St Jerome’s Laneway Festival
6th February 2024
Western Springs, Auckland, New Zealand.
Review by Sarah Kidd. Photography by Chontalle Musson, Jared Tinetti & Tom Grut.
After a hiatus thanks to one rather angry little cyclone by the name of Gabrielle, Laneway returned yesterday in a brand-new dress.
There had been rumblings amongst the OG punters of Laneway, the change of venue and line-up not appealing to all, the inclusion of sixteen to eighteen-year-olds definitely turning many off. But what is music if not an avenue to bring generations together? And at a well-run event, it can be quite a joyful experience (just look at Soundsplash!)
Logistically, Laneway could not be faulted, entry lines were well signposted and laid out, toilets were in abundance and there was a plethora of food and drink on offer. There were also some nice little shade tents dotted around the venue for those that needed a reprieve from the scorching rays that drenched Western Springs from dawn till dusk.
While it would be a dream come true to cover each and every act that graced Laneway yesterday, this would be an impossible feat, and in some ways, it is half the joy of festivals. Working out the schedule, circling the choices made, and often discovering brand new acts that one may never have heard or seen before. So, the following is what this little reviewer managed to soak in;
hemlocke springs: The American singer songwriter who shot to fame after taking to Tik Tok – a common avenue for many aspiring artists – and releasing the synthpop soaked, yet lyrically clever single ‘girlfriend’ pulled an impressive crowd for a set that was quite early in the day for the mainstage. Oozing a style quite one of her own, her painted face and textural outfit immediately catching the eye, she was accompanied by a live drummer who definitely elevated the set. Closing out with ‘Sever the Blight’, hemlock springs didn’t quite hit the highs for a live act, but with a brilliant EP ‘going…going…GONE!’ behind her and a delightfully genuine eccentricity that allows her to be earnest in her lyrics, she is an artist to keep an eye on.
Andyheartthrob: If you don’t know this DJ, you are missing out on something truly special. Described as an “ethereal force of P.O.C representation within the scene in Aotearoa”, Andyheartthrob has roots in Māori, Tahitian and even Scottish culture and is well respected in the local DJ scene. Sadly, she was unable to perform yesterday, with the gracious Samuel Harmony stepping in and dropping some seriously sweet summer vibes, as well as the 1987 classic ‘Poi E’ by the Pātea Māori Club in celebration of Waitangi Day and in honour of Te Tiriti o Waitangi. For those who are unaware, Andyheartthrob is currently battling cancer, this beautiful wahine is not only an integral member of the local scene but a mother. If you would like to donate please visit givealittle.co.nz/cause/andys-cancer-treatment
ATARANGI: Following on from Samuel Harmony on the Everything Ecstatic stage was a DJ well known in the queer underground scene. Atarangi is not only a DJ but a music journalist and are also well known in the ballroom community. If you have ever attended a coveted NYMPHO club night, then you would have had the pleasure of being in an environment that caters to sexual liberation and gender euphoria as Atarangi is one of the facilitators of the Tāmaki Makaurau based club nights. Arriving with full entourage, Atarangi laid down a set that soon had attendees pulsating down front; one of the highlights being when their remix of Effy’s ‘Mad’ dropped and members of aforementioned entourage took to the front of the stage to slay with some serious demonstrations of vogue and ballroom culture. More sets like these at Laneway thank you.
HOME BREW: Despite not being on one of the two main stages, it was unsurprising that Home Brew drew one of the largest crowds of the day. Backed by an impressive six-piece live band, the trio of Tom Scott , Lui Gumaka and Haz Beats (Haz Huavi) came out swinging, not only musically but politically too. David Seymour was well and truly in the firing line, as a chant of “Fuck David Seymour” was started off, the fans soon joining in. “Honour the treaty, is that so hard to understand little Mouse Man?” Chris Luxon and Winston Peters also copping a few comments as well as ‘Under the Shade’ was delivered with teeth.
Always on point with the humour, jokes about the trio not promoting drugs but only wanting the fans to do the right drugs was followed by a fantastically swaggering rendition of ‘Bad Bad Whiskey from their 2006 EP Vintage.
