After just announcing two upcoming shows at Melbourne’s Rising Festival, plus a Sydney headline at the Metro Theatre, North Carolina rock band Wednesday announce further headline shows in Fremantle, Brisbane and Mullumbimby this May/June, presented by Mistletone. See all on sale timings and ticket links HERE.

As fans who saw Wednesday on their debut Australian tour in 2024 can attest, their live show leaves a lasting impression – a gloriously ramshackle, emotive and powerful communal experience. From wowing crowds at Golden Plains, MONA FOMA and Perth Festival as well as sweaty club shows, Wednesday have gone on to play their biggest shows to date around the world, most recently selling out the 3,000 cap Roundhouse in London, hailed by The Times as “A five-star example of the US crank rock invasion”.

Joining the group are local supports Smol Fish + Symmetrical Dogs (May 29). Alien Nosejob (May 31), Season 2 (Jun 1), and Naaki Soul (Jun 3 & Jun 4).

Beloved by fans and critics alike, Wednesday’s Southern rock sound is an intoxicating blend of outlaw grit, place-based poetry, and hair-raising noise. Following a relentless and rewarding touring schedule, the band are set to showcase live just what made their latest album Bleeds one of 2025’s greatest on their Australian return. Where Rat Saw God was their breakthrough, Bleeds is Wednesday’s biggest triumph. Dominating Best Of The Year lists, adulation from Pitchfork, TIME Magazine, GQ, NPR, Rolling Stone, a TV debut on The Late Show with Stephen Colbert, and garnering over a million monthly listeners on streaming.

Bleeds is not only the best Wednesday record – it’s also the most Wednesday record. Karly Hartzman — Wednesday’s founder, frontwoman, and primary lyricist — credits the band’s tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that’s been both rewarding and relentless. “Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential ‘Wednesday Creek Rock’ album,” Karly has said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they’ve refined the formula that makes them one of the most interesting rock bands of their generation.

Rife with country truth-telling, indie-pop hooks, and noisy sludge, Bleeds is a reminder that Hartzman and her bandmates are exclusively interested in chasing glory through games they invent themselves—games with rulebooks you can only decipher late at night, in that freaky and perfect place between sleep and awake where you’re not sure if you’re dreaming or remembering something that already happened. In this arena of their imagination, the scoreboard’s a neon bar sign, the commentator’s a cicada, the mascot is an eighty-year-old Pepsi addict with no teeth. Wednesday is always World Champion, and the award hanging from Karly Hartzman’s neck isn’t an Olympic gold but rather a heart-shaped pendant—a clunky, rust-stained heirloom with countless funny and fucked-up stories locked safely inside.