
Infectious rhythms and energy
Supergroove, PHOTO: SUPPLIED
A packed house in the Regent Theatre on Sunday evening danced to the effortless energy, infectious rhythms and joyous atmosphere created by Supergroove and guests Troy Kingi, King Kapisi and Rubi Du.
Supergroove remain phenomenal.
Their signature eclectic sound incorporates big-band, laid-back funk rock, hip-hop and reggae energy.
It is all imbued with wonderfully Kiwi downbeat humour, brilliant everyday lyrics and musical precision. It culminates in a treasured force for good.
The current lineup includes Nick Atkinson (saxophonist), Tim Stewart (trumpeter), Paul Russell and Ian Jones (drums), Joe Lonie (bass) and Ben Sciascia (guitar).
Vocals from the spidery figure of Karl Steven (mouth organ and keys) and the very smooth Che Fu produce a well-rounded easy sound.
All are consummate musicians, showing great professional ease aided by smoothly operating crew.
The audience in the mosh pit and gallery enthusiastically leapt to their feet for such classic numbers as Can't Get Enough, Sitting Inside My Head, You Gotta Know, Your White Shirt, For Whatever Reason and Sister, Sister. All conjuring convivial sing-along gigs in local halls, aka the Portaloo gigs, and the genesis of much of our low-key culture now finding a home in classier joints.
Hip-hop master King Kapisi has high-powered overseas credentials, won by celebrating his Samoan heritage impinged by colonialism. Kapisi opened the evening with his DJ table inviting the audience to participate in spot prizes for the best improv dances. He joined Supergroove notably for Screems From Da Old Plantation.
Troy Kingi is also famous for his eclectic style. He wowed the audience with such classics as This is Home, Aztechknowledgey, Good Love, Shake that Skinny Ass and Sleep.
Samoan Rubi Du's full impact remained lost on most of the audience.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Scoop
15 hours ago
- Scoop
New Waiata Drops As Matariki Rises - Our Songs. Our Waiata. Our Movement
As Aotearoa celebrates the rise of Matariki, heralding the Māori New Year, Waiata Anthems are proud to support the release of Matariki Hunga Nui - Calling Me Home: a special bilingual theme song for Matariki 2025 and beyond, performed by Rob Ruha, Troy Kingi and Kaylee Bell with Professor Rangi Mātāmua. Matariki Hunga Nui - Calling Me Home will be available on all streaming platforms on June 16, with a music video and short documentary to be released on Waiata Anthems platforms that same week. At the heart of this kaupapa is Professor Rangi Mātāmua, who championed the recognition of Matariki as a time for all of Aotearoa to acknowledge our past, celebrate our present, and look to a bright future. This year's theme, Matariki mā Puanga, also acknowledges the star Puanga (Rigel) beyond the Matariki cluster, whose rising marks the New Year for some iwi. Embracing the broader Matariki mā Puanga message of inclusion and embracing diversity as we celebrate Matariki together, Prof. Rangi Mātāmua collaborated with three creatively distinct, multi-award-winning musicians to produce the celebratory waiata. Leading figure in the waiata Māori movement, Rob Ruha, joins genre-shapeshifter, Troy Kingi, and 60-million-times-streamed country music artist, Kaylee Bell, to contribute their unique voices and styles on this fresh yet timeless waiata which will be sung across the motu every Matariki. Matariki Hunga Nui - Calling Me Home embodies the wairua and significance of Matariki in a waiata which is undeniably catchy and crafted to be singable by all, with even Prof. Rangi Mātāmua making his vocal debut on the recording alongside New Zealand's brightest music stars; 'I don't see a future as a pop star on the cards for me but it's a waiata that just feels good to sing. And if I can hold the tune, anyone can.' Troy Kingi reiterates that Matariki Hunga Nui - Calling Me Home belongs to all of Aotearoa, 'We actually want the chorus to be interchangeable. We want to put it out there that when people sing they can make up their own words. We want people to take ownership of the song. It's going to be a banger.' Released as a special project under the acclaimed Waiata Anthems musical series in time for the Matariki public holiday, Matariki Hunga Nui - Calling Me Home celebrates the season's themes of whakapapa, remembrance, renewal, and togetherness through music. Matariki Hunga Nui - Calling Me Home will be released on all music streaming platforms on 16 June 2025. Song Title: Matariki Hunga Nui - Calling Me Home Artist(s):, Rob Ruha, Kaylee Bell, Troy Kingi Producer: Noema Te Hau Matariki Advisor: Professor Rangi Mātāmua


NZ Herald
20 hours ago
- NZ Herald
Five classic Kiwi films to get you into the Matariki mood this holiday
