L.A.B, Auckland NZ, 2020

L.A.B

3rd July 2020
Spark Arena, Auckland, New Zealand.

Review by Sarah Kidd. Photography by Doug Peters.

It would be fair to say that this year has definitely come out swinging, and not in a good way. Natural disasters, inept presidents, corrupt systems, and a pandemic that has forever changed the face of live music and social gatherings, has left humanity feeling battered and bruised.

But Aotearoa has always been something special, in the face of sometimes insurmountable odds, New Zealanders will band together for the greater good; having achieved the enviable status of no community transmission of the dreaded COVID-19, what better way to shake off that heavy cloak of despair than with an arena sized show of New Zealand music. In fact, the first arena show in the world since the virus began to stalk its way across the earth.

Like a beacon of light, Spark Arena once again threw its doors open and welcomed all, the free flowing crowd a beautiful gathering of both young and old who beamed from within as they drank in the sight of the stage and embraced their fellow attendees who they stood shoulder to shoulder with, the troubles of the outside world left behind for the night.

Four piece The Leers had the honour of gracing the stage first, their laid-back Mt Maunganui style translating perfectly on the larger stage. Yes, here is a band that define the word effortless, a group of musicians that can easily shift from the inner-city vibes of Cross Street Festival to playing a venue ten times the size in the blink of an eye. Led by Matt Bidois on guitar and vocals, The Leers opened their set with ‘Fool’ and ‘Hold On, You’ll See’, both from their 2016 debut album Are You Curious? that is a must have for any discerning music lover who appreciates well made alt-pop with a healthy dose of psych-rock thrown in for good measure.

The relocation to Tāmaki Makaurau it seems has only strengthened the band, and is immediately evident as the 2019 breezy single ‘Far Away’ floats across the room, drummer Jack Furniss providing the rhythmical backbone to the track as Buchan and Kippenberger throw down some serious guitar and bass work that leaves one salivating for more. Frankly any band that can nail a cover of Kavinskys ‘Nightcall’ such as these boys have is worth their weight in gold.

A two and a half minute instrumental that demonstrated that the quartets skills can reach far beyond just their latest singles and The Leers finished the set off with both ‘I Can’t Cope’ and the brilliant opening track ‘Does This Speak To You?’ off their aforementioned album, the infectious riff igniting the front rows as Bidois let loose and howled into the microphone with an electrifying intensity. Easily worthy of their own headline slot, The Leers are exactly the reason why audiences should arrive early to catch the opening act.

While 2020 has certainly not been the year for many, for Troy Kingi it has held some significant joy which came in the form of the prestigious Taite Award for his album Holy Colony Burning Acres; and frankly a more worthy recipient there could not be. Challenging himself to create ten albums in ten years, each record a different genre from the last, Kingi’s third album is a poignant exploration of the struggles of indigenous peoples around the world. Focussing on the early reggae sound of the 70’s – bands such as The Congos and The Abyssinans influencing his sound – Kingi returned to his own roots in order to build the foundations from which each track grew.

Real reggae has always had a political stance, messages of importance and heavy subject matter delivered in palatable form, Kingi himself preferring the one drop drum beat style of reggae, his admiration of Aotearoa’s Herbs feeding his own creative processes from which he derives so much gratification.

Arriving on stage with his band The Upper Class, an impressive ensemble of musicians that includes such luminaries as bassist Marika Hodgson, drummer Treye Liu and Guy Harrison whose trumpet playing makes your bottom lip quiver, Kingi got straight down to business with ‘Ethiopia’ and ‘Colour of My Skin’, his hands shape-shifting across his guitar as he drew from it exquisite sounds.