It has always been one of the greatest appeals of Home Brew, their ability to lay it all out bare on the kitchen table with their lyricism. Musically, Home Brew are highly regarded in the hip hop scene, their self-titled debut album released back in 2012 often described under the genre of ‘conscious rap’ was groundbreaking. Having released new material last year, their sophomore album Run it Back, was heralded and saw the group sell out all of their shows at Powerstation, the title track of said album closing out their mid-afternoon set nicely.
PARIS TEXAS: Sometimes at a festival, an act can play that only those in the know will attend, and those who don’t are left regretting their choices. Paris Texas was that act. Following on from Home Brew, the field in front of the stage had basically emptied out, leaving only a couple of hundred attendees who were treated to what was unequivocally set of the day.
Louie Pastel and Felix are rappers and producers hailing from LA, California and they have created a sound that doesn’t quite fit into any box, and that is what makes them so exhilarating not only to listen to but as a live act. Dubbed as alternative hip-hop, punk rock, and even slacker rap, Paris Texas will keep you guessing while destroying the stage in front of your very eyes. They have been likened to Odd Future, Death Grips and King Krule, maybe even a little Dean Blunt and Wolf Haley seeping in there, but yet Paris Texas still embodies a sound all their own.
Kicking their set off in high octane spirits, and joined by a hype man, the duo performed against a background of gamer style graphics, tracks such as NűWhip had the crowd bouncing as if the ground had magically transformed into a giant trampoline. Refusing to let up at any point, ‘Everybody’s Safe Until…’, ‘Girls Like Drugs’ and ‘Lana Del Ray’ smashed their way into the crowd and elbowed people in the face. Those not familiar with Paris Texas, were soon drawn towards the stage by the sheer ferocity of the chaos that they were creating, it was infectious, it demanded attention, and once punters heard it, they craved more.
Commenting that despite it being a small crowd they were still willing to “fuck with it” the trio moved straight into ‘RHM’, ‘Force of Habit’ and ‘Heavy Metal’, the crowd lapping up every moment as the duo seamlessly melded together banter and tracks while barely breaking a sweat. Calls for the pit to open were made, as were requests for the crowd to get down low and jump up; everyone complying with glee. Sure the crowd was small, but they matched the ferocity of Paris Texas, one punter even stealing the cap off Louie’s head when the trio decided to join the audience towards the end of their set. “That was brave man, I fuck with that, I fuck with that” Louie grinned as he climbed back up on stage. Finishing on ‘Full English’ and ‘PANIC!!!’ those who had witnessed the greatness before them screamed their lungs out in appreciation.
With their debut album Mid Air released last year causing ripples of excitement in the music scene, this is one act that truly requires a headline show here as soon as possible.
d4vd: David Anthony Burke, better known as d4vd (pronounced David) was circled on more than just a few people’s schedules as one the must see acts of the day, and after watching him perform live it is easy to see why.
Just eighteen, the Queens singer songwriter humbly began his musical career “making music on his iPhone in his little sister’s closet”, one of those tracks being ‘Romantic Homicide’ which took the world by storm and quickly propelled d4vd into the playlists of more than one alternative music lovers. Taking to the stage in an unassuming ensemble of plain t-shirt and wide-legged jeans, Ugg boots gracing his feet and a Hello Kitty key charm swinging from his belt, d4vd needed nothing more than his vocals to impress and impress he did.
‘Worthless’ began his set in style, the relatable lyrics hitting just the right spot with the fans, his falsetto vocals that melted into soulful longing on point. ‘Fly Away’ introduced a more angsty feel, d4vd easily shifting his vocals to encompass the emotion of the song. His tracks may not be long, often two to three minutes at best, but they embody a spirit that speaks from the heart, and he performs them live as such. Something that is rare to witness.
Following ‘Sleep Well’ dv4d spoke of how he began his career, before introducing a very special guest to the stage, his little sister Emily, who with mic in hand and not an ounce of fear joined him on ‘Here with Me’, the love that they shared between them palpable, the audience transfixed by the beauty of it all. ‘You and I’ and ‘Rehab’ soon led into d4vd divulging that he had not one, but two new tracks dropping on February the 9th, a QR code on screen, allowing those attending to access said songs early, an opportunity that sent ripples of excitement through his dedicated fans.
