Latest news with #Shihad
Scoop
3 days ago
- Entertainment
- Scoop
Chris Bishop Frustrated By 'Politicised' Stan Walker Aotearoa Music Awards Performance
Senior government Minister Chris Bishop says he was frustrated by the politicisation of Stan Walker's performance at the Aotearoa Music Awards, when he said "what a load of crap". During Stan Walker's performance of Māori Ki te Ao, performers took to the stage with flags displaying Toitū Te Tiriti, a movement borne out of opposition to the Treaty Principles Bill and other government legislation. Bishop, who was in attendance, was seen criticising the performance, and has since said he should have kept the comments to himself. On Tuesday, Bishop told reporters his comments were not directed specifically at Walker. "I was frustrated and annoyed by the sort of overt politicking around it," he said. "It's not about Stan Walker, I actually quite like Stan Walker, actually quite liked his performance. It was just the sort of politicisation of it that frustrated me," he said. Bishop singled out the Toitū Te Tiriti "banners and paraphernalia" as the source of his frustration, not the performance itself. He said he would not be apologising to Walker. "It's not clear what I'd be apologising for." His comments led to backlash from other performers, including Don McGlashan, who was seen on video confronting Bishop. The minister said the irony was he was a "huge" Don McGlashan fan. "I love the Mutton Birds. But Don McGlashan is a noteworthy non-supporter of the National Party. People might remember the 2008 election, in which he expressed some frustration at 'Anchor Me', which is a great Mutton Birds tune, being used by TVNZ on the election night coverage," Bishop said. "His political views are quite well-known, but look it is what it is, he's entitled to his views in the same way I'm entitled to mine." Arts, culture and heritage minister Paul Goldsmith, who was also at the event, brushed off whether the performance was controversial. "There's always controversy at music awards. It goes without saying," he said. Māori Crown relations minister Tama Potaka said he disagreed with Bishop's comments, but they were for Bishop to respond to. "I absolutely love Stan Walker and his commitment to te reo, and the mahi that he does particularly in his engagement with Ratana, the hāhi. I don't agree with minister Bishop's comments, however those are a matter for him to comment on," Potaka said. Labour's Māori Development spokesperson Willie Jackson said Bishop, as a music fan, should know that music had always been political. "He should know music better than anyone. Look around the world, people have been doing that for years. Whether it's Bob Marley, Bono, whatever, it's been happening, it's not like something new. He should talk to his Shihad heroes, cos the lead singer there's got pretty good politics too." The Prime Minister told Morning Report he was comfortable with Bishop's response, and had spoken to him over the weekend. "I just got his side of the story about what he said and it was exactly as reported. He corrected it well before I got to him... he just acknowledged he should have kept his thoughts to himself," Christopher Luxon said. "The bottom line is your listeners aren't losing a lot of sleep over what a politician sharing his opinion on some music was about." Labour leader Chris Hipkins said Bishop's behaviour was disappointing, but it was for the Prime Minister to bring his ministers in line. "You've got to remember when you're a government minister that you're on public display all of the time."
NZ Herald
05-05-2025
- Entertainment
- NZ Herald
Revealed: The new location of Homegrown music festival
The team ran the extreme sports event X*Air at Claudelands for three years before moving it to Wellington for four years. X*Air gradually evolved into the Homegrown festival. 'Returning to the Waikato is not just about nostalgia; it's about creating something that celebrates our roots and gives back to the region that inspired us,' Tuck said. 'We want the whole of Aotearoa to feel proud of this festival, and we are committed to making it unforgettable'. The organisers said Hamilton's status as New Zealand's fastest-growing city offered potential to 'expand and evolve while staying true to its roots'. I ts central location was another reason for choosing it. 'Accessibility is key for Homegrown,' Tuck said. 'Being close to such a large population makes this dream even more achievable'. According to the release, several cities presented hosting proposals, but Hamilton's 'unique charm and cultural significance' stood out. Recent large-scale events in Hamilton include the Six60 concert in 2021 and the Summer Concert Tour 2024, both at Claudelands Oval, and the Fifa Women's World Cup 2023. Hamilton mayor Paula Southgate said with Hamilton-Australia flights starting in June, the event would be easily accessible for Kiwis and international tourists. Waikato Chamber of Commerce chief executive Don Good said the move was a great opportunity 'in so many ways'. 'With the festival's reputation for selling out and drawing crowds of more than 20,000, local businesses can expect a surge in foot traffic and revenue.' Homegrown has taken place on Wellington's waterfront since it started in 2008, growing from a crowd of 10,000 to 23,000. It showcases genres including rock, reggae, and hip-hop, and has hosted iconic acts including Sir Dave Dobbyn, Shihad, Six60, Shapeshifter and Opshop. Mitchell Hageman joined the Herald's entertainment and lifestyle team in 2024. He previously worked as a multimedia journalist for Hawke's Bay Today.
