logo
Young competitors fine-tune confidence on stage

Young competitors fine-tune confidence on stage

In fine voice at SongFest'25! yesterday are (clockwise from top left) Kahurangi Makiha, Max Smith, Poppy Hussey, Holly Hamilton, Mackenzie Dunnicliff, Rishi Shantapriyan, Yulia Wood, Kahurangi Potae-Tamatea and Lucy Appleton (centre). PHOTOS: GERARD O'BRIEN
Hits from Miley Cyrus, Adele and Queen filled the air at the weekend as young singers blew "the back off the auditorium wall" for SongFest'25!.
The three-day annual singing competition, for those aged 20 and under, began on Friday evening at the University of Otago Castle 1 lecture theatre and received a total of 58 entries from as far as Hamilton.
Convener Peter Thomson said this was the competition's second year rebranded as "SongFest".
The competition had been running for more than 75 years and was formerly known as the Green Island Junior Vocal Competition.
Giving young people an opportunity to sing to an audience from a stage helped them to grow their confidence as a performer and their self-esteem, Mr Thomson said.
It was "more than just a singing competition".
"SongFest is all about a performance experience, to give the kids that performance experience singing from a stage.
"What it enables them to do over the weekend is the more they do it, the less nerves they have."
The look and feel had been changed to deliberately appeal to teenagers, Mr Thomson said.
This included advertising more on social media and developing a TikTok presence.
The competition had "much more depth about it now".
"There's kids here with microphones singing to full backing tracks, and they were blowing the back off the auditorium wall.
"It was a couple of girls singing jazz numbers, and we've never had that before.
"Normally it's somebody playing a piano quietly and a kid standing there very still, singing beautifully.
"Now they're standing there, it's like a performance in a pub or whatever.
"There's quite a different vibe in the place now."
tim.scott@odt.co.nz
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Video captures moment a woman's hair catches fire in a bar in Australia
Video captures moment a woman's hair catches fire in a bar in Australia

NZ Herald

time4 hours ago

  • NZ Herald

Video captures moment a woman's hair catches fire in a bar in Australia

Grace Leach was celebrating her 24th birthday when things took a turn for the worse. Photo / ethanvong, TikTok Listening to articles is free for open-access content—explore other articles or learn more about text-to-speech. Grace Leach was celebrating her 24th birthday when things took a turn for the worse. Photo / ethanvong, TikTok An Aussie woman has gone viral after accidentally setting her hair on fire during her birthday celebrations – without even noticing. Fitness coach and owner of Fit and Nourish, Grace Leach, was celebrating her 24th birthday last Saturday at luxury rooftop bar Arte in Maroochydore, a coastal town in Queensland, when the shocking moment unfolded. After a bottomless brunch with friends earlier in the day, the group kicked on into the early hours of the morning, but unfortunately, the birthday girl was sent on her way home by 9pm. Grace has now been recognised around town due to her new-found fame. Photo / ethanvong, TikTok In the now-viral clip, which has racked up more than 46 million views on TikTok, she can be seen leaning over her cake to blow out the candles when her hair suddenly catches alight.

Jeremy Clarkson faces heartbreak as TB outbreak threatens farm
Jeremy Clarkson faces heartbreak as TB outbreak threatens farm

NZ Herald

time10 hours ago

  • NZ Herald

Jeremy Clarkson faces heartbreak as TB outbreak threatens farm

Clarkson later clarified on X: 'I should clear this up really. It's Bovine TB that we have. It doesn't affect people, just our poor cows.' Responding to someone who said they hoped his herd recovered soon, he simply said: 'They have to be culled. It's the law.' It marks the latest blow to the running of Clarkson's 1000-acre farm, which he has been documenting through the hit Amazon series Clarkson's Farm as he tries to make the business profitable. Responding to a well-wisher who said he hoped Clarkson's new prize-winning Aberdeen Angus bull, Endgame, would be spared, the broadcaster said: 'His test was 'inconclusive'. I couldn't bear it if we lost him.' The TV presenter introduced Endgame to his herd of seven cows at Diddly Squat with high hopes of producing new calves, but things did not go to plan for him in the latest series. He grows increasingly confused as the prized bull shows little interest in the female cows, prompting Clarkson to quip: 'He's gone the wrong way. 'Seven ladies and he's not even bothered. Now they're chasing him. Why are they chasing him? Why did the cow just mount the bull? Do you get gay cows?' He also revealed that the offending animal which caused the spread of TB on the farm, believed to be a cow, 'is pregnant with twins'. Some 40,000 cattle are culled every year as a result of bovine TB infection, causing devastation to farmers. More than 21,000 animals were killed because of a TB incident in England between April 2024 and March this year. Last year, the presenter turned farmer was visited by police after activists reported blocked badger setts on his land, which is illegal under UK wildlife law. He insisted that his defence was that he had shot all the badgers, which spread TB on farms, under licence. He wrote at the time: 'Mercifully, however, I had the perfect excuse: 'I've shot all the badgers on the farm so why would I want to fill in their setts?' And yes, before you ask, it was all legal.' Clarkson has previously ranted on the show about the threat of TB for his cattle from the 'bastard badgers'. 'These are not nice animals. Do not be fooled by Brian May. This is what badgers do. This is how much heartache they're causing to people who've worked for generations to build up a farm that's been wiped out by badgers,' he said in 2023. Sir Brian May, the Queen guitarist, has previously argued that badgers are not responsible for the spread of TB among cattle. He has launched a high-profile campaign to stop a badger cull for more than a decade, which has turned him into a villain in some farming communities. Clarkson has discussed their role in spreading TB to cattle on the show, with one scene in the second series showing him explain that cows are at risk of contracting the disease because of the presence of badgers on the farm. 'If you want to make a popular show you have to say, 'Oh, look at the little cuddly-wuddly badgers,'' Clarkson previously wrote. However, he added: 'But I thought: no, it's a farming show, and you'd lose your core audience, the farmers, if you went around, saying, 'Look at these sweet little animals'. So, I actually called them bastards and showed people what they actually do. It's truthful.' Clarkson bought the Diddly Squat Farm in 2008, but it was run by a villager until his retirement in 2019, after which the veteran broadcaster decided to see if he could run it himself. Over the years, he has faced numerous challenges, including bad weather damaging crops, piglets being accidentally squashed to death by their mothers and planning battles with his council over the building of a restaurant. A spokesman for the Department for Environment, Food and Rural Affairs said: 'Bovine TB is a devastating disease that destroys farmers' livelihoods. Our hearts go out to all farms suffering from positive cases. 'The Government and its agencies are working hard to introduce measures to reduce the spread and paying compensation to farmers who lose animals to this disease.' 'We are determined to eradicate bovine TB, rapidly rolling out badger vaccinations to help protect farmers' livestock.'

40 years after Live Aid, it's still personal for Bob Geldof
40 years after Live Aid, it's still personal for Bob Geldof

