Adam Briggs, a prominent figure in Australia’s music scene, recently discussed the enduring cultural impact of punk music and its distinctive community-driven ethos. Speaking on the unique characteristics of punk compared to other genres, Briggs emphasized punk’s universal appeal and its ability to foster a sense of accountability and mutual respect among fans, both in Australia and abroad.
“Hip-hop and metal and hardcore, they’re all community-based,” Briggs explained. However, he noted that hip-hop, particularly Australian hip-hop, faces significant challenges in expanding beyond national borders. “Hip-hop is such a territorial beast... How many rappers have we exported? I’m talking about really making a dent.” In contrast, punk music maintains a global dialogue. “I can go from Melbourne and roll into the Misfits Bar in Berlin and we all have an understanding of what we stand for,” he said.
Briggs highlighted punk’s DIY culture and its collective intolerance for disruptive behavior as key factors in creating a strong, self-regulating community. He pointed to his friend’s venue, Shingo’s—a punk rock bar in Shepparton that operates without security staff yet maintains an environment where problematic behavior is quickly addressed by patrons themselves. “If you have a problem, you are the problem,” Briggs stated.
His own band, Big Noter, has recently released their debut album, Songs in the Key of Wrestling, produced by Nick Didia, known for his work with Rage Against the Machine, Bruce Springsteen, and Pearl Jam. The band experienced a busy 2025, touring Australia with Tom Morello, Suicidal Tendencies, and Karnivool before heading to Europe alongside Amyl and the Sniffers. In September, Big Noter played their first headline show at The Tote in Melbourne.
Reflecting on changes within the music industry since he began, Briggs observed a significant shift brought on by technology and market conditions. “We had so many venues,” he said, recalling a time when radio play was relevant and physical CDs were sold in large numbers. Now, music creation and release happen rapidly, often via smartphones, with artists issuing a large volume of tracks before performing live. A major concern for Briggs is the shrinking number of live music opportunities and festivals in Australia, compounded by the country’s remote location and lengthy flight times. “It was flourishing in Europe. To come back to Australia and just see [live music] struggling... it’s crazy,” he remarked.
In response to these challenges, Briggs is actively supporting emerging artists through his initiatives Bad Apples and Iruk Birruk. Bad Apples, a record label and collective, has been instrumental in launching the careers of more than a dozen First Nations musicians, including rappers Barkaa and Kobie Dee, whom Briggs calls “two of the best rappers in the country.” Iruk Birruk focuses on distribution and ensuring Aboriginal and Torres Strait Islander artists receive the full benefits of the digital streaming era.
“We don’t do wack shit,” Briggs said of the Bad Apples label’s approach, contrasting their commitment to quality music with the industry trend of chasing social media-driven viral acts. “I’m not done with rap, I’m never done with anything. I just like to create. That’s my gratification, bro.”
Big Noter’s album was released on September 18, with a live show following on September 19 in Melbourne. Briggs remains committed to fostering a vibrant music community grounded in respect, authenticity, and artistic integrity.