Interview by Erandhi Mendis // Photography by Laura May Grogan
Hayley Percy isn’t just watching a show—she’s envisioning a world. As the Head of Music for Melbourne’s RISING festival, Percy’s role isn’t simply to book bands or fill stages — it’s to orchestrate a cultural experience that feels deeply rooted in Melbourne’s rhythm, identity, and complexity.
Since its inception (with groundwork laid pre-pandemic), RISING has grown into a uniquely Melbourne moment—a collision of music, art, performance, and place. For Percy, it’s about integrating into the city’s bold and storied music ecosystem rather than trying to reinvent it.
The Art of Placemaking
Percy’s approach is fundamentally about placemaking—not in the abstract, academic sense, but in the sweaty, sonic, feet-on-pavement kind of way. At a time where music festivals feel under threat, city-wide festivals offer a reprieve with ambitious scale and low barrier to entry. Having grown up in Melbourne, the skyline is a matchless crucible of culture within which to set a scene. Logistically, still a gargantuan task – but Percy speaks with reverence about Melbourne’s venues, its genres, and most importantly, its people.
“Melbourne is one of the most vibrant and active music communities in Australia, if not the world,” she says with conviction. “It’s super exciting. And having grown up between Brisbane, Sydney, and Melbourne, I’ve always had tethers to venues and gigs—it’s always been part of my community.”
That sense of community is reflected in how RISING operates. It’s not about imposing a narrative, but highlighting what’s already simmering under the surface and giving it a soapbox. Percy emphasizes the layers of programming—from intimate club gigs to expansive multi-stage takeovers—designed to speak to both the casual punter and the deeply initiated.
The Day Tripper Vision
Perhaps the clearest example of this ethos is Day Tripper, RISING’s multi-venue mini-festival-within-a-festival that debuted in 2023 and returns this year with renewed ambition. Staged across spaces like Max Watt’s and Melbourne Town Hall, the event captures Percy’s curatorial superpower: building moments of discovery in the middle of the city.
“Day Tripper allows us a bit more flexibility and freedom,” she explains. “You come for one band, and you leave with three new favourites.”
That spirit of serendipity is rare in an era when festivals face rising costs, audience fatigue, and the demise of many beloved institutions. But Percy’s solution isn’t just nostalgic—it’s strategic.
“We’re working in a different climate,” she says. “Cost of living is a real thing. People’s ability to be out all the time is a real thing. But with anchors that bring in the audience, we can also take risks—program experimental acts that might not make sense commercially, but should still be seen.”
Curating Through Curiosity
If there’s a single thread that runs through Percy’s programming philosophy, it’s curiosity. She compares her thought process to a family tree, starting with one compelling idea or artist and branching out in unexpected directions.
This year’s lineup — anchored by names like Japanese Breakfast, Beth Gibbons, and Suki Waterhouse — a dreamy shoegaze theme emerged almost instinctively. “I slowly started seeing these ‘wavy baby Lana girlies’ appear in the programming,” she laughs. “Not intentional, maybe I was just listening to too much Lana… but that’s how it evolved.”
And then there’s the pure excitement of seeing certain programming come alive: Marlon Williams with a full choir at the Town Hall. “That’s going to be very special,” she says, eyes lighting up.
It’s the kind of job that can sometimes seem farfetched – like the vocation of a fictional protagonist living in New York city for a 3 season HBO show. It sounds dreamy, but when you’re in the industry you know it’s a grind to get to where Percy is. For those dreaming of curating festivals themselves, Percy is refreshingly candid. “There’s no one pathway,” she says. “I just started doing the door at venues and booking small nights. No job was too big or small.”
She encourages aspiring curators to simply get involved—volunteer, book gigs, pitch ideas, and most importantly, pay attention. “Just being active in the industry, knowing who’s doing what, and putting on a show for your friend’s band at a pub—those things matter.”
Even now, she credits Melbourne’s network of independent promoters, artists, and music lovers as co-conspirators in her work. “I don’t just make this up,” she admits. “I work with so many amazing people to make it a reality.”
A Festival That Feels Like the City
At the end of the day, what makes RISING distinct—and what makes Percy the right person to helm its soundscape—is how personal it feels. She doesn’t see the city as a backdrop, but as a co-creator.
“It’s about finding the heartbeat of Melbourne and then amplifying it,” she says.
And as RISING returns this year, full of gospel echoes, indie glimmers, experimental beats, and everything in between, it’s clear: under Hayley Percy’s vision, RISING is thriving.
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Check out RISING and tickets to the full program here
