Tom Scott – Civic Theatre: November 1, 2025 (13th Floor Concert Review)

The 13th Floor’s Jeff Neems and photographer Thiago Alencar spent last night at Auckland’s Civic Theatre with Tom Scott…here is what happened.

I have so many questions for Auckland rapper and vocalist Tom Scott. “What fuels the creativity?”

“How does it all come together? Do these musicians gravitate to you? Or do you shoulder-tap them to participate?”

“Is Anitya really the only album you’re actually proud of, among this growing body of work across several aliases and projects?”

“Was the Civic a deliberate venue choice for this?”

“Are you angry at all governments, or just this one?”

“And do you really want to ram-raid the beehive?”

There’s plenty more questions like that in my mind, parked up next a sense of wonder, curiosity and astonishment, whenever I listen to a new Tom Scott project album, or check out one of his performances.

Recording and performing as part of Home Brew, @Peace, Average Rap Band and my personal favourite, Avantdale Bowling Club, the Anitya album released last month is the first Tom Scott solo work – with Tom supported, as is his way, with an ensemble cast of the country’s best young musicians.

From the outside looking in, if you’re world-class with flute, bass, drums, guitar or keyboard – and you live in or near Auckland – there’s a good chance you may end up involved in a Tom Scott project.

Last night’s performance, which Tom had cleverly hyped on his Instagram for several weeks, was perfect for the city’s grand old theatre. It was almost as if the layered intricacy of the theatre’s interior served as a metaphorical mirror for Scott’s mix of complex rapid-fire rap and vocal schemes and r’n’b style singing.

The costume changes made by several players, including Tom  – “Trying to do too much, eh?” he mused after returning to the stage in a grey baggy tracksuit, having earlier worn an ill-fitting ’80s suit –  felt like a nod to the venue’s history. The musical soundscape produced by the band perfectly matched the artistry of craftsmen who built this magnificent theatre decades ago.

I must admit this wasn’t quite the show I expected. With a new album to promote, I’d anticipated Anitya would be performed in full, probably in album listing order, before Tom might give us a little taste of some of his previous work and then wander off his stage after an incisive political monologue.

I got the last bit right – having dismissed the band after the encore song – “Youse can go now, off you go, you’re finished…” he told them, gesturing to the side of the stage – he stood alone on stage for several minutes, eviscerating the government and the prime minister with a stream of clever and ruthless invective. Unsurprisingly, people cheered, rose to their feet, and gave one of the city’s favourite sons a standing ovation.

Tunes from Home Brew (Drinking in the Morning) and Avantdale Bowling Club’s cracking cuts Rent 2 High  and the superbly reflective  Goin Through It  all got a run, a welcome and perfect deviation from the Anitya which is deeply personal and covers the break-up of one relationship and the flourishing of another – material spread over two distinctly different sides of the record, lyrically speaking.

It was clear – from the costume changes, the simple but intense light show and backdrops – and the very deliberate placing of musicians on the stage (bass, drums and guitar on small risers), Tom and his collaborators had put significant thought and effort into this performance. On his Instagram story, he stated he “turned down touring Europe for this”, an indication of just how important it was to him.

And it worked a treat. This was a masterclass in taking an album and truly bringing it to live in the live context: the crowd was riveted, and my guest noted a distinct lack of cellphones in the air – indicating, in a refreshing way, the people at this show wanted to experience it the way it was intended, and not through a small screen so they could share to their socials later.

Sadly, the musicians in the ensemble weren’t introduced – I’d have liked to have known who they were, particularly the energetic and enthusiastic keyboardist front of stage. (I did spot frequent Tom Scott collaborator JY Lee, a talented multi-instrumentalist who plays sax and flute).

I continue to be increasingly impressed by Tom Scott’s material, and although he’d likely shun or even hate the suggestion, Tom Scott is quickly emerging as a spokesperson for a generation, in the same way Paul Weller did in early 1980s England: smart, sassy, politically astute, extremely professional but also deeply fallible and far from perfect.

The warm-up performance was amusing, with comedian Dai Henwood hosting a faux Karaoke session in a fictitious west Auckland bar. It was entertaining – and some of those singers appeared later on stage as part of the main set – but it probably dragged on a little too long.

But that’s a very minor quibble. This was another excellent Tom Scott project which truly comes alive in the live context and further enhances his reputation and legacy as a gifted, intelligent and incisive songwriter who continues to push the envelope lyrically. musically and creatively.

I’ve become transfixed, to be honest.