Nest Fest, Hastings NZ, 2024

Nest Fest 2024

5th + 6th January 2024
Tomoana Showgrounds, Hastings, New Zealand.

Review by Rosheen FitzGerald, Rob Harbers & Hayley Osterfield. Photography by Hayley Munro, Jessie Broad & Felix Goetze.

Right at the place where Hastings changes from rural to urban, Tomoana Showgrounds plays host to a broad range of events, from the weekly Farmer’s Market to the annual Horse of the Year. For two days in January, it’s taken over by a different crowd – music lovers and party goers intent on celebration.

Nest Fest has been growing exponentially over the last six years. Three stints at Black Barn exhausted their welcome, at least from neighbours and council, forcing organisers to seek new territory. Extraordinarily fortunate to skate between lockdowns in 2020/21 just in time, before the vax pass summer of 22 turned to red, their luck ran out last year when four headliners’ late cancellations forced them to call off the party.

Returning with renewed vigour for 2024, organisers have tweaked their formula somewhat. Stretching out over two days and four stages, providing on site camping, dates were brought forward a week to bleed into the post New Year’s holiday period. The site itself was condensed a little from its 2022 iteration, cutting the indoor exhibition hall venue and some of the space in which to wander.

The vast Main Stage dominated with the big names while over the bridge the smaller Sand Stage showcased a more eclectic sound, making it easy to jump between your favourite band and your strange new obsession.

Local genius of creative fabrication, Isaac McCormick, was responsible for stage design, each flanked by ethereal sheer cloth columns (painstakingly stapled by his long term collaborator and partner, master of fabrics, Sophie Wallace). Giving the impression of rippling material, by night they are lit from within by old-fashioned can lights, creating a nostalgic glow that just can’t be achieved by LEDs.

By contrast, the two electronic stages, serving uninterrupted doof for the duration, had a futuristic feel. Ensconced in a thickly wooded glade, the Tree Stage was shaded by something like a satellite dish while the Planet Stage was an electric orange faceted globe inside which the DJ presided.

The aesthetic blended a hodgepodge of Nest Fests past with the remains of Hastings’ annual tack-fest, Fiesta of Lights – the event that immediately preceded it in the space. The overtly Christmas themed fayre had been removed (and hastily stored behind a tarp in the bushes of the Tree Stage) leaving a random assortment of tiki and taniwha, jumping fish and somewhat cursed looking kiwi eked out in 2D fairy lights. Similarly obtuse inflatables took up space (a panda chowing down on some bamboo, a rainbow whale, a cartoon bee, a spaceman and his craft – not to scale).

Festival regulars could spot flags from way back in 2019, and the fruits of previous artistic leads Department of Arts – a five metre dancing character in red that flanked the 2021 stage; foam lettering proclaiming ‘Love You to the Moon and Back’; various cut-outs including signs proclaiming ‘Jelly Lane,’ confusingly far from the jellyfish that floated from a tall tree across the paddock. Conspicuously absent are the signature lips that flanked the 2022 stage, so iconic they have become the branding. In local lore their price tag inflates with each telling so nobody truly knows how much they cost or what has become of them.

Though locally based, nationally exhibiting public art giants, Vesica – the brains and brawn behind Walk of Wonders, were on the bill, their work was not in evidence, perhaps indicating the Nest Fest team are not immune to the cash flow issues that plague the nation, and by consequence, the industry. Quality large scale public art costs, both money and manpower. Without a dedicated design team – either Department of Arts or Vesica, the aesthetic did have a cobbled together feel, a noticeable step down from previous years. But when times are tight, art is the first thing to go. As last year’s cancellation showed, the headliners are non-negotiable, the aesthetic can be compromised.

The creative contribution was boosted by splashes of colour from artists Phillip Smith, Ratima Munro and V Hoy, who painted a pair of portraits and a pokemon over the duration of the festival, coming alive at night under a blacklight. Local legend Dali Susanto set up shop in their corner, selling sunnies and hand painted t-shirts, in the only covered spot besides the bar or the sound desks. He smartly brought his own marquee from which he painted on the faces and bodies of festival-goers in his distinctive style, spreading joy around the grounds.

