Music interviews, live performances, behind the scenes, industry issues, profiles, back catalogue, undiscovered, greatest hits, tall tales and true... all from a New Zealand/Aotearoa perspective.
The Covid-19 lockdown has wreaked havoc on New Zealand’s live music venues with many facing an uncertain future. New fundraising movement Save Our Venues NZ aims to ease the pressure.
The group of passionate music people from around New Zealand have joined with Kiwi charity MusicHelps, fundraising site Boosted and the Arts Foundation Future Fund to raise money and awareness for local live music venues across Aotearoa.
Throughout the show we'll be playing stories from some of Aotearoa’s fave musicians about the venues they love, both past and present, to highlight the crucial role they play in supporting our thriving music scene.
12:46 Tami Neilson | Whammy and Wine Cellar, Auckland
“Three or four different small rooms in an old hotel were used for live performances over the years, but the most famous room, with a capacity of maybe 120 and often holding at least twice that, was on the first floor facing Princes Street.
“The generally good-natured young crowd were watched over by everyone's adopted Mum and Dad figures - the wonderful John and Maureen.
“The Empire Tavern saw ragged but electrifying, historical performances by The Stones, Sneaky Feelings, Snapper, The Verlaines, The Rip, The Puddle, The Chills, Look Blue Go Purple, 3Ds, Alpaca Brothers, Doublehappys and every combination of those bands and others you could imagine.
“Touring bands came to tread the sticky carpets and cram themselves and their equipment together on the weird triangular stages.
“The police might visit, but generally seemed to understand that the obviously underage crowd was safer in there than out on the streets and so they would leave again.
“People desperate for an actual glimpse of the band might stand on the shoulder-height, beer-glass and ashtray shelves - barely wide enough to hold a pint glass.
“It was the way things should be. It was inspiring, transitory and magical. Every town needs a venue like the Empire to occur at just the right moment.”
13:07 Marlon Williams | Whammy and Wine Cellar, Auckland
13:21 Benny Salvador has released his first EP at age sixteen (10’44”)
Benny Salvador is the son of Joe Lindsay, trombonist in Fat Freddy's Drop. He talked to Charlotte Ryan about DJing since he was in primary school, and starting his own record label.
13:40 NZ Music Month: Fresh Music Daily
We're celebrating NZ Music Month with Fresh Music Daily, where we post new music from a different Kiwi artist every day.
Sam Wave - ‘Find Someone Sexy’
Sam Wave is the moniker of Sam Mehrtens, an Arrowtown-based singer-songwriter, producer, multi- instrumentalist, filmmaker, and performer. ‘Find Someone Sexy’ is from Sam’s debut album Rhetorical What.
Sam made the video for ‘Find Someone Sexy’ during lockdown with the help of London-based content creator Zorowar.
“I was looking over my girlfriend’s shoulder while she scrolled through her Instagram feed,” Sam says, “And there he was.”
Sam was taken by Zorowar’s look and instantly knew that something beautiful could come out of pairing Zorowar with ‘Find Someone Sexy’.
“The song is like a shy wink that makes you feel like saying, ‘Hi’,” Sam says, “Drawing from the lyric, ‘Everybody in the house feeling tipsy,’ we thought, ‘Where and how?’… Online dating, webcam on.”
The video is flirtatious, sexually open and celebrates diversity in the internet era.
13:42 Gussie Larkin of Mermaidens | Whammy Bar, Auckland
13:52 Returning home to PNG an inspiration for Christchurch rapper Vallé (8’37”)
Enjalas Jenkinson came to New Zealand from Papua New Guinea aged just eight months old, suffering from malaria and rickets. He now makes music as Vallé, releasing his album Care For Me earlier this year, and recently a follow-up single called 'Trip Advisor' - the video for which sees him returning to Papua New Guinea and reconnecting with his family. He spoke to Tony Stamp about the life-changing experience.
New Zealand hip hop musician Vallé found inspiration when he visited family in Papua New Guinea.
Enjalas Jenkinson - aka Vallé - came to New Zealand from Papua New Guinea as an eight-month-old, suffering from malaria and rickets. Raised in Christchurch by his British father, it's only recently the 22-year-old rapper has returned to his homeland.
The visit inspired his latest single 'Trip Advisor', the video for which sees him return to Papua New Guinea and reconnect with his family.
"I'm very much aware that I'm lucky, and thousands of people that got [the illnesses I had] aren't so lucky every year," Vallé told Music 101's Tony Stamp.
He always knew there'd be a day when he'd return to Papua New Guinea, but he felt there were certain expectations to live up to before he could return.
"Every Papua New Guinean and other Pacific Islanders know when you come to the western world, you have access to finance and opportunities you don't have back home," he said.
"There's a certain heightened expectation that when you come home, that your hands won't be empty. And so, with knowing that, I knew I had to be in some sort of a financial position where I was able to meet the expectations, at least to a small degree."
The first time he visited the country, the aim was to reconnect with family - including his mother and his older brother.
"Long story short, I fell in love and kind of had this regret that was for a big part out of my control, that it had been such a long time that we'd gone back. So I was like, 'I'm going to be coming back as soon as possible.'"
When he got back to New Zealand, he found the inspiration to write his single 'Trip Advisor', which included lyrics in the Tok Pisen language, a type of pidgin English spoken all over Papua New Guinea.
"When I got back to NZ after the first trip, I'd written 'Trip Advisor'. It just came naturally, the musical instinct of all the thoughts that were in my head. I just put pen to the pad and then 'Trip Advisor' was birthed.