Starting with the obvious, this drama film set around the holiday itself follows a chain of events in the South Auckland suburb of Ōtara leading up to Matariki, with the Māori New Year acting as a motif throughout. In the spirit of US-produced epics such as Magnolia and Crash, Michael Bennett's Matariki draws on human emotion and features a diverse cast who all give authentic and honest performances of their realistic (sometimes grim, sometimes darkly comedic) storylines. Multiple languages are used throughout and the script highlights the redeeming power of friendship and the importance of community after a random act of violence. With music by Don McGlashan and cinematography by regular Sir Peter Jackson collaborator Alun Bollinger, this raw display is sure to get people thinking about what Matariki means to them. Whale Rider (2002, dir. Niki Caro) Keisha Castle-Hughes in Whale Rider, an adaptation of the Witi Ihimaera novel of the same name. Whānau acceptance and ancestral ties lie at the heart of Niki Caro's groundbreaking adaptation of the Witi Ihimaera novel Whale Rider, which itself was based on the Māori mythological tales of Paikea. As a young girl longs to lead her tribe and make her family proud, she also strives to connect with her cultural heritage and her community's ancestral ties – a poignantly prominent story when thinking about it in the context of Matariki. Paikea Apirana, played by a young Keisha Castle-Hughes, is one of the best Kiwi characters to appear on-screen and stands as an empowering symbol for young wāhine everywhere. Meanwhile, Leon Narbey's beautiful cinematography expertly captures the beauty and ruggedness of Aotearoa's land, sea and sky (which also coincidentally make up some of the stars in the Matariki cluster). We Were Dangerous (2024, dir. Josephine Stewart-Te Whiu) Josephine Stewart-Te Whiu's film We Were Dangerous tells a fictional story about a rebellious trio of girls railing against the system in 1950s New Zealand. Photo / 818 Sometimes, acceptance and a sense of community can be found in the most unlikely of places. The delinquent girls' camp in We Were Dangerous is one of those places. While the main themes of rallying against patriarchy and oppression are significant in this film, it also highlights the importance of embracing diversity and sticking together to overcome challenges. A mix of dry humour and drama, the film is anchored by strong performances from the lead actors and a cracking script by Maddie Dai. Make sure you watch out for a particularly great scene where a long-standing te reo Māori language game is played, because it looks so fun, you might even want to give it a go yourself this Matariki. Boy (2010, dir. Taika Waititi) Taika Waititi's film Boy won the Best Feature award at the Berlin International Film Festival. Quite possibly the funniest Kiwi movie ever made and also the film that showed the world Taika Waititi was a force to be reckoned with, Boy is the perfect Matariki watch because it doesn't shy away from hard truths on family and togetherness. The simple story about a young Māori boy from Gisborne trying to reconnect with his vagabond father struck a chord with audiences across the motu upon its release and has since become a cult classic. Much of the humour is tinged with sadness, and the themes of belonging and new beginnings run deep while still coming across as natural in the story thanks to anchored performances by Waititi and James Rolleston. Complete with a great soundtrack, whip-smart dialogue and a very memorable Michael Jackson dance, Boy is a great example of a film that takes the audience along for the ride and leaves them feeling like part of the family when they are done. The Dead Lands (2014, dir. Toa Fraser) Lawrence Makoare as The Warrior in the New Zealand movie The Dead Lands. While brutal, bloody violence and skull-crushing isn't the first thing that comes to mind when you think Matariki, The Dead Lands is still, at its heart, a story about finding your place and following in the footsteps of ancestors. Shot entirely in te reo Māori, it not only depicts New Zealand's history from a tribal warrior's perspective but also dives deep into traditional mythology and explores cultural identity in a way rarely seen on screen. Intense scenes of tribal warfare come across as rather realistic, as do the depictions of traditional Māori culture and tradition. There's even a pivotal scene featuring the lead character, Hongi, looking up at the stars while seeking guidance, something that many people across the motu will be doing this Matariki season. Mitchell Hageman joined the Herald's entertainment and lifestyle team in 2024. He previously worked as a multimedia journalist for Hawke's Bay Today.


