Jem Cassar-DaleyNow in its eleventh year, Live Nation’s Ones To Watch initiative, backed by American Apparel, has strived to platform the next generation of emerging artists worldwide.
After five years of launching the program in Australia, Ones To Watch events have toured the country, stretching from Perth to Adelaide, Melbourne, and Byron Bay, featuring at the 2024 Regional and Remote Music Summit in Darwin, and, of course, back in Brisbane for their annual return to BIGSOUND.
This year’s BIGSOUND Ones To Watch alumni included Eli Wan, fresh off the block, not even 12 months since his single debut, fellow Queensland local and multi-accoladed Jem Cassar-Daley, plus an exclusive performance from Melbourne popstar and producer Holly Hebe.
For the announcement of this year’s BIGSOUND Ones To Watch showcase, Live Nation Australia Promoters Emily Taylor and Paul Lynch shared in a statement their enthusiastic anticipation for this tremendously talented trio making up the bill:
“We’re incredibly excited about this year’s line-up — Holly Hebe, Eli Wan and Jem Cassar-Daley are three artists we’re really excited about, and we can’t wait to see them take the stage. It’s also been great to continue building our partnership with American Apparel® and work together to create more opportunities for upcoming Australian talent.”
Kicking off the evening was Jem Cassar-Daley, also celebrating the first week of her debut album tattoos used to come off in the pool released out into the world.
Nova’s Maddy Rowe, hosting the showcase, welcomed Cassar-Daley on up, who bounced across the stage with a smile sparkling ear to ear as the intro to her album’s opening track Speak Now played out.
Cassar-Daley’s immaculate vocals soared over a solid stomping drum beat, performing with an on-stage presence that radiated poise and humble power polished by her extensive live experience. Exquisite vocal riffs then fluttered through the pre-chorus of her massive 2025 single Kiss Me Like You’re Leaving, lighting up the faces of the front row who chanted back every lyric.
Her third track, Into Sunsets, also off her new album, welcomed a change of pace with her band stepping to the side, circling one microphone, as Cassar-Daley carried the intro behind the keys.
While a talented force that can effortlessly morph from high-powered pop to tender ballads, Cassar-Daley shines so impressively in a stripped-back set. A born storyteller, Cassar-Daley’s exposed performance was dripping with conviction, earnestness and a sheer kind-heartedness that was truly captivating, swathed in silken harmonies.
Her second-to-last track was saved for her 2023 hit, King Of Disappointment, which garnered the singer-songwriter Song of the Year at both the Queensland Music Awards and the AIR Awards.
Paying close attention to a steady dynamic build, the band, together with Cassar-Daley, ebbed and flowed between heavenly four-part harmonies, driving drums and a solo pre-chorus, before thundering into the final chorus, crowd in tow, with the force and liberation of a long-awaited summer storm. The crowd soaked up every second, with Cassar-Daley taking a moment to highlight one particular front-and-centre audience member.
“Massive shout out to Dave who’s been at every single one of my shows,” she called out, praising beloved journalist David James Young’s infamous Guinness World Record for the most concerts attended in one year.
“If I’m even on your roster, I am so honoured,” she beamed before launching into her final track for the night, All I’m Thinking About, with a magnetic, playful performance leaving the vibes high.
For those who weren’t able to catch Cassar-Daley at BIGSOUND, there’s no need for FOMO because luckily you’re right on time for her nationwide tour that will be taking her new album on the road to Perth, Adelaide, Melbourne, Sydney and Brisbane across September.
Next up on the stage was Eli Wan, capping off a massive debut year with a string of BIGSOUND showcases after only releasing their first single, pixeldust 18+, in October 2025, immediately sparking a massive reception on triple j Unearthed with a slew of five-star applause.
Wan’s since peeled back layers on an impressive musical range, oscillating from brooding indie sleaze to glittery lofi electronica across his debut EP released in May this year titled dead.end.fantasy part one.
For those who had never headed to an Eli Wan show before, myself included, we were about to be locked in for quite a ride.
