C. Zukey & Arahi – Whammy Bar: April 23, 2025 (13th Floor Concert Review)
An interesting combination for a Raapa/Wednesday Po/night at Whammy Bar, C. Zukey with his dream pop comparisons to The National, and Arahi, Silver Scroll Nominee and wave-maker with his 2022 debut EP Revelator, full of melancholic melodies and harmonics.
On (not falling down the stairs) to Whammy, I am greeted by an intimately seated set-up, which was honestly a delight, given the torpid and somber nature of the two acts’ creativity. Ergo, there’s no drumkit onstage tonight.
C.Zukey
C. Zukey, a Canadian-born, is joined onstage by bassist and korg-keyboardist, to compliment his guitar/vocals, with a bubbly persona, chilled in fact, the trio shared Simple, gentle, ephemeral dream pop. Between the subliminal bass lines and the gentle river of rich keyboard harmonies behind him, Zukey delivered personal, animeish vocals, whilst playing electric and acoustic guitar, that at times, touch on the simple beauty of ancient acts like Durutti Column.
Even the spilt-water incident, instantiated his uncluttered manner, turning it into an opportunity for mirthful korero with sound maestro Rohan as he came to the rescue. Continuing, the Andrew Bird-like dreamy folk-rich complex melodies, and his vocal innocence (similar to Radiohead’s Thom Yorke) with occasional backing vocals, created a ongong sense of lush aural depth, that if need of categorization could simply be called ‘his-indie-folk-style’
Arahi
Toru/Three, it seems, is the number tonight as Arahi is joined by rua/two; Violinist, Keyboardist and Drum Machine Madam Amy Boroevich (maybe?) and Keyboardist and saxophonist Francesca Parussiniac. They launch straight into melody. Captivating, gentle, and sexy vocals wrap around the audience. The violinist is gorgeous at her mahi, and her vocal accompaniment is key in filling the whare with warmth and aroha. His 2024 single, We’ve Seen Better Days, no rhythms, but the mana of the song is there. Transition happens on stage, Keyboardist becomes saxophonist, violinist becomes keyboardist, through it, Arahi nonchalantly adores his guitar, and delivers Jeff Buckley-reminiscent vocal harmonies and lyrics.
Baby’s Back, his latest offering, is muchily uptempo, as the second half of the trio’s set transitions, signposted by Parussiniac showing off her potent saxophonic skills. Baby’s Back also sees violinist become drum machine Madam, an element that lifts the alt-country-ish tune, up high, and lifts the audience with it.
There’s a cover in there, somewhere, could’ve been his own version of Peter Gabriel’s In Your Eyes, or perhaps not. Po/Tonight Arahi took us on a journey, cleverly planned and sumptuously orchestrated, giving credence to the possible riches his debut album will share, hopefully later this year. Best Raapa/Wednesday night outing in Tamaki Makaurau so far.
Simon Coffey
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C. Zukey:
Arihi:
