Full Line Up For Auckland Winter Series
TĀMAKI MAKAURAU AUCKLAND (MAY 15, 2025) – Live Nation is proud to present the full Auckland Winter Series line up at the Auckland Town Hall this June featuring Sir Dave Dobbyn, TEEKS, Mall Grab and Japanese Breakfast.
One of Aotearoa's most treasured musical voices, Sir Dave Dobbyn, will be live in concert at Auckland Town Hall for the very first time on Wednesday June 4, which is selling fast.
Celebrated homegrown artist TEEKS will perform a very special sold out show with a string sextet and piano for one night only on Thursday June 5.
Mall Grab is back, making his long-awaited return to Auckland on Friday June 6, which is selling fast.
Japanese Breakfast comes to Aotearoa New Zealand for the first time on Saturday June 7, in support of their fourth studio album For Melancholy Brunettes (& sad women).
Auckland Winter Series is a new curated concert experience from Live Nation, in association with Tātaki Auckland Unlimited on behalf of Auckland Council. Featuring an eclectic lineup of international icons and homegrown heroes, the series brings world-class performances to the heart of Tāmaki Makaurau this June.
Tickets are on sale now.
Sir Dave Dobbyn, TEEKS, Mall Grab and Japanese Breakfast all perform as part of the complete Live Nation Auckland Winter Series line up.
About Live Nation Entertainment
Live Nation Entertainment (NYSE: LYV) is the world's leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Media & Sponsorship.
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The Spinoff
17 hours ago
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From Dave Dobbyn to Japanese Breakfast: Reviews from the Auckland Winter Series
Four nights, four gigs, four reasons to love the Auckland Town Hall. Wednesday: Sir Dave Dobbyn The last and only other time I saw Dave Dobbyn live was at a craft beer festival in 2017. He came on around three or four in the afternoon and belted out a no-frills-no-fuss set of all the classic hits you'd want and expect Dave Dobbyn to play, then got out of there. It was your typical Festival Dobbyn experience, i.e. a bloody good time. Wednesday night at the town hall was a different kind of Dobbyn experience, a rare chance for him to tear up the festival setlist and play some deeper cuts from the catalogue. Calling the evening 'Selected Songs' should have been a clear signpost to anyone buying a ticket that this was the direction in which we were heading, though some of my fellow standing section punters were vocally less thrilled than I was to be treated to so many songs off Twist and Lament for the Numb in the first hour. Even those people got what they came for in the end, of course, with a rousing, Tami Nielson and Delaney Davidson-assisted version of 'Welcome Home' closing the set before 'Slice of Heaven' and 'Be Mine Tonight' in the encore. But this was a night for the real Dobbyn heads, and the highlights were plentiful. From the opening chimes of 'Belltower' to the ragged glory of 'Don't Hold Your Breath' to the high note at the end of 'You Oughta Be In Love', this set served as proof that not only has Sir Dave written some of this country's finest songs, he still has what it takes to bring the house down with them. / Calum Henderson Thursday: Teeks There's something a little bit terrifying about watching a performance from an artist whose work relies almost entirely on their voice. Of course, all singers rely on their voices, but most will have other things in a live show to entertain audiences – a band, back-up singers, dancing, even themselves playing an instrument. I watch artists all the time and never consider their voices less valuable because they have a band singing with them, but when I watched Teeks perform to a sold-out Town Hall on Thursday, I realised just how much his live performances live and die by his voice. And the voice delivered. Accompanied by a piano and a string sextet (he has previously performed with the full Auckland Philharmonia), Teeks put on an intimate show, cycling through his EP, album, a few newbies and a few covers of songs you'd expect to hear on a Teeks algorithm playlist – 'Drive' by Bic Runga, 'Landslide', 'Make You Feel My Love' and 'I Can't Make You Love Me'. His voice never faltered, except once when he teared up singing 'Never Be Apart' for his late friend Taryn. If it weren't for the surprisingly rowdy and vocal crowd, there were times when it could have fallen into being genuinely awkward. Teeks can sing – we all know this – but he's not much of a talker. Again, most of the time the banter between songs is barely registered, but when there's so much silence in the music itself, those moments of crowd interaction felt amplified and intimate, and it took Teeks a good hour before he sounded remotely comfortable speaking rather than singing. In the end, the show felt more like a studio session than a Town Hall concert – and I suspect Teeks himself would have preferred that setting. It was most amplified by his invitations for the crowd to sing along to his bigger hits. Have you ever sung along to a live song that only has a piano accompaniment? You don't, is the answer. Because if you did, literally everyone would hear you. It led to some awkward whisper singing from those of us who knew the lyrics but didn't want to be heard by the whole venue. Despite the awkwardness at times, Teeks managed to pull off something few can manage – a full audience captivated by only his voice. Ps. Who would have thought the only genuine encore chant I've heard in nearly five years would be at a Teeks concert? I eagerly await his second album. / Madeleine Chapman Friday: Mall Grab Having had Mall Grab's sets on heavy rotation for the past year, I wasn't just excited to see what he would bring to New Zealand – I was curious to see who else made up his Aotearoa fanbase. The crowd skewed older and more refined than other recent electronic events I've attended – an upper-middle-class, predominantly male group out for a well-curated night. The ample space to dance at the Auckland Town Hall is a rarity at gigs of this calibre. Christchurch producer and DJ Emilie opened with a confident, composed set. Her selections delivered just enough bounce to keep the energy alive without encroaching on headline territory. As a thick mist rolled across the stage, conversation on the dance floor faded. Mall