News

23 September 2026 – Gazal Puts Female Frustration Through a Bright Indie-Pop Filter

By Editorial Team - September 23, 2026

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Tile 11: Gazal looking confident in a pink faux fur coat against an urban sunset skyline.

Summary

Sydney self-taught artist Gazal is named to Rolling Stone AU/NZ's Fresh Sounds Class of '26, riding high on bold, sparkling single 'ONION (stfu)'.

Key Facts

  • Gazal inducted into Rolling Stone AU/NZ's Mentos Fresh Sounds Class of '26.
  • Latest single 'ONION (stfu)' was sparked by an unwanted culinary lecture from a man, turning irritation into buoyant pop.
  • Advocates for Australian industry investment in emerging local artists rather than waiting for overseas validation.
  • Entities: Gazal, ONION (stfu), Rolling Stone AU/NZ, Sydney, Australia
  • Tags: gazal, onion-stfu, fresh-sounds-class-of-26, indie-pop, sydney-music, australian-indie

Sydney indie-pop artist Gazal has been introduced as the latest member of Rolling Stone AU/NZ's Mentos Fresh Sounds Class of '26, bringing a catalogue where sharp observations about contemporary female experience are allowed to wear glitter rather than mandatory grey clothing. The self-taught Australian artist, who grew up in a Lebanese family, blends pop and R&B influences while citing artists such as Frank Ocean and Doechii among her inspirations.

Her latest release, "ONION (stfu)", originated from an apparently dangerous social situation: a man explaining to a woman how to cut an onion. Gazal says the encounter tipped her into rage mode and became a song about women being underestimated in thoroughly ordinary situations. It is a tiny premise with a much larger target, which is often where pop works best. Instead of delivering a lecture, she turns irritation into something playful, brash and immediate.

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Gazal says more music, performances, collaborations and potentially another EP are coming, while arguing that Australia's music business needs to take more risks on emerging local talent rather than celebrating artists only after overseas audiences have approved them. That complaint will sound familiar to musicians in practically every medium-sized music market on Earth. The fun part is that Gazal appears determined to make ignoring her increasingly inconvenient, preferably while turning everyday condescension into choruses.

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