Scoop
26-04-2025
- Entertainment
- Scoop
A Breathtaking Collision Of Symphonic Orchestra Meets Hard Rock And Heavy Metal: Mānuka Phuel FULL METAL ORCHESTRA
Press Release – 818. Duco Touring and Liberty Stage are excited to announce the star-studded line-up for the inaugural Mānuka Phuel Full Metal Orchestra, coming to Spark Arena in Auckland on Saturday, 26 July 2025. The line-up includes legendary drummer Phil Rudd of AC/DC, powerhouse frontman Jon Toogood from Shihad, fearless vocalist Jennie Skulander of Devilskin, and EJ Barnes, daughter of rock icon Jimmy Barnes. Also included in the line-up are Pluto frontman Milan Borich and Wellington-based blues-rock singer Seamus Johnson, and a world-class orchestra, the Auckland Philharmonia, led by acclaimed conductor Sarah-Grace Williams. Together, these artists will reimagine massive rock and metal anthems from the likes of AC/DC, Black Sabbath, Tool, Motorhead, Metallica, Nirvana, Van Halen, Iron Maiden, Led Zeppelin, Guns n' Roses, System of a Down and more. Full line-up and artist biographies Guest Vocalists / Musicians: Phil Rudd (AC/DC): New Zealand-based drummer, best known for his iconic work with AC/DC, contributing to legendary albums like Highway to Hell, Back in Black, and Let There Be Rock. Phil's unique drumming style has made him a pivotal figure in rock history. Jon Toogood (Shihad): Frontman of the legendary New Zealand rock band Shihad, Jon Toogood is renowned for his powerful voice and stage presence. With over 1,500 live performances and five #1 albums, he is one of New Zealand's most influential musicians. Jennie Skulander (Devilskin): The voice of Devilskin, Jennie Skulander has become a defining presence in New Zealand's heavy music scene. Her vocal range and commanding stage presence led the band to national success, including a #1 debut on the New Zealand charts. EJ Barnes (Jimmy Barnes' Daughter): A gifted singer and performer, Eliza-Jane Barnes, also known as EJ has toured the world with Liam Finn, Evil J & Saint Cecilia and Lawrence Arabia and has released multiple albums, including: 'There and Back' (solo), 'Champagne in Seashells' (Liam Finn & Eliza-Jane), 'BARB' (BARB) and 'Strange Beasts' (Evil J & Saint Cecilia). Milan Borich (Pluto): Singer-songwriter and frontman of the alternative rock band Pluto, Milan Borich is known for his distinctive style and powerful performances. Pluto's 2005 album Pipeline Under the Ocean achieved double platinum status. Seamus Johnson: A Wellington-based vocalist and guitarist, Seamus Johnson is known for his high-energy performances and raw blues-rock sound. He fronts the band Sea Mouse, blending Delta blues with garage rock influences. Orchestra: Auckland Philharmonia: New Zealand's largest professional symphony orchestra, the Auckland Phil presents over 60 performances annually, featuring classical works and collaborations with contemporary artists. Sarah-Grace Williams: Acclaimed Australian conductor and the Artistic Director of The Metropolitan Orchestra, Sarah-Grace Williams is known for her innovative approach to orchestral music and her regular work with SYNTHONY, blending classical and electronic music. The Come Together Band: Jol Mulholland – Music Director & Guitar: Renowned producer and multi-instrumentalist, Jol is a creative mastermind and the engine behind the Come Together band. He has worked with New Zealand's musical heavyweights and brings his expertise to the stage. Brett Adams – Lead Guitar: A virtuoso guitarist, Brett Adams has shared stages with the likes of Radiohead and Oasis, and locally with the who's who of NZ music. Brett has earned recognition for his exceptional ability – he's in a class of his own. Matthias Jordan (Pluto) – Keys: A founding member of Pluto, Matthias Jordan is a multi-instrumentalist and keyboardist known for his contributions to the New Zealand music scene and his work with various musical projects. Mike Hall (Pluto) – Bass: An accomplished bassist, Mike Hall is best known for his work with Pluto, and his collaborations with artists like The Brunettes, Dimmer, and Tami Neilson. He also released his debut solo album Nothing Stands Still in 2024. Alistair Deverick – Drums: Drummer and producer Alistair Deverick is known for his work with the electronic-pop project Boycrush and as a session musician for artists like Lawrence Arabia and Neil Finn. He released his debut album Desperate Late Night Energy in 2018.