NZ Herald

time5 days ago

  • NZ Herald

40 years after Live Aid, it's still personal for Bob Geldof

Geldof persuaded many of the world's top artists at the time to play for free, including Queen, David Bowie, Madonna, the Who, Elton John, Tina Turner and Paul McCartney. The shows were seen by about 1.5 billion people in more than 150 countries and would go on to raise more than US$140 million ($235m). Stars including George Michael, left; Paul McCartney, fourth from left; and Freddie Mercury, second from right, during the Live Aid Concert at Wembley Stadium in London on July 13, 1985. Photo / Getty Images The concerts followed the success of the Band Aid charity single, Do They Know It's Christmas?, which Geldof had co-written with singer Midge Ure and released the previous year. The song featured a who's who of British music, and raised £8m ($18m). It also inspired Harry Belafonte to organise an American equivalent, We Are the World, which remains one of the bestselling singles in history. Live Aid transformed Geldof into one of the world's best-known and most successful activists. The Band Aid Charitable Trust, a foundation he co-created, is still funding international development projects to alleviate poverty and hunger in Africa. These include supporting maternal health care facilities in Ethiopia and a programme to provide meals for children. To mark the Live Aid anniversary, the BBC and CNN co-produced a documentary series, Live Aid: When Rock 'n' Roll Took On the World. It also covers Band Aid and Live 8, concerts that Geldof organised in 2005 that helped pressure the world's richest countries to cut the debt owed by the poorest countries and increase aid spending. A medical and food distribution centre in Ethiopia in November 1984 during what the BBC called a 'biblical famine.' Photo / Finn Frandsen / Polphoto / AFP Geldof, 73, is currently on tour for another anniversary – celebrating 50 years since the founding of the Boomtown Rats – and spoke in a video interview from Novi Sad, Serbia, where the band performed last week. This conversation has been condensed and edited for clarity. Q: Tell me about that day in 1984 when you saw the BBC report. 'I was anxious at the time. I don't think my band had made a great record, and we weren't getting in the charts. A measure of how well we were not doing was I was home at 6 o'clock: Pop singers should not be doing 9 to 5. 'But everyone in Britain came home and watched the 6 o'clock news. The BBC gave this story about famine in Africa about eight minutes – the reporter went to the epicentre of the famine in Korem, Ethiopia, and sent this devastating piece of journalism. The objective truth and the subjective rage of what he was telling us about was evident, and certainly struck me. 'We were riveted by the prurience and the horror of it. This other world was suddenly thrown at us. I very much remember those images, and if you force me to articulate them again, I start crying again. Those images are the things that my mind will not allow me to obliterate.' Q: Yet you revert to those images when you want people to understand the horror of what motivated you in the first place. A: I suppose it's been the animus through the years. I can lobby and write policy, but when push comes to shove, it's only the end object that animates me to act. It can come to a head in a personal way. In Montreal last November, I was staying at a posh hotel. My wife ordered breakfast. The guy arrived and asked if he could say hello to her husband. He came into the room in an ill-fitting suit, pushing the trolley. He was a small guy and obviously Ethiopian. Geldof and the singer Midge Ure in London in 1984. They wrote the single Do They Know It's Christmas? together. Photo / Getty Images He said, 'Can I shake your hand?' He then stood bolt upright – he had prepared this – and made a speech at me. He didn't know who his parents were, he had been in Korem, and said he was raised on Band Aid food in a Band Aid orphanage, and he got to Paris to study catering and he was now here. I asked if he had a family and he said yeah, he had met an Ethiopian girl and he showed me a picture of her and his two cute kids, 8 and 9. Then he suddenly rushed at me and hugged me, and laid his head on my chest and said, 'Thank you for my sons, thank you for my life.' Obviously, Live Aid and Band Aid were the work of thousands of people. But you know, it worked. Q: But there is a difference between being enraged and actually doing something. A: What I've learned is that it is no use walking around singing, We Shall Overcome. Because you won't. Singing the song isn't enough. Protest songs are only ever protest songs. Music can be a call to arms, but music itself changes nothing. It won't go further unless you are determined to act upon it. The bands at Live Aid were the Pied Pipers, and the audience gathered around the electronic hearth of television and radio. The symbolism of it all carried through to 20 years of lobbying to change policy. 'Singing the song isn't enough,' Geldof said. 'It won't go further unless you are determined to act upon it.' Photo / Chris Hoare, The New York Times Q: You saw music as a platform to do things. Could Live Aid happen today? A: I don't think it's possible now. Society has changed. The web is an isolating technology. It knows what you are, it drives you, it gives you what it thinks you want, and as you get jaded it gives you more extreme versions of that. Now, music is free and you get the news that you want to see. The web is an echo chamber of your own prejudices, so you only hear the music that it thinks you like. It's a silo of the self. So I don't think music can survive being the spine of the culture as it was. Q: Bohemian Rhapsody, the 2018 film about singer Freddie Mercury, suggests that Queen's Live Aid performance was the moment when the donations started flowing in. A: The movie isn't right. Queen were completely, utterly brilliant. But the telephone lines collapsed after David Bowie performed. I was given the outtakes of a report that the Canadian Broadcasting Corporation couldn't show, because it was just so appalling, the visual images. The editor had cut the film in Addis Ababa to the tune of Drive, the Cars song, and it's worse than the BBC report. Harvey Goldsmith, the concert promoter, and I had gone to see David about what songs he would sing. But before we started talking about the songs, I said, 'Look at this thing,' and I put it on. David Bowie during the Live Aid concert at Wembley in 1985. Donations started flowing in after his performance. Photo / Getty Images David was crying and said he would cut a song from his set to show the CBC report instead. It's an extraordinary moment during the concert, because at the end of Heroes, which the crowd were all singing, he quietly introduces the clip and asks people to send their money in. It was like a slap in the face. Bowie brought the house down. That was the key moment. Q: How do you respond to criticism that you and Live Aid are examples of a 'white saviour' complex? You have said it simply isn't relevant when you are dealing with an emergency or disaster. A: There is nothing to argue. It's nonsense, like any dogma. It's like Catholicism that says you are born with original sin. Or Freudianism. It's theory and notional. It's not even worth entertaining. It doesn't exist. Q: You have always been pragmatic with your activism, and you've dealt with politicians of all stripes. How do you feel about President Donald Trump and Elon Musk, and their decision to gut USAID, which worked in many of the areas and causes that you have fought for? 'We're in a radically different world now. It's the argument between nationalism and internationalism. 'What is profoundly shocking is the cackling glee with which the Trump-Vance-Musk triumvirate went about declaring war on the weakest and most vulnerable people of our planet. America was always the most generous by far of all the countries. 'Why would great America do that, while the richest man on the planet cackles that we're going to feed USAID into the wood chipper? It is grotesque, it is a disgrace to the country.' Musk said that the great weakness of Western civilisation is empathy. You fool. Empathy is the glue of humanity. It is the basis of civilisation. This article originally appeared in The New York Times. Written by: Ravi Mattu Photographs by: Chris Hoare ©2025 THE NEW YORK TIMES

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store