Live at Paraoa Brewing Co.
9 March 2025
Live Review by Music Journalist: Paul Marshall
Ariathea & The Horn-e Blondes: A Blonde Bombshell History Lesson in Song.
Blonde ambition took centre stage last night as Ariathea, backed by The Horn-e Blondes, delivered a powerhouse performance—a sonic and visual tribute to the most iconic female blonde vocalists in history. The evening was more than just a setlist of timeless classics; it was a journey through the evolution of blonde-haired songstresses, from Hollywood’s golden era to the modern-day chart-toppers.
Opening the night with a history lesson delivered by the evening’s compère, the audience was schooled on the medieval perception of blonde hair—once a mark of high society, while dark-haired folks were deemed commoners, and redheads? Practically witches with moral ambiguity. With that knowledge freshly planted, Ariathea launched into a sparkling Doris Day song, catapulting us straight into 1948’s Romance on the High Seas.
From there, it was a non-stop, decade-spanning rollercoaster of blonde excellence. Diamonds Are a Girl’s Best Friend shimmered under the club’s lights, with Ariathea embodying Marilyn Monroe’s iconic allure. Her vocals were tight and captivating, while sound engineer Dylan's masterful mix elevated the performance. He expertly balanced each instrument, delivering a studio-quality sound that rivalled the polish of a meticulously produced record—an impressive feat in a live setting.
Peggy Lee’s Fever followed, with nothing more than a double bass, a brushed snare drum, and a piano, the arrangement is stripped to its bones. The double bass walks with a prowling, sultry groove, each note plucked with calculated precision, resonating deep in the chest. The snare drum whispers beneath it, played with soft brushes that create a seductive shuffle, like footsteps gliding across a dimly lit floor. Then there’s the piano—light, teasing, filling the spaces between with subtle, jazzy chords that shimmer like candlelight on a glass of bourbon. No orchestral flourishes, no grand gestures—just that hypnotic rhythm pulsing like a heartbeat in the dark. It’s the kind of restraint that only makes the performance burn hotter. The audience is spellbound, caught in the slow, simmering tension of it all.
Then came the singer-songwriter renaissance, heralded by a heartfelt take on Rock and Roll Hall of Fame inductee Joni Mitchell, followed by a radiant Here You Come Again by Dolly Parton. A moment of storytelling preceded Dusty Springfield’s entry on the setlist, with Ariathea sharing an anecdote about a friend’s close encounter with the blue-eyed soul legend. The kicker? “Isn’t she into women?” Ariathea asked. The friend’s reply? “Not that night she wasn’t.” The crowd lapped it up, and the music rolled on.
Ariathea’s attempt at Dancing Queen—a tribute to ABBA’s Agnetha—was commendable but fell just short of the original’s effortless precision. She leaned into vocal flourishes where simplicity would have shone, and while a valiant effort, it didn’t quite hit the mark. But I’m nitpicking—the audience was buzzing as the first set closed, so what do I know?
Act two opened with a fiery I’m a Woman before Ariathea stepped into the new wave era, tackling Blondie’s One Way or Another and Call Me. Her vocal delivery was on point, but the band, still locked into their cabaret-style playing, lacked the raw edge that makes rock ‘n’ roll breathe. That said, most of the audience wouldn’t have noticed, caught up in the sheer energy of it all.
Ariadnea’s deep dive into Adele’s Go Easy on Me Baby was an emotional high point, delivered with searing passion. While Adele’s natural mezzo-soprano is unmatched, Ariathea’s rendition carried its own weight, proving that even among giants, she holds her own.
Olivia Newton-John and Madonna followed, their presence felt through Ariathea’s impeccable interpretations with the powerful rhythm section of drums, bass, and guitar, providing a solid foundation. As the show builds, the soulful melodies of the saxophone, trombone, and trumpet join the mix, each bringing its own unique voice to the stage. The saxophone cuts through the air with its smooth, velvety tone, weaving between the melodies with a sensual, almost breathless quality, adding layers of depth and emotion to the performance. The trombone, bold and brassy, adds a rich, resonant warmth, its slides creating a playful contrast, pulling the audience into its playful rhythm and swelling crescendos. Meanwhile, the trumpet shines with its bright, sharp brass sound, its notes soaring above the rest, cutting through the air with a sharp brilliance, almost like a call to the audience, energising the entire atmosphere. Together, these brass and woodwind instruments elevate the performance, making Olivia Newton-John and Madonna’s songs come alive, each piece amplified through Ariathea’s impeccable interpretations, every note resonating with emotion and power.
The finale? A left-field choice—John Farnham’s You’re the Voice—had the audience pumped.
In the crowd tonight was Coopy Coops (not his real name, of course, as it's a well-kept secret known only to a select few), who had traveled all the way from Mt. Maunganui. He summed up the evening perfectly: “My amazing partner insisted I had to see this singer, and she did not disappoint—best show I’ve seen in ages.”
Just when we thought it was all over, the audience erupted in chants for an encore. Then, out of nowhere, a striking cartoon blonde appeared—Elsa from Frozen. The irony? Let It Go, originally sung by the undeniably non-blonde Idina Menzel, was now owned by the animated ice queen, the audience however not caring, belted along like it was 2013 all over again.
In all my years of covering and attending live music, few vocalists have stood out as powerfully, dynamically, and commanding as Ariathea. She’s not just a cover artist—she’s an alchemist, reshaping iconic anthems with a raw intensity and soul that feels both refreshing and timeless. Mark my words: she is a superstar, a world-class entertainer, and someone who should be touring the globe. The world needs to take notice.
Ariathea’s band on the night were:
Karl Benton (Keyboards) – Kantuta, Ardijah
Neil Watson (Guitar) – The Finn Brothers, Tami Neilson
Nick Taylor (Bass) – Andréa Lisa, Kool & the Gang
Adam Tobeck (Drums) – Gin Wigmore, TEEKS
Mike Booth (Trumpet) – Dave Dobbyn, Sola Rosa
Steve Sherriff (Sax/Woodwind) – Blue Train, Sabraso!
Jono Tan (Trombone) – Katchafire, The Managers
Reviewer: Paul Marshall
Photography by Paul Marshall
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