Live at Homegrown, Claudelands Oval
14 March 2026
Live Review by Music Journalist: Paul Marshall
P‑Money Turns Homegrown Into a Kinetic Hip-Hop Playground.
As I walked towards the electronic stage at Claudelands Oval the sound was already blasting full tilt, but what struck first wasn’t just that bass‑heavy thrum cutting through the air. It was the sheer density of bodies pressed into the area, a tidal wave of anticipation facing the infamous P‑Money as he took command of the decks and the mic. By the time he dropped his next mix, the crowd was already in motion, a kinetic sculpture of heads, arms and pure weekend energy.
For anyone who’s followed his career, this set felt like a culmination, a celebration of decades of influence that have made P‑Money one of Aotearoa’s most important musical exports. Born Peter “P‑Money” Wadams in Tāmaki Makaurau, he’s carved a legacy that reaches back to DJ battles, early hip‑hop culture, and the very mainstream breakthrough of Kiwi rap. As a producer he’s responsible for historic tracks like “Not Many,” “Stop the Music” and “Everything,” which not only dominated local charts but helped solidify New Zealand hip‑hop on the map and for good reason.
From the first beat drop, he commanded the moment, no guest, no hype guy, just P‑Money in total control of the mix, weaving together old school hip‑hop motifs, classic Kiwi anthems and cutting electronic transitions that kept bodies locked in motion. The energy was vast, like a conversation between festival goers and the artist himself and it felt as though everyone in that space was part of the narrative he’d been building since the Dirty Records days.
He’s the rare kind of headliner who doesn’t just DJ sets, he curates experiences. When he dropped the unmistakable bass lines and hooks of past chart‑toppers, there was a collective exhale as hundreds sang back every word. Tracks that defined Kiwi summers and local hip‑hop culture were greeted like old friends and rightly so. His production pedigree, from massive number ones to platinum‑selling classics, isn’t just history; it’s living memory for a generation that grew up with these songs in their playlists and parties.
But just as impressive was the way P‑Money didn’t let his set become a nostalgia trip. He shifted gears seamlessly, integrating modern electronic sensibilities with his classic hip‑hop foundation, proving he’s as much a curator of the moment as he is a steward of the past. The bass moved, the lights danced, and by the time the final claps echoed across the field, it was clear this wasn’t just another festival set, it was a statement: P‑Money still stands, still commands, and still moves crowds with a rare blend of history and heartbeat.
In a festival landscape that often swings between big name rock theatrics and underground eccentricity, P‑Money reminded us why he’s a perennial favourite, a master of both the craft and the crowd. And as the last echo of bass dissipated into the audience, there was no doubt: this was one for the books.
Reviewer: Paul Marshall
Photography by Paul Marshall
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