Australia’s explosive export is rewriting the rules of rock ’n’ roll — one wild night, one uncompromising record at a time.
Out of Australia’s sticky summer nights comes Full Flower Moon Band — a name that’s gone from whispered cult obsession to one of the country’s most ferocious live exports. Led by Babyshakes Dillon, the band doesn’t play shows so much as unleash them: sweat, distortion, tension, and release. Each performance feels like a small act of rebellion — something uncontained, unfiltered, and impossible to fake.
After a breakout year that saw them sell out rooms across London, Manchester, Berlin, and Paris — and rack up millions of views from chaotic live clips — the band has returned with a new chapter that stretches their MEGAFLOWER universe into stranger, freer territory. Collaborations with Nicholas Allbrook (POND), Gustaf, and Drunk Mums twist the familiar into something volatile and new. A celebration of excess, instinct, and the strange beauty of holding nothing back.
F.Y! – You’ve said before that this new phase isn’t an afterthought — that it’s part of the same creative world as MEGAFLOWER. What made you want to stay in that space rather than move on completely?
There were so many songs from Megaflower that didn’t make the original album – and I tend to work in chapters. I just had a feeling that they wouldn’t fit on a future record very easily. As boisterous and multifaceted as MEGAFLOWER is, I had been cautious to build the world as succinctly as possible. Seeing the Megaflower world be understood by audiences sort of game me the wings to show everything else that had been left on the cutting room floor.
F.Y! – There’s a roughness to these tracks, like you wanted to keep them raw instead of polishing them smooth. How do you decide when something’s finished — or when it should stay imperfect?
I usually work a song until it stops being good, then bring it back to where it is good. I come from a pretty DIY, lo-fi background so those texture just feel authentic. The process to achieve that now with a bigger team is super editing-heavy. I get right up inside the recording and spend most of my time editing what we have captured. Once I send it to a mixing engineer I usually make more edits after the mix again. That outside perspective gives me just enough distance to see what I have made and where it can go. A rawness is sort of baked into the process that way.
F.Y! – The collaborations this time are huge — Nicholas Allbrook, Gustaf, Drunk Mums. How did those connections come about, and what did they add to the mix?
I’d been feeling like an island. You hear stories about bands running into each other in studio hallways or dropping into each other’s sessions, and I felt like I was missing out on that part of the dream. So collaboration became a big part of the concept for the deluxe.
Lydia from Gustaf was the first person I asked because there was a cosmic buzz going on. Dean from NPR had sent our music to Mel, their drummer and we hung out in New York. By the time I wrote “Scene” we were all fans of each other, and Lydia was the only person I could imagine working on it with.
Harder Man and Smoking were discarded from the original album because I wrote them for male voices. I knew Nick (Pond) and Jake (Drunk Mums) would be iconic. We’d toured with both bands, and Full Flower Moon Band have been fans of them for a long time. So I just messaged.
In the end, all these collabs were about serving the song. Each of these artists have such a singular, cult energy. I’m still in awe that everyone jumped in. It felt like a more intimate and connected way of being artists together.
F.Y! – “Scene” feels tongue-in-cheek — a kind of satire of fame and performance. Where did that idea come from?
I wrote “Scene” the week we hit number one on the ARIA charts. I was feeling a bit bratty and wanted a healthy way to talk about the strange split between being liked, but not being able to hold space for every person who wants time with you. I’m usually pretty approachable at shows, but I’d started to hit a limit, and I wanted explore that feeling without actually acting on it.
It’s the most dramatic angle. What if I just wasn’t nice? I love connecting with people, so I’d never behave that way in real life, but putting that messy energy into a song felt good. I worried people might hate me for it, but it turned out to be a pretty universal feeling. Everyone knows what it’s like to want to feel untouchable.
F.Y! – Your live shows have become mythic — wild, electric, a little dangerous. What’s your mindset when you step on stage?
I’m just here to entertain to the best I can, and that is cathartic. I guess a wildness comes from channelling an energy that we all need a place to express.
F.Y! – You’ve just come off your first major European tour. What did it feel like to take this chaotic, sun-drenched sound from Australia to cold European rooms — and see it hit?
