Latest news with #TaiteMusicPrize
Scoop
08-05-2025
- Entertainment
- Scoop
FromThePit 2025: A Celebration Of Aotearoa's Live Music Scene Through The Lens
FromThePit, Aotearoa's annual music photography exhibition, returns for its seventh year – capturing the spirit of our vibrant local music scene through the eyes of those closest to the stage: the photographers. For photographer Gabriel Hailtree, it's simple: 'I love live music. I love the language, I love the lights, I love the atmosphere, and I love working with all these elements to create photographs.' It's this passion that fuels FromThePit 2025 —a curated collection showcasing 102 powerful images by 59 photographers from across the motu, all focused exclusively on New Zealand musicians playing live in local venues. This year's exhibition highlights the mana of performance and the connection between artist, audience, and image. For Thomas Nan, the purpose is clear: 'I love music photography as a way to try and capture the emotions of the bands and their songs, as well as the vibes from the gig – as a way to encapsulate what live music is all about.' Previewed at the 2025 Taite Music Prize, the centrepiece of the exhibition is its Audio Visual slideshow—an immersive experience that weaves still images into a moving celebration of New Zealand's music culture, from iconic artists to fresh new talent. Photographer Samuel Richards puts it best: 'Music photography for me is a way of connecting creatively my love of music with my love of photography. Musicians are great people to be around, and music is the best office to work in.' In a time where the Aotearoa music industry continues to face challenges, FromThePit stands as a living record and a support of our local scene – honouring those who keep the music playing and the moments alive. FromThePit 2025 is available to experience online and at locations across the motu during Te Marama Puoro o Aotearoa | NZ Music Month, including Spark Arena Fan Zone, Supply Room in Wellington, and libraries throughout Aotearoa. To view this year's mahi, explore the archive, or learn more about upcoming events, visit FromThePit is made possible through partnerships with Sony, Audioculture | Iwi Waiata, Auckland Council | Te Kaunihera o Tāmaki Makaurau, Auckland UNESCO City of Music | Tāmaki Makaurau UNESCO Pā Puoro, NZ Music Month | Te Marama Puoro o Aotearoa, Independent Music NZ (IMNZ), New Zealand Music Commission | Te Reo Reka o Aotearoa, and AgentX. Designed and curated by some of Aotearoa's leading live music photographers— Dave Simpson, Chontalle Musson, Stella Gardiner, Brenna Gotje, and Jennifer de Koning — FromThePit 2025 is a powerful tribute to the artists, photographers, and communities that bring our music culture to life.
Scoop
08-05-2025
- Entertainment
- Scoop
FromThePit 2025: A Celebration Of Aotearoa's Live Music Scene Through The Lens
FromThePit, Aotearoa's annual music photography exhibition, returns for its seventh year - capturing the spirit of our vibrant local music scene through the eyes of those closest to the stage: the photographers. For photographer Gabriel Hailtree, it's simple: 'I love live music. I love the language, I love the lights, I love the atmosphere, and I love working with all these elements to create photographs.' It's this passion that fuels FromThePit 2025 —a curated collection showcasing 102 powerful images by 59 photographers from across the motu, all focused exclusively on New Zealand musicians playing live in local venues. This year's exhibition highlights the mana of performance and the connection between artist, audience, and image. For Thomas Nan, the purpose is clear: 'I love music photography as a way to try and capture the emotions of the bands and their songs, as well as the vibes from the gig - as a way to encapsulate what live music is all about.' Previewed at the 2025 Taite Music Prize, the centrepiece of the exhibition is its Audio Visual slideshow—an immersive experience that weaves still images into a moving celebration of New Zealand's music culture, from iconic artists to fresh new talent. Photographer Samuel Richards puts it best: 'Music photography for me is a way of connecting creatively my love of music with my love of photography. Musicians are great people to be around, and music is the best office to work in.' In a time where the Aotearoa music industry continues to face challenges, FromThePit stands as a living record and a support of our local scene - honouring those who keep the music playing and the moments alive. FromThePit 2025 is available to experience online and at locations across the motu during Te Marama Puoro o Aotearoa | NZ Music Month, including Spark Arena Fan Zone, Supply Room in Wellington, and libraries throughout Aotearoa. Auckland Central Library also features a physical print exhibition until 17 May. To view this year's mahi, explore the archive, or learn more about upcoming events, visit FromThePit is made possible through partnerships with Sony, Audioculture | Iwi Waiata, Auckland Council | Te Kaunihera o Tāmaki Makaurau, Auckland UNESCO City of Music | Tāmaki Makaurau UNESCO Pā Puoro, NZ Music Month | Te Marama Puoro o Aotearoa, Independent Music NZ (IMNZ), New Zealand Music Commission | Te Reo Reka o Aotearoa, and AgentX. Designed and curated by some of Aotearoa's leading live music photographers— Dave Simpson, Chontalle Musson, Stella Gardiner, Brenna Gotje, and Jennifer de Koning — FromThePit 2025 is a powerful tribute to the artists, photographers, and communities that bring our music culture to life.
