TE KAAHU at Pitt St Church, crowd in reverential silence, The Others Way 2022. Three up-and-coming Dunedin bands, nervous but oh so promising, inside a historic Port Chalmers community hall, October 2025. Cindy celebrating Matariki as only DIY punks can, deep down in the packed, sweaty Whammy Bar, June 2022.
I’ve been to a lot of gigs since I moved to Auckland in 2017, plenty of which I can say comfortable rank amongst my favourite ever. Freshly back in the city after a stint down south, I expect to add to this list sooner rather than later.
The gigs that mean the most to me, the ones that have lingered the longest after the encore has faded and the last plastic beer cup has been lifted, have never been in major venues; I’ve seen some fine musicians put on objectively spectacular concerts (the semantical difference between “concerts” and “gigs” being key here), but these types of events left me only superficially impressed.
Because the most memorable and meaningful gigs are the ones, I think, where you feel intrinsic to the whole, beautiful communal thing that’s taking place.
When I go to see, say, a visiting music superstar at an arena or stadium, I feel redundant; if I wasn’t here, hundreds of fans, both fervent and casual, would readily take my place. The venue sells out easily, the merch flies off the table, the enormous promoter makes bucketloads of money, and the machine keeps motoring.
But when I go to see a smaller act, at a much smaller venue, my presence is felt. My presence matters. I’m playing my part in an important community.
If one characteristic defines a person who devotes their adult life to independent music, it’s perseverance.
Like Vladimir and Estragon if they knew what their purpose was amidst the absurdity, their bloody relentlessness is both admirable and remarkable.
They have to roll with the punches working in Aotearoa’s difficult music industry — and there will be a lot of punches, some fair and some below the belt — but they always find a way to preserve, to adapt, to keep on going.
Auckland’s live music scene took one of those hits just this month, when news broke that The Others Way, the beloved mini-festival which brought some of the finest independent musicians to Karangahape Road every year, had been cancelled.
Festival director Reuben Bonner of Banished Music was unsparing in his statement about the cancellation.
“In 2026, trying to make a living as a mid-level independent music promoter in Aotearoa is hard,” he admitted. “Delivering an independent boutique festival on the smell of an oily rag is extremely hard, and then throwing in the economic conditions and insane world that is 2026, you have a recipe for wild instability and stress, and very real potential outcomes like ‘we’ll be bankrupt if this goes wrong.’
“In short, the magnificent joy received from delivering The Others Way is outweighed by the sheer financial strain and emotional toll it takes on us to deliver.”
According to Bonner’s statement, Banished Music “explored every avenue available to us seeking new & established funding partners, pursuing sponsorship opportunities, and rethinking how the festival could operate sustainably.”
“Despite these efforts, we haven’t been able to secure the secret formula to deliver the festival in a way that meets both our standards and our financial obligations. As well as that, over time the debt that we have accumulated on this project can no longer responsibly be carried forward,” he added.
Live music in Auckland will be a poorer place without The Others Way, but luckily for the city, Bonner and Banished Music are persevering for now.
Offering some much-needed optimism is Strange Universe, a new series courtesy of a partnership between Banished Music and Strange News, which begins its Winter edition this week.
Cass McCombs, one of the best (and perhaps still underrated?) singer-songwriters of the past decade, is up first, playing a show at Double Whammy tonight (May 26th). Acid Mothers Temple, The Black Angels, Kelly Mora, Mei Semones, The Circling Sun, Stereolab, Cate Le Bon, The Veils, and Dry Cleaning will follow him in June.
That’s a collection of acts that would have comfortable fit under the Others Way banner, but Strange Universe is taking them to venues stretched far beyond Karangahape Road.
K’ Road is still represented by Double Whammy and, just slightly off the thoroughfare, Pitt St Methodist Church, but there’s also the intimate Kāhui St David’s in Grafton, the ever-reliable Powerstation, Tuning Fork in the CBD, and the magnificent Hollywood Avondale.
The variety of venues on offer, from churches to theatres and underground dive bars, is so important right now, as is the presence of local support acts on the lineup (see below). “No local act, no visa!” as Carmel Bennett declared at the Taite Music Prize ceremony last month.