Scoop
26-04-2025
- Entertainment
- Scoop
A Breathtaking Collision Of Symphonic Orchestra Meets Hard Rock And Heavy Metal: Mānuka Phuel FULL METAL ORCHESTRA
Duco Touring and Liberty Stage are excited to announce the star-studded line-up for the inaugural Mānuka Phuel Full Metal Orchestra, coming to Spark Arena in Auckland on Saturday, 26 July 2025. The line-up includes legendary drummer Phil Rudd of AC/DC, powerhouse frontman Jon Toogood from Shihad, fearless vocalist Jennie Skulander of Devilskin, and EJ Barnes, daughter of rock icon Jimmy Barnes. Also included in the line-up are Pluto frontman Milan Borich and Wellington-based blues-rock singer Seamus Johnson, and a world-class orchestra, the Auckland Philharmonia, led by acclaimed conductor Sarah-Grace Williams. Together, these artists will reimagine massive rock and metal anthems from the likes of AC/DC, Black Sabbath, Tool, Motorhead, Metallica, Nirvana, Van Halen, Iron Maiden, Led Zeppelin, Guns n' Roses, System of a Down and more. Full line-up and artist biographies Guest Vocalists / Musicians: Phil Rudd (AC/DC): New Zealand-based drummer, best known for his iconic work with AC/DC, contributing to legendary albums like Highway to Hell, Back in Black, and Let There Be Rock. Phil's unique drumming style has made him a pivotal figure in rock history. Jon Toogood (Shihad): Frontman of the legendary New Zealand rock band Shihad, Jon Toogood is renowned for his powerful voice and stage presence. With over 1,500 live performances and five #1 albums, he is one of New Zealand's most influential musicians. Jennie Skulander (Devilskin): The voice of Devilskin, Jennie Skulander has become a defining presence in New Zealand's heavy music scene. Her vocal range and commanding stage presence led the band to national success, including a #1 debut on the New Zealand charts. EJ Barnes (Jimmy Barnes' Daughter): A gifted singer and performer, Eliza-Jane Barnes, also known as EJ has toured the world with Liam Finn, Evil J & Saint Cecilia and Lawrence Arabia and has released multiple albums, including: 'There and Back' (solo), 'Champagne in Seashells' (Liam Finn & Eliza-Jane), 'BARB' (BARB) and 'Strange Beasts' (Evil J & Saint Cecilia). Milan Borich (Pluto): Singer-songwriter and frontman of the alternative rock band Pluto, Milan Borich is known for his distinctive style and powerful performances. Pluto's 2005 album Pipeline Under the Ocean achieved double platinum status. Seamus Johnson: A Wellington-based vocalist and guitarist, Seamus Johnson is known for his high-energy performances and raw blues-rock sound. He fronts the band Sea Mouse, blending Delta blues with garage rock influences. Orchestra: Auckland Philharmonia: New Zealand's largest professional symphony orchestra, the Auckland Phil presents over 60 performances annually, featuring classical works and collaborations with contemporary artists. Sarah-Grace Williams: Acclaimed Australian conductor and the Artistic Director of The Metropolitan Orchestra, Sarah-Grace Williams is known for her innovative approach to orchestral music and her regular work with SYNTHONY, blending classical and electronic music. The Come Together Band: Jol Mulholland – Music Director & Guitar: Renowned producer and multi-instrumentalist, Jol is a creative mastermind and the engine behind the Come Together band. He has worked with New Zealand's musical heavyweights and brings his expertise to the stage. Brett Adams – Lead Guitar: A virtuoso guitarist, Brett Adams has shared stages with the likes of Radiohead and Oasis, and locally with