For the First Time, Again, Tyler Ballgame’s debut album draws you in slowly and patiently on the strength of a voice that feels both exposed and assured, with production that knows when to step back.
Stewart Copeland brought his Have I Said Too Much? tour to Wellington. The show takes shape as an engaging evening of storytelling and reflection, propelled by sharp wit and a restless intelligence that rarely pauses long enough to settle.
David Huckfelt’s I Was Born, But… unfolds as a carefully shaped narrative built from the songs of others, drawn together into a coherent and immersive statement.
Barry Adamson’s SCALA!!! arrives as a love letter to a building that introduced, educated and immersed many in non-mainstream cinema.
Tyler Ramsey & Carl Broemel open Celestun with intent and momentum, two acoustic guitars tumbling over one another in music shaped by interplay, response and craft.
Jana Horn’s decision to self-title her third album lands with the quiet assurance of an artist settled into her sound.
Kate Bollinger brought 2026 in with a whisper rather than a roar as she opened her tour at Double Whammy in Auckland.
Dry Cleaning’s Secret Love builds on the band’s established approach to emotion, one shaped by distance, observation, and restraint.
With Rips From the Cutting Room Floor, The Waterboys push their long-gestating Dennis Hopper project into its widest frame yet.
The Transits return with Bleed Hope, an album that opens at full tilt and rarely lets the listener come up for air across the punchy, pop-punk and rock of its fifteen tracks.
