Example presale codes in South Yarra, VIC

[Example] is a producer-singer who blends tactile synths with diary-like hooks, born from DIY uploads that grew into full rooms. The new chapter follows a quiet year when the longtime drummer left, forcing the project to tighten arrangements and lean into rhythm machines.

From bedroom sketches to big rooms

Expect a set that opens with a slow burn and climbs in waves rather than a sprint. Core cuts like Glasshouse, Neon River, and Static Bloom feel likely, with a mid-set pivot to a hushed piano piece before a dance-heavy closer. Early fans will spot the way older songs are rebuilt with crisp drum pads and fewer guitar layers, making room for the vocal to sit forward. Crowds tend to skew mixed-age, from bedroom producers comparing patches to casual friends who learned one chorus and are here for a night out. Watch for people mouthing harmony lines more than shouting, and for phones to drop when the kick pattern hits a syncopated break.

Tiny details, big tells

A neat footnote: the debut EP kept the air conditioner hum in the left channel as texture, and a pre-show tone test sometimes becomes a 60-second improvisation. These notes on songs and staging are projections based on past shows, not a promise.

The Little Rituals Around Example

You will spot worn field jackets next to simple tees, plus a few home-printed shirts quoting a favorite line on the back. Fans often hum synth hooks between songs instead of chanting, and a gentle clap pattern tends to start before the encore.

Quiet manners, loud beats

Merch leans toward muted colors and compact designs, with a small zine or postcard pack that lists gear used on each track. People trade mix notes at the bar, comparing how the kick sits against the bass and swapping favorite edits from past tours. There is a quiet courtesy near ballads, where the room goes still and even the talkers hush for a verse. During beat-forward cuts, dancing clusters form in pockets, leaving enough space for nodding listeners who like to stay planted. The mood feels curious rather than rowdy, and small gestures from stage, like thanking the opener by name, get real attention. After the last song, the linger is brief but friendly, with folks pointing out a sound detail they noticed rather than chasing a perfect photo.

The Craft Beneath Example's Pulse

Live, the vocal sits warm and close, with slight grit on the consonants that keeps phrases grounded. Arrangements favor space, letting kick, bass, and a single lead carry most sections while pads fill the edges.

Small choices, big lift

The touring band typically runs a hybrid kit where acoustic snare and cymbals ride over triggered low end, so drops hit without losing air. Guitars show up sparingly, often in a bright open tuning that rings like a keyboard, and hooks sometimes flip to half-time to widen the chorus. Keys are split so one player handles pianos and a second fires one-shot textures, making small moments feel hand-played instead of looped. A neat quirk: for older tracks the vocal melody is nudged down a whole step live, giving a softer tone and more room for crowd harmonies. Lighting leans on color blocks that match song moods, but the show is built around the mix, not the screens. The result is tight but breathable, with dynamics that rise in clean steps rather than sudden jolts.

If You Like Example, Try These Roads

Fans of textured, melodic beats often cross over with Odesza, whose wide-screen percussion and soft vocal stacks scratch a similar itch. If you like folk-rooted songwriting carried by modern production, Maggie Rogers brings that bright, human pulse.

Neighboring sounds, shared instincts

Those drawn to glossy guitars sitting on top of programmed drums might also lean toward The 1975, especially on nights heavy with dance tempos. For sleek, hooky synth-pop with live band punch, Phoenix hits the same lane and tends to attract listeners who care about arrangement detail. If you prefer a more introspective electronic arc with emotional peaks, Porter Robinson shares that cinematic build and release. These overlaps are about feel as much as sound, where melody stays central even when the drums get big.