The set starts unexpectedly with Wan’s DJ alone on stage calling out from behind the decks: “Eli, it’s time for the show! Where is he?”
Cue Wan’s entrance, carried in through the audience crowd-surf style before reaching the stage and catapulting into a guttural, jolting performance, delivering a vibe-shift from Cassar-Daley similar to biting into an electrified lemon wedge. Wan did not stop moving for a second, dancing in front of the decks with a glitchy mix between the robot and one of those car dealership inflatable tube men.
Transitioning into his next track, i give you my life, Wan wound the energy back to ease the crowd into the track’s mellow, wistful intro, before snapping right back into a pounding chorus and leaping off the stage into the audience.
Bouncing sporadically amongst the crowd, gasping for air between lines, Wan impressively loosened up the industry audience, undoubtedly weary on night three of BIGSOUND, who were now waving their arms with stunned smiles frozen half in disbelief, half in delighted surprise. Wan circled the space parted for him amidst the audience, singing directly into outstretched phones and even stopping to have full conversations with members in the crowd.
The show continued with the same frenzied unseriousness, which was somewhat refreshing, as much as it was unexpected. Wan rocketed into his latest track i wanna waste my time with you on my mind, released only the day prior, and continued to thrash about amongst the crowd, at one point even linking arms and spinning with an audience member.
As he barrelled into an unreleased track titled go crazy, the room was fully captured, surrendering to whatever this utterly unhinged display threw at them, singing along and sharing grinning glances. Firing through tracks, his next performance was saved for his debut single pixeldust 18+, which at the song’s close, saw Wan unleashing lungfuls of cathartic shrieks before offering the mic to the front row, inviting them to do the same. And they did.
And to close the set? None other than Wan leading the audience through The Nutbush, of course, as his final track for the night, helena on hinge, blasted glittery euphoric house beats to a sea of bewildered smiles. After Wan ran off stage, the air inside The Outpost had definitely shifted, dissolving into elated chatter at the chaotic cyclone of joy and absurdity that had just bombarded through the venue.
Closing the event was Holly Hebe, who has recently wrapped up her Australia and New Zealand tour supporting the release of her latest EP, Mood Ring.
Kicking things off with the EP’s title track, Hebe played keys with her drummer behind her, easing the crowd in with her signature breathy vocals and effortless stage presence, quietly self-assured. Juxtaposed by Wan’s shock to the senses, Hebe glided across the stage as graceful as her featherlight melodies.
A punchy drumbeat signalled a shift in gears as Hebe headed into her second track Swimsuit — carefree, warm and buzzing like wind through your hair while hanging your head out the car window. Clearly a crowd favourite, Hebe waved the mic over to the front row as they screamed the bridge “It’s never just a kiss!” at the top of their lungs.
Continuing through the new EP, Hebe introduced the next song Babypickyourphoneup as the “purple” track off Mood Ring, cruising into slower, contemplative performance peppered with Hebe playing twinkling flourishes on the keyboard. Visibly at home on the piano, Hebe welcomed us into her next track, Strobe Lights, with a grand flourish that then snapped into an immediate dance feel with clean-cut drums and pulsing synth chords.
Before announcing their next track, Birthmark, Hebe revealed that her setlist had been hastily scrawled on the back of a packet of “premium airbuds” after getting off their plane from Melbourne only two hours before the show. “Airbuds are still in there and unused, so if anyone wants them afterwards, they’re all yours,” she laughed.
Her laid-back, bubbly energy bopping across the stage morphed into a shadowy entry of Crying Your Eyes Out, giving way to slightly haunting punctuated vocals and bursts of sparkling keys over swirling dissonant synths.
Thanking the crowd as the show drew to a close, Hebe announced they would close the set with her favourite track — Bottle Blonde. An acoustic guitar-strumming track echoed out, contrasting the largely electronic pop set that preceded it, and Hebe leant into a warmer, folkier vibe as her enthusiastic fans flocked to the front to belt out the 2024 breakout track with her.