The uptempo ‘Take me to the Sun’ soon had everyone dancing, dv4d pulling off an impressive backflip mid song, his live drummer and guitarist giving it their absolute all and elevating the song to the highest of standards. Of course he ended his set on his biggest track to date, ‘Romantic Homicide’ the just barely over two minute song, getting a live extension that no one could have expected, dv4d demonstrating just why he is an artist that must be seen live, as his vocals transcended both time and space and elicited tears from more than a few fans.
Dominic Fike: By now evening was starting to drift in, the slightly cooler air welcomed by those who had braved the sun all day. Appearing on one of the two main stages (Never Let it Rest) Fike was welcomed by thousands of fans who had gathered early to ensure a prime spot.
Against a backdrop that looked like a page torn from Life magazine, Fike appeared with full live band in a simple white singlet and unbuttoned white shirt with the word TIME written in black worn over it. Having grown his hair out since first appearing in New Zealand back in 2019, Fike looked not only a lot more grown up, but far more confident on stage.
‘Mama’s Boy’ was an early hit with the fans, the front rows, singing each and every word with gusto as Fike impressed with both his vocals and guitar skills. Discussing how he had earlier gone surfing and how he adored our beautiful people and food and would anyone like to marry him so that he could attain dual citizenship, the screams from the front rows threatened to drown him out. ‘Babydoll’ soon silenced them, as the fans swayed to the song, Fike covering every inch of the stage with a confidence that suited him well.
When he appeared back in 2019, he was wearing a red Hot Chilli Peppers t-shirt, so it came as no surprise when he and his band launched into a stunning version of ‘Can’t Stop’, while it wasn’t the full track, it hit the throngs like a lightning bolt, those making their way over to the Good Better Best stage for Steve Lacy even stopping in their tracks to check it out.
‘Mona Lisa’ led into a track that to any Strokes fan sounded like a cover of ‘Last Night’ was about to be dropped, before Fike announced that the next song was one that he really didn’t like playing anymore, but that he knew he had to drop. ‘3 Nights’ was embraced by his fans, but Fike seemed to check out, letting the band and the audience take care of it for him.
‘She Wants My Money’ once again saw Fike take to the guitar and display his skills on the strings, his set one that was certainly solid, and in many ways perfect for the time slot of the day, but one that was made for the fans.
Steve Lacy: In all honesty, it is hard to know how to feel or how to describe the set delivered by Steve Lacy.
Having first visited New Zealand as part of the R&B band the internet, who graced Laneway several years ago, Steve Lacy launched his solo career with his self-produced EP back in 2017. Since the release of Gemini Rights and of course ‘Bad Habit’ his star has risen faster than a loaf of bread left to proof. Hidden by a billowing white curtain, the ever-growing crowd went wild as the curtain dropped revealing a white stage, a live band – also dressed in white – and Lacy donning a hoodie, wraparound sunnies and a stunning pair of pale green satin tailored trousers.
‘Helmet’ saw the his fans sing along in happiness, Lacy demonstrating that he is quite the virtuoso on guitar before he suddenly stopped, and turned on a dime, Rage Against the Machine’s ‘Killing in the Name’ suddenly emanating from his guitar like a demonic genie escaping from the bottle. Many of the crowd were there for it, those who knew the song, belting out the chorus, Lacy’s band backing him up and making the track feel full and powerful.
Without warning Lacy fell silent for a few seconds, launched back into RATM, paused to introduce himself, and then moved back into ‘Helmet’. The whole thing felt exhilarating, and yet slightly confusing simultaneously, the smile on Lacy’s face indicating that he was operating on a higher plain and you could either come along for the ride, or exit stage left.
More than a few chose to exit, which was a little disappointing to see. Sure, some people may not enjoy a set where it literally felt like Lacy was completely oblivious to the fact, he was performing a headline set, but there was something quite refreshingly charming about it.
Making it clear that he felt like each performance was a practice session until he himself felt like he was in a place where he was happy, Lacy still gave the fans what they wanted… most of the time.
‘N Side’ had the crowds hollering the words, while ‘Lay Me Down’ saw Lacy almost get lost in his own guitar playing, the smile on his face threatening at any moment to break into what seemed like uncontrollable giggles. ‘Mercury’ saw stunning Spanish guitar kiss the air courtesy of one of his band members, before ‘Give You the World’ brought the R n B vibes to the ever-encroaching night sky.
