Now Or Never platforms experimentation in the public eye

Returning for its third year this weekend, Naarm/Melbourne festival Now Or Never is set to take over a series of venues, spaces and public meeting points for a curated program of over 100 free and ticketed events.

The festival, spanning a mammoth 11 days, has grown an increasing reputation for its dedication to innovation, creativity and futuristic thinking across music, film, performance, discussion and sensory experiences.

The impact of electronic and dance music has, in a festival format, primarily been felt across Australia’s grassroots and several-day camping festivals. Now Or Never has proven, however, that there is a huge appetite for forward-thinking music by many more than just festivalgoers.

This year’s event is set to feature a lineup of incredible local and international artists, including Logic1000, OK EG, Yarra, Moritz, Marie Davidson, Ryoji Ikeda, Kia, Sleep D, DJ Python, COKI and many more.

Ahead of this week’s launch, Mixmag ANZ sat down with Now Or Never’s Artistic Director, Elise Peyronnet, to understand precisely what the festival means and owes to Naarm as a whole.

EP: We’ve learnt a lot in the past two years. We’ve seen firsthand that when art is coupled with technology, it can convey big ideas and create truly extraordinary experiences. I think we’ve also proven there’s a real appetite for this kind of programming in Melbourne/Narrm and have been able to build a reputation – both locally and internationally – as a festival that highlights bold, multidisciplinary artists who might not otherwise have access to this kind of platform and scale.

EP: Curating a festival is always a balancing act – especially when the aim is to create a program that speaks to a diverse range of audiences. With Now or Never, we have a broad scope of possibilities in terms of how we present program elements – from performative works and keynotes to music performances and installations. The artistic direction is centred around presenting works that create wonder while also encouraging curiosity and learning. This year's program reflects Melbourne’s identity and its rich creative scene – and we collaborate with diverse arts organisations that share that same vision.

EP: We’ve built a close relationship with Soft Centre since the very beginning of Now or Never –sharing a similar curatorial direction around experimental and cross-disciplinary work. This year, the timing aligned as they were presenting a festival in Sydney during the same period, which allowed us to collaborate on some international bookings, including the Australian premiere of Ryoji Ikeda’s ‘ultratronics’ tour. We’re also co-presenting a world premiere, PARA.cine by New York-based virtual performance pioneers Team Rolfes – a filmic performance reimagining cinema as a live theatrical space at ACMI.

EP: There’s a strong connection between the large-scale installations and Now or Never’s music program. Many of the artists behind this year’s installations, such as Boris Acket – the mastermind behind Einder – and Hamill Industries, who are collaborating with Floating Points, have roots in the electronic music scene. Sound is central to everything they create. Whether it’s kinetic installations or video projections, the works aren’t just visual – they’re deeply sonic. That’s what sets Now or Never apart from a typical light festival: the immersive experiences are equally shaped by sound and image.

EP: We like to select artists who haven’t performed a great deal in Australia, or who are bringing rare or unreleased projects to local audiences. For example, Laurel Halo will present a unique live performance of new works at the Melbourne Recital Centre, alongside cellist Leila Bordreuil, while New York-based DJ Python will make his Australian debut at Melbourne Town Hall.

Now or Never is also a platform for the many local artists and creatives who make Melbourne so unique. This year, we’ve once again worked to showcase their work, such as the remount of BURDI BURDI by Dr Christian Thompson AO, which will be presented on Melbourne’s iconic Evan Walker Bridge.

EP: While the opportunity to co-present a show with Untitled Group didn’t align this year, we have a great working relationship with them, and continue to work closely with a range of promoters and touring agents to present a diverse, dynamic lineup for the festival.

EP: This year, we’re presenting an entirely different experience at the Royal Exhibition Building. Returning to its original purpose as a space for large-scale exhibitions, the building will host a monumental inflatable installation created by Barcelona-based studio Penique Productions.

The installation, MATRIA, will transform the inside of the building into a monochromatic space with sound and lighting design. At night, MATRIA will host atmospheric listening experiences featuring artists like rRoxymore, Alex Zhang Hungtai and Amber McCartney – a completely different take from previous years’ music program.

EP: Aesthetically, I’ve always been drawn to the contrast of old and new. As a festival curator, place plays a central role in programming decisions. Back when I used to program Melbourne Music Week, I always had Melbourne’s landmarks in mind, because I believe experiencing a show in a unique space adds a new dimension to the experience. It also speaks to why festivals exist in the first place – to offer a different experience of a city, compared to what people can expect on any other given day of the week.

Certainly, the same goes for art installations; they need large spaces to breathe, and heritage buildings like Royal Exhibition Building or Melbourne Town Hall provide that opportunity, while bringing a sense of grandeur, and evoking an atmosphere that contemporary works can contrast against. From a practical standpoint, of course, there are challenges, but those constraints often lead to more imaginative and ambitious outcomes.

EP: What I think sets Now or Never apart from many multi-day festivals is its use of unique and unexpected spaces to present works. The physical context becomes part of the experience – transforming how audiences engage with the art, music or ideas being shared.

Another key point of difference is the festival’s discourse program, which extends the experience beyond the performance itself. This year, alongside keynote talks on topics like First Nations Knowledges and Artificial Intelligence, and Liz Pelly’s take on Spotify, we’ve introduced an expanded series of artist talks. These offer audiences a deeper insight into the ideas behind the work, creating more space for reflection and connection with the festival as a whole.

EP: I wouldn’t call it a curveball – more of a hidden gem. I’m personally excited about CORTEX – a multidisciplinary dance performance that, to me, truly sums up what Now or Never is all about. It’s the Australian premiere of a powerful collaboration between Berlin-based Kianí del Valle’s KDV Performance Group, Barcelona’s visual artists Hamill Industries, and Argentinian producer Tayhana.

It’s bold, immersive and deeply affecting. It will be presented as part of the Melbourne Town Hall lineup on both Saturday 30 and Sunday 31 August.

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Jack Colquhoun is Mixmag ANZ's Managing Editor, find him on Instagram.