a sunny Saturday they start 6.30am-ish in summer. On a still day you hear them coming maybe 30 seconds before you might see them. Because I like them, I have never understood the Waiheke moaners who can't stand them and want them banned on their island. To me a helicopter is full of people going places, i.e. tourists and golfers. These are people we like and want. If you haven't followed the story, Ali Williams, once an All Black, and Anna Mowbray, part of the Zuru clan, are a couple and they have a house in Westmere, which is an inner-city suburb in Auckland. They applied to land their chopper at their place. Cue the horror. Far too much money and time has been spent on this – over 1400 submissions. That's right, 1400. And what was mad about it was a number of submissions submitted that they had no view. You can't make this up. The number of people who are clearly bored out of their minds is unreal. Many a submission against their use of a chopper in suburbia came from people who don't even live in Auckland. Not only were they not close to the landing pad, but they're not even in the same city, i.e. it's got nothing to do with you. Lawyers, council staff, submissions, hearings, and Lord knows how many hours and dollars and, as you will have heard, Williams and Mowbray win. They can land at their place two times a day for no more than 10 times a month. There is nothing, said the Commissioners, untoward, unacceptable, or significantly out of character with helicopter noise, which I think is fair enough. But two questions; 1) How many got exercised out of petty jealousy, i.e. rich folks doing stuff we don't like? 2) How unpopular does it make them? And do they care? There is of course the precedent now. Suburbia and choppers are no big deal. Very Auckland. See omnystudio.com/listener for privacy information.

Ali Williams and Anna Mowbray's controversial plans for a helipad go before a council panel this week as the council tries to tighten rules for helipads on Waiheke and Great Barrier islands. 

Today On The Show - 0.00 - Bryce Went Fishing 3.56 - Drunk Auctions 20.41 - The Bryce Is Right 28.08 - How We Look Busy 32.42 - Ali Williams 46.44 - One Second Song 52.02 - Pool Jogger 55.36 - Awake During Surgery

The finale of Claud's mystery... or is it? Ali Williams and the successful first season for Auckland FC. Bree blows our minds. Fridayoke - Anxiety by Doechii. See omnystudio.com/listener for privacy information.

New images have given Aucklanders a closer look at the Western Springs Stadium proposal backed by Auckland FC and their billionaire owners. The images and a new video feature in a campaign to generate public support for the stadium, which has been called Auckland Arena. The website said there would be zero cost to the ratepayer with $300 million in private funding secured already to deliver the project. Auckland FC co-owner Ali Williams says Aucklanders deserve a smaller, intimate 'family-friendly' stadium - and this presents the perfect opportunity. "You've got to remember that the sport is not just about the product on the field, it's about the vibe outside the field, around the field, it's about families feeling comfortable, it's about people being passionate and bringing communities together." LISTEN ABOVESee omnystudio.com/listener for privacy information.

On the Heather du Plessis-Allan Drive Full Show Podcast for Thursday, 17 April 2025, the cost of living is on the rise again so will the OCR keep falling? KiwiRail apologises for misleading customers about compensation. A lawyer explains the implications of the UK's Supreme Court ruling on what defines a woman. Auckland FC co-owner Ali Williams in studio with Heather to talk about his proposed new stadium for Auckland ... and his helipad application. Plus, the Huddle gets fiery when Heather asked if senior doctors deserve a payrise. Get the Heather du Plessis-Allan Drive Full Show Podcast every weekday evening on iHeartRadio, or wherever you get your podcasts. LISTEN ABOVESee omnystudio.com/listener for privacy information.

We were delighted to talk to author ⁠⁠Ali Williams again, this time about one of her own favourite fantasy romances, In The Vanishers' Palace by Aliette De Bodard.There might be some small plot point spoilers in our discussion of the book but we always try to warn you. As always with romance, we know there is going to be a HEA and our episodes aim to share the joy we take in following the characters on their journey towards it and prompt conversations exploring why SFF romance is so fantastic. These are adult romances, so warning for explicit language and please check content/trigger warnings for the book before listening if there are topics that you might find upsetting to hear about. In next week's episode we will be discussing our topic of the month: Audio Books.If you'd like to watch this episode with captions, you can find links to You Tube and Spotify here: ⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/SFFRomCast⁠⁠⁠⁠⁠⁠⁠ along with our social media details. We'd love to hear from you! All our music has been taken from the following track: https://uppbeat.io/t/danijel-zambo/fairytales (License code: 43DIFSVAZ90MEEQ8) Music from Uppbeat (free for Creators!)

Welcome to the tenth episode of season eight. We're talking about what we've been reading, new releases coming up in April and the book chat buzzing in SFF romance publishing and reader communities over the last month. Next week we'll be back with our guest author for April, Ali Williams, for a discussion about one of her own favourite fantasy romances, In The Vanishers' Palace by Aliette DeBodard.If you'd like to watch this episode with captions, you can find links to You Tube and Spotify here: ⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/SFFRomCast⁠⁠⁠⁠⁠⁠⁠ along with our social media details. We'd love to hear from you! All our music has been taken from the following track: https://uppbeat.io/t/danijel-zambo/fairytales (License code: 43DIFSVAZ90MEEQ8) Music from Uppbeat (free for Creators!)

Welcome to episode nine of season eight! We were delighted to talk to author ⁠Ali Williams about the first novella in her new series, Nix and Tell. Next week we'll be back with our monthly book chat, and look out for episode eleven when Ali will join us again for a discussion about one of her own favourite fantasy romances. If you'd like to watch this episode with captions, you can find links to You Tube and Spotify here: ⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/SFFRomCast⁠⁠⁠⁠⁠⁠⁠ along with our social media details. We'd love to hear from you! All our music has been taken from the following track: https://uppbeat.io/t/danijel-zambo/fairytales (License code: 43DIFSVAZ90MEEQ8) Music from Uppbeat (free for Creators!)

In this episode we're talking about our topic of the month - adaptations. Next week we'll have our third guest author of the season, Ali Williams, join us to discuss her latest release, Nix and Tell. If you'd like to watch this episode with captions, you can find links to You Tube and Spotify here: ⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/SFFRomCast⁠⁠⁠⁠⁠⁠⁠ along with our social media details. We'd love to hear from you! All our music has been taken from the following track: https://uppbeat.io/t/danijel-zambo/fairytales (License code: 43DIFSVAZ90MEEQ8) Music from Uppbeat (free for Creators!)

Another strand has emerged in the Auckland stadium saga. A group of high-profile New Zealanders, including NBA star Steven Adams and former All Blacks lock Ali Williams have proposed a new 12,500-seat stadium at Western Springs. It's understood that representation from the consortium presented their plans for the new stadium in central Auckland to a closed session of councillors last week. Sportstalk host D'Arcy Waldegrave explains further. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Happy Holidays! Our best of compilation series continues with part two - Best of Sport. We've chopped up some of the best bits from all of our favourite sport episodes from 2024. In this episode you'll hear from Dame Lisa Carrington, Ali Williams, Tim Brown, Raelene Castle, Samuel Whitelock, Megan Compain, Paula George, Craig Fenton, Simon Porter, Steve Tew, Andrew Mehrtens, Matthew Ridge, Sione Faumuina, Cameron Leslie, Dr. Inia Raumati, Emma Twigg and David Nyika. It's quite a list! If you missed part one - Best of Entertainment & Business go and check it out. This episode is brought to you by TAB, download the new app today and get your bet on! Listen on iHeart Radio or wherever you get your podcasts from or watch the video on YouTube. Enjoy.See omnystudio.com/listener for privacy information.