Laneway Festival 2025 – Western Springs: February 6, 2025
2025’s Tamaki Makaurau’s Laneway versus the 2010 inaugural, is quite a different beast. It has grown in size, evolved in music, and shifted venues three times, (with the likelihood of another venue change coming in 2026) Meanwhile the food queues still exist, the early evening waif from the portaloo encampments seeps, and FOMO still plagues the indecisive.
But since 2010, Laneway has become synonymous with Tamaki Makaurau’s ever evolving music scene, beloved by the thousands who attend each year (when Covid and biblical deluges don’t scupper things) and a magnificent way to check out both alt(ish) superstars, as well as up and coming acts. So in advance I say thanks to the organisers for their aroha of music, and their effort and mahi in making Laneway happen in Tamaki Makaurau each year.
With a lineup ranging from brat summer star Charli XCX to LA shoegaze revivalists Julie, and Tamaki Makaurau’s very own up & coming post goth/rock duo Elliot & Vincent. With 18 acts on toru stages over 10 hours, I, myself, on my tod was never going to get to every act, so I had to make hard decisions, cut to the mustard and circle the Springs as best I could.
We are early, 55 minutes until opening, one of the hardy few, punks, emos, surfer chicks, nerds, and us old folks, about 200 of us are queued, by 12.30pm we are the many, the many 100’s, the queue snakes around along Great North Road. The gates open on time, 12.30pm, and I use my PIP/VIP status to leisurely pass muster and enter the hallowed grounds… First stop is the MERCH tent, so much choice, but I resolve to return. Disaster!!!, my next stop, the bar (one of four) I’m told by a friendly security dude, doesn’t open until 1pm, resigned, it’s straight off to see….
RNZO
Kawerau born, Kirikiriroa/Hamilton raised, RNZO is a rare 17 year old onsite (the original Laneway drinks licence was to include 16/17 year olds onsite, but sadly (for them)/thankfully (for the unempathetic) it was refused. TikTok-famous, RNZO’s Hip Hop beats and words are already booming out as we arrive at the EVERYTHING ECSTATIC stage. A brave act(or), being first, doing the hard mahi. His DJ is skillful, and a small band of devotees are raising spirits. Callouts, moves and quality 00s hip hop style sounds impress the increasing numbers.
Already the SmokeFree rules are being flaunted, maybe i shouldn’t have been so law-abiding lol! It’s hot already, and we head to the food court, shade and benches,
Karaage Boy Chicken burger for me, Jessica grabs a Brooklyn-style hotdog.both pricey, but damn yum! We notice officious fellows with clipboards, very interested in the one (of many, many, many) free (tap) water providers, we hear them mutter… no cups. Turns out they are Council Liquor Licence checkers. It’s 1.05pm time to see a must see…
Elliot & Vincent
They’ve just started, they’re on the NEVER LET IT REST stage (one of the twins) we meet friends up front, it’s a crowd of 100s. Elliot & Vincent are sounding again damn good (as they always do. Their combination of eclectic drumming (Elliot drapes tea towels over some of her drums) and post-jazz and blue punk punk guitar is rich, dramatic and addictive), The crowd has a lot of the older punters in the crowd, punks, emo’s and switched on young folk. Elliot’s voice is haunting as it crosses the way, the MASSIVE video screens on either side live project the duo in Hi Res quality. The crowd are animated, enamored as the last song is dominated by adept guitar sampling, and vocals scatting, I think it is their debut single Doberman.
Finally a beer, it’s a bit of a greyhound race getting to the service bar (winding in and out of the railed fencing), tastes damn good on success, it’s even hotter, the PIP (VIP) space looks alluring with sun umbrellas and canopy, maybe later. We slide stage-right to the GOOD BETTER BEST stage check out…
Julie
A must see, the three piece from PLA that many had hoped would do a side show (nogo, though Fcuckers played Double Whammy the night before). Distortion emanates their entry into the book of Laneway. A red ribbon hangs from Alex Brady bass, all three are up front and they’ve drawn a big crowd, a more raucous crowd, which includes E&V. I’d checked out their 2024 debut album My Anti-Aircraft Friend, but live, Julie is far more fluctuating, broader in sound. In between songs, the three are create distortion, noise and hubbub, no I don’t think it’s tuning, it’s Julie pushing the boundaries, it’s way cool. The rawness of playing live offers a harsher model of shoegaze, maybe punkgaze, JAMC, MBV, SY influences/elements extrude. Gentler moments do come, yeah I see/hear the emo shoegaze references, but there’s a lot more to Julie.
