TE KAAHU at Pitt St. Church, crowd in reverent silence, The Other’s Way 2022. Three up-and-coming Dunedin bands, three nervous but hopeful Dunedin bands, at the historic Port Chalmers Community Hall in October 2025. Cindy celebrates Matariki in true DIY punk fashion, deep inside a packed and sweaty Whammy Bar, June 2022.
I’ve been to a lot of shows since moving to Auckland in 2017, and I think many of them are among my favorite shows of all time. I just returned to the city from a trip down south, so I’m sure it’ll be on this list sooner or later.
The gigs that mean the most to me, the ones that remain longest after the encore fades and the last plastic beer cup is lifted, have never taken place in a large venue. I’ve seen some great musicians put on objectively great concerts (the semantic difference between “concert” and “gig” is important here), but these types of events left me with only a superficial impression.
Because I think the most memorable and meaningful gigs are the ones that feel intrinsic to the whole beautiful community that takes place there.
For example, when I go to an arena or stadium to see music superstars, I feel redundant. If I wasn’t here, hundreds of fans, both hardcore and casual, would immediately take my place. Venues sell out easily, merchandise flies off the tables, huge promoters make buckets of money, and the machine keeps rolling.
But when I go see smaller acts in smaller venues, my presence is felt. My presence is important. I play my role in an important community.
If there’s one characteristic that defines people who dedicate their adult lives to independent music, it’s perseverance.
Their bloody ruthlessness is admirable and noteworthy, like Vladimir and Estragon, who knew what their purpose was in the midst of absurdity.
They have to endure difficult conditions in Aotearoa’s difficult music industry. And there will be a lot of punch, some decent and some sub-par. But they always find a way to maintain, adapt, and keep moving forward.
Auckland’s live music scene took a hit just this month with news that the beloved mini-festival The Others Way, which brings the best independent musicians to Karangahape Road each year, has been cancelled.
Banished Music festival director Reuben Bonner issued a blunt statement regarding the cancellation.
“It will be difficult to make a living as a mid-tier independent music promoter in Aotearoa in 2026,” he admitted. “It’s extremely difficult to run an independent boutique festival while smelling like a greasy rag, and when you consider the economic climate and crazy world of 2026, there’s a lot of instability and stress, with the very real potential of ‘if this doesn’t work, we’re going bankrupt’.
“In short, the tremendous joy that comes from providing The Others Way is outweighed by the enormous financial and emotional burden of providing it.”
According to a statement from Bonner, Banished Music “explored all available avenues, including seeking new and existing funding partners, pursuing sponsorship opportunities, and reimagining how the festival can operate sustainably.”
“Despite these efforts, we have not secured a secret formula to conduct the festival in a way that meets both standards and financial obligations. In addition, over time, the debts accumulated on this project can no longer be responsibly passed on,” he added.
Live music in Oakland would be an even poorer place without The Others Way, but fortunately for the city, Bonner and Banished Music are holding up for now.
Strange Universe, a new series in partnership between Banished Music and Strange News, offers some much-needed optimism, and its winter edition begins this week.
Cass McCombs, one of the best (and perhaps still underrated?) singer-songwriters of the past decade, will be up first, performing a show tonight (May 26th) at Double Whammy. He will be followed in June by Acid Mother’s Temple, The Black Angels, Kelly Mora, The Mae Semones, The Circling Sun, Stereolab, Kate Le Bon, The Veils and Dry Cleaning.
It’s a collection of acts that fit neatly under the Other’s Way banner, but Strange Universe is taking them to venues far beyond Karangahape Road.
K’ Road is still headlined by Double Whammy and Pitt St. Methodist Church, just off the high street, but it’s also home to Grafton’s friendly Calfey St. David’s, the ever-reliable Power Station, the CBD’s Tuning Fork and the grandeur of Hollywood Avondale.
The variety of venues on offer, from churches to theaters to underground dive bars, is hugely important right now, as is the presence of local support acts in the lineup (see below). “No local laws, no visas!” Carmel Bennett declared at last month’s Taito Music Awards ceremony.
The choice of venue feels particularly appropriate given this year’s New Zealand Music Month theme: ‘Our Sounds, Our Spaces’ – celebrating all the places where music is made and enjoyed across our country.
