27/07/2025

Mānuka Phuel Full Metal Orchestra – Spark Arena: July 26, 2025

In a genre-defying spectacle, Mānuka Phuel Full Metal Orchestra brought the raw energy of rock and metal to Spark Arena—elevated by the grandeur of the Auckland Philharmonia Orchestra. With a 29-piece symphony, a full rock band, and a lineup of New Zealand’s finest vocalists, the night delivered an unforgettable blend of power, precision, and passion. This was more than a concert—it was a collision of musical worlds, reimagining metal anthems through a cinematic lens.

Jon Toogood

The evening kicked off with Jon Toogood of Shihad stepping onstage solo at 6:15 PM, just fifteen minutes after the doors opened. Seated on a modest office chair, acoustic guitar in hand, Toogood immediately shrunk the scale of Spark Arena into something intimate and familiar.

He performed a stripped-back set of Shihad hits, Kiwi pub classics, and fan favourites like Bliss by Th’ Dudes—prompting early singalongs of “yah yah yah”s from the arriving crowd. His casual, conversational banter made the experience feel like a laid-back jam session in someone’s living room.

Between songs, he chatted casually with the audience, sharing stories from his touring days and poking fun at himself. Before launching into Pacifier, he confessed he might need help with the high notes now that he’s in his 50s. In a hilarious bit of mischief, he started the fan-favourite Home Again by replacing the first lyric with put your cock back in your undies—a line he used to crack up his bandmates on tour.

Technical hiccups aside, Toogood’s charisma and storytelling won the crowd over. His voice was in fine form, and his ability to warm up a vast arena with nothing but an acoustic guitar and honesty proved why he remains one of New Zealand’s most compelling frontmen.

Full Metal Orchestra

Then came the moment the crowd had been waiting for. The full orchestra filled the stage in tiered formation, surrounded by moody floodlights, cinematic visuals and pyro that flamed throughout the night.

Conductor Sarah-Grace Williams emerged to applause, and the show roared to life with an instrumental blast of Van Halen’s Eruption. Toogood returned—this time electrified—sharing vocal duties with Jennie Skulander of Devilskin, whose powerhouse voice would later own the stage on Immigrant Song. From that moment, the show refused to slow down.

Then came EJ Barnes in a black cloak, theatrical with the first signs of pyro. She performed Enter Sandman and the crowd grew louder. I’m familiar with EJ’s vocals from the Come Together shows and it was electric as always.

Jennie’s first solo was Immigrant Song, she was definitely one of the crowd favourites. Dressed in a tight laced black dress, she gave a diva performance that enhanced the classic Led Zeppelin song and throughout her other solo sets that included Nothing Else Matters

The true peak of the night came when Phil Rudd took his place atop the tiered stage to deliver a thunderous three-song AC/DC set. He kicked things off with Thunderstruck, featuring a fierce vocal performance by EJ Barnes. Rudd’s unmistakable hi-hat groove and rock-solid timing gave the song its relentless drive, elevated further by the orchestra’s sweeping accents.

He followed with Head Job, the title track from his solo project—gritty, stripped-down, and full of attitude. It was a rare glimpse into Rudd’s own musical DNA outside the AC/DC machine.
Then came Back In Black—a showstopper. The crowd exploded as the first riff rang out, and Rudd anchored it all with effortless power. No frills, just precision and presence. It was a moment of pure rock theatre and the loudest ovation of the night.

In that trio of tracks, Rudd proved why he’s still the heartbeat of AC/DC—unshakable, essential, and completely in command.

Milan Borich (Pluto) delivered perhaps the most theatrical moment of the night during Slayer’s Raining Blood, taking the stage with face paint and a presence that was more possessed than performative. His version of Ace of Spades also hit with gritty charm.

Throughout the set, vocalists rotated, each bringing their own flair, while the orchestra amplified the drama behind every riff and roar. Behind the scenes, Brett Adams, Alistar Deverick, Mike Hall, and Jol Mulholland (also on guitar) helped hold the intricate sonic web together—Mulholland especially, operating as a kind of second-in-command just under the baton of Williams.

And then came the emotional final crescendo: It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll).

The orchestra swelled. The bagpipes emerged. The full ensemble returned to the stage—Jon Toogood, EJ Barnes, Milan Borich, and others—for a massive, collective finale to Rudd’s trilogy. The song, long retired from AC/DC’s own live setlists out of respect for the late Bon Scott, took on new life in this setting. It wasn’t just a tribute—it was a resurrection.
Rudd played with visible emotion. Every beat felt like a statement. This wasn’t a guest spot—this was his moment. The orchestra gave the track a cinematic scale, while the bagpipes added a nostalgic authenticity that left more than a few in the audience misty-eyed.
When the last chord rang out, the crowd exploded. Spark Arena had been loud all night, but this was different.

The audience was a blend of millennials, couples, and longtime rock fans. The GA floor was split by a barricade, with the rear completely packed. Despite the scale of the event, the vibe remained friendly and relaxed. Occasional moshing aside, the environment was safe, respectful, and electric.

The production value was immense—this was a Come Together show multiplied by ten. The sound was clean, the visuals sharp, and the energy relentless. This wasn’t just a tribute night—it was a reimagining of rock and metal’s greatest hits through a grand, orchestral lens.

For the truck fans of rock, the night continues an hour later with Synthony Origins.

Azrie Azizi

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Jon Toogood: