Whangaparaoa Blues Festival – Paraoa Brewing Co. 8 March 2025: Review & Photo Galleries

Paul Marshall and Photos by Leonie Moreland

11th March 2025

The Blues came early to Whangaparaoa, and so did the fans. By 10:30 AM, over 50 dedicated Blues lovers had already secured their spots at Paraoa Brewing Co. Setting the tone for what would be a marathon of electrifying performances, raw emotion, and damn good music.

Fatt Max

First to take the stage was Fatt Max, a seasoned performer whose crowd banter was both sharp and hilarious. He had the audience in the palm of his hand, effortlessly blending humour with soulful Blues.

For a solo act, commanding the room like he did was no small feat. Greeted with applause and at one point an enthusiastic heckler was screaming in adulation, prompting Max to quip, I’ve put $50 under your chair, with a cheeky grin.

With bluesy swagger and undeniable charm, he had the crowd singing along, setting the bar high for the event.

Los Diablos

Los Diablos, a three-piece class act, reunited especially for this festival at the urging of organiser Dean Morris.

The crowd had swelled by the time they hit the stage, and their groove-infused blues was an instant hit.

Their frontman Phil Roberts, with a voice akin to Stevie Ray Vaughan and his guitar work inspired by Kirk Fletcher, ripped through solos like a man possessed, while the bassist Steve Sussex laid down some seriously tasty licks, alongside drummer Jayden Lee.

Sound engineer Paul Crowther got in on the action, adding some slick delay grabs to the snare for extra depth. The crowd? Nodding, foot-tapping, and fully immersed.

The Dirty Tones

Then came The Dirty Tones, and the dance floor finally saw some action.

This five-piece outfit, featuring the morning’s opener Fatt Max on bass, came out swinging with original songs and the frontman who basked in the warmth of the audience.

You guys are lovely, he said, soaking in the cheers. Shay, on backing vocals, gave it her all, though her performance had moments of uncertainty. Still, the energy was infectious, and The Dirty Tones made their mark.

Big Boss Men

Big Boss Men offered a reprieve from the full-band chaos, their three-piece setup delivering smooth, easy-on-the-ears Blues. Their set was genuine and heartfelt, devoid of any forced theatrics.

A standout moment was their rendition of Ray Jordan’s Early in the Morning, which resonated beautifully in the intimate setting.

In the audience was blues fan Cheryl Everard, who had travelled all the way from Tauranga specifically for this event, saying I want to give back to music because I’m a huge fan and have had a close association with musicians over the years.

A passionate music fan and photographer, she shared her deep connection to the Blues scene, noting that her husband Mike had once been a guitarist in a band himself, before his passing.

The Flaming Mudcats

Next up, The Flaming Mudcats turned up the heat. This five-piece unit delivered a tight set led by frontman Craig Bracken who not only belted out strong vocals but also wailed on the saxophone and harmonica like a Blues demon.

The highlight? Their drummer-penned track Black Limousine, the first original of the day to truly get the crowd moving.

With a set consisting of 75% originals, they proved that fresh Blues can still ignite a dance floor.

Darcy Perry Band

The next act on the lineup was the Darcy Perry Band. From the very first note, it was clear this band was on fire. True professionals had taken the stage, each member a master of their instrument, led by the powerhouse vocals of Perry himself.

Before launching into the next song, I Miss You, Perry dedicated it to Max McDonald, Tama Renata, and his cousin Aaron Tokona. The latter being the frontman of the great NZ band Weta.

Geographica remains one of my all-time favourite NZ albums, and in a twist of fate, its producer, the legendary Steve James (son of UK comedy icon Sid James of Carry-On fame), later became my producer for Hangar 18 and many of my other projects. Proof that in New Zealand, the music scene really is just two degrees of separation.

Darcy Perry’s involvement in the festival comes down to his long-standing friendship with organiser Dean Morris. I’ve known Dean for years, he tells me. Back in the day, when the Darcy Perry Band was just starting out, I was playing bass for Midge Marsden and had also worked with Shane Wills.

As for the origins of the Darcy Perry Band? My dad passed in 2002, and about six weeks later, I started recording an album in his tribute. That’s how the band was born.

It was evident that this was more than just a gig, it was a homecoming. The band closed their set on an absolute high, leaving the crowd in awe.

Texas Storm

Texas Storm brought a rockier edge to the festival, blending blues with classic rock elements. Their rendition of Sunshine of Your Love written by Jack Bruce and Eric Clapton (made famous by Cream) was a standout moment, delivering a fresh yet nostalgic punch. Another band reuniting just for the night, they proved their chemistry was still intact.

Midge Marsden

Then came the legend himself, Midge Marsden. At 79, he took the stage with seasoned swagger, exuding the confidence of a man who has seen it all and played through it.

He kicked off with his original track Struck Down by The Blues, the sixth track from his 2007 album Travel ’N Time.

From the first note, his power and passion were undeniable. He sang as if his life depended on it, while his guitar playing was pure magic, perfectly timed and effortlessly expressive.

It was clear that, for him, the music still breathes deep from the heart, and the audience fully appreciated every moment, enhanced by his sharp wit and engaging banter.

At one point, Marsden shares a story with the audience about discovering a bach with a blue letterbox in Raglan. He recalls paying what seemed like an extortionate price at the time. $1,220 back in 1980 but later selling it for $3 million.

With a grin, he quips, So, I’m gonna move up to the country and paint my letterbox blue, before seamlessly launching into another track from his 2007 album Move Up to The Country.

Late in his performance he tells us I’ve done alright as I’m a white boy from Taranaki, he mused, before launching into Don’t You Carry My Blues Away.

Midway through, he stunned the audience by shifting an octave higher, proving that age hasn’t dulled his vocal chops one bit. As he transitioned into a Blues-Funk segment, the room was fully locked into his groove.

After his performance, I had the privilege of speaking with the legend himself. Still as humble, grounded, and charismatic as ever, he shared a story with me, handed over his personal email, and then, with a grin, excused himself for the night. It’s time for me to get some sleep.

Beatz Working

Closing out the festival was Beatz Working, a four-piece Blues cover band. Their vocalist took a while to warm up, but by the time they hit the slow numbers, his voice found its sweet spot.

While they leaned heavily on classics, they provided the perfect wind-down to an action-packed day of Blues mastery.

Final Thoughts

We owe a huge thanks to event organiser Dean Morris for turning the impossible into reality.

Without his dedication, there would have been no Blues festival. Thanks to his efforts, the event not only happened but exceeded all expectations.

I caught up with him after the show, and he confirmed that we’ll be back next year, bigger and better. If you missed out this time, be sure to mark your calendar for next year!

Dean also hinted at the possibility of a Country Music Festival at Paraoa Bar. Another one to keep an eye on.

From the early birds at 10:30 AM to the last note of the night, the Whangaparaoa Blues Festival was a triumph of community, musicianship, and raw, unfiltered Blues. The mix of seasoned pros, fresh talent, and reunion acts made for a dynamic unforgettable experience.

If there was ever a question about whether the Blues still has a place in Aotearoa, Paraoa Brewing Co. delivered a resounding hell yes.

Paul Marshall