07/01/2026

The Lumineers – Spark Arena: January 6, 2026 (13th Floor Concert Review)

With flower headbands in abundance, whimsical white skirts, and summer attire, an enthusiastic crowd eagerly awaited The Lumineers performance at the Spark Arena on Tuesday, 6th January.

Harper Finn

Harper Finn pulled out all the moves as the opening act for The Lumineers at the Spark arena. He appeared on stage dressed in full white – flared white pants and a fitted white t-shirt, with his band in black. He was joined by guitarists Jake Skellern and Karl Svensen. Finn was in his element, bringing out dance moves that combined the likes of Elvis Presley and Michael Jackson.

The set was smooth, full of energy and performed with confidence, exactly what you need to be an outstanding opening act. Finn performed Broken Glass which he warmly dedicated “to all the women in my life” and another song to his boss, “for four years I worked here as a bartender – so be nice to the bar staff.”

He embraced his inner rock God during Fire Escape, dropping down to one knee and dancing unbound across the stage, complete with knee and hip twists, body rolls and forward head thrusts. The audience responded well, cheering enthusiastically and giving their attention to Finn and his band mates.

The set was showcasing his newly released album Silo Park. “Who is starting the year with a heartbreak?” He shouted passionately, “well this one is for you, you can be heartbroken for three minutes!” The audience laughed as he played East River, featuring a catchy guitar riff and provocative lyrics. Finn demonstrated his vocal range through songs like Maple and kept the energy up throughout the entire setlist, not always easy to do as an opening act. A superb performance, Finn was owning the stage with charisma, confidence and musical professionalism.

The Lumineers

The Denver duo, Wesley Schultz and Jeremiah Fraites, returned to New Zealand with their Automatic tour. The show began with Same Old Song and featured a full band, including a particularly enthusiastic pianist (more on that later). Schultz was dressed in his usual simple attire, with two rugged plaits and a cap, while Fraites wore his iconic white t-shirt and suspenders. As soon as they began, the audience sang enthusiastically, watching entranced while energetically clapping along to the upbeat rhythm.

Violinist/keyboardist Lauren Jacobson hypnotised the crowd with moving harmonies, easily jumping from keys to violin. One of the most impressive aspects of watching The Lumineers was the true musicianship demonstrated. Each musician seemed to be a multi-instrumentalist, flitting from one instrument to the next with absolute ease and precision. Fraites ran enthusiastically back and forth across the stage, playing drums, piano, and guitar as if they were the same instrument.

The audience began singing the second song almost before the band had started – immediately recognising Flowers in Your Hair. All six musicians stood at the front of the stage in a line. Fraites played the kick drum and tambourine while standing, Schultz played electric guitar, Brandon Miller handled acoustic guitar (and later drums), and Byron Isaacs played guitar and sang vocals. Jacobson supported in rich harmonies, while Stelth Ulvang took a short break from his main role as pianist and played both viola and piano accordion, expertly switching between the two. The piece felt intimate, grounded, and homely and encouraged audience warmth and participation.

Comb-like shafts of red light radiated up and down over the audience as everyone stood entranced. They played Angela, a popular song from their second album Cleopatra. Ulvang returned to the viola, which created a cozy, folk atmosphere, while Schultz captivated the crowd with his earthy, bellowing voice.

After the first three songs, Schultz addressed the crowd. “This is the biggest show we’ve ever played in Auckland. Last time it was three times smaller than this; it blows our minds.” He spoke openly about the special connection he had with Fraites: “We’ve been playing music for twenty years, and we’ve made five albums,” he said with strong emotion.

Fraites and Schultz began a soft, acoustic song under low blue lights with two guitars. The atmosphere was humble and mellow. It was rugged and raw, resonating deeply with the audience. People stood still, gently swaying to the strummed guitar, singing softly during the chorus, “You’re all I got,” from their most recent Automatic album.

Returning to their fourth album, they played A.M. Radio. Schultz set the mood with raw vocals and acoustic guitar, repeating the refrain, “I couldn’t give you up.” Halfway through, the band joined in. Fraites rhythmically pounded the drums, while a concert bass drum added depth and a bodily-felt resonance. The audience energetically clapped along to the powerful rhythm.