the who's who of NZ music. Brett has earned recognition for his exceptional ability - he's in a class of his own. Matthias Jordan (Pluto) – Keys: A founding member of Pluto, Matthias Jordan is a multi-instrumentalist and keyboardist known for his contributions to the New Zealand music scene and his work with various musical projects. Mike Hall (Pluto) – Bass: An accomplished bassist, Mike Hall is best known for his work with Pluto, and his collaborations with artists like The Brunettes, Dimmer, and Tami Neilson. He also released his debut solo album Nothing Stands Still in 2024. Alistair Deverick – Drums: Drummer and producer Alistair Deverick is known for his work with the electronic-pop project Boycrush and as a session musician for artists like Lawrence Arabia and Neil Finn. He released his debut album Desperate Late Night Energy in 2018.
The Spinoff
24-04-2025
- Entertainment
- The Spinoff
An ode to Shihad's Killjoy, the best album by the greatest band in the world
National MP and diehard Shihad fan Chris Bishop sings the praises of his favourite band's classic 1995 album. Last week I went to my first ever Taite Music Prize ceremony, the annual bash to honour independent music in New Zealand. I'd love to say I was invited, but I wasn't – I nabbed the ticket from minister of arts and culture Paul Goldsmith. The New Zealand arts scene, it would be fair to say, leans left. On the night, the MC welcomed 'National MP Chris Bishop' then mercifully didn't pause for too long before adding 'and Green MP Chloe Swarbrick!' – the crowd erupted in applause. So I was a bit nervous about going – who really likes going to places where you get a sense you're not really welcome? But I wanted to be there to honour what I consider one of the most important and vital New Zealand albums ever produced: Killjoy by Shihad, which won the prize for 'Classic Album'. I even wore my 1995-era Killjoy European tour T-shirt in tribute. Killjoy is my favourite record. Not just by a Kiwi artist, but by any artist. It's the record that unites genuine, hardcore Shihad fans. I've been in Shihad mosh pits since 1998, and there's always a couple of people wearing a Killjoy T-shirt. They know its power, and when your sweaty eyes lock together in a mosh pit, there's always a moment of recognition. Sometimes people realise I'm a politician and there's often a look of surprise; sometimes they don't. It really doesn't matter. The music is what matters. Killjoy is Shihad at their best. It's intensely heavy. Wall of sound guitars, drenched in feedback. They just keep coming and coming, and when you think they're over and you get a respite, they hit you again. But it's almost hypnotically melodic as well. In their own unique Shihad way the songs are laden with hooks that stick in your head, that you hum for hours. And some of the chord changes just melt your guts. When I was 16, they used to make me tear up, they were so beautiful. These days these moments still give me a burst of energy, that hard-to-describe feeling you get when beautiful art moves you. The moment in 'Bitter' when it goes into overdrive ('Collect the poison as it spills from your mouth… when affection becomes affliction, let it go'). The final explosion in 'You Again' after the moody breakdown ('Why did I waste my time on you?'). The mid-point in 'Get Up' after the slow build and thrash opening ('See my face in the mirror…'). Killjoy is the sound of a young band making their way, determined to put their best songs out into the world for all to hear. I've heard drummer Tom Larkin talk about the time it was made. They'd just made Churn (a great record, but no Killjoy). They'd go to work, eat, write and rehearse, day after day. It's taut, focused, tight. Not a note out of place. Everything is deliberate. Killjoy is an album without weak songs. Sure, some are better than others. I will maintain until I die that 'Bitter' is Shihad's greatest song (judging from the number of people who yell it out in mosh pits, this is a common view). 