Scott Bradlee’s Postmodern Jukebox arrived at Auckland’s Kiri Te Kanawa Theatre with The Future Is Vintage. They delivering a slick, high-energy production that blurred the lines between concert, musical theatre and comedy. Beginning promptly at 7.30pm the ten-person cast took us on a journey through the history of recorded music, celebrating not only timeless songs but also the enduring value of live performance in an increasingly AI-driven world.
Opening with a swinging, 1950s-inspired version of Hotel California, complete with grand piano, double bass, drums, saxophone and trombone, it became immediately obvious that this wouldn’t be a night of straightforward cover songs. Every arrangement reinvented familiar classics without ever losing their heart. The show’s charismatic MC guided the audience through music’s evolution, from gramophones and radio to vinyl, cassette tapes, CDs, streaming and finally artificial intelligence. Rather than presenting AI as the villain, the production made a compelling case that live music remains a uniquely human experience—one that can never truly be replaced by modern technology.
What followed was an almost relentless parade of outstanding performances. Thank You For The Music, Rag Doll, Copacabana, Black Hole Sun, Radioactive, Red Right Hand, Every Breath You Take, I Still Haven’t Found What I’m Looking For and All About That Bass were all transformed into vintage swing, jazz and big-band arrangements that somehow felt both nostalgic and completely fresh. The musicianship throughout was exceptional. Not a guitar was in sight, yet the combination of piano, double bass, brass, woodwinds and drums created an incredibly rich and dynamic sound.
The cast were much more than accomplished musicians. Every singer danced, every musician became part of the choreography, and even the drummer stepped out front to deliver a stunning vocal performance of Black Hole Sun. The multi-instrumentalist effortlessly switched between saxophone, clarinet and flute, while the dancers seamlessly blended glamour, humour and astonishing technical ability. A brilliantly choreographed tap-dancing sequence, complete with musical call-and-response, piano-top tequila shots and playful comedy, became one of the evening’s many highlights.
Visually, the production was spectacular. Sparkling gowns, elegant evening dresses, feather boas, vintage styling and frequent costume changes evoked the golden era of touring entertainment, while clever touches—including an unexpected Star Wars cantina medley complete with lightsabers and moonwalking—kept the audience constantly surprised. Throughout the evening the pacing never faltered. Solos for piano, drums, bass and brass were woven naturally into the storytelling, never feeling self-indulgent, always serving the show.
Audience participation became an essential part of the experience. Finger-snapping, clapping, singing and dancing spread throughout the theatre as the performers effortlessly drew everyone into the celebration. By the closing numbers, the entire audience was on its feet, united in song and completely invested in the show’s joyful spirit.
As Steve Earle once said, “There’s only two kinds of music: good music and bad music.” This production was overflowing with good music. Scott Bradlee’s Postmodern Jukebox has created something that feels timeless—a glamorous, joyful, brilliantly choreographed celebration of great songs, remarkable musicianship and the irreplaceable magic of live performance. In an age where technology increasingly shapes how we consume music, The Future Is Vintage serves as a timely reminder that some experiences are simply better when shared in the same room with real musicians and a live audience.
A dazzling, imaginative and thoroughly entertaining evening.
Jesse Wilde
Photography by Leonie Moreland
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