Some concerts feel overdue before the first note is even played. Friday night at Auckland’s Powerstation was one of those occasions, as Silversun Pickups finally made their long-awaited Auckland debut. For a band with more than two decades of history, seven studio albums and one of alternative rock’s most loyal fanbases, it almost seemed unbelievable that this was their first time headlining the city.
The Los Angeles quartet have always occupied an interesting place in alternative music. Since breaking through with Carnavas in 2006, they’ve quietly built one of the strongest catalogues in modern indie rock, never chasing trends and never disappearing for long. Their latest release, Tenterhooks, once again produced by Butch Vig, shows a band still finding fresh ideas while remaining unmistakably themselves. Live, those songs become even bigger.
Coast Arcade
Every great headline act deserves an opener capable of setting the tone rather than simply filling time, and Auckland’s own Coast Arcade proved to be exactly that.
The connection between the two bands was obvious almost immediately. Their blend of shimmering guitars, grunge textures, shoegaze atmospherics and hook-filled indie rock made them a natural fit, almost feeling like the younger cousins of the evening’s headliners.
Opening with Afterthought from the band’s self-titled debut, Coast Arcade wasted no time making the most of their thirty-minute set.
Bella Rafflyn is an engaging frontwoman, switching effortlessly between soaring vocals and energetic guitar work while bouncing across the stage with infectious enthusiasm. Behind her, drummer Thom Boynton, bassist Leo Spykerman and guitarist Arlo Birss played with the confidence of musicians well beyond their years.
Tracks like Week and City Limits highlighted the band’s talent for balancing melody with controlled bursts of noise. Their songs constantly built tension before crashing into thick walls of guitars, creating moments that felt far bigger than the venue itself.
Closing with Baited, a new single that is going to be inside their new album due October. They played with intensity, headbang and jumps like rockstar that have been doing this for years. They wrapped up a set that felt polished, confident and genuinely exciting..
Coast Arcade and Bella Rafflyn has been opening for international music artists coming to Aotearoa shores countless times, from Biffy Clyro, The Grogans, Lime Cordiale and Peach Pit. Watching this performance, it wasn’t difficult to understand why.
Silversun Pickups
The lights dropped exactly on time as an eerie ambient introduction drifted through Powerstation. There was little fanfare. A casual wave from Brian Aubert, then straight into New Wave and The Wreckage, the opening pair from Tenterhooks.
Within minutes, the room belonged entirely to them.
The difference between hearing Silversun Pickups on record and hearing them live is remarkable. Their songs gain extra weight, extra texture and an almost physical presence. Distorted guitars seem to hang in the air while the rhythm section pushes every chorus forward with enormous force.
Aubert remains one of alternative rock’s most underrated guitarists. Rather than dazzling with flashy solos, he builds landscapes of sound. Layers of fuzz, feedback and shimmering distortion rolled across the venue, creating huge emotional peaks without ever feeling overplayed. His distinctive high-register vocals sounded stronger than ever, moving effortlessly between fragile melodies and raw intensity.
If Aubert supplied the atmosphere, Nikki Monninger anchored everything beneath it.
Her bass playing was phenomenal. Every note landed with warmth, clarity and remarkable power, shaking the floor without ever becoming muddy. Combined with her understated stage presence and beautifully blended harmonies, she quietly became one of the night’s standout performers. By the end of the evening, plenty of people would still be feeling those bass frequencies somewhere in their chest.
Meanwhile, keyboardist Joe Lester filled every available space with shimmering synths, subtle piano passages and layers that gave the band’s sound incredible depth. At the back, drummer Christopher Guanlao looked almost superhuman, delivering relentless precision while making every complex rhythm appear effortless.
The setlist struck an ideal balance between celebrating the new record and rewarding longtime fans.
Well Thought Out Twinkles drew one of the night’s first huge reactions before It Doesn’t Matter Why and Panic Switch reminded everyone just how many outstanding songs this band has quietly accumulated across twenty years.
One of the evening’s most impressive qualities was the band’s confidence. Nearly half an hour passed before Aubert finally addressed the audience, casually greeting the crowd before sharing stories about the early days of burned CDs and discovering new bands back in 2005. There was a time machine segment where a whirling sound effect transported us back to 2005. Or as Brian said “The year was 2005… and some of you cheering were not alive”.
His introduction to Kissing Families was funny, nostalgic and perfectly understated, fitting the band’s relaxed personality.
The newer songs never felt like interruptions to the classics. Empty Nest shimmered beautifully with its layered harmonies, while Mean Spirits injected fresh heaviness into the latter half of the set. Material from Tenterhooks sat comfortably alongside older favourites, which says plenty about the quality of the new album.
What really separates Silversun Pickups from many of their peers is how little they rely on spectacle. There were no elaborate visual effects, no oversized production and very little unnecessary chatter. Just four exceptional musicians completely absorbed in what they do best.
Watching them felt like watching a perfectly tuned machine. Each member appeared to be operating independently, yet together they produced something that felt organic, emotional and effortlessly powerful.
After a crushing rendition of Dots And Dashes (Enough Already), the brief encore break merely heightened the anticipation.
Little Lover’s So Polite reignited the room before Growing Old Is Getting Old prompted one of the loudest singalongs of the evening. Looking around Powerstation, it was impossible not to smile at the sight of a crowd made up largely of fans who had clearly grown older alongside these songs. More than a few people found themselves headbanging without even realising it.
Then came Lazy Eye.
The opening riff alone triggered an eruption of applause. Phones briefly filled the air before many people simply lowered them again, choosing to experience the moment instead of recording it.
As the song edged toward its famous second-half crescendo, the atmosphere became almost unbearable with anticipation. Then everything exploded. Aubert’s guitar roared, Monninger’s bass thundered beneath it, and the entire venue moved together as one. It was loud, euphoric and utterly exhilarating.
Some concerts are remembered for giant productions or elaborate staging.
This wasn’t one of those.
Instead, Silversun Pickups reminded everyone that great songs, exceptional musicianship and genuine chemistry remain the most powerful ingredients any live band can possess.
For a city that had somehow never welcomed them before, Auckland embraced Silversun Pickups like old friends. Their debut at Powerstation felt less like a first meeting and more like the beginning of what should become a regular tradition. If Friday night proved anything, it’s that this audience won’t hesitate to welcome them back whenever they decide to return.
Azrie Azizi
Photography by Leonie Moreland
Silversun Pickups
Coast Arcade
Set List
Coast Arcade
Afterthought
Greener
Week
Acetone
Kids
City Limit
Baited (from new album due October)
Silversun Pickups
Well Thought Out Twinkles
The Wreckage
It Doesn’t Matter Why
Panic Switch
Au Revoir Reservoir
The Royal We
Three Seed
Kissing Families
Empty Nest
Substitution
Mean Spirits
Long Gone
Circadian Rhythm (Last Dance)
Dots And Dashes (Enough Already)
Encore:
Interrobang
Growing Old Is Getting Old
Lazy Eye
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