Interactive art came from local potter, Scott Brough, who offered a meditative space to unwind and get your hands into some clay. A simple installation from Bee beverages, who had a whole section of alcoholic pop on the bar menu, gave space for punters to fill in the blank of what ‘I want to bee…’ Contributions fell into four main categories – sex, drugs, deranged ramblings and saccharine instagrammable platitudes, with a side of social conscience.

The crowd, as you could possibly glean from the line up, was weighted towards the 18-25 cohort. No kids allowed meant parents must get a babysitter or miss out. It’s a strange generation, come of age under the glow of a smartphone screen, their every move documented on the internet, no room for mistakes. Unsurprisingly it makes for behavioural change.

The fashion was surprisingly tame. You could almost pick out the older festival goers across the crowd by their comparative flamboyance. The youth seem to dress, not to impress but to blend in. The slogan t-shirt, once a staple of such events, is conspicuous by its absence. Perhaps they’re all afraid to say they stand for anything, even innocuous allegiance to a band, lest it prove them on the wrong side of history down the line? Trends include long sheer shifts in neutral colours over bikinis and head scarves – that’s right, the kind your nan used to wear – this summer’s accessory for all genders.

One thing these kids seem to have gotten right is a reasonably responsible attitude to intoxication. Whether this is due to financial embarrassment, fear of actual embarrassment, magnified by social media, or the efforts of the security and not insignificant police presence is anyone’s guess. Vibes remain good throughout the event, friends and strangers looking out for each other, plenty of smiles and good times.

– Rosheen FitzGerald

Friday 5 January

Sarvi and the Winch | Sand Stage – 2.45pm
The opening act is newcomer Sarvi, a pint sized princess with a big voice and a natural command of her surroundings. She’s backed by a band of long haired boys in bucket hats and sunnies – the Winchester. This quartet of accomplished musicians includes Max Gunn on keys, who, together with professional skier turned band manager, Harry Pettit, founded the festival way back when, and will be playing with his solo project tomorrow.

The mellow lounge sound lures a crowd from the adjacent campsite. Sarvi’s sultry vocals with a jazzy backing is just funky enough not to veer into easy listening territory. The band commune comfortably, spreading a sense of ease. It’s soothing music that spreads a message of connection, an antidote to the mixed up world in which we all find ourselves, in which we all have to try to survive.

Unfortunately, with the opening of the festival proper, the skies too open sending woefully unprepared festival goers fleeing for the trees. ‘Ignore the rain,’ Sarvi implores, prompting several hedonists to embrace the weather and dance till they’re soaked.

-Rosheen FitzGerald

Jack Page | Sand Stage – 3.45pm
In a musical offering not dissimilar to the previous one, albeit more croony than funky, Jack Page takes the stage to a crowd he describes as 80% homies. His patter is peppered with Americanisms which thankfully come off sweet rather than cheesy.

The homies are a stylish crew feeding him with the energy he needs to lead from the front on falsetto vocals and keys. The whole band seems to have stolen both their look and their sound from the back of their grandad’s wardrobe, but they’re young and cool enough to pull it off in an ironic way. It’s the perfect music for lounging in the sun, but works just fine in the rain.

A cover of Cheek to Cheek makes use of the trumpet that up til now felt held back. Page’s vocals are more Ella Fitzgerald than Louis Armstrong, though it’s much more likely he heard the track via Lady Gaga. Soon you can barely see the homies for the punters, drawn to the infectious good vibes.

-Rosheen FitzGerald

D.C Maxwell | Main Stage – 4.20pm
Crowds braved the less than ideal weather to welcome D. C. Maxwell to the stage. He has been described as an alt-country singer-songwriter, however, as the set progressed there was a magnetic punk preacher energy that oozed from the Main Stage.

“Good band, bad situation, played admirably” was the comment from crowd members who were collectively huddled under umbrellas for shelter, but tenaciously witnessing the Bowie-esque vocal cadence from D.C Maxwell.

The last two songs were touted as a love song and an angry song.

-Hayley Osterfield

Ringlets | Sand Stage – 4.45pm
The rains had graciously subsided just in time for the aggressive guitar riffing and driving rhythms of Ringlets to begin.

Evocative lyrics filled the air around the Sand Stage, carried by the Brian Molko toned delivery of the lead singer.

Epic recurrent cymbal crashes reverberated in the ears, long after Ringlets had left the stage.

-Hayley Osterfield

Jujulipps | Main Stage – 5.25pm
And now for something completely different. Jujulipps bursts on stage with a PSA – ‘if you are in the presence of a bad bitch you better act accordingly.’ She leaves no doubt that she is, in fact, that bitch.