'You Again' has, as Jon always tells concert crowds, 'the biggest riff in rock and roll.' 'Envy' is a fusillade of guitars, rolling in like a wave one after each other. 'For What You Burn' broods and seethes. 'Get Up' is a brilliant closer. Killjoy is an album made to be performed and heard live, and loud. I was fortunate enough to hear it performed in its entirety at the Powerstation and then MeowNui on the final stanza of Shihad's farewell tour last month. One song after the other, all merging into a glorious maelstrom of noise, sweat and – if I'm honest – tears. I still can't believe Shihad have finished up for good. There's no feeling quite like waiting down the front at a Shihad gig before the band walks out to play. Anticipation, adrenaline, anxiety. Excitement. But that's nothing compared with what happens when they hit the stage. The crowd roars. Tom Larkin settles himself behind the drums. Karl Kippenberger normally grins at the crowd. Phil Knight slinks into his corner on the far left. And Jon Toogood, New Zealand's best ever rock front man, gets ready. And then those opening chords ring out. A burst of energy. A surge of happiness spreading throughout your body. Waiting is one thing. But listening is even better. I first got into Shihad when I was an angry 14-year-old boy growing up in the Hutt Valley. It was the era of Channel Z, which used to deliberately play a ton of New Zealand music and support brilliant local Wellington acts like Fur Patrol, Breathe, Weta… and Shihad. I can remember sitting in my room in 1998 listening to 'Interconnector' and 'Wait and See', from the Blue Light Disco EP. It was loud. It had serrated guitars. It was catchy as shit. I loved it. When Channel Z advertised that Shihad were playing at the James Cabaret in Wellington at the end of the year, I had to go. It was my first ever concert (as an aside, we need more all-ages shows). My friends and I paid a dude to get us a bottle of vodka from the liquor store on Kent Terrace, drank it around the back, and went in. Jon came out about 10pm and told us it'd be another hour before they played (which is exactly when my long-suffering dad was meant to pick me up). And then Shihad absolutely blew me – and everyone else in the crowd – away. I've never felt anything like it. I wanted to bottle it. After that, I was theirs. I won't bore you with the rest of my bona fides. I've been to every Shihad concert in Wellington since 1998 and my wife Jenna and I have seen them in Auckland and Sydney. I own one of the original pressings of Killjoy on vinyl (only 500 ever made!) plus every other record they've ever produced before and since. I could make a list of 'top 10 Shihad b-sides from the 1990s' and debate it with other diehards for hours. Here are some Shihad facts which I consider to be beyond dispute. As noted, their best album is Killjoy. Their worst album is Beautiful Machine (but it's all relative). The best deep cut they never play live is 'Saddest Song in the World' from Love is the New Hate (the record they made when they changed their name back). Their old stuff is their best stuff (but 'Feel the Fire' is a banger). Their setlists have always played the obvious hits too much at the expense of arcana super-fans like me would get into. I've been thinking a lot about Shihad in the few weeks since their final shows. Those first concerts when I was just 15. Dancing around at my school after-ball to 'The General Electric' and 'A Day Away'. Being stuck at parliament for post-Budget urgency years ago and missing out on seeing them in Auckland. Moshing with my wife. The James Cabaret. Starlight Ballroom. The Wellington Town Hall. Talking about them constantly to my late father, who wanted them to succeed in the States, just like me. The name change. Pacifier arriving via CD from New Zealand when I was in the UK and me playing it over and over. How unusual it is that a band that I loved when I was 15 I love even more, if that's possible, at 41.