“[W]I always need more cool stuff. “Oakland deserves something cool, and Strange Universe captures great acts, engages them in blood pacts, and sends them out to destroy great venues and audiences with beautiful songs,” Bonner said recently. Rolling Stone Australia/New Zealand.
Before the series kicks off tomorrow, some of the stalwarts behind the scenes at Strange Universe speak to us about their venues and the importance of independent live music in Aotearoa.
Click here for ticket information for Strange Universe: Winter.
Lucy McRae double whammy
Double Whammy is a labor of love to which we constantly invest our time, energy, and care. It often smells like an oily rag. We strive to constantly improve it and ensure it remains an important beating heart of Auckland’s independent music community for many years to come.
As a relatively new venue, every show feels like a highlight, but series like Strange Universe, with international artists like Cass McCombs and Acid Mother’s Temple, stand out. execute Along with our outstanding local work.
Independent venues are essential to Aotearoa’s music ecosystem, providing artists with space to hone their craft, grow audiences and build community, while contributing to the economic and cultural health of our cities.
caitlin gosling tuning fork
One of my favorite memories of Tuning Fork was Ben Otwell and Ian Ball playing Gomez. The audience was hooked on the musicians from the moment they took the stage. It was really special to see fans belting out the lyrics and bringing their kids to share the music with us.
That’s why venues like the Tuning Fork are so important to Aotearoa’s music scene. These venues create space for genuine connections between artists and audiences, giving artists space to experiment, grow community, and build lasting careers.
Small venues are often where young fans see their favorite bands for the first time and experience the joy of live music. Strange Universe by Mei Semones feels like a perfect fit in the room. Immersive, curious and intimate. We are so excited to host this special show.
Image: Young fan watching the show with a tuning fork Credit: Rosa Nevison
billy rogers The Hollywood Avondale
One of my favorite memories in Hollywood is the Halloween show I produced with Lara (Junk Mail) and Kelia. They came up with the brilliant idea of putting the stage in the middle of the floor. This and the visuals by Matt Timpson created a truly special atmosphere as a backdrop to the amazing performances by Night Lunch, Greco Romank and Evalyn Breaker & Girls Factory (who provided her own visuals). Working together as a community is what gives the New Zealand music scene its magic.
I love Hollywood. Because there’s no other place like it (movies and music, wow!). It’s a great privilege to be in the business of making people happy, and that’s when all your hard work pays off. Next up is dry cleaning all the way from London with my local sweetheart, Wom. I will be forever grateful to Strange Universe for making the opportunity to see a show like this possible. Everyone please live better!
Paul Baragwanath Kahui St. Davids
The Kahui St. David Music Center in uptown Oakland was formerly a Presbyterian church. Its foundation stone was laid on Anzac Day (New Zealand’s National Day of Remembrance) in 1927, and it remains a living memorial to our veterans.
We have been working for 12 years to save it, purchase it thanks to a national giving campaign and some benefactors, and restore it through art-based fundraising and grants.
“Kāhui” means “gathering” and that’s what it’s all about. We connect and inspire people from all over the world through the universal language of music.
We are so excited to be a part of the Strange Universe and welcome the extraordinary Kelly Moran to the stage. She’ll love the acoustics and atmosphere. It is this music space that makes the city sing! Fill your heart and soul.
Image: Pitt St Church Credit: Supplied
Roberta Hammond, Pitt St. Methodist Church
One of the things I love most about Pitt Street Methodist Church is the way music transforms the space. There’s something incredibly special about watching artists perform under the towering Gothic arches and stained glass of a building that has stood in the heart of Tamaki Makaurau since 1866. Throughout the years, the church has always been a place of community, connection, and reflection, and live music continues that tradition strongly.
We are especially pleased to welcome The Circling Sun as part of our Strange Universe Winter Concert Series. Their progressive Afrocentric-inspired jazz fits perfectly into the church atmosphere, where every note seems to linger a little too long in the air. It is an honor to open the doors of such a historic and inclusive space to artists and audiences alike, and to be part of a music community that continues to bring people together through shared experiences.
#Local #venues #vital #future #Zealand #music