I have a BIG DAY OUT moment, as I exit the SPARK VIP ACCESS area on the stage’s edge. It’s kinda cool, but I wonder if I can fake the code and get my (non-SPARK) girl in too? I don’t risk it. As I head back to the local greyhound track for another beer (and Pals for Jessica) we are back at the NEVER LET IT REST stage …
Skeggs
Members come on stage to Dire Straits Money For Nothing, NO COMMENT, and kick off with a fan favourite Got On My Skateboard. The members are friendly, as Australians generally are. It’s Aussie Rock n Roll, in the Hoodoo Gurus/You Am I tradition. I went and saw an Australian PunknRocknBlues act earlier in the week C.O.F.F.I.N. Skeggs are not them, Skeggs deliver a sun n roll experience for the Laneway crowd, sun drenched, BBQ loving good times. The big crowd is moving air for them, with three albums under their belt, they’ve fostered an audience. Later on, in a set that span across their catalogue, earlier songs like LSD rear their head, and still the crowd are moving. Now it’s time to trek over the hill back to the EVERYTHING ECSTATIC stage…
Warning, keep your friends close, it’s not too crowded at this point, but enroute one of them goes in for a pitstop. We wait in a shaded area (have I mentioned the heat) WHAT IS HE DOING IN THERE? Finally I call him, the dozy bastard has wandered off to the stage without us, leaving us looking like a trio of muppets. All trust is loss, as I miss the first song from…
Fcuckers
It’s got a beat and I can dance to it! Heavy guitar riffs enhanced by edm beats, samples and a hellishly high-energy singer – Shannon Wise. It’s bang-on music for 3pm on a fucking hot Waitangi Day. The massive crowd upfront (and the many sheltering under constructs) are dancing and amovin’ to Fcuckers songs like Homie Don’t Shake and Bon Bon. Live drums set stage right are ephemeral to watch as Shannon bounces, skips and exhorts across the front. It has a punk rock attitude, and a disco beat that makes dancing (or at least grooving) compulsive, think Le Tigre or LCD Soundsystem. Another highlight. Another band to seek vinyl by. Another reason why Laneway has its finger on the pulse. We have shelter, drink and good food where we are, so I am convinced to stay, we stay to see…
Eyedress
Is Philippines born, but up to age 15, USA influenced (by punk rock) Idris Ennolandy Vicuña (that’s a mouthful) Back in the Philippines his style shifted, and since 2017 has released a slew of albums. Seeing Eyedress is one of those moments where I am in ignorant bliss, not originally on my list (UK neo soul songstress Olivia Dean was) Eyedress are playing classic 80s/90’s post punk electro pop, shades of New Order, OMD and Ultravox leap out. There are elements of hip-hop and lo-fism that come from this highly versatile group; it’s a big group onstage, and a big crowd that has many Filipinos in attendance. It’s noticeable that the crowd at Laneway is multinational, and multi-friendly, the vibe is kindness. I cut my friends and scoot over to the NEVER LET IT REST stage to sample…
Remi Wolf
Arrive just as Wolf is giving a massive intro speech, revving people to “get fucking stupid” It’s big big crowd, and like the rest of the day, the sound is again exquisite, big ups to the soundies on site. Remi Wolf plays funky soul pop, the sort originally contrived and mixed in a bedroom. She has fantastic pipes (a voice), and dominates the space easily, as her well-versed band supports her. The crowd are in adoration, it’s carefree fun, in the sun, but I’m not sold. 15 minutes later I’m back over the top to check out a much talked about act…
Joey Valence & Brae
The stage is being heated-up on by their turntablist sampling the 80s and the 90s, as Joey Valence & Brae hit the floor with a boom. Their stage-speak is so old school, so 90s NYC hip hop, Beastie Boys just jumps to mind instantaneously. The two-piece who’s break through single Punk Tactics, is class A Beastie Boys, which the duo proudly acknowledge as influencer, Joseph Bertolino (Joey) and Braedan Lugue (Brae), seem well-excited to be in Aotearoa, and validate the enthusiastic receptionBy exclaiming being happily surprised that they travelled 29 hours and there is more than one person in the crowd. Through a set that really is class 90’s, Joey Valence has the crowd create a circle old school style, during a hardcore style song. With a singback jam towards the end of their set. The party has really started at Laneway.
I have a moment…”Where’s my phone? Fuck! I’ve lost my phone again like in Vietnam last year!!! Oh, ah, no, it’s in my other pocket. Phew, time though, to hit the 0% beers for a while…. Jessica really wants to see Clairo, see we brave the heat and head back to the NEVER LET IT REST stage…
Clairo
Someone tried to describe Clairo as alternative, maybe in the context of Grammy Awards HA! (she was nominated for Best Alternative Music Album) But this evening, all I can hear is a synthesis of Fleetwood Mac and Kim Cairns. If this is what 18 year olds consider alternative, god help the youth. We stay where we are, it’s a seething mass out there, shade is our friend as we wait for….
But first it’s dinnertime, a tip here, buy early, eat often as the queues are insane from 5pm, Jessica waits an hour for her African food. Me being a PIP (VIP) – thanks Liam! I avoid long queues and enjoy Venison and Potato Rosti (as well as clean toilets in PIPvillage. Jessica is not impressed. We resolved that for next year’s Laneway we’ll buy PIP tickets, as we check out…
Beabadoobee
The crowd has spoken, they love Clairo, and are dually enthusiastic when Beabadoobee appears, she’s a UK chart topper and has opened for Taylor Swift. I can’t hear the shoegaze references, I suspect it’s a term too easily attached as a replacement for versatile pop in this modern age. Yes, versatile, dynamic, she seamlessly transitions from mellow pop to more effusive rock, and she is truly engaging with the audience. Her bands (like many at Laneway) are damn competent, and Bea is adept at creating emotive highs and lows, but as to whether she is alt-rock, I have reservations.
We run away, we escape the seething masses, we go to where the MacDonald’s Ice Creams are free, drink a cold one, where the DJ is playing a Spanish version of Crowded House’s – Don’t Dream It’s Over, and we can be at one with nature… It’s chill time until you know who comes to our whare.
Charlie XCX
Almost everyone is here to see Charlie XCX. The excitement levels are impressive, as is the brat-intro, the lighting, the sound, the backdrop, the video narratives, and the backing track. It’s just Charlie XCX onstage, no musicians, she works it though, works the stage like theatre, like an auditorium. She plays the hits, the people are enrapture, speaking in (her) tongues, Charlie XCX is beloved and loved, respected for her grit, as she whipped the masses into a frenzy. If only Kamala could’ve done the same then Trump would be in jail. I can say to young folk I saw Charlie XCX, thank you Laneway.
PS:
Next year buy a VIP ticket, worth the extra cash. Once you try PIP, you never go back, and come early and avoid the technology breakdown.
Simon Coffey
Click on any image to view the photo gallery by Tom Grut and Henry Redcliffe:
