Paul Kelly – Auckland Town Hall, 12 September 2025: Review & Photo Gallery

One of Australia’s favourite musical sons, and much admired across this side of the Tasman too, Paul Kelly came to town last night, bringing the greatness. And then some. Having played a solo/duo show early last year with nephew Dan Kelly at the uber-cool Hollywood Avondale, Kelly promised to return to Aotearoa quick step, with his expanded stellar band. And he did just that in fine-form last night, selling out Auckland’s Great Hall, and providing musical magic for all who came out to party.

Setting up the night, Reb Fountain and her atmospheric band proved an apt opening act, performing a strong set of Fountain’s brooding originals.

Aided by a great sound mix, Fountain and her group used space and dynamics to great effect – culminating with the sparse and emotional Hey Mom.

Fountain, who sang with one broken wing in a sling, didn’t waver, and drew from the skills of Dave Khan (guitar/keys), Earl Robertson (drums/harp) and Karin Canzek (bass). The band played with great cohesive unity and definitely scored an A+ for atmosphere.

As the relaxed intermission wound down, the Great Hall looked to be completely full – right up to the top tier.

And sitting above stage-right just in front of the main house speakers, we were in prime position for the man we’d come to listen to.

Then they were there, Kelly moulding the raw and bluesy Houndstooth Dress on piano, calling the band in by names to ignite the tune.

Kelly acknowledged all in attendance and pointed out that he first played here in Auckland almost 40 years ago. Presented with a corsage from Fountain, he mused it might be the first time I’ve worn one of these.

The up-tempo Firewood & Candles solidified the band, and then Kelly took us back to an early one off Gossip, Before Too Long.

And with the classic Careless, Kelly was not going to disappoint by including many of his most familiar songs throughout the evening.

Explaining Rita Wrote a Letter as the newest song we’re playing, it’s still got wet paint on it, and a sequel to How to Make Gravy. Brand new for sure, and Kelly added harp to the lilting country-shuffle Double Business Bound – another one off his last record Fever Longing Still (2024).

Regarded as a songwriter of high calibre, Kelly at 70 seems to be as vital as ever, his demeanour and voice are in great shape. Some may have picked up his looks are somewhat akin to another Aussie great in the stand-up comedy realm, Carl Barron.

With a career output expanding 30 records and counting, Kelly has an abundance of tunes in his back-catalogue to draw from.

Pulling from Wanted Man (1994), Kelly acknowledged his seasoned rhythm-section. Pete Luscombe (drums) and Bill MacDonald (bass).

Love Never Runs on Time was the first song he recorded with them, and they’re still going strong with the man.

Kelly urged Fountain to join him on stage for Let’s Work It Out in Bed. Another one from Fever Longing Still, which Kelly would lift seven tunes off throughout the night.

Devout fans would have been pleased to hear something off the outtake’s album Hidden Things (1992) with When I First Met Your Ma, the soaring choral vocal singing out love like a bird flies away.

Folk, Bluegrass, Country, Blues, Trad, Pop, Rock and so on – Kelly blends so many musical genres. Harpoon To the Heart rode a Country groove with tasty sixties-esque Rock’n’ roll guitar from Ash Naylor. He looked the part too.

Everyday My Mother’s Voice showcased vocalist Jess Hitchcock, who complemented Kelly with confident harmony vocals, and swirling dancing throughout. Adding some tambourine and occasional keys, Kelly mentioned she’s an absolute gun percussionist.

Kelly included The Magpies, drawn from Kiwi poet Denis Glover’s work of the same name.

MacDonald moved from his vintage Ibanez Roadstar II to an upright acoustic, while nephew Dan switched from electric guitar to banjo. Trying to catch the audience out by repeating the tongue-twister magpie mimicking lyrics, Kelly chuckled that Wellington and Christchurch had more of a handle on it.

Staying with his love of poetry, and going to his personal favourite, William Shakespeare’s Sonnet 18 continued the musical chairs, stripped back to a trio with Dan on mandolin.

And then brilliantly isolated both musically and lighting-wise, Kelly stripped right back for If I Could Start Today Again. Keysman Cameron Bruce complemented him mood perfectly. It’s getting a bit dark, but don’t worry it’s gonna get lighter soon Kelly responded, reflecting hope for the current state of the world.

Kelly referred to friends gone in the memory of former band-member Steve Connelly, and how his signature guitar DNA is imprinted on many of his songs, including From St Kilda to Kings Cross.

More poetry shoutouts were to come (Thomas Hardy), with All Those Smiling Faces, and being recorded at local studio Roundhead.

Winter Coat got the gloomy treatment, off the brilliant early nineties long-player Comedy.

But then we were shifting to the stonkers – To Her Door, Northern Rivers, Deeper Water (by request) all pushed the band into top gear.

Kelly had the setlist timed perfectly to escalate, and when Dumb Things kicked off, so did stacks of the audience up to the stage front to boogie.

Throughout his career Kelly has maintained a high standard of song craftsmanship and lyricism, while retaining his sense of place within Australia as a region, and in his voice most importantly. For that he gets top marks. The sensibility of his songwriting and delivery is as real as it gets.

He’s a storyteller, and he showcased that with set rounders How to Make Gravy and From Little Things Big Things Grow.

Delightfully, Kelly returned for an extended four-bracket encore, which included the one most shouted out for.  Darling, It Hurts.

The verdict. Paul Kelly is a legit great from down under, whose art continues to grow and charm.

Mike Beck

Photography by Cam Warwick

Paul Kelly

Reb Fountain