“When my wife first met me,” Schultz began, “I’m sure she thought I was an asshole.” The audience laughed loudly, already anticipating what was coming. “I like this quote, though. You should be suspicious of those who present themselves as perfect, ’cause they’re often the ones hiding the darkest things. We should welcome the sloppy ones, the ones who say the wrong things at the wrong time. They say the truth. This song is called Asshole.” They played Asshole, a much-loved single from their latest album. The audience knew all the words and sang along as slow fanning lights moved over them in blues and greens. Towards the end of the song, Fraites joined Ulvang on piano for an intricate and lively duet.

After a few quieter songs, the mood shifted. The band moved to a line at the front of the stage again, echoing the beginning position. Hey Ho began, and the audience went wild, clapping and stomping while singing the famous words of the song that made The Lumineers famous. The band was smiling and engaging with each other, revealing a deep relationship. Despite having played the song countless times, they performed it with all the emotion, beauty, and authenticity it deserved.

Afterwards, Schultz told a short story: “You know, we met a couple once who told us they chose one of our songs as their first dance. But you see, Ho Hey is unfortunately a breakup song. But hey, maybe it’s good luck. If you want a romantic song, it’s Dead Sea.” The audience erupted into cheers at the mention of Dead Sea. Robinson played staccato violin while Schultz accompanied on guitar under the spotlight. It was definitely a crowd favourite.

Towards the bridge, the band slowed down the tempo and paused for effect. Schultz removed his cap for the first time, holding it out to the audience as if bowing, while Fraites built up tension with a drum roll. The suspension was palpable as the audience clapped ferociously. Ulvang on piano grew increasingly enthusiastic, playing with skill and precision, standing and even jumping on the piano and stool. The audience seemed to encourage him, and it was unclear whether it was planned – but he clearly enjoyed himself.

Another favourite moment was BRIGHTSIDE. Schultz climbed down from the stage and walked into the audience. Singing solemnly, accompanied only by Fraites on piano, he moved through the crowd, holding hands with excited fans. He proceeded to the side bleachers and to the back of the stadium, the spotlight following him the entire time. Despite the movement, his voice remained strong and powerful, holding all the force and emotional depth needed for this acoustic ballad. The audience was amazed at the proximity, gasping in awe as he passed.

Later in the set, Schultz introduced the song Ativan from the new album Automatic. “I wanted to write a song from the perspective of the anti-depressant,” he said. The lights dimmed, and the audience immediately sang along: “If I can’t make you happy, then nobody can, sweet Ativan.” Couples leaned against each other, swaying gently to the enduring refrains. The song built to a climax: “I’ll be on the bullet train to Neverland, your enemy with benefits, we’re free. I’ll provide the poison and the medicine. The only thing you’re ever gonna need.” The drums resonated, Ulvang dazzled with melodic treble on the piano, and the tambourine encouraged energetic audience clapping. Another crowd favourite.

Other highlights included Gloria and Ophelia, with everyone on the bleachers standing and dancing as the drum rhythm took over the room. A standout moment in Ophelia was the tambourine-circus act by Ulvang and Schultz. With great skill, they tossed tambourines into the air toward each other, catching them mid-flight. They repeated this successfully multiple times until Ulvang missed and sheepishly tossed the broken tambourine to the audience – a spectacular conclusion to a song performed with intensity and vibrancy.

As the show drew to a close, The Lumineers played another old-time favourite, Big Parade. Each band member sang one verse. Ulvang, increasingly eccentric, began his verse with a long pause followed by, “Kia ora,” before singing while standing atop the piano. His verse ended with a jump from the piano to the main stage, leading to a spin/fall past the drums and plunging toward the audience. He regained balance, and it was unclear whether this was planned. The audience laughed and smiled, as did the band.

The final song was Stubborn Love, a long-time fan favourite. It began with just Robinson and Schultz on violin and guitar, performing a little foot dance. The song was rich and emotionally honest, and Schultz summoned all his energy to do it justice, despite performing nonstop for almost two hours. Towards the end, Ulvang wasn’t finished with his antics. He dived into the crowd, weaving through the bleachers and balancing precariously along the seats. He teetered on the edge, not quite stable but not falling, before returning unharmed to the stage. Despite the extra entertainment, the song was executed beautifully, with the audience participating enthusiastically, following Schultz’s cues.

The Lumineers gave a heartfelt, authentic, and emotional performance, grounded in presence and modesty. The musicianship was excellent, and each song was thoughtfully arranged to create rich and satisfying live experience. Aucklanders will be eagerly awaiting their return.

Lexi Tuenter

Click on any image to view a photo gallery by Azrie Azizi:

The Lumineers: