It’s gonna be Okay: An interview with Taylah

I’ve been friends with Taylah quite a while now. She made the move down from her hometown of Kerikeri along with Dean from Adoneye, and soon enough a handful of their friends followed suit. They are all amazing musicians and we’d often have musical jams and parties at each other’s places. [If you watch her Flat Sessions videos on her YouTube channel you’ll see her old flat in Island Bay where a lot of these jams took place]

Taylah with OddJive at Valhalla, April 2019. Photo by Will Not Fade

I’d seen Taylah play in her old band OddJive, but I remember the first time I went to one of her gigs, doing her own music at Rogue & Vagabond. She was joined by her long time collaborator Sam Nakamura and I was floored. She has an incredibly powerful voice, and can transition between a wide range of styles with ease. Some of the music was super fun and upbeat (e.g. “Undies”), and other songs felt like vulnerable tearjerkers (e.g. “Coming Down”), but no matter the mood, the talent was undeniable. Taylah recruited more amazing musos to her band in time, and each gig was more impressive than the last. The aforementioned Flat Sessions are great examples of how good they are.

It’s never a bad time to listen to Taylah’s music. I’m a Kindergarten teacher and frequently have her music playing throughout the days as the tamariki and I play and learn. Not only is Taylah’s music fantastic and fun, but I also think her themes and messages are great for the children to absorb. She touches on things like whakapapa, self acceptance, identity as wahine Māori, and feels super down-to-earth and relatable in many respects. “Okay” is also one of my favourite songs and a total jam, so why not listen to it at work?

Taylah and Sam Nakamura at Rogue & Vagabond, Jan 2022. Photo by Will Not Fade

Taylah made the move up to Tamaki Mākaurau a few years ago as a step towards progressing her musical career. I miss seeing her as frequently as I did when she lived here, but have been hyped to see how Tay has been doing with each milestone she reaches. I had a trip to Auckland in December 2023 and went to visit her at Stebbings recording studios where she spends a lot of her time writing and recording. We had a nice day together and I loved hearing about how she’s been branching out. She’s been making moves into licensing, collaborating on EDM tracks, and learning how to self-produce.

Things have started to get especially exciting of late. Last year she was asked to join Fly My Pretties, a NZ supergroup featuring a revolving cast of some of the premiere musicians found in Aotearoa. And now on March 21, Taylah is releasing her debut EP, Tilt.

I reached out to Tay to see if she’d be down to do an interview to help promote the new release.

Joseph (Will Not Fade): Hi Tay, release day soon! How do you describe your music to people who haven’t heard it?

Taylah: I tell them that I write uplifting neo-soul with a flair of cynicism. You know, just to keep ‘em guessing.

You’ve released singles over the course of your career to date. What made you decide it was time to release a bigger body of work in the form of an EP?

Over 2024, I was writing so much music, and I didn’t know what to do with it. So I created this collection. That’s why the subject matter is so varied for this EP. It covers everything from love, corruption, and sex to magic. It feels like a time stamp of all the lessons I was experiencing over the course of the year.

I’m often really impressed by your lyrics. When writing, how much time do you dedicate to lyrics compared to the music and composition?

I’d say it’s 50/50. I’m still new to producing, so the music creation takes longer because I’m still learning new skills through the project. But writing lyrics is like second nature for me. I write a lot of poems and opinion pieces that never see the light of day, but they tend to pop out through my lyrics. I’m a firm believer that partaking in all art forms will better inform your chosen art form, if that makes sense? Like, doing pottery, cooking, dancing, or woodworking will help me write better lyrics at the end of the day.

Which of your songs are you most proud of?

From this EP, my favourite is ‘Glow’. It’s euphoric, and its message is really beautiful. But from my entire catalogue, my favourite is ‘Today is Hard’. Its lyrical flow is just so pleasing to me.

Last year, you were invited to join Fly My Pretties to co-write their new album Elemental. Tell me about that.

It was the biggest project I’ve ever been a part of. I was flown down to Pōneke for a few songwriting sessions in the beautiful Massey studios to co-write with Laughton Kora (Kora), Barnaby Weir (Black Seeds), Louis TM, and Tawaz. It was such a surreal experience to be creating music with musicians that I’ve listened to since I was a kid. The album we created is incredible, and the live show is even better! The concept surrounds Te Ao Māori and the natural elements. We’ve got another round of shows in Auckland and Christchurch coming up in May/June.

You have Casual Healing doing a guest verse on “Okay”, and you’ve been a featured vocalist on a few EDM tracks. How did that compare to your usual process?

I put on another persona when writing vocals for EDM. I’m more sultry and direct. And the vocals are much more ‘feel’ oriented, so I use a lot of imagery to evoke movement, since dancing is usually the main objective of EDM. It’s been really fun!

You’ve lent your voice to Dera Meelan for previous releases like “After Dark”, what was it like having one of your original tracks remixed by Dera?

It was really cool to see how differently our ears work. When you get a track secured in its pocket, it’s hard to hear it any other way. So a house mix of ‘Sundown’ was really refreshing to hear. Dera has this crazy ability to make sounds that shouldn’t work, musical. It shows in his work with ‘Church & AP’ which I think is vital to their unique sound.

Which musicians have you got on your radar that you’d like to collaborate with?

I would like to write with more Māori artists. I’m on my reo Māori journey, and my dream is to eventually write waiata Māori. So collaborating with artists who are already doing it would be amazing, like MĀ, Lee Stuart, or Jordyn with a Why.

A lot of your early work was produced by Tiny Triumphs, and he has mixed your new EP, but I know you’ve self-produced all your latest releases. How have you found that transition?

Hard. Toby made it look so easy! In all seriousness, though, I have found it both challenging and validating. A big lesson that helped my progress is: writing to my own taste. Instead of trying to sound like someone else, or write ‘radio’ bangers, I’ve learned that if I can listen to it and enjoy it, that’s the tahi. Basically, don’t listen to anyone else’s advice. Keep going.

I really love the covers you do. “Broke” by Samm Henshaw is obviously one that stands out. How do you settle on which songs to cover?

I can feel it in my body. I like to perform songs that feel good to sing, vibrationally. I’ve also really taken to the music coming out of London at the moment, there’s something brewing over there that’s making truly electric music.

You’ve made the shift from your home of Kerikeri to Wellington, and then to Auckland, where you’re currently based. How have things changed for you with each move?

Kerikeri was where I discovered my love of music. Wellington is where I explored different styles, and Auckland is where I’m choosing to launch my career. And I’ve fallen in love with each place. Each step has been vital to my progress as a musician, and I’ve met so many truly inspiring and supportive people throughout.

What do you think success looks like, as a musician?

Well, I used to think it was when lots of other people validated your art. But now, I think it’s the fact that I’m still creating. I still have the itch to write, perform, create, and collaborate. I still feel inspired by other musicians and I still crave connection. THAT is success to me.

Tilt is a big milestone, being your first EP. Where to next?

Well, I’m about to embark on my first headline tour, which feels like such a leap. And once the dust settles for this EP, I’d really like to write a full-length album and maybe get some of those collabs going I was talking about.

Thanks for your time. Is there anything else you’d like to share?

Support local artists! You’ve always offered your help to promote my music, Joe, and that is the mahi that truly supports us small artists. So I appreciate your time and energy to uplift the arts in Aotearoa 🙂

Tilt will be released on March 21 2025, with Taylah doing a three date tour in support of Tilt in March/April.

Tickets can be found via https://linktr.ee/taylahmusic

Taylah links:
https://www.facebook.com/taylahmusic/
https://www.instagram.com/taylahmusicnz/
https://open.spotify.com/artist/2Fu39RmIeY5HD1DGJS4Xk7?si=8A6XkpTSRXabPAU4BrYCRA
https://www.youtube.com/@taylahmusic2897

Taylah at San Fran, July 2023. Photo by Will Not Fade

Live Review: The Flatliners at Valhalla, Wellington

The Flatliners
w/ Departure Party, No Sector and Dimestore Skanks
Valhalla, Wellington
Thursday 27 February 2025

Departure Party started the night off with his one-man folk punk crusade. His vocals reminded me a lot of Laura Jane Grace from Against Me!, especially the Heart Burns record I have, which is more of a solo affair. Heartfelt, impassioned punk vocals sung/shouted over acoustic guitar. Half way through the set he decided that he didn’t want to be onstage, and stepped down into the audience to continue without microphones. He consulted his notebook for a few moments before belting out his final few tunes under a single spotlight. It was a cool moment to create better intimacy, like when King Brothers had done the same thing at Valhalla a few weeks ago.

