The landmark 2019 & 2024 Youth Music Reports (Youth Music & IPSOS Mori, 2019; Youth Music & Humankind Research, 2024) from the UK are the largest studies on young people’s engagement with and relationships to music, revealing that diverse musics and ways of music making play significant roles in young people’s lives. However, research in classroom music education (Cain, 2015; Lamont et al., 2003; Lamont & Maton, 2010) has revealed a continued division, or disconnect, between students’ musical lives inside and outside of school. Aligning with this, Youth Music & Humankind Research (2024) advocate for the need to “decolonise, progress and embed youth voice in music education curriculums, to be more inclusive for young people from all backgrounds.” (p. 62). At this time, there is limited representation of the voices of Australian young people in the literature, and so we are limited in our ability to understand what this might look like in an Australian classroom context.This study examines interview data from a replication of the Youth Music study in an Australian context, sharing voices of young people (aged 7-17) across Australia. This paper presents initial findings on participants’ relationships to music(s) and music making in both formal music education and outside-of-school contexts. It presents analysis through a framework of Deleuze’s (1980/1987) assemblages (see also Buchanan, 2015; Nail, 2017) to consider the plurality, fluidity and diversity of musical and cultural practices, knowledges, skills and values of young people, and how this varies across contexts. From these initial findings, we provide context to the question of the disconnect within Australian classroom music education, explore provocations around the roles of music in schools, and make suggestions for possible ways to build bridges between music in-school and out-of-school moving forward.