Suzanne Vega – Dazzles Auckland Town Hall, 10 September 2026

Songstress Suzanne Vega has had a lengthy career spanning five decades, and banking 10 studio albums along the way. Her rise to fame in the mid 1980’s drew attention to folk music and singer-songwriters, ushering in the likes of Tracy Chapman and Shawn Colvin.

Last visiting in 2018, and maybe not all before that, Vega is over here for her Flying With Angels Tour and capped off a three-date tour of Aotearoa in Auckland last night to much warmth and reception, from a full house of largely long-term fans.

Born in California but based in New York City since she was in low digits, Vega’s musical upbringing was steeped in the folk scene there, via Greenwich Village as well as a pathway through the Fast Folk magazine/record label.

Breaking through with a string of charted songs in the 80’s and a big record in Solitude Standing (1987), Vega attributed part of her cross-over success due to not sounding like anyone else at the time, associating her voice most closely to Astrid Gilberto, who was in fashion two decades earlier.

Enough premise, bring on the show – and it was straight into the main act. Song one/single one Marlene On The Wall showcased Vega’s unique and unpredictable turn of phrase. Pleasingly her voice immediately proved to be as youthful and vibrant as ever.

A very sultry version of 99.9F° followed, the title-track off the Mitchell Froom produced 1992 record that represented a stylistic shift for Vega at the time (into electronica and cross-genres).

Caramel took us to Latin places, with sophistication on both parts from Vega and her trusted guitarist, Irishman Gerry Leonard. A David Bowie alumnus, Leonard has been with Vega for many years now, moulding and meshing her songs with his signature texturing, taking the mood and tone elsewhere.

Vega wrote Gypsy at 18, describing it to be about a guy she met when she was a folk singing/disco club counsellor at a sleep away camp. Leonard Cohen was a mutual musical inspiration, and you can guess the rest.

Excited and relieved to be in Auckland, Vega explained that they had had three flight attempts to reach Wellington earlier, with wild weather and an ensuing earthquake down that away. Buddhist chanting from Vega and prayers were the description of the nervous onboard atmosphere at the time.

The Queen And The Soldier got the tag old, sad and long. But with it brought another New Yorker – cellist Stephanie Winters took the stage, with a very black cello at that.

When Heroes Go Down gave a nod to Elvis Costello, segueing into his Lipstick Vogue, revealing another influence on Vega.

The title-track off her most recent record (and doubling as tour branding), Flying With Angels has received good reviews in the States, Vega reported. Honouring care giving and being carried when you’re at your most challenged moments was the storyline.

Speaker’s Corner had a punk-rock aesthetic, with Vega proclaiming – “speaker’s corner there it stands in politics and song, I guess we better use it now, before we find it gone.” Juxtaposing this was Leonard, whose blue streak through his hair and chequered suit could see him slot in with John Lyndon any time of the week.

Inspired by Bob Dylan’s I Want You, Chambermaid took the POV of one of its characters and expanded the view. Vega was to reminisce that she stole a kiss from Dylan once (on a support tour) and was to never see him again.

Then a mini masterpiece; Left Of Centre, from Pretty In Pink (1986), which vastly enhanced that film, speaking to its themes and the essence of the characters. Here Leonard’s taste and versatility shone, his complementary skills going through the roof.

Vega wasn’t to be outdone, and with Never Wear White, she got dark on thematics, working the stage like a magician, utilizing a top hat and her dance background. Winters embellished with a deep tonal hand drum.

The clarity of Vega’s vocals throughout and her intonation was crystalline. Lyrics were vividly presented to us and could be accessed easily. That comes with a nod to the Great Hall’s acoustics and the soundie too for the results.

Some Journey soared with the double act gusto of twin guitars, and Vega is no slouch in this department either. Then the familiar Luka with a social commentary that lays bare domestic violence (drawing from Vega’s own experiences with her stepfather). Maybe her most recognisable song, and longest lasting.

Originally a spoken word acapella, Tom’s Diner was given a funk groove treatment. Leonard who employed loops and the occasional drum track, sounded much more than one, often. Vega was freed up to move in abandon and tip her top hat, appearing like a magician at times. The vibe was def magical and was sadly to end right there.

A quickfire return to encore Walk On The Wild Side, honouring her late friend and mentor Lou Reed (Vega has included it in her shows since Reed’s passing in 2013). In Liverpool is one of those ballads that shifts from sparse verses to panoramic choruses. Rosemary closed the night out, it’s sombre country tinges providing space for imagination to take a hold.

Suzanne Vega is still singing and performing with a driven passion and focus and delivering at a high standard.May she continue to bring more musical artistry to the left of centre zone – majestic!

Michael Beck

Photography by Michael Jeong

Set List

Marlene On The Wall
99.9F°
Caramel
Gypsy
The Queen And The Soldier
When Heroes Go Down/Lipstick Vogue
Flying With Angels
Speaker’s Corner
Chambermaid
Left Of Centre
Never Wear White
Some Journey
Luka
Tom’s Diner
(Encore)
Walk On The Wild Side
In Liverpool
Rosemary