James Reyne – Auckland Town Hall: Oct 4, 2025 (13th Floor Concert Review)
Australian rock legend James Reyne brought his unmistakable voice and storytelling charm to the Great Hall at Auckland Town Hall on Saturday, October 4, 2025, for an intimate acoustic performance that felt both nostalgic and refreshed.
Backed by collaborator Josh Owen, Reyne delivered a stripped-back set that showcased the lyrical wit and melodic strength of his decades-spanning catalogue. The atmosphere was warm, reflective, and deeply engaging—an evening that reminded fans why Reyne remains an active figure in Australasian music.
James Reyne first rose to prominence as the frontman of Australian Crawl, a band central to the expansion of Australian rock in the 1980s, producing a bona fide classic with the chart-topping Reckless. His solo career, launched in 1987, has been prolific, with standout albums such as James Reyne, Hard Reyne, and Electric Digger Dandy. Known for his distinctive vocal phrasing and sharp lyrical style, Reyne has collaborated with artists like James Blundell, Mark Seymour, and Daryl Braithwaite, and continues to tour extensively across Australia and New Zealand. He has just released a new single, Going Back to Nashville—a rollicking country ode to an earlier visit to the home of country music in Tennessee.
In the same manner as his 2007 album Ghost Ships and 2005’s And the Horse You Rode in On, this evening’s setlist emphasized the class of Reyne’s songwriting, with the acoustic delivery drawing focus to the lyrics. The show blended Australian Crawl classics with solo gems and even a cover of The Dingoes’ Way Out West, another Australian classic. Opening with What a Pain in the Arse It Is… from the 2005 fan-funded EP The Magnificent Few, Reyne immediately drew the crowd in with his signature delivery. Highlights included Slave, Hammerhead, and Beautiful People. Josh Owen’s guitar work added depth and texture, particularly during Motor’s Too Fast. The sound quality was crisp, the lighting understated but effective, and the crowd highly engaged throughout.
Any thoughts of Reckless sounding haunting when stripped, down didn’t allow for the huge audience connection and interaction with the song. Reyne was relaxed throughout and got a loud cheer for his “we love Auckland.” He handled an unusually high level of barracking from a small number of audience members with grace and even responded to a request with an improvised delivery of One More River. As the set drew to a close, Reyne delivered a stunning performance of Oh No Not You Again before finishing with Errol. A reggae-tinged encore of The Boys Light Up ensured the night ended with plenty of the audience on their feet.
Reyne’s performance was both technically polished and emotionally resonant. His voice, still strong and expressive, carried the weight of songs that have become a big part of his fans’ personal journeys. The acoustic format allowed for greater intimacy, and Owen’s accompaniment was tasteful and enhancing. The stripped-back approach offered a new lens through which to appreciate Reyne’s songwriting. If there was any drawback, it was the absence of more songs from albums like The Whiff of Bedlam, which would have suited the format well. Still, the concert felt like a celebration rather than a retrospective—alive with energy and connection.
As well as being Reyne’s accompanist, Josh Owen opened the night with a very credible solo set. He has an album in the works to accompany his three single releases (available on Spotify). He also got the first cheer of the evening when he revealed that, despite the accent, he was born in Wanganui.
James Reyne’s Auckland show was a reminder of the enduring power of great songs, well told. Whether revisiting Australian Crawl anthems or solo classics, Reyne proved he’s a living, breathing artist with plenty still to say.
John Hastings
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