Backed up by a female DJ, she drips feminine energy, all explosive fire staccato rap with steep vocal inflections – an import of the amapiano sound pioneered in South Africa, where she was born. She powers through her hits, exuding attitude through her no nonsense lyrics and cutthroat delivery. Dealing with themes of female empowerment – the right to sexual satisfaction and to not answer your phone amongst others – she whips up the crowd into a frenzy, stalking back and forth the colossal stage, twerking in a tube skirt, whipping her blonde and black braids for emphasis.

It’s testament to how far Nest Fest has come. In early days the line up heavily relied on Pettit’s contacts from the new Dunedin scene, resulting in a somewhat pale male bill that did not go unnoticed. Several years ago they committed to try harder, resulting in a festival with greater diversity not just of artists but of music, something that benefits everyone.

-Rosheen FitzGerald

Filthy Junk Traders | Sand Stage – 5.45pm
Rain. Rain. Rain! But, then a hint of a break in the weather (and maybe even the return of the sun?) Almost miraculously accompanied, on The Sand Stage, by a revival of The Birth Of The Cool. This was in the form of the Filthy Junk Traders, on their odyssey from the depths of Tamaki Makaurau all the way to Heretaunga.

With a stated aim of showing the unity between Hip-hop and Jazz, this 8-piece combo held the rain at bay, while encouraging some serious moves on the Sand Stage dancefloor. Exemplifying their approach was, as they described it, the “Ol’ Dirty Bastard edition” of Duke Ellington’s canonical “Caravan”, demonstrating their respect for the progenitors while augmenting it with more contemporary elements.

All delivered while maintaining impeccable sartorial style! And accompanied by the kind of patter that’d do a carnie proud – lengthy, but always interesting, expositions of their inspirations and ambitions. And not afraid to play with words-witness their “Savage Noble”, upending concepts of what constitutes “civilisation”(such a loaded term!). An exemplary performance, indeed, showing that this is an outfit worth paying attention to.

-Rob Harbers

Leisure | Main Stage – 6.30pm
This New Zealand electronic group – who have been steadily gaining momentum after successes overseas and more recently, on TikTok – opened with an intriguing spoken word sample.

Their wonderful 70’s funk, 90’s rap and R&B, dance music from the early 2000’s connection. Which sound comes as no surprise with band members coming from Goodnight Nurse, Kids of 88 and Kidz in Space.

There was a harmonious unison about Leisure. From all members being dressed in black, to the effortless synchronised movements to the music. The lead vocalist had an exquisitely soulful voice, and the deeper, gritter back up vocals complimented admirably.

The lyrics ‘If you need somebody’, from their hit Lonely, floated across the animated crowd. The instant the line, ‘Girl, you think you got it bad,’ left the booming speakers, the ecstatic crowd were whole-heartedly singing along. Leisure’s funk-inspired, 90s-influenced rhythms, slick vocals and electronic inserts were perfect for an afternoon festival slot.

-Hayley Osterfield

Soaked Oats | Sand Stage – 6.45pm
With the precipitation seemingly pushed away by the previous occupants of the Sand Stage, Otepoti’s Soaked Oats basked in what was, for the day, a comparatively rare opportunity to have an audience whose state didn’t physically match their own titular one. With their (superficially, at least) cheery and upbeat sound, they formed the perfect distraction from the ever-darkening clouds overhead. This feel-good vibe drew in a sizable crowd, ready to get down, and they weren’t disappointed. At the same time, there’s an underlying depth and complexity to this band, matched with an economy of expression which ensures that nothing is overdone or unduly extended. All of which makes them an ideal component of a festival such as this.

As referred to earlier, there’s more to this band than just the surface, with lyrical content that betrays some deep thought. Free your ass and your mind will follow, as Funkadelic nearly said all those years ago (54, to be precise!). So the groovers got danceability, and the cerebralists got intelligent lyrics – something for everyone!

Having provided this neat little package for all to enjoy, it was time for these guys to move on, and right on cue, as the final note was still ringing out, down came the rain all over again, ensuring that more than the Oats were getting soaked. As much as The Cult may declare that they love the rain, it’s probably a safe bet that many there weren’t quite feeling the same affection at that point! However, onwards and upwards, and off to the next act…

-Rob Harbers

Ladi6 | Main Stage – 7.40pm
Ladi6 was a force to be reckoned with. From the moment her soulful voice cascaded over the cheering crowd until the lights went out, she was an energetic, inspiring, positive bundle of spirited intensity.

Her set started with the well-known song Guru.

The crowd interaction that ensued was the finest of the festival. Encouraging the rain-sodden punters to get their bodies moving. Asking for all hands up in the shape of diamond. Even, successfully, imploring the on-duty police to dance.

The enthusiasm was palpable when Ladi6’s biggest hit Water started. She was joined on stage by two beautifully zealous dancers.

As the sunlight diminished, the stage lights began illuminating and moving with the music, adding another layer of visual delight to an already enchanting performance.

She dedicated the song Diagonal to all the people “who don’t feel straight up and down, or side to side” – she called herself a diagonal.

High point of the performance was the inclusion of Tino Rangatiratanga, initially the dancers carried them out – a huge appreciation bellow erupted from the crowd when Ladi6 proceeded to sing while fiercely waving one overhead.

-Hayley Osterfield

The Lahaar | Sand Stage – 7.55pm
Something of a supergroup, The Lahaar was cooked up by ‘Head Chef’ (their words) Julien Dyne, who comes to the drums fresh from his DJ set at the Planet Stage. There’s something interesting about a band whose impetus comes from the drummer, led from the back.

Each member of the Trans-Tasman collaboration has huge talent with little room for ego. Instead they work expertly together, creating an immersive soundscape of up tempo funk, punctuated by offbeat jazzy syncopation, drums and bongos providing counterpoint to each other.

Carnivorous Plant Society’s Finn Scholes expertly wields trumpet and vibraphone, while a guest appearance by Lord Echo aka Mike Fabulous on flute just adds to the fan girl fodder. Mara TK cruises on vocals, barely holding things together, allowing long instrumental sections to break down as they collectively slide deeper and deeper into funk.

The set feels less like a polished performance than a jam session between seasoned professionals, spontaneity flickering around the stage like electricity, like the long trail of toilet paper that streams across the crowd.

-Rosheen FitzGerald

Promiseland | Main Stage – 8.50pm
Johann Rashid, otherwise known as Promiseland, presented a set comprising handstand competitions, lyrics speaking of shadows, and ritualistic chanting vocals. He mirrored his punk soaked music with an eclectic, spirited physical performance that saw him propelling himself off stage on multiple occasions.

-Hayley Osterfield

Kaishandao | Sand Stage – 9.05pm
The last act on the Sand Stage is not a band in the traditional sense. Kaishandao makes electronic music but she’s not here to be a DJ in the way many of us understand. Rather she is an antidote to the happy and happier house that admittedly kept everyone happy on the Planet and Tree stages all day, even if they were mostly synchronised in their BPM.

Meaning ‘machete’ in Mandarin, Kaishandao creates, chops and splices live, manipulating drum machines, electric guitar and samples into an ambient experience that translates to the thinking man’s electronica.

-Rosheen FitzGerald

No Cigar | Main Stage – 10.00pm
The final chapter in this first day was narrated by No Cigar, accompanied by a return appearance of the day’s most persistent companion – the rain! After an atmospheric, guitar-heavy intro, they proceeded to provide a set perfectly composed for its place in proceedings, maintaining the energy of the day while offering a bridge towards the adventures yet to come.

Songs featured ranged across their career, including “1999”, a song discussing a time before a sizable portion of the audience were even born! Like ancient history, almost…

A surprisingly jaunty (given the subject matter) song about alcoholism was also in there somewhere – perhaps a cruel irony given the state of some present! All around, though, the set that was needed, at the time it was needed, also managed to see off the rain for the day.

So day one closed out under the inspirational Tino Rangatiratanga flag being waved by an audience member, lighting the way to a promising joint future, and it was time to head home, whether that home be a temporary one onsite (hopefully not flooded out!), or something more substantial. Looking forward to doing it all over again the next day!

-Rob Harbers

Saturday 6th January

One Eyed Jacks | Main Stage – 12.05pm
Day Two opens with One Eyed Jacks – inoffensive surf rock to kick off the day with a lounging in the much needed sunshine vibe. (Spoiler alert – it does not last.) Everyone stays in their lane as they sing about experiences such as the sanctuary of the racquet club or a break up. Perhaps the modern day answer to the happy/sad genre, they’re not the Smiths but they could sound a bit like them if you squint your ears.

-Rosheen FitzGerald

Sofia Machray | Sand Stage – 12.45pm
A dreamscape of strings and a depth of cello provides the perfect backdrop for Sofia Machray’s powerful and passionate alto vocals. Someone kind designed this schedule. If I were dying of a hangover in the adjacent campsite I might be lured back to life by this atmospheric dream pop, delicate and tender.

During her set the morning’s sunshine is obliterated by a deluge that threatens to engulf the sound desk. The handiest of handymen and stage designer, Isaac McCormick appears with a spade and digs rivulets to divert the flow, proving himself to be a bonafide GC.

-Rosheen FitzGerald

Vera Ellen | Sand Stage – 1.45pm
The girls are up front with guitars and drum pad in this post punk alternative six piece. They’re clearly a band who think about sound, swapping around instruments, taking up synths, juxtaposing intense tension with ethereal sweetness. Their moody music is reflected in the schizophrenic weather that sees steam rising from the stage, no need for haze. You can hear Flying Nun records in their sound. You can see Newtown in their look. If they had a taste it would probably be some kind of liquor soaked cake.

-Rosheen FitzGerald

Mini Simmons | Main Stage – 2.10pm
This Tāmaki Makaurau 5-piece came bursting onto the Main Stage, and introduced themselves with a blustering scream reminiscent of Robert Plant in Immigrant Song.

Led out by main vocalist Zak Hawkins, the Mini Simmons band comprises Yoni Yahel on drums, Jesse Hawkins on bass, Heretaunga local moved to the big smoke, Emily Mackie adding keys, and guitarist Brad Craig.

Zak donned a stunning white bouffant shirt, and black leather pants – that we later learned were a recent purchase and causing self-conscious notions. The rest of the band followed suit with wonderful ‘70s glam attire. A fitting choice for the bluesy rock band.

Their set began with the catchy ‘A Way With Murder’. This is when their high energy, rock ‘n roll performance style began to shine through.

Their marvellous blend of fast paced hooks, slower tempo bridges, powerful vocals and energetic stage presence highlighted why they were a superb inclusion in this year’s Nest Fest.

As the set progressed, the main vocalist demonstrated his extensive musical prowess with the injection of a tambourine, a harmonica and a multitude of maracas.

Enjoyable and some-what humorous crowd interaction ensured that the audience were engrossed. They were encouraged to dance, all while Zak showcased his own dance moves – complete with flying elbows even Mick Jagger would be proud of.

This is a band that visibly thrives in a live setting, and puts on a theatrical, loads-of-nonsense set.

-Hayley Osterfield

Arahi/Te Tokotoru | Sand Stage – 2.45pm
Sometimes you need to leave home to find out where you’re really going. Though he has nominally left his whenua, Arahi found a way to stay close to his roots via rock trio Te Tokotoru. Meaning ‘three of a kind,’ Arahi finds his tribe with Hastings bassist and musical savant, William Devine (Willie D) and drummer from the Nudge, who once called Te Matau-a-Māui his home, though his iwi is Tūhoe, Iraia Whakamoe.

On an explicit mission to live and breathe tikanga into the modern world via the transcendental power of rock music, from the start they mark their intentions with a goosebump inducing mihi from Whakamoe. Then it is on, Arahi every inch the rock star, back to playing lead guitar – a flying v – with his pared back band. Cut off stubbies and a cropped ‘Who the Fuck is Suzy Blue?’ t-shirt completes the look, offering an easter egg to hometown fans, referencing his original teenage band with whom he still plays, occasionally.

They open with what is, by my count, the fourth iteration of ‘Haere Ake Nei.’ In the past it’s been a dreamy piano ballad and a 80’s synthwave hit. Today it’s been reimagined once again as classic rock, as though he’s discovered some secret way to move backwards in time, in defiance of the rest of us.

Through a selection of the Revelator hits and some new material, including the anthemic Te Hekenga, Te Tokotoru’s debut single, the pace is relentless, the energy explosive. Ice cold in top hat and singlet, Willie D thrums the bass like a heart string. Whakamoe thrashes the drums like his life depends on it. Arahi’s guitar screams like a release over the chest wrenching tones of a maturing voice.

It’s music that resounds through your sternum and reverberates through your soul. As if summoned by the joyful noise, the heavens open, the downpour turning sand to mud beneath pounding feet. With minimal kōrero, all in te reo, they squeeze in one last song, a Jimi Hendrix cover – Fire – that feels as much an homage to Suzy Blue and Arahi’s musical tīpuna as the shirt on his back.

-Rosheen FitzGerald

SUNZ | Main Stage – 4.20pm
Local favourites, Something Ultra New Zealand, storm the Main Stage with a high energy set to the delight of their legion of fans.

You’d be forgiven for thinking they’d been let loose in a dress up box. Famously snappy dresser, bassist Wills VanderMeent of many musical projects including Suzy Blue, House of Beats and an eponymous galactic funk ensemble, has clad them in his signature colourful clothing – guitarist and vocalist Joe Cole’s shoulders struggling with his hot pink suit; rapper Camzee in an oversized 80’s style op-art-esque purple and turquoise creation and bare feet; Zonny and Seamus looking sharp in a parody of office wear but with practical short pants and, in the latter’s case, a somewhat regrettable choice, given the weather, of socks and sandals.

The look informs both the sound and the vibe of this band of incredibly talented yet humble performers. They are committed to exuding a sense of fun, going full send with no audience member left behind. The gigantic stage that dwarfed other performers is effortlessly filled to the rafters by their commanding presence, utterly at home in the limelight where they belong.

Opening with Joe Cole’s dulcet tones that bely his considerable talent as a solo artist, the crew tag team rap with alacrity taking turns to take the limelight, the rest taking a knee to deflect attention towards whoever is taking the lead. The very opposite of toxic masculinity, they quite consciously model a better way to be men. As part of the Msfts crew they spread a message of destigmatising men’s mental health – an epidemic in this country – something reflected in their speedily delivered yet intelligent lyrics.

Their sound is wholly their own, a mashup of influences from soul to surf rock. Drummer Hugh McKendry, the only one to eschew styling, seems to be holding the whole thing together, while Cole takes the melody and Wills gets funky on the bass. Each rapper has his own distinctive style as they make words their plaything – Camzee careening into soul singer territory, Seamus defying time with his rapid fire, Zonny exuding infectious enthusiasm.

It’s a soulful coastal sound, filled with heart, designed to uplift, enlighten and excite. The crowd respond in kind, dancing with the kind of joyful exuberance that encapsulates the ideal festival experience.

-Rosheen FitzGerald

SUO | Main Stage – 5.25pm
You don’t need to hear the eponymous front woman Saara Untracht-Oakner’s patter to tell this band are from New York City. Occupying the stage with a shiny glam-rock presence that screams big apple, the hard working four piece channel Americana from the last century, charming their audience with a robust sound. Clad in a glam tight red vinyl two piece, SUO’s vocals command as the band plays in the place between rock and pop.

-Rosheen FtizGerald

Casual Healing | Sand Stage – 5.45pm
Taking the stage with a crochet hat, purple crew neck and the purest smile you have ever seen, Casual Healing sets about his quest of inspiring the audience to begin their self-healing journey.

Nikau Te Huki, the man behind Casual Healing, delivers a captivating vocal performance for his first song. Delivered in te reo Māori, it is a transcending experience.

He stands centre stage with only a guitar to accompany him. After asking the audience to envision the drums, Casual Healing commences with a track that encapsulates a feel-good and reflective energy. Black & White highlights his warm, gospel-like vocal harmonies.

His demeanour is that of someone who is genuinely and thoroughly enjoying themselves. He has the uncanny ability to give off the illusion of a beaming smile whilst singing. This same singing is punctuated by incidental fluctuation of pronunciation. A crowd favourite is the sharp mouth pop over the letter p.

There is a heavy reggae influence in Casual Healing’s vocal inflection, that is reinforced by his seamless transition to the universally popular One Love (Bob Marley and the Wailers)

His original Green Tigers was met with enthusiastic cheers from the crowd, and an exuberant sing-a-long.

His set ends with a karakia, and the tossing of his hat into the crowd. A welcomed keepsake.

Casual Healing has an infectious aura which is impossible to ignore, coupled with his smooth and atmospheric voice, and powerfully emotive witty lyricism, it is an absolute soul filling experience to observe.

-Hayley Osterfield

Katchafire | Main Stage – 6.30pm
Reflective of the place of reggae music in the psyche of Aotearoa, one of the largest audiences so far in this festival flocked to the main stage for Katchafire. The vibe was cool, and the smoke was heavy! A fact recognised by the dedication of a song to “everybody out there smoking marijuana”, indeed – nearly enough for the passive smoker to get high on. But enough of the reggae cliches, as they launched into a set they professed to having been looking forward to for some time.

The vagaries of the weather played an unduly large part in this festival, so it’s interesting to speculate on whether it was a coincidence that Katchafire’s appearance pretty much coincided with the end of the rain. Seems highly possible, given the positive vibe on display, and the stated aim of “Let’s make some memories!”

This was truly a family affair, with lead singer Logan Bell at one point handing the mic to younger brother (and drummer) Jordan, while dad Grenville, on lead guitar did his bit. This family feeling is no doubt a large part of their appeal, along with the sheer professionalism and experience -these guys know how to move a crowd, and how to get them singing too! The closing trio of songs, “Shine”, “Herbaliser”, and “Getaway” provided ample demonstration of this, capping off a great set that set the bar for what was to follow – but more on that later!

-Rob Harbers

Mildlife | Sand Stage – 6.45pm
A member of the crowd was screaming “We came here just for you!” as Australian psychedelic jazz fusion group Mildlife took to the stage and took us on a journey.

The opening vocals were an unexpected but incredible experience. Utilising vocoder over their acid-jazz tinged music gave the feeling of being transported off this earth and whisked away on a cosmic journey.

This is definitely a band where you sit back and enjoy the ride.

-Hayley Osterfield

Halfqueen | Planet Stage – 7.00pm
Day 2 of the doof gives a somewhat less monotonous musical offering, veering to the heavier end of house, with a few genre bending surprises.

Halfqueen is a queer DJ of colour who shows as much diversity in her music as in her identity. Known for the beats behind Tāmaki Makaurau rapper, JessB, and for frequent collaborations with PolyHill (who accompanies her in the DJ booth), Halfqueen is an accomplished musician in her own right.

Here she serves up a high octane sound with resounding bass, unafraid of darkness, defying genre. From drum n bass drops she brushes up against the edge of trance with frenetic energy reflected in the crowd.

-Rosheen FitzGerald

The Exponents | Main Stage – 7.40pm
With Katchafire having aroused the crowd to a hair-trigger’s point of excitement, they were delivered into the tender ministrations of The Exponents to get them over the line. This, Mr Luck and co achieved in spades, showing that even though they may be twice, or even three times, as old as much of the audience, experience and enthusiasm go a long way when it comes to satisfying expectations!

Kicking straight off with no fanfare into Erotic, the band proceeded to give a whirlwind tour through the star-studded catalogue. From Whatever Happened to Tracey and further back, every one a banger! The huge degree of familiarity of the material demonstrated by the frequent sing-alongs.

With the degree of turnover that is the fate of almost any band that has been around this long, it leaves some big boots to fill in some areas. This is particularly in the area of lead guitar, but the skill and expertise of Brett Adams was more than a match for this legacy. An important contribution, given the blazing trail laid down on such numbers as Only I Could Die (And Love You Still) and Christchurch.

Borrowing a song from “a young band called The Dance Exponents”, Sex and Agriculture asked the important question – ‘Are you going home now?’, to which there was only one logical answer – “Not fuckin’ yet!”. Not with such gems as ‘Victoria’ to follow on, to lead into ‘Who Loves Who The Most.’ Jordan, “wondering on a beautiful Hawkes Bay day”, pondered the answer, ultimately coming to the conclusion that “We (the band that is) love you the most!”

The closer of the night turned out to be the perfectly-titled ‘I’ll Say Goodbye (even Though I’m Blue)’, time overruns meaning that ‘Why Does Love’ had to be a fully one-sided exercise from the audience – the ultimate example of leaving them wanting more! And with that, it really was goodbye, until next time, See you see you later, Ka Kite!

-Rob Harbers

Royal Otis | Main Stage – 8.50pm
Picking up the main stage mantle left for them by The Exponents, Royel Otis came on with a hiss and a roar, showing that the legacy of power pop is in good hands. Their dynamic, short and sweet songs slot in nicely just on the edgier side of the line, this edge saving them from being too commercial. With only one (very short) album and a few singles clocked up so far, I get the feeling we could be seeing a bit more of these guys-certainly the set they delivered had the potential to garner a few new fans!

