Mouseatouille Have One of the Most Exciting Ensembles in Rock Music

This interview is part of our Future of Music 2026 series. Follow all the coverage here.

It makes so much sense that Black Country, New Road asked Mouseatouille to support them not once but twice.

Like the English post-rock outfit, Mouseatouille are an extensive ensemble of tight-knit collaborators who put the collective first, although The Microphones often seem like a more obvious sonic touchstone.

Mouseatouille’s nine (!) members sounded magically cohesive, in spite of the lineup’s sprawling size, on the lush and melancholic DJ Set, one of our favourite Australian albums of 2025.

At once grand and intimate, often within the span of one song, the album found Mouseatouille traversing delicate indie-folk, orchestral chamber-pop, and chaotic noise-rock, gamely incorporating a number of instruments into the mixture, including violin, clarinet, synths, and guitars.

Originally started as a recording project for lead singer Harry Green and drummer Spencer Noonan during high school, Mouseatouille are now thriving as a massive ensemble because they simply sound like a bunch of mates gleefully experimenting with music for the fun of it.

Read an exclusive interview with Mouseatouille below.

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Rolling Stone AU/NZ: What does it mean to you to be included in Rolling Stone’s Future of Music series?

Mouseatouille: We are grateful to be included in the Future of Music series. Making and performing music is something we usually do insularly, focusing solely on what is exciting to us as a band. It is always nice to feel as though our music is resonating with others.

How did you first get your start in music? 

Most of us got our start in music through school bands or orchestras. I think having that sort of regimented background musically has informed the way that we organise ourselves and structure rehearsals. The music we listened to at that time has also informed how we approach arranging and songwriting. Stuff like classical music and Burt Bacharach.

 Describe your sound to a new listener in three words.

Whatever feels right.

Tell us about your latest release. 

DJ Set was recorded over five years as we finished university and got full-time jobs. It is a document of our development as a band, as individuals, and as a group of friends.

What’s your favourite career memory so far?

Touring the country with our friends or playing Meredith. It is amazing to perform in front of people and see them connect with what we are doing. Everything we do feels exciting because we are doing it together.

What are the positives and negatives of being a musician in 2026?

The best thing about being a musician in 2026 is that music creation and music discovery are more accessible than ever. Professional sounding music can be made with tools that most people already own and basically all of the music ever created is at most people’s fingertips at any given time.

The changing landscape of music discovery is simultaneously one of the biggest negatives of being a musician in 2026. As social media becomes the predominant tool for music discovery, new expectations are thrust onto musicians. Musicians are expected to promote themselves in increasingly demanding ways and this shifts focus away from the music itself.

What’s one thing you’d change about the ANZ music industry?

Being a musician in Australia or New Zealand can sometimes feel isolating. There is definitely less of a traditional pathway to success here. We have so much local talent, we just need more infrastructure that can nurture it.

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Are you hopeful for the future of music in ANZ? 

Very!

Name one other ANZ act you’d like to see make our Future of Music series in the future. 

Inkling. They are currently working on their debut album and it is fantastic.

What’s coming up for you this year?

We are currently working on our next album.