Having attended more live shows than Gordon Ramsay has recipes I’ve seen it all. From the painstakingly meticulous to the gloriously chaotic. As a songwriter and musician with an ear for just about every genre under the sun, it was no surprise that tonight’s lineup at The Others Way festival served up something for everyone.
Neive Strang – Galatos Basement
She immediately set the tone. Atmospheric and deeply introspective. Backed by her band, the songs swelled into a cascading storm of sound, blending Shoegaze dreaminess with sharp, poignant lyrics.
Strang is not just a songwriter. She’s a storyteller, crafting narratives that linger long after the last chord fades.
Neive Strang doesn’t just play music, she creates moments. Her ability to balance vulnerability with sonic power is rare, and in a live setting, it’s utterly spellbinding.
If tonight’s performance is any indication, Strang is not just an artist to watch, she’s one to follow closely, as her trajectory seems destined for the stars.
Ladi6 – The Studio
One thing that drew my immediate attention was the wall of sound and the unmistakable beats that were being thrown from the stage like some demigod drummer was cascading these perfectly timed beats into the audience.
Unfortunately, there was no drummer on stage and the entire show was playing out to a backing track, controlled by two deck wielding DJ’s which was most disappointing for an artist of this calibre.
Even Ladi’s 2014 Hold Tight tour had the dynamics and drive of a live drummer and ten years on I would have expected the show to be even bigger.
The performance however was more like watching an episode of Top of the Pops rather than an actual live performance.
Ladi6 announces to the crowd OK, this is a new one, unreleased but it will come out at some point. Unfortunately, she doesn’t tell us the name of the new track, so we are left guessing.
At one point the noise level reached 107bdA through the studio sound system of which the clarity was great, but the live aspect was nothing more than disappointing.
Another unusual aspect to the show as the audience with a sea of coffee cups so I had to go and ask the bar person what’s the deal?
Alas everyone was not hyped up on coffee at midnight. Moreover, the cups were for alcoholic drinks and a way to stop them spilling onto the floor and then the consequent sticky clean up. A very novel idea, which should be shared.
Theia – Neck of The Woods
Last night at Neck of The Woods, she delivered a performance that blurred the line between concert and catharsis, proving once again why she’s one of New Zealand’s most daring and enigmatic artists.
The room pulsed with energy as the crowd absorbed her lyrics. Sharp, unflinching dissections of love, power, and identity.
What makes Theia so captivating live is her refusal to conform. Her sound bends genres. Alt-Pop, Electronica and Emo all collide in a controlled chaos that feels utterly her own. Between tracks, her candid banter revealed an artist deeply connected to her audience, unafraid to share both triumphs and struggles.
Theia is more than a Pop artist. She’s a disruptor, a force of nature carving her own path through the music landscape.
Live, she’s magnetic, challenging you to feel, think, and let go all at once. If you haven’t experienced Theia yet, fix that immediately. You’re not just missing a performance, you’re missing a revelation.
Theia announces to the audience this is called Freak as she graced the stage with an electrifying style that could only be described as Andy Pandy on a technicolour acid trip. A kaleidoscope of playful chaos and edgy brilliance.
Theia was on my must-see list, and she didn’t disappoint.
Skilaa – Whammy Bar
This isn’t just a band, it’s an experiment in sound that refuses to stay boxed in.
Skilaa seamlessly blends Jazz with Rock, injects it with the raw energy of Rap, and punctuates it all with beats so unpredictable they might as well come with a warning label.
The result? A musical concoction that’s as daring as it is addictive.
Front and centre of this musical chaos was their drummer. A powerhouse presence who seemed less like a bandmate and more like a co-conductor of their orchestrated madness.
Every fill, roll and rimshot felt purposeful, driving the band’s sprawling soundscapes with precision and passion. If Jazz drumming is a science, this drummer has clearly mastered the formula and then some.
The crowd was refreshingly mature. A mix of seasoned music lovers who’ve likely seen their fair share of gigs. Yet, their enthusiasm rivalled that of any mosh pit of twenty-somethings.
Heads nodded, feet tapped, and a palpable sense of admiration filled the air. This wasn’t just passive appreciation. It was the kind of energy that only comes from a crowd that knows they’re witnessing something special.
Skilaa’s ability to merge complex musicianship with raw, unfiltered energy sets them apart. They’re not just performing, they’re pushing boundaries.
Last night, Auckland was more than ready to follow them into the unknown. This is the future of fusion, and Skilaa is leading the charge. If they roll through your town, don’t just see them. Experience them.
Mildlife – The Studio
Last night, they blurred those lines even further, leaving the audience awestruck and just a little dazed.
The second song of the night flipped the script in the best possible way. In the middle of a spiralling groove, the guitarist nonchalantly pulled out a flute (yes, a flute) and turned the stage into a Jazz lounge orbiting another galaxy. Think Ian Anderson by way of outer space. It was bold, unexpected and absolutely mesmerising.
Adding to the surreal vibe, the band performed in a sea of swirling smoke, backlit by moody, pulsating lights that turned them into silhouettes.
It wasn’t just a show. It was an illusion.
At times, it was hard to see exactly what was happening on stage, but maybe that was the point. Mildlife thrives in the murky spaces between clarity and chaos, where their sprawling melodies and propulsive rhythms feel like a collective hallucination.
The crowd stood transfixed, heads gently nodding, completely absorbed in the hypnotic grooves. There was no need for stage banter or theatrics. Mildlife let the music speak, and it spoke volumes.
This was Prog Rock stripped of pretension and soaked in atmosphere. A reminder that sometimes it’s what you don’t see that leaves the deepest impression.
Mildlife doesn’t just play gigs, they create moments. If you’re into this style of music, then prepare to lose yourself, literally and figuratively, in their enigmatic brilliance.
Las Tetas – Whammy Bar
Auckland’s music underground buzzed with raw electricity as Las Tetas took the stage last night, delivering a performance that felt like Jan Hellriegel jamming in a grunge-soaked Seattle basement.
Held at Whammy, the gig was an intoxicating collision of Kiwi Alt-Pop soul and the unrelenting angst of Nirvana-era Rock.
The band was equally captivating, with their bassist locking into thick, sludgy grooves reminiscent of Krist Novoselic’s understated genius. Meanwhile, the drummer unleashed a ferocity that would’ve made Dave Grohl nod in approval, balancing chaos with precision.
The small venue magnified the intensity, its walls sweating with collective energy. Fans screamed along to every chorus and swayed continuously. It was a scene that felt less like a concert and more like a Grunge revival church service, with Las Tetas as the gospel bearers.
Keep an eye on this band. They’re not just reviving the ghosts of past eras, they’re exorcising them into something thrillingly alive.
Half Hexagon – Galatos
With a seamless fusion of live performance and backing tracks, this three-piece delivered an electrifying set that had the crowd in a euphoric trance. From the very first beat, they captivated the audience, proving themselves as not only musicians but true entertainers.
Julien Dyne was nothing short of mesmerising. His approach to beat-making is genuinely one of a kind, crafting intricate layers of rhythm and texture that kept the audience hanging on every moment.
When they dropped into The Method, Dyne’s live delivery was both intricate and explosive, his fingers dancing across the drum skins with precision and flair.
It was a masterclass in live beat-making, and Dyne’s presence on stage commanded absolute attention.
James Milne, on keys, was a whirlwind of energy. Thrashing his arms across the piano, Milne’s intensity matched the music’s pulsating rhythms. His wild, exuberant movements while jumping and dancing between songs created a visual spectacle, turning the keys into an extension of his own body.
There was no mistaking his commitment to every note, as his music swirled through the room, wrapping the audience in hypnotic, groovy rhythms.
Then, there was Yolanda Fagan. A true star on stage, Fagan’s connection to the music was palpable.
She didn’t just perform; she became the music. As soon as they hit The Method with its infectious hook It’s not the size of the ship, Fagan’s energy was contagious.
Mid-performance, she dropped into backward rolls on the stage, fully engaging with the crowd, mic in hand, delivering her vocals flawlessly even while upside down. The audacity of her performance was matched only by the intensity of her voice, which soared to stunning heights.
At one point, she screamed with a raw, in-tune power that escalated from a whisper to a gut-wrenching, soul-piercing roar. It was a moment of pure vulnerability and strength all at once.
Then came The Beast, a track that lived up to its name. The groove was infectious, with intricate drum patterns, harmonising vocals, and Milne’s keys pulsating through the venue.
The crowd was in a full-blown dance fever, moving in sync with the music as the trio continued to dazzle with their stage antics. It was a beautiful chaos of mesmerising vocals, electrifying beats, and undeniable charisma.
Throughout the night, Half Hexagon demonstrated a rare mix of innovation, stage presence, and passion that set them apart from their peers.