Scoop
06-05-2025
- Entertainment
- Scoop
Finalists Announced For 2025 Apra Best Country Music Song
Celebrating the best in Aotearoa country music APRA AMCOS NZ are pleased to announce the 2025 APRA Best Country Music Song award finalists, with the winner to be presented at the Country Music Honours in Gore on Friday 23 May. ' 5432 ' written and performed by Mel Parsons ' Blue Dreams ' written and performed by Holly Arrowsmith ' Borrow My Boots ' written and performed by Tami Neilson, Ashley McBryde, and Shelly Fairchild, featuring Grace Bowers Multi award-winning Mel Parsons is one of New Zealand's most established songwriting stars with a dedicated fan base across six records and countless tours. Having won the MLT Songwriting Award in 2024 with ' Hardest Thing ', Parsons returns to Gore with ' 5432 ', an expression of love and quiet hope above gnawing self-doubt. With a soaring Crosby-Stills-Nash style vocal harmony in the chorus, the song explores the common experience of artists – the inner battle between anxiety and being able to produce work. Having toured with Crowded House in 2024, her latest album Sabotage saw her a finalist for the prestigious Taite Music Prize and 2025 Aotearoa Music Award finalist for Album of the Year and Best Folk Artist. Mel celebrates her latest single and video ' Post High Slide ' with a run of shows through Aotearoa and Australia in June. 2024 APRA Best Country Song Award winner for ' Desert Dove ', Holly Arrowsmith returns to the finalist with the title track from the album ' Blue Dreams '. A leader in New Zealand's contemporary Folk, Alt-Country and Americana movement, Arrowsmith was a finalist for the coveted Taite Music Prize while the album also sees her with a finalist nod at the upcoming Aotearoa Music Awards for Best Folk Artist. The moving title track ' Blue Dreams ' delves into life as a first-time parent, surviving those early days of chronic exhaustion while managing the huge burden of responsibility, bringing life into such a turbulent world. Showing a real domestic scene, not a glorified one; the often-invisible work of Mothers, especially. Those messy, imperfect, sometimes lonely, tender and mundane days with your beautiful baby, time in suspension – for a time. Tami Neilson is no stranger to awards, having won this award five times since 2014, alongside multiple Aotearoa Music Awards, an APRA Silver Scroll and chart-topping success. Fresh off the back of a tour with Willie Nelson, her next studio album ' Neon Cowgirl ' will be released 11th July, followed by US tour supports for Willie Nelson and Bob Dylan. Nominated track ' Borrow My Boots ', out 15 May, was co-written long-distance with US country stars Ashley McBryce and powerhouse songwriter Shelly Fairchild after Neilson's experiences of being lifted up and encouraged by her musical peers in the US; in Tami's words that's how you say, 'Hey Sister, you can borrow my boots'. Ant Healey of APRA AMCOS says 'These songs speak with honesty, power, and heart—capturing the stories that connect us all. Each songwriter offers a perspective that is both deeply personal and reminds us of the strength found in community. It's an honour to recognise such exceptional songwriting talent.'
Otago Daily Times
06-05-2025
- Entertainment
- Otago Daily Times
Apra Best Country Music Song award finalists named
Holly Arrowsmith. Photo: Si Moore The finalists have been announced for the Apra Best Country Music Song award, with the winner to be announced at the Country Music Honours in Gore on May 23. The finalists are: 5432 written and performed by Mel Parsons; Blue Dreams written and performed by Holly Arrowsmith; Borrow My Boots written and performed by Tami Neilson, Ashley McBryde and Shelly Fairchild, featuring Grace Bowers. Parsons won the MLT Songwriting Award last year with Hardest Thing. She returned to Gore with her nominated song, an expression of love and quiet hope above gnawing self-doubt. Having toured with Crowded House last year, her latest album Sabotage saw her a finalist for the Taite Music Prize and Aotearoa Music Award finalist for Album of the Year and Best Folk Artist. Last year's Apra Best Country Song Award winner for Desert Dove, Arrowsmith returns as a finalist with the title track from the album Blue Dreams. She is a leader in New Zealand's contemporary folk, alt-country and Americana movement, a finalist for the Taite Music Prize and for the upcoming Aotearoa Music Awards for Best Folk Artist. Blue Dreams delves into life as a first-time parent. Neilson is no stranger to awards, having won this award five times since 2014, alongside multiple Aotearoa Music Awards, an Apra Silver Scroll and chart-topping success. Fresh off the back of a tour with Willie Nelson, her next studio album Neon Cowgirl will be released on July 11, followed by US tour supports for Willie Nelson and Bob Dylan. Borrow My Boots was co-written long-distance with US country stars Ashley McBryce and Shelly Fairchild after Neilson's experiences of being lifted up and encouraged by her musical peers in the US. Apra head of New Zealand operations Anthony Healey said the songs spoke with honesty, power and heart. — APL
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.