Before going to Europe, I was mostly worried people wouldn’t connect with the songs because the lyrics might not land the same way they do in Australia. Lyrics are important to me, and I thought the writing might a solely Australian thing. I don’t tend to stick to universal themes, and I love using odd little phrases, so I really thought it might get lost in translation. It’s funny looking back, because it turns out the live show hit exactly the same in Europe.I guess the riffs do a lot of the talking.
F.Y! – You’ve been shouted out by Cage the Elephant, Sleaford Mods, even Jack Black and Noel Fielding. Does that kind of global recognition change how you see what you’re building?
Yeah, it’s given me a more grounded sense of how art really is just about making something people like. It’s easy to feel like the music industry has “levels” to move through when you’ve been called an emerging band for ten years. But this reminded me that everyone is just human, and if they connect with your art that’s a win. It’s a good sign though that we have resonated with some people who have a great deal of credibility. To have a nod from those at the top of their game is very special.
F.Y! – You’ve also been outspoken about giving fans real value — not re-selling the same record twice, making deluxe editions feel genuine. Is that a statement against how the industry works?
Absolutely. For me, the deluxe album isn’t a cash grab — it’s a deeper conversation with anyone who loved the original record. It’s about expanding that world together rather than reselling the same thing twice.
After landing at #1 on the Australian charts, I wanted to take the pressure off that kind of validation. By blowing out the creative conversation and scattering people’s expectations of what a “commercial” band should do, I gave myself some breathing room. I’ve always been a bit of an outsider looking in, and that mindset hasn’t changed.
I’m also really conscious of what fans give. Some people bet on the idea that fans will buy anything you make — I never wanted to be that artist. Music fandom is powerful; people support you even when they’re struggling to pay rent. That’s something to respect, not exploit. So I wanted the deluxe to genuinely add value for anyone who wanted to dive deeper into the record with me.
F.Y! – There’s a real vulnerability under the noise in your music. What does softness look like for you — in your life or your art?
I’ve always wanted to give people the same kind of escapism that music has given me. So even under the loudest, most brazen moments on a Full Flower record, there’s me quietly tinkering away at the humanity of it. Imagining what scenario this recorded version might be loved in. The soundtrack for someone washing their dishes, driving to work, drinking at the bar, quitting their job.
Lately, when someone congratulates me, I just say, “Thank you, we tried really hard.” It’s a concern for the meaning of it all I guess — there’s a softness in the craft.
F.Y! – Touring, especially at your level of intensity, can blur the line between identity and performance. Do you ever feel like “Babyshakes Dillon” is a character you step into — or are you always her?
It is 100% a character that exists on stage, and not even in the greenroom or merch desk. It’s just a way to ‘other’ myself for people watching the show. I don’t get off on being a flawed, venerable person on stage – I’d rather be larger than myself so that others can feel larger than themselves.
F.Y! – What’s something you wish people understood about you or the band that doesn’t come through in the press or on stage?
As the audience grows, it’s getting harder to keep track of what people actually understand about the band. There was a time when I could trace every fan back to a show, a friend, or a DM — now we’ve become slightly larger than the community we can map. There’s both grief and relief in that.
For a long time, I knew most of our fans shared the same political values we hold, but now I’m not so sure — and honestly, that’s disconcerting. I’ve tried to write earnestly about abortion rights, trans rights, mental health, indigenous rights, climate change, more recently Palestine — but being earnest publicly has always looked strange on me. So I guess I just want people to know that I’m not basic.
F.Y! – And finally — when you think about what’s next, what excites you most: the next song, the next show, or the unknown?
Writing albums is addictive. I am always excited for the next album. I have learnt so much at such a great speed these last few years, I feel like I have a huge backpack of ideas that I want to unpack, inspect and re assemble for the next quest.
Full Flower Moon Band aren’t smoothing their edges for the world — they’re inviting the world into the noise. The new release is loud, unpredictable, and full of strange tenderness: a portrait of a band in bloom, unafraid to let the chaos spill over.
They’ll be bringing that chaos back to the stage soon, with more international tour dates planned for 2026 across Australia, the UK, and Europe.