‘C U Girl’ prompted Lacy to discuss with the fans the fact that sometimes he takes requests, sometimes he doesn’t but that tonight was one of those nights he does. ‘Basement Jack’ was requested, and kinda played, Lacy seemingly forgetting both chords and lyrics as he half heartedly performed part of the song with a sly grin on his face that indicated that he knew exactly what he was doing.
‘Infrunami’ and ‘Buttons’ soon saw Paris Texas join Lacy on stage for a boogie, Lacy explaining that their energy side of stage had caught his eye and needed to be shared, those who had seen their set earlier in the afternoon cheering loudly in appreciation.
Accepting a hoodie with a hand made design, Lacy seemed taken aback that it was being gifted to him, Lacy going on to say that the first show of the Laneway was a disaster and that he wanted to give up, but he had made it to Auckland and he was glad that he did. Celebrating the win, he dropped ‘Bad Habit’, the crowd going wild before he denied a request, laughed, said “Nah fuck that, but I fuck with you all” and performed a killer version of ‘Dark Red’ to close out his set instead.
Love or hate the set, Lacy has undeniable talent and when he reaches his perceived perfect place where he is happy, the music world better prepare themselves.
STORMZY: They have always said save the best for last, and while yes, two other stages were still going, it seemed that the majority of the crowd were there for Stormzy, bodies lining the green fields of Western Springs as far back as the eye could see.
It’s been seven long years since Stormzy last stepped foot in New Zealand, his highly anticipated 2022 headline show sadly cancelled due to “circumstances beyond his control”. So, when the lights dropped and the flashing lights began with flames rising from the stage before a stunning backdrop and live band came to life before their eyes, the fans lost their collective mind, the mosh pit heaving as people tried to get as close as possible.
Stormzy burst onto the stage in nothing more than a black singlet and pants, but his enormous frame commanded instant attention. Straight into ‘Big Michael’ it was obvious to all that Stormzy had lost none of his fury, his spitting of bars with that spine tingling English accent only driving the mosh pit harder. Joined by a hype man, ‘Know Me From’ kept the exuberance levels of the fans on high, this was an artist that knew how to keep an audience glued to their every word spilling from their lips.
But Stormzy has also evolved, the thirty year old bringing a more gospel style to his sound; soon joined on stage by four backup singers, Aotearoa were introduced to Stormzy the singer, as the man who barely ever stands still, was soon planted in front of a microphone stand and crooning vocals that really took you aback at how well measured and controlled they were, without losing an ounce of power – ‘Crown’ a track that will be remembered for many a week to come.
But it was those OG hits that the crowd were there for. Many in the audience barely children when Stormzy was last here. Thanking all, Stormzy left, the stage falling into darkness, the fans momentarily confused, this couldn’t be the end surely? And of course it wasn’t, the stage soon began to glow red, fireworks pierced the sky and Stormzy raced back onto stage, his impossibly long legs kicking skywards as ‘Big for Your Boots’ exploded and sent ripples through the crowd. Here was what they had come for.
‘Handsome’ and ‘Shut Up’ were just as gigantic, Stormzy bringing it down just a notch for his rendition of ‘Blinded by Your Grace, Pt. 2’, Stormzy earnestly telling the crowd that no matter how cliché it sounded, this was honestly the best show of his life and that he was grateful for the love that he had been shown despite his absence of several years.
Sharing a look with his hype man, Stormzy grinned as the opening beats of ‘Vossi Bop’ once again sent the crowd into a frenzy, the end of the track punctuated by confetti cannons and fireworks before Stormzy spent several minutes in the pit, shaking hands and embracing as many fans as he possibly could in a show of true appreciation for those who have supported him whether for that one day or for the last several years.
Welcome back Laneway – we’ve missed you!
Were you there at Western Springs for this festival? Or have you been to a prior version of St Jerome’s Laneway Festival? Tell us about it in the comments below!
Note: Ambient Light was not provided passes to review this festival and tickets to attend the festival were purchased at regular market value. All photography was provided to Ambient Light from the festival publicity at no cost. 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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