Otago Daily Times
a day ago
- Otago Daily Times
Art seen: June 19
"Reflections on Time — Images Over Blueskin Bay", Angela Burns (Gallery De Novo) Readers who know Angela Burns' art may get a surprise looking at her latest exhibition at De Novo. While much of Burns' style is intact, these pieces are far more clearly representational than much of the artist's former oeuvre. The play of light, expressed in broad sweeps of colour, remains present, but distinctive landforms are also clearly depicted — islands, fences, and hillsides. Burns' strong gestural strokes are still the basis of much of the art, but the lure of the photographic has led the artist to produce more strongly grounded landscapes. Inspired by photographs of the view from Double Hill Rd above Waitati, the artist has created a series of images which move between the tangible and the intangible, with plays of light on the water framed by the hills around Blueskin Bay. At times, especially when focusing on the water and sky, such as Lavender Haze over Blueskin Bay , the images have the same free abstraction as Burns' earlier works. In other pieces, the land is clearly delineated without losing the airy impressionism of the more ethereal pieces. A major surprise is the use of acrylic on both canvas and paper; the latter pieces using deft washes of colour that give them more the feel of gouache or heavily applied watercolour. "Through the Fray" (Blue Oyster Art Project Space) "Through the Fray" brings together work by three recent graduates from Dunedin School of Art. All three explore personal, political, or cultural journeys towards coming of age. In the case of Zac Whiteside, the struggles to be seen as a "true Kiwi bloke" and "one of the team" are brought into focus by a washing line filled with rugby jerseys fashioned out of steel wool. The duality of the material — abrasive yet polishing — connects with the often brutal process by which young New Zealanders are shaped into adulthood. Jude Hanson Stevens asks questions of the tactics by which European settlers claimed land in New Zealand using the concept of "Terra Nullius" ("Uninhabited land"). The artist presents a prosaic fence constructed from items salvaged from farm land. The ubiquitous No 8 wire brings with it association of makeshift solutions, and the tōtara posts have echoes not only of farm demarcation but also of traditional pouwhenua. Isabella Lepoamo examines cross-cultural memories, turning a battered La-Z-Boy armchair and discarded beer bottles, the signs of adulthood on the decline, into a Samoan throne, decorated with siapo patterns and surrounded by lilies. There is sadness here, but also strength and pride in the memory of the artist's father and grandfather, trying to create a new home in a new land. "You Can Go Back to the Past, But No-one Will be Waiting for You There", Simon Attwooll (Hutch) Simon Attwooll presents an intriguing exhibition at the new Hutch Gallery in Moray Pl. Working from found photographs of the aftermath of a house fire, the artist creates images which honour a loving memory of the house as it was, while simultaneously using the remains from a house fire as his medium. Crushed and refined charcoal powder from a burnt-out property is used as the medium, rubbed in great clouds over images of fire sites. What emerges are smoky images that seem reminiscent of early daguerrotypes and tintypes, photographs blurred by distant memory and faded with dust. We experience the visceral feel of the destroyed properties, the detritus of what was once a home. In some cases, the work has been compartmentalised by the addition of empty matchbox drawers to the surface, making the image into an almost forensic grid. Are we supposed to be trying to find the source or cause of the conflagration? Among the sooty black, one pale work stands out, almost as a ghost of a house, presented in palest acrylic grey on white. It is as if the spirit of the house still haunts the site, waiting for a release that understanding of the fire alone can bring. By James Dignan