Next we had No Sector, the most hectic band of the night. Punk is a varied genre at the best of times. What do the Sex Pistols, Ramones and Clash have in common, sonically? Out of the four bands on the bill tonight, No Sector best fit my perception of what punk sounds like, with breakneck speeds and frantic venomous vocals. Later in the night Flatliners singer Chris Cresswell mentioned that he was surprised to see his old friend Leo in the band, who he’d worked alongside at his very first job and hadn’t seen in about a decade.

Dimestore Skanks always bring the party, and tonight was no exception. All seven members brought plenty of energy, skanking and shouting and generally having a blast. Dimestore have been a staple for many years now, and it was more than evident that they are well seasoned performers. They’d joke about being out of breath and unpracticed and in need of a break, but they sounded fantastic and had everyone dancing throughout their fantastic set.

Canadian punk rockers The Flatliners formed in 2002. This is their first time coming to New Zealand. That said, Cresswell also sings in Hot Water Music, who played here a few weeks ago. They’d been touring along with Hot Water Music in Australia, but I’d heard that seeing how this was their first time coming here, they wanted to come under their own banner to make up for the wait. They’d just played in Hamilton and Auckland, with Wellington being the last night of a long tour.

People were pumped for this show. Valhalla was packed. Looking around, it was mostly guys from late 30s to mid 40s, hairy in face and not so much in scalp. And a decent smattering of Canadians as well. It was mostly what I term the “Chicks That Scream” crowd – named after the promoters who usually bring the Fat Wreck style punk bands to New Zealand year after year. We saw people with shirts emblazoned with bands like Lagwagon, Strung Out, Hot Water Music, NOFX, Menzingers and the like.

The pit was heaving, swollen with sweaty bodies. A few songs in a woman edged past me to enter the fray. I was surprised – she was about armpit height and and entering a space of unspeakable smells and sensations. But she was a trooper, and remained there for the rest of the night, dutifully belting out every lyric along with the band. It was still funny seeing her physically recoil with disgust every time she got slammed into the back of particularly sweaty shirtless guy in front of her.

The band was lapping it up, welcoming the chaos. Cresswell glistened the entire time, dripping wet like a salamander. He kept calling for the venue to put the heaters on, laughing at how all the bodies jammed into the venue had turned the space into a sauna. I enjoyed his disarming banter, trying to stoke a rivalry between Wellington and Auckland, or encouraging us to grunt “Ooh!” at him throughout the night, to follow our heart. Jon Darbey on bass had a king-teir beard absolutely deserving of remark. Drummer Paul Ramirez had positioned his cymbals comically high, but his playing could not be questioned, transitioning from no-nonsense beats to lighting-fast fills in a flash. And Scott Brigham brought the riffs.

There was plenty of crowd surfing and carry on like that. One punter stormed the stage to hijack a mic and give a speech, publicly thanking the band for coming all this way. It was sweet at first, but got old quickly. You could see the band were too polite (see: Canadian) to kick him off the stage. But they resumed soon enough anyway.

The Flatliners played fourteen songs, drawing more heavily from most recent album, New Ruin, and 2013’s Dead Language, but they touched on material from early in their career too, aware that most people in the audience had never had the opportunities to see those songs played live. Brigham asked everyone to shout requests all at once, obviously a bit. But I think they did stop and alter the planned set list slightly to accommodate.

The band acknowledged that it was late, and it was a school night. But they thanked us for making the night special. I know that every band always says they love the audience, wherever they play. But you also know that Canadians are genuine and nice people, so this carried weight. They stayed back after their set to hand out picks, drumsticks, setlists, sign merch and so on, which was really nice to see in this era of bands charging the earth for VIP meet and great packages.

Thanks so much, turn on the heaters, see you again in another 23 years. Ooh!

Written by Joseph James

Thanks to Sticky Fingaz Tour Management

Live Review: distance and Myriad Drone at Valhalla, Wellington

distance (NZ) and Myriad Drone (Au)
w/ Spiral & Their Eyes Were Flowers
Valhalla, Wellington
Friday 21 February 2025

Call me hipster, but I’ve been a big fan of distance since before their first release. I remember listening to an advanced copy of their debut EP, over time that Sam Butler sent me and being highly impressed how great he’d managed to make it sound, especially considering how it was essentially a lockdown bedroom album. But then again, I wasn’t surprised. Sam is well known within the music scene. His touches can be widely seen – mixing and recording music, designing posters and album art, filling in on bass and guitar. distance was a project that highlighted just how talented he was.

Since then, Sam has recruited a band of fantastic musicians, released a few albums, and played a bunch of shows. I’ve followed the band with great interest and was delighted when I saw this tour announced.

Myriad Drone have come over from Australia for the tour. They graced our shores last year, coming over as support for Russian Circles. There are a few cool connections between Myriad Drone and distance. Shane from Myriad Drone is from Nelson, as are the members of distance, although none of them live in Nelson these days. Shane used to be in a metal band called Zerstiren, who had a reunion tour late last year. Levi Sheehan – best known for drumming in Organectomy – filled in for Zerstiren for the reunion. And Levi also drums in distance. Levi and Shane got chatting about how they were both in post-rock bands, and next thing you know, they’ve planned a cool tour.

Spiral kicked the night off. They switched between mellow and intense frequently, but keeping the energy high. A lot of midwest emo and post-hardcore influences shone through, and I especially liked the spoken word sections that remind me of La Dispute.

Next up were Their Eyes Were Flowers. They introduced their music as “pretty little songs” before launching into harsh, chaotic music. The songs had structure, but they seemed messy and partially free flow. I’m not sure about the tunings, but the guitars sounded discordant with jagged riffs. It was a challenging listen. I could see that they were trying to make some kind of artistic statement, but I didn’t like it.

Myriad Drone were up next. I’d bumped into them and had a chat with them on Cuba St shortly before the gig, and they faintly remembered me from having yarns at the Russian Circles show last year. They seemed happy to see me, and were super friendly. And their music was great. They’re about to release a new album, A World Without Us, on March 8th, and we were fortunate enough to get a taste of the new songs. They sounded fantastic.

I thought it was funny that Shane and Simon wore Russian Circles and Botch t-shirts, respectively – both bands featuring the same bassist, Brian Cook. I thought Hayley was wearing a Nine Inch Nails top at first glance, but upon inspection it turned out to be a NIN x Monty Python parody referencing the Knights who say Ni!

You know that the band should be bringing the goods when they’ve all got in ear monitors and backing tracks, so it was no surprise that Myriad Drone had a full, vibrant sound. I was surprised how transcendent some of the songs sounded, even while Hayley was going nuts on the blastbeats. I loved seeing how Shane and Jacob added their vocals to the mix to create more subtle textures in the music as well. Their set was a real treat to behold.

distance have been around for a few years now, but it feels like they’ve ascended rapidly, garnering international recognition for their quality recordings, and great slots supporting overseas touring artists and NZ festivals. Earlier this month they’d joined God Is An Astronaut on the two NZ legs of their international tour.

distance have freshly been reduced to a core trio, but the three of them collectively create such a lush, dense sound that you’d have no idea that they’re a man down. You can just tell that they know what they’re doing. Toby Leman (best known for his band Hummicide, amongst many others) came on for a guest appearance for roughly half the set, adding his sweet saxophone to the mix. He stood there statuesque, wearing sunglasses and adding a his element aspect to fantastic music. It sounded good, and was somewhat novel because I haven’t come across the use of brass instruments in post-rock music much (The Dark Third, and this Caspian video come to mind, but not much else).

The lights were fairly dim and subdued, and although distance are by no means boring, there was less of a focus on showmanship, and they let the immersive music do the talking. It was primal, captivating. Like Myriad Drone, they still had metal elements like blastbeats and tremolo riffing at times, but it never felt jarring. There’s not much that I find more thrilling than beholding exceptional musicians, masterfully commanding their instruments onstage like this.

Looking around the venue, Valhalla was reasonably full. Everyone else stood entranced. I bet they were all thankful that they’d chosen to spend their Friday night like this.

Tomorrow distance and Myriad Drone play the Paisley Stage in Napier, along with FVKVSHIMA. They’ll then head to the South Island for shows in Christchurch and Nelson next week.

distance and Myriad Drone are playing the following dates:

Friday 21 February – Valhalla, Wellington w/ Their Eyes Were Flowers + Spiral

Saturday 22 February – Paisley Stage, Napier w/ FVKVSHIMA

Friday 28 February – Wunderbar Lyttelton, Christchurch w/ Necropolis + Ragweed

Saturday 1 March – Coastal Carnage Festival

Tickets from UnderTheRadar: https://www.undertheradar.co.nz/news/21973/Distance–Myriad-Drone-AUS-Aotearoa-Tour-2025-Announced.utr

Links:

distance: https://lnk.bio/distancenz

Myriad Drone: https://myriaddrone.bandcamp.com/
https://www.facebook.com/myriaddrone/

Words and photos by Joseph James

Live Review: King Brothers at Valhalla, Wellington

King Brothers
w/ Alka Silka and Cindy
Valhalla, Wellington
Thursday 13 February 2025

When it comes to crazy rock music, Japan punches well above its weight.

