Live at The Domain – Auckland Domain, 27 February 2026: Review & Photo Galleries

Autumn may be about to knock on the door this weekend in Aotearoa, but Summer isn’t quite over yet, and what pairs beautifully with clear skies and sunny afternoons? Why an outdoor concert of course!

The Tāmaki Makaurau Domain is a beautiful space and last night Endeavour Live laid claim to a huge portion of the lush green grass between the trees and the museum to put on a line-up that had many a punk and emo frothing at the mouth.

Live at the Domain which already boasted not only Yellowcard and Good Charlotte, was boosted into the stratosphere with the additional announcement that Highly Suspect would be joining the line-up for a Friday night that promised to be one for the history books. And of course, a little local flavour had to be on the cards to kick off proceedings, which came in the form of the mighty Tadpole.

First formed in 1994, Tadpole like many bands of the era, have gone through their hiatuses and reformations, the current line-up featuring the fierce Lauren Marshall on vocals, original members Chris Yong on guitar, Dean Dino Lawton on drums along with Romilly Smith on bass and DJ Kritikl on turntables.

Celebrating the 25th anniversary of one of the most influential albums of that time, The Buddhafinger, Tadpole dropped a cover of the iconic George by Headless Chickens which marks the beginning of a rebirth for them where they are once again working on new music that will bridge 1990’s alt-rock attitude with modern studio muscle.

Proving that they still have the chops live, Marshall and co laid down a set that represented Aotearoa, punchy and energetic; Backdoor a tongue in cheek song about how hard it can be to break into the industry just as pertinent today as it was back then.

The interludes between bands – which were timed thoughtfully – allowed punters to check out the rather abundant selection of food trucks or grab a drink at the bar (which included a non-alcoholic section which was a great addition to see) before picking their best vantage point for the next act, whether that be standing front and centre or comfortably seated on the grassy hill in the late afternoon sun.

Of course, with Yellowcard about to take the stage, front and centre was the choice for many as the band from Jacksonville, Florida (the home of the infamous Limp Bizkit) kicked off with Way Away from their wildly popular Ocean Avenue album.

Having not played in New Zealand since 2015, Yellowcard brought their best game, unfortunately during portions of their set, the wind decided to wreak havoc with the sound which for those who decided to chill in the back of venue resulted in some rather uneven balances.

Known for their violin laden tunes it was great to see Sean Mackin back on stage, playing those strings flawlessly, and Ryan Key on vocals still has the range as he serenaded the crowd with hits which included Love Letters Lost and Light Up the Sky.

Ensuring that everyone got a fantastic view, two massive side screens focused on the band members while the centre screen displayed incredible visuals that complimented each song. None more so than during Better Days from their latest album released last year of the same name, which featured a rolling montage of classic 80’s movies such as Rocky, Ghostbusters, The NeverEnding Story and Robocop to name but a few, cinephiles in the crowd quickly trying to name each one as it flashed up on screen.

A lot of my people want to move here, not sure why Key stated at one point with a wry smile, nodding to the rather tumultuous politics of the United States now, the fans screaming their approval and willingness to adopt Yellowcard as one of their own.

Thanking everyone for making it possible to travel all the way out here once again and promising to be back as soon as they could, Yellowcard finished their impeccable set with Ocean Avenue, a song that doused the crowd with a feel good hit of nostalgia that saw hands in the air and a choir of voices sing the lyrics word for word.

A roar of approval filled the slowly darkening sky as Highly Suspect led by the formidable Johnny Stevens swaggered onto the stage. No strangers to New Zealand the boys from Cape Cod, Massachusetts have always had a dedicated following and that was no different last night.

Sporting a lopsided beanie and freshly bleached goatee, Stevens wasted no time as Highly Suspect threw down the gauntlet with Bath Salts from the iconic Mister Asylum album released in 2015.

While Highly Suspect maybe one of the younger bands on the line up in terms of tenure, the shot of blues laden Rock and Roll was an excellent palette cleanser and a chance to just have a good old bounce around in the mosh pit, which Stevens was more than happy to facilitate within the first song as he directed the crowd to open up the middle.

Laying down a short but sweet set, Bloodfeather and Mexico from their 2024 album As Above, So Below was followed by the prowling tones of Lydia, Stevens vocals not quite as on point as they usually are – but considering they jumped on a flight to come all the way out to New Zealand for a singular set on a mini festival line-up at the bequest of Good Charlotte it was understandable,

Twin brothers Rich and Ryan Meyer – on bass and drums – were as always on fire, Ryan beginning the evening sporting a Sex Pistols sweatshirt which was soon ditched to reveal a sleeveless Subhumans t-shirt which clearly indicated the high calibre of the man’s taste in music.