The choice of venues feels extra pertinent given the theme of this year’s NZ Music Month: ‘Our Sounds, Our Spaces’, a celebration of all the places music is made and enjoyed across our country.
“[W]e always need more cool stuff. Auckland deserves cool stuff, and Strange Universe captures amazing acts, ensnares them into a blood pact and sends them off to destroy amazing venues and audiences with their beautiful tunes,” Bonner recently told Rolling Stone AU/NZ.
Before the series kicks off tomorrow, some of the hardy people working tirelessly behind the scenes at Strange Universe told us about their respective venues and the importance of independent live music in Aotearoa.
Find ticket information for Strange Universe: Winter here.
Lucy Macrae, Double Whammy
Double Whammy is a labour of love that we’re constantly pouring time, energy and care into — often on the smell of an oily rag – always working to improve it and ensure it remains a vital beating heart of Auckland’s independent music community for years to come.
As a relatively new venue, every show feels like a highlight, but series like Strange Universe stand out, bringing international artists like Cass McCombs and Acid Mothers Temple to perform alongside our exceptional local acts.
Independent venues are essential to Aotearoa’s music ecosystem, giving artists space to hone their craft, grow audiences, and build community while contributing to the economic and cultural wellbeing of cities.
Caitlin Gosling, The Tuning Fork
One of my favourite memories at The Tuning Fork was having Ben Ottewell and Ian Ball play Gomez. The crowd were so engaged with the musicians from the moment they walked on stage. It was really special seeing fans belting out the lyrics and bringing their children along to share the music together.
That’s what makes venues like The Tuning Fork so important to Aotearoa’s music scene: they create space for genuine connection between artists and audiences, give artists space to experiment, grow communities, and build lasting careers.
Small venues are often where young fans see their favourite band for this first time and experience the joy of live music. Strange Universe with Mei Semones feels like the perfect fit for the room; immersive, curious, and intimate. We are so excited to host this very special show.
Billie Rogers, The Hollywood Avondale
One of my many favourite memories at The Hollywood is a Halloween show we worked on with Lara (Junk Mail) & Keria. They came up with the brilliant idea to put the stage in the middle of the floor. This and the visuals by Matt Timpson created a truly special atmosphere as the back drop for incredible performances by Night Lunch, Grecco Romank, Evaline Breaker & Girls Factory (who provided her own visuals). Working together as a community is what gives the NZ music scene it’s magic.
I love The Hollywood because there’s no other place like it (movies & music, wow!). Being in the business of making people happy is a great privilege and that’s when all the hard work pays off! Up next is Dry Cleaning all the way from London with local sweethearts Womb — forever grateful to Strange Universe for making opportunities to see shows like this a reality. Better living everyone!
Paul Baragwanath, Kāhui St David’s
Kāhui St David’s centre for music in Uptown, Auckland was previously a Presbyterian Church. Its foundation stone was laid on Anzac Day 1927 – New Zealand’s national day of remembrance – and it continues to be a living memorial that honours veterans.
We’ve worked for 12 years to save it, buy it thanks to a nationwide Give-a-Little campaign plus some patrons, and restore it through art-based fundraising and grants.
“Kāhui” means “the gathering”, and that’s what it’s all about. Connecting and inspiring people from diverse worlds through the universal language of music.
We are super excited to be part of Strange Universe, and to welcome the extraordinary Kelly Moran to the stage. We think she will love the acoustics – and the atmosphere. It’s these music spaces that make the city sing! Fill up the 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 seeing artists perform beneath the soaring Gothic arches and stained glass of a building that has stood at the heart of Tāmaki Makaurau since 1866. Over the years, the church has always been a place for community, connection and reflection, and live music continues that tradition in a powerful way.
We’re especially excited to welcome The Circling Sun as part of the Strange Universe Winter Concert Series — their progressive Afrocentric-inspired jazz feels perfectly suited to the atmosphere of the church, where every note seems to linger a little longer in the air. It’s a privilege to open the doors of such an 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.
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source au.rollingstone.com ’