In recent years I’ve seen the likes of Guitar Wolf, Shonen Knife and Otoboke Beaver, but King Brothers are by far the best I’ve seen.

I saw them when they came with The Vottones in 2018 and honestly, that show made a huge impression on me. They came back to NZ in 2023 but didn’t make it to Wellington, and I was busy touring with a band of my own, so I sadly I couldn’t see them.

But late last year the legend Austin from Your Enabler Presents put the announcement out. King Brothers were coming back! I made sure to purchase a ticket as soon as possible. It’s already an incredibly stacked year for gigs, but this is the one I’ve most been looking forward to.

I arrived at Valhalla a few songs into Cindy’s set. Scott Brown was in The DHDFDs, who played with King Brothers last time I saw them, and have toured with King Brothers extensively. I guess this is his new band – I couldn’t find too much info about either. Cindy was certainly a great way to start the night, with high energy, unfiltered rock music. Seeing a sweaty, topless, heavily tattooed drummer is a great start. Stubbies also add a special je ne sais quoi to the performance. It was frantic, fast paced music with attitude. My favourite part was when the guitarist climbed up to the storage area on the side of stage just to jump back down. It was like Eddie Vedder behaviour, but with vocals that were marginally easier to understand.

Alka Silka were on next. The first thing to note is that their lead instrument was accordion. This gave an odd folk vibe to otherwise raucous punk/rock music. The punk ethos ran strong, with their activism, music and DIY merch. Two members had prominent patches on their clothes decrying the genocide in Palestine. And they had some great quirky merch, with lots of DIY designed shirts, badges, some 7″ records and the like. I had a great time listening to their music. The accordion was interesting, as was the frequent use of cowbell in the drumming. It was almost like circus music with blastbeats. They shared vocal duties, with lots of chanting and shouting. “Okinawa is a small island with a big voice”, they offered, about their homeland. Well the big voice came through loud and clear.

And then we had King Brothers. They brought the drumkit off the riser to the front of stage to be closer to the audience. Will the soundtech was busy putting all the microphones back in place after the move and I mentioned to him that he needn’t stress too much about it because they wouldn’t be staying put. He laughed and nodded, saying he could tell that King Brothers were pretty restrained during soundcheck and he was expecting more, but he had no idea what the full extent would be.

The trio were all dressed in suits. They started off with drums front and centre, and the two guitarists flanking the drums, each standing atop their amps, riffing away before jumping down to commence their set.

Marya on guitar and screams had gaffer tape around his waist in lieu of a belt and his hair had greyed since I last saw him, but his energy hadn’t dissipated one iota. He screamed into the microphone before throwing it into the audience. He’d beckon and signal that he needed it back, before immediately throwing it back out. It was we were playing fetch with him. Audience members would take turns screaming into the mic as well, but I wonder if they were happy about it when Marya began licking and slobbering on it, putting it into his mouth. He also picked his nose and ate it to continue the gross-out tactics. The other two musicians were just as intense in their playing, but Marya was the star.

Roughly half way through the set they dismantled the drumset and reassembled it in the middle of the audience. They signaled to Will to turn off the stagelights, relying solely on a worklight they’d stuck on a mic stand for illumination. Well that, and a dozen or so phone lights. It was such a spectacle, everyone needed to film some of it. It was almost too wild to believe. Marya beckoned us closer before pouncing, and began to crowd surf around, doing arial donuts around his bandmates who were now performing in the middle of the room.

It was an incredible night. Three amazing acts that all had their own flavour, but delivered memorable sets full of crazed energy. I highly recommend getting along to a show if you get the chance.

