O'Flynn plays Fitzroy's Night Cat on 12 September, his first Australian show after a decade of records on Ninja Tune, Blip Discs and his own Hundred Flowers.
After a decade of quietly excellent records, and O’Flynn is finally getting on a plane to Melbourne this September.
Gallery has locked in the UK producer for The Night Cat on 12 September, with doors at 10pm and an 18+ door policy. It’s his first run through Australia and New Zealand, and Melbourne shares the visit with a Sydney date. Tickets are on sale now, and the venue asks for current photo ID on entry – a driver’s licence or passport.
The timing isn’t accidental. O’Flynn arrives off the back of Kairos, his third album, released 17 July through his own Panthus label. The title borrows from the ancient Greek idea of the decisive moment – the point at which everything lines up – which is either enormously confident or exactly right, depending on how the night goes. It’s a record built for immersion rather than immediacy, weighting atmosphere and detail as heavily as club function.
O’Flynn
- 12 September
- The Night Cat, Fitzroy
Stay up to date with what’s happening in and around Melbourne here.
The back catalogue explains the demand. O’Flynn has spent more than 10 years working across Ninja Tune, Blip Discs and Hundred Flowers, with collaborations alongside Bonobo and Barry Can’t Swim, and support from Four Tet, Ben UFO, Gilles Peterson and James Blake. His inclusion on Bonobo’s Fabric mix led to the joint track Otomo, and later a spot on Bonobo’s touring run. Shimmer, an album made with Frazer Ray, landed via Ninja Tune’s Technicolour imprint.
More recently he’s been operating at a noticeably larger scale. A five-week residency at London’s Phonox sold out, as did a headline show at KOKO and a UK live tour in April. He’s been a Rinse FM resident since 2023, and he handled the first release on Barry Can’t Swim’s Earth’s Only Paradise label – two tracks that swung between disco warmth and harder club pressure.
The Night Cat’s circular room and in-the-round setup make it a reasonable fit for a set that’s more about pacing than peaks. Gallery is billing the Melbourne show as a trip through the catalogue, which, given how much of it there is, should keep things moving.
For more information, head here.