Grab had arrived. He kicked things off with the 133 BPM future-nostalgic stunner Love Reigns – a softer side of his catalogue that still hit hard, setting the tone for a dynamic build throughout the night. The lighting and stage design elevated the entire experience, transforming the town hall into something reminiscent of an international warehouse rave. With punters allowed to gather on either side of the DJ, and a lighting technician absolutely dialled in, the visuals matched the sonic journey beautifully. Moving fluidly between ambient, sample-driven house and modern tech slammers, Mall Grab delivered a sophisticated, deeply textured set. It was a masterclass that spoke not only to his own artistic evolution but to the strength and depth of Melbourne's thriving electronic scene. / Diaz Grimm Saturday: Japanese Breakfast On a weekend where Instagram stories would have you believe every cool indie band in the world was in Barcelona for Primavera, it felt like a huge coup to have Japanese Breakfast in Auckland – especially so soon after the release of their fourth (and for my money best yet) album For Melancholy Brunettes (And Sad Women) (add 'Beardy Men' and I reckon you'd have a pretty good chunk of the audience covered). We had the band Mannequin Pussy to thank for their presence, bandleader Michelle Zauner explained – they came here in 2024 and made her green with envy when they posted pics from Hobbiton (Japanese Breakfast was heading there on Sunday). Thanks also to the show's organisers for choosing the perfect opening act: I went it having never heard locals Phoebe Rings before and left an evangelical fan (check out their new album). Japanese Breakfast is touring as a six-piece band and started their set in campfire mode, sitting around a lantern-lit stage for delicate acoustic FMBASW opener 'Here Is Someone'. But a large gong at the back of the stage suggested the intensity would build, and so it did across a set that balanced the more introspective new album with all the biggest hits of previous albums. 'Picture Window' and piano-led 'Men in Bars' (the drummer filling in for Jeff Bridges on his verse) were highlights off the new album, before Jubilee favourite 'Posing in Bondage' rounded out the main set. Chekhov's gong finally got a working over during the encore ('Paprika'), which would normally be the biggest rock move of the night but here was immediately overshadowed by the pick slides in closer 'Diving Woman'. Good band – I hope they had a really nice time at Hobbiton. / CH
Scoop
29-05-2025
- Scoop
Phoebe Rings Joins Japanese Breakfast As Support For The Auckland Winter Series
Press Release – Live Nation Entertainment TĀMAKI MAKAURAU AUCKLAND (MAY 29, 2025) – Live Nation is proud to announce local act Phoebe Rings will join Japanese Breakfast at the Auckland Winter Series line up at the Auckland Town Hall this June. Tickets to their June 7 show are on sale now. Well known for their signature blend of Jazz-inspired dream-pop sounds Phoebe Rings formed in 2019. Having created a loyal fanbase since opening for The Beths, and releasing their self-titled EP last October, Phoebe Rings will be debuting their forthcoming LP Aseurai, out June 6. Made up of lead singer/synthesist Crystal Choi, drummer Alex Freer, guitar/synthesist Simeon Kavanagh-Vincent, and bassist Benjamin Locke, they join U.S. band Japanese Breakfast who will perform for the first time ever in Aotearoa next month as part of the Auckland Winter Series. After a decade making the most of improvised recording spaces set in warehouses, trailers and lofts, Japanese Breakfast 's fourth album, For Melancholy Brunettes (& sad women), marks the band's first proper studio release out on March 21st. Produced by Grammy Award winner Blake Mills — an innovator of uncommon subtlety, known for his work with everyone from Bob Dylan to Fiona Apple and quietly regarded as many a legacy artist's favorite guitar player — and tracked at the venerable Sound City in Los Angeles — birthplace of After The Gold Rush, Fleetwood Mac and Nevermind among other classics — the record sees front-woman and songwriter Michelle Zauner pull back from the bright extroversion that defined its predecessor Jubilee to examine the darker waves that roil within, the moody, fecund field of melancholy, long held to be the psychic state of poets on the verge of inspiration. The result is an artistic statement of purpose: a mature, intricate, contemplative work that conjures the romantic thrill of a gothic novel. For Melancholy Brunettes follows a transformative period in Zauner's life during which her 2x GRAMMY nominated breakthrough album Jubilee and her bestselling memoir Crying In H Mart catapulted her into the cultural mainstream, delivering on her deepest artistic ambitions. Reflecting on that success, Zauner came to appreciate the irony of desire, which so often commingles bliss and doom. ' I felt seduced by getting what I always wanted,' she says. ' I was flying too close to the sun, and I realized if I kept going I was going to die.' The plight of Icarus and other such condemned ones lends For Melancholy Brunettes its most persistent theme, the perils of desire. Like light dispersed, its spectral parts take the album's characters through cycles of temptation, transgression and retribution. On the album's lead single ' Orlando in Love ' — a riff on John Cheever's riff on Orlando Innamorato, an unfinished epic made up of 68 ½ cantos by the Renaissance poet Matteo Maria Boiardo — the hero is a well meaning poet who parks his Winnebago by the sea and falls victim to a siren's call, his 69th canto (even in the lofty realm of classical myth Zauner has a soft spot for innuendo). Sadness is the dominant emotional key of this record, but it is sadness of a rarified form: the pensive, prescient sadness of melancholy, in which the recognition of life's essentially tragic character occurs with sensitivity to its fleeting beauty. Zauner finds space enough inside it for glimmers of hope. They are the consolations of mortals that poets before her have called out to and that poets after will continue to rediscover: love and labor, and though they run like tonic resolutions through the record's many episodes. Japanese Breakfast performs The Melancholy Tour for one night only at Auckland Town Hall in June 2025 as part of Live Nation's Auckland Winter Series.
