After over a decade of dedicated effort in crafting one of Australia’s most cherished indie music catalogues, Ball Park Music has triumphantly ascended to the pinnacle of success.
The talented Brisbane five-piece has achieved a remarkable milestone by securing its first-ever No. 1 album on the ARIA Albums Chart with their latest release, Like Love. This album debuted at the top position on the chart dated April 11. It marks the band’s eighth studio album and is a significant achievement following a series of near-misses. Previously, three albums had reached a disappointing No. 2: Puddinghead (2014), Ball Park Music (2020), and Weirder & Weirder (2022). Notably, seven of their albums have successfully landed in the coveted top 10.
With Like Love, the band also marks a significant milestone as it becomes the first Australian-made album to top the ARIA Albums Chart in 2025, showcasing the growing influence of local artists in the music industry.
The last local album to achieve the prestigious No. 1 position was Kylie Minogue’s Tension II, which debuted at the top in late October 2024. This was one of only six Australian albums to reach the top spot last year, underscoring the rarity and significance of homegrown titles achieving such success in today’s global streaming-focused music landscape.
To celebrate the release of Like Love, the band is gearing up for an expansive 30-date tour across Australia and New Zealand, which will kick off on May 2 at the Forth Pub in Tasmania. This album was released independently through the band’s own label, reinforcing their reputation as a self-managed and self-releasing act—a remarkable feat in an industry often dominated by major-label influence.
In this week’s top three, Ball Park Music successfully holds off formidable international competition, with Sabrina Carpenter’s Short N’ Sweet taking the No. 2 spot and Tate McRae’s So Close to What landing at No. 3, showcasing the band’s strong positioning in the market.
Melbourne-based metalcore band Thornhill enters the ARIA Albums Chart at an impressive No. 4 with their album BODIES, continuing their upward trajectory in the Australian music scene. Their debut album, The Dark Road, peaked at No. 20 in 2019, while their second album, Heroine, reached No. 3 in 2022, indicating their growing popularity.
Elton John also makes an appearance on the chart this week, entering at No. 26 with his latest release, Who Believes in Angels?, a collaborative effort with Brandi Carlile. This marks his 42nd entry into the top 40 albums in Australia. His first top 20 achievement dates back to 1971’s Elton John (No. 2), and his most recent studio album to hit the top 20 was The Lockdown Sessions, which reached No. 2 in 2021.
Folk music legend and ARIA Hall of Fame inductee John Williamson also makes a notable chart entry at No. 51 with his album How Many Songs. The prolific songwriter has released over 20 studio albums and first achieved the No. 1 position in 1989 with Warragul. He was honored with induction into the Hall of Fame in 2010 and continues to be one of Australia’s most enduring voices in country and folk music.
Meanwhile, on the ARIA Singles Chart, Alex Warren’s breakout hit “Ordinary” maintains its grip on the No. 1 position for a third consecutive week, showcasing its popularity. The collaborative single “APT” by Rosé and Bruno Mars remains steady at No. 2, while Chappell Roan’s viral anthem “Pink Pony Club” ascends to a new peak of No. 3, rising one spot from the previous week.
The highest new entry this week belongs to Ed Sheeran, whose latest single “Azizam” debuts at No. 30. This track, which serves as the lead single from his upcoming album Play, marks Sheeran’s 51st appearance in the top 40 singles in Australia. Throughout his illustrious career, he has successfully claimed six No. 1 hits on the ARIA Singles Chart.
Despite the strong performances from international artists this week, only one Australian song remains in the top 50 of the ARIA Singles Chart: Vance Joy’s enduring hit “Riptide,” which has slipped from No. 36 to No. 42, highlighting the competitive nature of the current music landscape.