Watching Kingi perform live is an experience in itself; subtle yet emanating a powerful presence, the multi-genre musician and actor commands the stage from under the wide brim of his characteristic hat. Taking the ever-growing audience back in time to his second album, the funk and soul infused Shake that Skinny Ass all the Way to Zygertron, Kingi and co soon had the crowd singing to both ‘Aztechknowledgy’ and ‘Grandma’s Rocket Poem’. To create ten albums, each of a different genre from the last would seem a task too onerous for most, but for a musician the calibre of Troy Kingi who counts bands such as The Meters, Queens of The Stone Age and New Zealand’s own UMO among some of his biggest influences, it is a challenge worthy of both his time and dedication. Afterall, this is the artist who gifted us what would have to be one of the most quintessential kiwi love songs to date; ‘True Love’ melding together his liquid honey words with simple but delightfully moreish acoustic guitar chords.

Delivering a preview into what’s to come with his fourth album, ‘All Your Ships have Sailed’ had that invigorating new music buzz to it before ‘Mighty Invader’ stormed the room; Troy Kingi and The Upper Class once again performing a set worthy of such a setting. One of the greatest comforts of all coming from the fact that in a world that seems to be tearing itself apart at the seams, Kingi – as a father of five – is raising a new generation who will speak truth to power.

The sold-out arena brimming, the anticipation was palpable as the lights dipped and the big screen came to life, four of the members of L.A.B each atop a podium of their own as vocalist and guitarist Joel Shadbolt made his stunning entrance from the back of the stage. While well known for his vocal prowess, many could be forgiven for thinking that Jimmy Page or David Gilmour had just arrived instead, Shadbolt not just a guitar player but a virtuoso in his own right, which he illustrated for the next few minutes in full technicolour glory.

Hitting the audience in triplicate with ‘She’s Gone’, ‘Rocketship’ and the phenomenal ‘Personify’ from the album L.A.B III released last year and the band soon had the audience hanging on their every move, the light show and on screen effects as well as the accompaniment of dual backing singers elevating the show to the next level and reminding all just why we crave live music so much.

While keyboardist Miharo Gregory and bassist Ara Adams-Tamatea got down to business, Stu Kora on guitar played up to the audience at every opportunity, his powerhouse brother Brad behind him on drums and backing vocals demonstrating just how at ease the Kora clan have always been in the live setting. The band were on fire, the opportunity to play at such a venue not one taken lightly and therefore demanding their A game, which they brought in spades, but no one could deny that it was Shadbolt who was the star of the night. From his Peter Frampton moments using a talk box to modify his vocals to his guitar solos that left jaws gaping, Shadbolt shone, at one point even jumping down into the pit to give those in the front rows a closer look at his deft finger work, their elation mirrored in his own expression.

Following outstanding renditions of ‘Shadows’, ‘Shoot on You’ and ‘Ain’t No Use’, L.A.B made it sizzle with a love song for all the couples in attendance; ‘For the Love of Jane’ seeing the band joined on stage by a string quartet, the seductive tones of ‘Baby Will You Let Me’ a flawless follow-up. Loved up and in tune with one of all, Shadbolt’s request for everyone to light up their phones in memory of fellow musician Aaron Tokona while they performed ‘Controller’ was met with fervour; taken far too soon his is a star that will forever burn bright.

The evening was coming to a close, but not before a hotly demanded encore that began with ‘Heat’ and moved into the popular ‘In the Air’; L.A.B inviting the female star of the music video – who impressed all with her dance routine – to join them. In a surprise move, Shadbolt then announced the arrival of guest vocalist Francis Kora, the crowd exploding into applause as he immediately stepped forward and belted out the iconic opening lines of ‘Drop Dead Killer’ which undoubtedly produced the biggest sing along of the evening.

Finishing it all off by mixing a little ‘Bipolar’ from Mat Zo with their own instrumentals, L.A.B briefly turned Spark Arena into a giant dance party before triumphantly sauntering off the stage, leaving behind an audience that had very much been well and truly sated.

Aotearoa, not only the land of the long white cloud, but the home of world class musicians.

Were you there at Spark Arena for this magic celebration of Kiwi music? Or have you seen L.A.B perform live somewhere else? Tell us about it in the comments below!

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