Scoop
28-05-2025
- Scoop
Phoebe Rings Joins Japanese Breakfast As Support For The Auckland Winter Series
TĀMAKI MAKAURAU AUCKLAND (MAY 29, 2025) – Live Nation is proud to announce local act Phoebe Rings will join Japanese Breakfast at the Auckland Winter Series line up at the Auckland Town Hall this June. Tickets to their June 7 show are on sale now. Well known for their signature blend of Jazz-inspired dream-pop sounds Phoebe Rings formed in 2019. Having created a loyal fanbase since opening for The Beths, and releasing their self-titled EP last October, Phoebe Rings will be debuting their forthcoming LP Aseurai, out June 6. Made up of lead singer/synthesist Crystal Choi, drummer Alex Freer, guitar/synthesist Simeon Kavanagh-Vincent, and bassist Benjamin Locke, they join U.S. band Japanese Breakfast who will perform for the first time ever in Aotearoa next month as part of the Auckland Winter Series. After a decade making the most of improvised recording spaces set in warehouses, trailers and lofts, Japanese Breakfast 's fourth album, For Melancholy Brunettes (& sad women), marks the band's first proper studio release out on March 21st. Produced by Grammy Award winner Blake Mills — an innovator of uncommon subtlety, known for his work with everyone from Bob Dylan to Fiona Apple and quietly regarded as many a legacy artist's favorite guitar player — and tracked at the venerable Sound City in Los Angeles — birthplace of After The Gold Rush, Fleetwood Mac and Nevermind among other classics — the record sees front-woman and songwriter Michelle Zauner pull back from the bright extroversion that defined its predecessor Jubilee to examine the darker waves that roil within, the moody, fecund field of melancholy, long held to be the psychic state of poets on the verge of inspiration. The result is an artistic statement of purpose: a mature, intricate, contemplative work that conjures the romantic thrill of a gothic novel. For Melancholy Brunettes follows a transformative period in Zauner's life during which her 2x GRAMMY nominated breakthrough album Jubilee and her bestselling memoir Crying In H Mart catapulted her into the cultural mainstream, delivering on her deepest artistic ambitions. Reflecting on that success, Zauner came to appreciate the irony of desire, which so often commingles bliss and doom. ' I felt seduced by getting what I always wanted,' she says. ' I was flying too close to the sun, and I realized if I kept going I was going to die.' The plight of Icarus and other such condemned ones lends For Melancholy Brunettes its most persistent theme, the perils of desire. Like light dispersed, its spectral parts take the album's characters through cycles of temptation, transgression and retribution. On the album's lead single 'Orlando in Love' — a riff on John Cheever's riff on Orlando Innamorato, an unfinished epic made up of 68 ½ cantos by the Renaissance poet Matteo Maria Boiardo — the hero is a well meaning poet who parks his Winnebago by the sea and falls victim to a siren's call, his 69th canto (even in the lofty realm of classical myth Zauner has a soft spot for innuendo). Sadness is the dominant emotional key of this record, but it is sadness of a rarified form: the pensive, prescient sadness of melancholy, in which the recognition of life's essentially tragic character occurs with sensitivity to its fleeting beauty. Zauner finds space enough inside it for glimmers of hope. They are the consolations of mortals that poets before her have called out to and that poets after will continue to rediscover: love and labor, and though they run like tonic resolutions through the record's many episodes. Japanese Breakfast performs The Melancholy Tour for one night only at Auckland Town Hall in June 2025 as part of Live Nation's Auckland Winter Series.
