Live at The Auckland Library
30 May 2026
Live Review by Music Journalist: Paul Marshall
There aren't many places where hipsters, hardcore music fans, curious families, students, and Auckland's homeless community can comfortably share the same space, but Auckland Central Library somehow managed it. The all-ages Ka Mua Ka Muri showcase delivered exactly the kind of eclectic atmosphere that makes grassroots music events so important. Young faces packed the front of the stage, eager to discover the next generation of local talent.
Opening proceedings was Auckland four-piece Cam Beattie. From the moment they launched into their opening number, there was an unmistakable sense of promise. Their sound carried traces of classic Finn Brothers songwriting, wrapped in modern indie-pop textures.
Their second song, You Gave Up First, swung effortlessly between funk, soul and pop, sounding like Jellyfish and Snow Patrol had somehow found common ground. The audience immediately connected with the band, and when the vocalist thanked the crowd by saying, "This is the biggest audience we've ever played to," the genuine excitement was impossible not to share.
Mistakes proved another highlight. Whether intentional or not, the song's ending featured an awkward cue between singer and drummer that resulted in a slightly chaotic finish. If it was planned, it was brilliant. If it wasn't, it somehow still worked. Sometimes rock and roll's imperfections are its greatest strengths.
Their final song, inspired by divorce, had the audience singing along to the memorable refrain, "Don't take my cat," while clapping in unison. It was quirky, relatable and exactly the kind of moment that transforms spectators into participants.
Next came Spdrtwnbby (pronounced spider town baby), a four-piece outfit fronted by vocalist Jarna Parsons. While the band delivered competent performances, the set struggled to fully ignite the room. The material leaned heavily into mellow R&B textures, but lacked the dynamic peaks needed to capture sustained audience attention.
The evening’s first DJ initially impressed, Haden Gilgen, aka Spell, delivered two strong opening selections that immediately lifted the energy. However, as the set progressed, the song choices became somewhat repetitive, and the lack of audience engagement prevented the performance from reaching its full potential.
Next up Mokomokai consisting of Manu Walters, with producers Eno and Dirty.
As the opening track began, Dirty casually cleaned his glasses on his T-shirt before launching into a performance that quickly commanded attention. Walters delivery was sharp, technically impressive and packed with tongue-twisting lyrical dexterity. Fresh off recent success at the Aotearoa Music Awards, he carried himself with the confidence of an artist fully aware of his abilities without ever appearing arrogant.
When vocalist Sam V joined the performance, the room elevated another level. His powerful vocals cut through the venue with authority, adding depth and contrast to the set's hip-hop foundations.
One of the night's most entertaining moments arrived when Walters referenced cooking pasta and rinsing the pot with Hennessy before immediately advising the audience not to try it themselves because "it doesn't go well with the pasta." The combination of humour, storytelling and layered wordplay highlighted a songwriter operating at a high creative level.
"Look at me now, doing rap songs at the library," he joked, drawing laughter from the crowd while perfectly acknowledging the surreal nature of the setting.
The set concluded with special guest Brandn Shiraz joining the group on the final track, bringing a fittingly celebratory finish to one of the strongest performances of the evening.
Headliners Phoebe Rings arrived with significant anticipation. Formed by members of Auckland's thriving indie-jazz scene, the band have steadily built a reputation through their dreamy blend of jazz, dream-pop and shoegaze influences. Instrumentally, their talent is undeniable.
Phoebe's vocals often sat too deeply within the soundscape, making lyrics difficult to distinguish throughout much of the set. Apparently looking like this was a stylistic choice, as Phoebe doesn’t project her voice to any volume, the result was that almost all of the songs became defined more by texture and atmosphere than by lyrical connection.
The band's musicianship, however, remained consistently impressive. Their arrangements were sophisticated, rich with jazz flourishes and subtle harmonic shifts. At times the music felt cinematic, drifting between dream-pop and experimental soundscapes.
One song, introduced in Korean and translated as Away in the Distance Somewhere, perfectly captured the band's aesthetic. It was beautiful, mysterious and immersive. Yet the same issue persisted: the vocals often disappeared beneath the instrumentation.
As the set progressed, guitar levels occasionally dominated the mix, further masking the vocal frequencies. From the audience perspective, it became increasingly difficult to separate the individual elements of the performance. While the musicians clearly possess considerable talent, greater balance between stage volume would dramatically improve the live experience. Hopefully thats something they will learn.
There are unquestionably strong songs within Phoebe Rings' catalogue. The structures are sophisticated, the melodies are intriguing and the musicianship is exceptional. When the instrumental balance aligned, glimpses of a truly special band emerged.
What remains now is refinement. The ingredients are all present. With tighter control of stage dynamics and a clearer vocal presentation, Phoebe Rings could transform from an intriguing artistic proposition into a genuinely compelling live act.
Phoebe finished her set with a song called Cheshire Cat, maybe Phoebe did take Cam Beattie’s cat after all?
Ka Mua Ka Muri succeeded in exactly what it set out to do: showcasing emerging and developing artists in a setting where discovery is the main attraction. Some acts arrived fully formed. Others revealed works in progress. But every performer contributed to an evening that celebrated the future of New Zealand music.
And where else but Auckland Central Library could you witness indie-pop singalongs, award-winning hip-hop, experimental jazz-pop and a crowd spanning multiple generations all under the same roof?
Only in Auckland.
Reviewer: Paul Marshall
Photography by Paul Marshall
WATCH THE LIVE VIDEO at Paul Was There -