A Day On The Green is an Australian outdoor concert series that stages ticketed live music at winery venues across Australia and New Zealand. It is run by Roundhouse Entertainment and MG Live, both sitting under the Mushroom Group, and the format pairs a day of food and wine with a full bill of touring acts. The artists on the current and upcoming rosters give a clear sense of the booking level: Leon Bridges, Missy Higgins, The Script, and The Teskey Brothers are listed, and past headliners have included Red Hot Chili Peppers, Florence and The Machine, and a-ha. These are arena-grade names being put in front of a vineyard backdrop, which is a specific trick not every promoter can pull off.
The venue list is where the series shows its reach. The site names twelve or more wineries, among them Bimbadgen in the Hunter Valley, Sirromet at Mount Cotton in Queensland, Peter Lehmann Wines in the Barossa Valley, and Josef Chromy Wines in Tasmania, with additional sites across Victoria, Western Australia, and New Zealand. Spreading the same touring act across that many states means a fan in Perth and a fan in the Yarra Valley can both catch the bill without travelling interstate. It also ties the A Day On The Green brand to recognisable wine regions rather than generic showgrounds, which is part of why A Day On The Green has lasted as a concept where competing promoters have not. Anyone who has been to a regional vineyard knows the draw of the setting, and the geography is doing genuine work for the proposition.
Tickets, membership and the merchandise shop
Buying happens through Ticketmaster Australia, so the transaction is handed off to a platform most concertgoers already trust and have an account with. The site keeps the commercial layer fairly light around that: an official shop sells branded merchandise, and a paid membership program sits alongside it. The membership pitch is built around access timing more than discounts. Members get tour announcements, presale windows, special offers, and competition entries, which is a sensible structure for a series where the strong shows sell fast and a presale code is the difference between front-of-stage and the back fence.
The supporting material is more thorough than the average event site bothers with. There is a fact sheet, and a FAQ covering ticketing, presale mechanics, and accessibility. Accessibility being addressed in its own right is worth flagging, because outdoor lawn events on sloping vineyard ground are exactly the kind of setting where wheelchair access, seating, and parking questions come up. A series that answers them up front saves real pre-event uncertainty, and the FAQ reads like it was written by people who have run these days and fielded the same questions year after year, not lifted from a generic event template.
One note on the structure: because ticketing lives on Ticketmaster and announcements flow through the membership and social channels, the website itself functions more as a hub than a storefront. It points you outward to the act, the venue, and the seller. For a touring brand running dozens of dates a year that is the logical design, though it does mean the most time-sensitive information, such as whether a given show still has tickets, lives a click away on another platform. That is not a complaint, just worth knowing before you visit.
Reach and reputation
The clearest public measure of scale is the Facebook following, which sits north of 161,000 likes. For an event brand that is a meaningful audience, and it lines up with the calibre of acts the series books. The presence is spread across Instagram, Twitter, TikTok, YouTube, and Spotify, the Spotify link being a smart touch for a music brand since it lets followers hear the artists before they commit to a ticket. A Day On The Green has been doing this long enough that the social footprint reads as organic accumulation, not a paid push.
Press coverage exists but is selective. The Guardian ran a concert review of the A Day On The Green a-ha show at Rochford Winery in the Yarra Valley, and PubClub published an event write-up. A UK national paper covering one of the dates says something about the profile of the bills. What is absent is an aggregate star rating: Google, Trustpilot, and Tripadvisor do not carry a consolidated score for the event series as a brand. The Tripadvisor entries that do turn up attach to the individual wineries, not to A Day On The Green itself, which is a common quirk for a touring promoter whose events borrow a permanent venue's name and location. Someone trying to gauge A Day On The Green on a single number will not find one. The more honest read of its standing comes from the size of the social following, the repeat venue relationships, and the fact that it keeps landing acts of this size season after season.
Direct contact is the least developed part of the public-facing presence. The landing page shows no phone number and no email address, and there is no contact form pushed to the front. Enquiries are funnelled into the FAQ and, by implication, the social channels. For a high-volume promoter that routes the actual purchase and seat-specific support through Ticketmaster, that is a reasonable arrangement, since most buyer questions are ticketing questions that Ticketmaster owns anyway. A patron with a query outside the FAQ does have to do a little digging to reach a person, and that is worth noting honestly against an otherwise well-organised operation.
A Day On The Green does not carry an aggregate star rating anywhere online, and the model it runs on does not depend on one. What it sells is a specific combination: a major touring act, a named wine region, and a full day rather than a two-hour gig in a city venue. The site reflects that with its venue spread, its accessibility detail, and its presale-driven membership. The booking sheet for the coming season carries names at the same level as the back catalogue, and the Mushroom Group machinery behind the brand handles scale that most independent promoters cannot. A Day On The Green has been putting Red Hot Chili Peppers and Florence and The Machine on vineyard lawns long enough that the format needs no justification. The evidence for whether it delivers is in the repeat audiences and the roster it keeps attracting, and both point in the same direction.