They weren’t just performing music, they were creating an atmosphere. A magnetic energy that the audience couldn’t help but soak in.
Its clear Half Hexagon isn’t just a band to see, they’re a band you feel. And with every set, they continue to prove that they’re on the path to something truly special.
Ladyhawke – Double Whammy
Ladyhawke’s live performance last night was a perfect example of the growing trend in modern Pop. An over-reliance on backing tracks that made the performance feel more like a karaoke session than a live concert.
It’s a pattern I’ve been noticing increasingly in major acts. The bigger the artist, the less they seem to rely on real musicianship. Ladyhawke, who played guitar and was accompanied by a second guitarist and a keyboard player, embodied this trend.
While the trio was undoubtedly competent, the lack of a live drummer and their apparent reliance on the heavy, pre-recorded backing tracks created an artificial feel that permeated the set.
It almost felt like I was watching a performance in a studio, not a live venue, where the stage presence of the musicians took a backseat to the digital beats.
It appears Ladyhawke and her band were little more than performers overlaid on top of a heavily processed track, where the distinction between what was being played live and what was piped in was nearly impossible to make out.
The sound itself was packed with energy, but it felt like something was missing. With the music blaring through the speakers, I couldn’t discern much of the guitar, keys, or even the vocals.
Everything seemed drowned out by the omnipresent backing track. It felt like I was back in the days of Top of the Pops, where the performance was more about looking the part than about showcasing true musicianship. And honestly, it was hard not to feel disappointed by that.
Let’s be clear. I’m not opposed to backing tracks.
Acts like Emerson, who opened the event, used them to complement the live instruments, creating a balanced, immersive experience where the backing was truly backing. In the mix, but not dominating the show.
That’s the kind of use I can get behind. When the backing track becomes the star, however, and it’s tough to tell whether the keyboardist or guitarist is even adding much to the performance, it undermines the very essence of a live show.
There was a palpable disconnect between the band and the audience, too. Without the raw energy that a drummer and a full, live arrangement can provide, Ladyhawke’s set felt like an exercise in performance rather than a musical journey.
As much as I enjoy her Pop sensibilities, this performance lacked the spark of true live musicianship. The kind that comes from hours of honing your craft and delivering something fresh on stage, not just from performing over a pre-programmed track.
In the end, Ladyhawke’s set was slick and polished, but it left me longing for more.
More energy, more musicianship, more interaction with the crowd. At this point, it feels like the modern music industry might be prioritising spectacle over substance, and unfortunately, Ladyhawke’s performance was another symptom of that trend.
Soft Bait – Whammy Bar
The band, embodying a raw Punk angst that could only come from youth unbridled, kicked things off and from the first note.
The night was set to go off the rails literally. Beer was flying, the crowd was pulsating with energy, and by the fourth song, a fan’s exuberant dance sent part of the stage fixture crashing to the floor.
As for the sound, it was loud. Very loud.
Clocking in at 110dBA, Soft Bait didn’t just play their instruments, they bludgeoned them into submission.
The rattling snare during the quieter moments of their set was one of those elements that could’ve been a touch of Punk authenticity. If it didn’t drive the trained ear insane.
There was something undeniably Punk about it all. Oh well, it can’t be helped, the band quipped, shrugging off the imperfections like true rebels.
Soft Bait’s tracks were so infectious, even the bar staff couldn’t resist the rhythm, dancing behind the counter.
Air guitars were strummed, and air drums were pounded as the room grew in size and intensity.
The pogoing began like an infectious wave, spreading through the crowd with ease, until of course, a mosh pit erupted in the centre. A perfect storm of flailing limbs and youthful exuberance.
Just when you thought it couldn’t get any more chaotic, the crowd surfing started, albeit briefly. One eager fan was hoisted into the air, only to fall victim to the not-quite-packed crowd that couldn’t hold him aloft for long.
Tonight, we’ve been playing a lot of new songs We’ve just finished our album, the frontman declared, just before a fan pulled off what might’ve been the night’s most insane stunt.
Lifted upside down, he managed to walk across the ceiling like some Punk Rock acrobat. It was pure chaos, pure youth, and in that madness, Soft Bait captured something magical. A night of untamed energy, music, and absolute mayhem.
If you missed them this time, you’d better catch them next time, because this isn’t a band that stays on the ground for long.
Paul Marshall
Photography iPhone by Paul Marshall