Stepping up for vocal duties, Rich proved that he is a bassist with one hell of a set of vocal cords as he delivered Lost, the combination of both himself and Stevens one that was made by the gods themselves.

Johnny having always been a man that loves the Blues, ensured that his customized white Fender Stratocaster received a workout, at one point he even took a seat on the drum riser to play a little slide guitar which was poetry in motion to witness.

An extended version of Serotonia featuring Stevens favourite line about masturbation included Pink Floyds Breathe weaved into the middle, which saw guitarist Matt Kofos smile and nod in approval, before the band moved into Wolf – and unexpected but welcomed treat – and to finish a live debut of their latest single Yellow Roses and promises by Stevens that they will be back in January to tour Aotearoa properly, despite the fact that he finds our pre-packaged, ready to eat singular corn on the cob ridiculous.

By now the moon had risen in the clear night sky and anticipation rippled through the crowd as techs moved across the stage like a wave, installing additional risers and lighting, the effect eliciting screams of delight as a giant 3D skull lit up the back screen and strobe lights had everyone in awe for the arrival of none other than Good Charlotte.

The Madden brothers have long had an affinity with Australasia, a portion of the Girls & Boys music video even filmed here on a street in Ellerslie, Auckland. So, it was no wonder that their fans turned out in force to see them for the first appearance on our shores in nearly a decade.

Hailing from Waldorf, Maryland and forming in 1995 Good Charlotte may have gone on hiatus for a couple of years in 2011, but their music never left the hearts and memories of their fans. Having recently released Motel Du Cap just last year, the band appear to have no intention of disappearing into the history books just yet and thank goodness for that.

As their set began with The River, it left many a jaw swinging at just how good the Madden brothers still sound, Benji with guitar in hand and Joel working the stage, they sounded just as fresh as they did when they first emerged on the scene almost three decades ago, the audience going wild as they punched the air, bounced and sang every word right along with them.

Leaving those present barely a second to catch their breath, Dance Floor Anthem, a bonafide banger in anyone’s books quickly followed, the crowd’s enthusiasm only intensifying as they screamed I don’t wanna be in love. It is a song that absolutely anyone can relate to and one that would have described a point in almost everyone’s life. No wonder then that it is exactly what it is called, an anthem.

The entire venue felt electric, it is not often a band will come out with such huge hits to start a show, but Good Charlotte did, and it set the tone for the rest of an absolutely epic set.

With Paul Thomas on bass and Billy Martin on guitar, the boys were also joined by touring guitarist Matthew Koma and current drummer Ian Longwell, the expansion of the band to six members for their live sets ensuring a layering of sound that was lip smacking goodness.

The aforementioned Girls & Boys also made an early appearance in the set list, the fans once again chanting the chorus as if their lives depended on it. It is moments like these that remind one just how powerful music can be; it creates a moment in time, where strangers become one and share space that brings such momentous joy that just cannot be replicated anywhere else but in a live music setting.

And the hits kept coming, The Chronicles of Life and Death going back-to-back with The Motivation Proclamation, the twins introducing Like It’s Her Birthday and dedicating it to all the Pisces in the crowd who are currently in their birthday season (the boys themselves born on March the 11th)

Newer material peppered the middle of the set and were warmly received, tracks such as Mean and Bodies proving that Good Charlotte still have the passion and motivation to write and produce music – the promise of a new album this year eliciting whoops of delight.

Throughout the set, everything was delivered to the highest degree, from the harmonisation of the brothers, through to the musicianship of the band. The visuals and lighting thought out and delivering a world class set that saw everyone go home happy but not before another healthy dose of classics to see out the night.

The Young and the Hopeless rubbed shoulders with the dirty grunge punk overtones of Little Things with its poppy chorus that made you bounce like you were seventeen again. The falsetto of the chorus and rap style verses of I Just Wanna Live leading into Lifestyles of the Rich & Famous which strangely is as true today as it was when it was written.

And of course, Good Charlotte could only finish on that track, the song that not only sums up who they are as band but an entire movement in Pop-Punk, emo history, The Anthem.

Arms and voices raised in solidarity it was indeed a quintessential moment that completed an exemplary evening of music wrapped in the warm embrace of nostalgia.

With all three main acts currently working on new music, the future is looking brighter than ever.

Sarah Kidd

Photography by Leonie Moreland

Good Charlotte

Highly Suspect

Yellowcard

Tadpole