There is a familiar sound to their material, which is not a bad thing-their influences are proudly displayed. A definite streak of Britpop in there, e.g. Arctic Monkeys, Streets and the like, with a nice touch of irreverence and humour. Witness the wordplay evident in the album’s title track, Sofa King (you’re sofa king gorgeous).

Judging from the reception given to Motels, there was a section of this crowd that was already familiar with the material-not bad for some Aussie lads with such a short recorded history! But the love went both ways, the band visibly enjoying the experience.

“Brand spanking new” single, Heading For the Door showed that the future is bright for this outfit, meaning that many will be eagerly awaiting a future appearance-but they better get in quick, because these guys might be too big for these surroundings before too long!

-Rob Harbers

Atarangi feat. Wellington Ballroom | Sand Stage – 9.05pm
Once again the last set of the night on the Sand Stage is given over to doof with a difference. Atarangi made their name on the burgeoning Ballroom scene – throwing down beats for queer folk to catwalk, vogue, throw shade and generally be loud, proud and unashamedly themselves.

Today they’ve come with their crew, recognisable as a capsule of Wellington’s House of Marama, led by their stunning mother, Karamera. Dressed in a parody of a schoolboy, with cut off shorts and a cropped shirt and tie, he leads the dance crew in a dramatic vogue with frequent spins and dips. His frenetic twerking causes the front row to lose their shit in the manner of a Beatles concert.

The music could be described as Baleric influenced disco with a twist. The intentional cheese of queer club classics – songs to lip sync to…looking at you, Vengaboys – is ameliorated by atypical beats and whomping bass drops.

The lure of the unbridled joy of both the music and the dancers has the floor filled with beaming people. It’s a heartening sign of the times to see this once underground practice bursting its way onto the mainstream. Packs of straight white bros dressed in their own low key uniform are throwing down to the sounds, giving their tacit approval to the scene and its celebration of gender diversity. Everyone is having a great time, on and off the stage, Atarangi exuding positive energy. For them, it’s a homecoming show, one that proves that Hastings has changed in the time they’ve been away.

-Rosheen FitzGerald

Genesis Owusu | Main Stage – 10.00pm
As the final act on the Main stage, Genesis Owusu drew in many of the remaining punters, and gave them an experience to remember. As one audience member remarked, “I feel like I’m seeing Prince!,” such was the power of this man’s presentation.

Ghanaian by birth, now resident in Australia, Kofi Owusu-Ansah, to use his birth name, delivers
passionate, religion-haunted rhymes, over a searing backdrop that oscillates from funked-up electro through to an almost metallic intensity, at times vaguely reminiscent of NIN and similar powerhouses.

Leaving The Light, and Old Man encapsulate the overall buzz he’s currently on – a depiction of the struggle between the stories we get told and what we truly experience and believe for ourselves. It’s in the louder moments that he has his greatest impact, some of the quieter bits not really having such a distinct voice. But hey, his career is only two albums in, so there’s plenty of time to hone the craft.

This is a performer whose every word is deliberate and thought-out, matched by the sheer attack with which they’re delivered, interspersed with deeply meditative spoken-word passages. And the stage costuming is pretty damn special too-simple but very effective!

Experiencing such a revelation out of Genesis may be seen by some as subversion of an expected order, but in its final stages, that’s where NestFest reminds us of its central ethos – that of aiming to give a platform to some of the more leftfield musicians out there. And as we all know, contrary to this country’s recent political lurches into territory that very few people actually voted for, left is always best!

So as the curtain comes down on this first ever two day iteration of this event, comes also the time for judgement-did it work? Yes, definitely, and with a few minor tweaks deserves to take its place as a regular event on Aotearoa’s calendar. Well done Harry and crew!

-Rob Harbers

Were you there at the Tomoana Showgrounds for this magnificent two day festival? Or have you been to Nest Fest in a different year? Tell us about it in the comments below!

_{Note: Ambient Light was provided passes to review and photograph this festival. As always, this has not influenced the review in any way and the opinions expressed are those of Ambient Light’s only. This post contains an affiliate link. If you purchase a product using an affiliate link, Ambient Light will automatically receive a small commission at no cost to you.}

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