As a concert reviewer, one of the things I’m enjoying most is being pushed outside my comfort zone. If left to my own devices, I’d probably spend most weekends watching singer-songwriters, rock bands, or Americana artists. Reggae isn’t normally my thing. But on Saturday night at Auckland Town Hall, Te Wehi and his band reminded me why live music is so important — sometimes the best shows are the ones you weren’t expecting.
The evening began with support act TheWesternGuide, the stage name of Auckland musician Aaron Pulemagafa. Backed by another acoustic guitarist, both dressed in cowboy hats and framed by a giant campfire backdrop, Aaron delivered one of the most unusual and enjoyable support sets I’ve seen in a long time.
There’s something wonderfully unexpected about seeing a Samoan country singer leading a Town Hall crowd through country classics. Armed with nothing more than two acoustic guitars and plenty of personality, Aaron mixed original songs with favourites such as Boot Scootin’ Boogie, 10 Guitars and Drinking Problem. No backing tracks, no fancy production tricks — just real musicians making real music.
Every now and then Aaron would put down his guitar, grab the microphone and get the audience singing along. His easy-going humour, warm personality and genuine connection with the crowd won people over quickly. By the end of the set, it felt less like a support act and more like a gathering around a campfire with an old friend.
Then it was time for the main event.
Te Wehi arrived with a five-piece band featuring drums, bass, electric guitar and two keyboard players who also provided backing vocals. The Town Hall was packed, and judging by the number of cowboy hats scattered throughout the audience, many fans had come ready to celebrate.
The opening moments set the tone immediately. A guest rapper joined the band for an energetic performance that had the crowd moving from the first song. Throughout the evening, Te Wehi blended reggae grooves with elements of country, soul and contemporary New Zealand music, creating a sound that feels uniquely his own.
One of the most striking things about the show was the audience participation. Song after song was greeted with loud singalongs, raised phones, waving arms and plenty of dancing. At times the atmosphere felt more like a massive backyard party than a seated theatre show.
The production was impressive throughout. Palm trees, sunsets, New Zealand landscapes and lyric videos filled the giant backdrop screens, while professional camera crews captured every moment. The sound was powerful and polished, and although backing tracks and programmed elements were present, they sat comfortably within the band’s modern reggae sound.
As someone unfamiliar with much of Te Wehi’s catalogue, what stood out most was the quality of his songwriting and his voice. Whether delivering heartfelt relationship songs, uplifting anthems or deeply personal reflections on home and family, he connected with the audience effortlessly.
One particularly moving moment came when he sang a song he wrote called Mama Don’t Cry, written for mothers whose sons are sent to war. The emotional weight of the lyrics contrasted beautifully with the band’s laid-back reggae groove.
There were lighter moments too. One of Te Wehi’s songs, Dead Or Alive, is a fusion-reggae track that blends traditional Pacific rhythms with the iconic chorus from Bon Jovi’s 1986 rock anthem Wanted Dead or Alive, prompting a massive crowd singalong. Another featured lyrics displayed karaoke-style across the screen, with the audience happily taking over large sections of the vocals.
Midway through the show, TheWesternGuide returned to the stage for a country-flavoured duet that temporarily shifted the music away from reggae territory. It was an unexpected but highly entertaining collaboration between two very different artists who clearly shared mutual respect.
Later, another guest vocalist joined the show for a couple of songs. Then they all sat down in a line on the drum riser and stripped things back for an acoustic section featuring acoustic guitars, bass and harmonised vocals. These quieter moments highlighted the strength of the songs underneath the production.
The emotional high point arrived with Te Wehi’s debut album title track, I’m Home, accompanied by stunning footage of New Zealand farmland, bush and open country. It perfectly captured the themes that run throughout Te Wehi’s music — connection to home, culture, family and identity. Throughout the evening he moved effortlessly between English and te reo Māori, reinforcing the authenticity that has helped build such a loyal following.
What impressed me most was his humility. At one point he told the crowd that a song people often assume is about his own dreams is actually about theirs — the fans who supported him and made his success possible. Despite commanding the stage like a seasoned headliner, he still came across as someone who would be just as comfortable back on the farm as he was in front of a packed Town Hall.
By the end of the night the audience was completely invested. They sang, danced, cheered and celebrated every song. It was a full house, and Te Wehi delivered exactly what they had come for.
No, reggae still probably won’t become my primary genre of choice. But that’s the beauty of live music. Sometimes you walk into a show expecting to observe, and instead you find yourself caught up in the energy of hundreds of people connecting through music.
Te Wehi’s Auckland Town Hall performance was heartfelt, authentic and undeniably Kiwi. Judging by the reaction from the crowd, he’s not just having a moment — he’s building something that feels very real.
Jesse Wilde
Photography by Greg Haver
Te Wehi
TheWesternGuide
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