King Brothers are playing the following dates in NZ:

Thursday 13th February – Valhalla, Wellington
Friday 14th February – Double Whammy, Auckland
Saturday 15th February – Palace Tavern, Tauranga
Sunday 16th February – Harbour View Hotel, Raglan

Tickets: https://www.undertheradar.co.nz/index.php?task=searchall&q=king+brothers

Words and photos by Joseph James

Live Review: God Is An Astronaut at Max Watts, Melbourne

God Is An Astronaut

w/ Solkyri & Treebeard

Max Watts, Melbourne

Saturday 8 February 2025

Following the early days of post-rock, Godspeed You! Black Emperor laid the groundwork for long cinematic compositions that experimented with sounds and guitar, drums and bass moved on from being a lead plus rhythm section. It set a tone for hundreds of bands that would explore the possibilities in this universe.

One of those who joined that school in the early days was Irish trio God is an Astronaut, who played in Australia for the first time ever this last week. A good crowd turned up to see the band who, for many, was their first introduction to post-rock and songs without words.

First support was Melbourne heavy post-metal quartet Treebeard. Sprouting from the covid years they have strengthened their performances in leaps and bounds. Strong, hard riffs were the order of the day and there is melody carrying those riffs along, creating impressive dynamics and interplay.

One track in particular (I think it was called Snowman), served up it’s crescendo in an impressively unique way. Rather than getting faster or building to the lift in volume, the song walked along peacefully, then in an instant, with no increase in speed, our eardrums were hammered with thunderous, deliberate drums, bass and riffs. I knew something was coming, but I had no idea it would be this. They closed the set with some splendid harsh vocals – another welcome surprise. What a glorious set. Get another guitar and hold those riffs over a little longer and Treebeard will be unlike anything you’ve heard.

Solkyri were up next. A Sydney band formed about 14 years ago, I remember how impressed I was by the range of emotions they could convey live. They have over those 13 years developed a tightness and skill level in performing that matches their inventiveness and range of sound. Kicking off with the beautiful No Thoughts/No Dreams I found myself uplifted and smiling. Turns out you can start a post-rock set at other than full blast and still get the crowd’s attention. Half way through their five songs we were treated to the wonderful joy of This Can’t Wait, one of the first tunes they penned. I’ll never get tired of this.

Just when you thought the happiness would continue, they unleashed I am the Motherfucker, which slowly builds to an assault on your brain. The emotions you’ve been feeling are torn away for the melancholic, cautious, despairing intro, soon followed by the pleasure of being smashed against a wall of rocks. Take that!

But they end on another lighter note with Pendock & Progress, having covered their catalogue and provided a perfect sampler

And now the headliner. I met some folks who had travelled from Perth to catch the show, including one who has followed them all over the world, seeing them now 18 times. That’s an indication of the love the Astronaut fans have for the trio. They were very well rewarded, with a band on top of its game. Well written tunes, a flawless sound, and that special something that happens when you perform this often for so long.

The band has written many shorter tracks of around three minutes, and more than a few are introspective glimpses of life. Tonight though, the longer tracks had time to breathe, and there was a slow build of the tempo and volume over the first three songs- Odyssey, Echoes and Falling Leaves. I did get a feeling the crowd were not fully invested and the applause was subdued, but that all changed as the boys broke into All is Violent/All is Bright. From then the crowd came alive, the crescendos grew and the cheering was much more spirited.

When Apparition hit that second half we really got a taste of the harsh, angular riffs and chords these guys can knock out. The tension and harshness cut through the air and smacked you on the face before settling down to rest.

The rest of the night followed in a similar vein with gently paced melodies and riffs walking through different rooms, playing with four and eight bar building blocks, sometimes landing gently, others not so much.

The sound mix was good, the snare cracked good and loud, and guitar and bass each chased melodies and riffs, sometimes grabbing each other around the neck before releasing their grip to stop the screams.

When all was done and the crowd filtered out it was great to see all three bands chatting to punters and relaxing. I’d noticed less of that over recent years so it was lovely to see.

Oh and Nick, I forgot the two words you wanted me to use in this. Sorry mate 😊

Gilbert Potts

Tickets for the rest of the tour: https://www.birdsrobe.com/shows/god-is-an-astronaut-australia-and-new-zealand-tour-with-special-guests-solkyri-amp-treebeard

The Flatlinersw/ Departure Party, No Sector and Dimestore SkanksValhalla, WellingtonThursday 27 February 2025

distance (NZ) and Myriad Drone (Au)w/ Spiral & Their Eyes Were FlowersValhalla, WellingtonFriday 21 February 2025