"It really made me courageous in the pursuit of including my language in my songs to a higher level that it was. First of all, let's just pause and realise the fact that Papua New Guinea is one country and makes up a sixth of the languages in the entire globe and people aren't aware of that."
Vallé's 'Trip Advisor' video features his family, and he says the sense of joy depicted in it is real.
"Everything is very much uncontrolled. Because, one, you can't even control it, like the amount of people that want to be involved in the project presented daily challenges, hourly challenges. There's so many unforeseen obstacles in an uncontrolled third world country that can present itself.
"The core characters that you see are all family, immediate and then slightly extended family. In the different settings, it's just whoever's there at the time. No formal casting whatsoever."
14:04 Reb Fountain live at The Others Way Festival 2019 (25’55”)
Our live concert this week is Flying Nun signee Reb Fountain performing at Auckland's Mercury Theatre as part of The Others Way Festival 2019.
14:32 Anna Coddington | Cassels Blue Smoke, Christchurch
14:40 The Sampler: Act Normal by Andrew Fagan and the People
Nick Bollinger takes a look at the the jaded observations of Andrew Fagan's latest.
Pop stardom is often brief but it can cast a long shadow. In the case of Andrew Fagan, there was a period in the mid-1980s when he was as big a pop star as this country had - even if he was still broke and living on a boat (a quirk of stardom possibly unique to New Zealand.)
When his band The Mockers reunited after 30 years, it was evident that the songs they made back then had lasted. Yet how many people noticed the brand new collection of songs Fagan released in February? I missed it at the time, and I’ve gone back for a listen.
’Scene of Fun’ is the song that opens Act Normal, the latest album by Andrew Fagan and the People. That staccato guitar and weasel-y organ whip up a kind of 60s garage-pop party vibe while Fagan, singing in his best droll baritone and drawing on years of observation, makes the whole ritual of people partying seem faintly sinister. And it’s not the only song here where takes on the role of jaded social observer.
I’ve tried to imagine who the person is that Fagan has set in his sights for ‘Bad Choice’. He cleverly leaves it free enough of detail that you can fill in the blanks yourself and make it about whoever you like. However you hear it, though, it’s dark and acerbic, which is the tone he balances against his lifelong pop instincts for much of the record. You’ll find it again in songs like ‘Here Comes The Storm'.
Then there are songs where the target is almost too easy; in the case of ‘Channel Me’ it’s the whole of modern society and its propensity for oversharing. And in case anyone didn’t get it the first time, ‘Channel Me’ appears in four different versions here, which I guess could be seen as another kind of oversharing. Not subtle, perhaps, but it makes the point and makes me smile.
But along with the social commentary, there’s also a certain amount of straight out whimsy. And while every song has a hook, there’s a couple that don’t have much more than that. ‘My Favourite Human’ is a great idea for a song, only that’s pretty much how it stays; just those three words repeated over a loopy, angular riff. Otherwise it’s almost an instrumental. It’s a great chorus and I’d love to hear the verses.
So who has Fagan become in his post-pop-star period? In the best moments of Act Normal I’m reminded of the great Chris Knox; the withering social observer combined with the instinct for a timeless pop melody. And he’s at his most Knoxian in this great song, my favourite among some very good ones here, in which he turns his ironic reflections to the career prospects of a maturing pop star. It might be personal, yet like most of Act Normal it has implications for us all.
14:48 NZ Music Month: Fresh Kiwi Covers
We’re celebrating the 20th New Zealand Music Month with brand new covers of classic Kiwi tracks.
Ebony Lamb covers The 3Ds ‘Beautiful Things’
Wellington-based indie-folk musician Ebony Lamb has released three critically acclaimed albums with her band Eb & Sparrow.
She’s supported acts including Rodriguez, Beth Orton, Marlon Williams, Anika Moa, and Aldous Harding, and is currently working on her debut solo record, which is due out later this year.
Ebony chose to cover ‘Beautiful Things’ by legendary Flying Nun band the 3Ds: “I love the 3Ds so much and this song is a treasure in hard times, to remember hopefulness for the future. It was as important in the nineties as it is now.”
Ebony recorded her cover with the help of her partner Gram Antler, aka Jack Johnson, in their spare room’s makeshift studio. This is their first homemade release, apart from the live session they did as part of RNZ Nights’ ‘Down The Line’ feature with Bryan Crump.
The pair’s friend and long-time bandmate Chris Winter recorded the drums in his lounge (about 100m up the road) and “sent them contactless through the internet”.
The homemade video - another first for Ebony and Gram - was shot in one continuous take, and all the effects are created using analogue techniques. It features Ebony and Gram’s “special things”.
15:13 A tribute to outgoing RNZ Music member Kirsten Johnstone
After sixteen years sharing stories from musicians the world over, Kirsten is leaving RNZ Music. We take a look back at some of her most memorable moments.
15:28 Song Crush: Chronixx, Church & AP, BC Camplight (26’22”)
A beats and rhyme heavy show, with an interjection from a synth-pop artist whose music eerily reflects 2020's weirdness. It's host Kirsten Johnstone's last show, and she's joined by Yadana Saw and Brad Warrington.
16:04 The Mixtape: Kirsten Johnstone (53’38”)
After sixteen years at RNZ Music, Kirsten is moving onto greener pastures. She joined Tony Stamp to reflect on her life and career, and play ten of her favourite songs.
"This has been the best job in the world and that's why I've stayed for so long … it's important to get voices of musicians out into the ether and let them be heard."
After sixteen years at RNZ Music, content producer and presenter Kirsten Johnstone is moving on. She joins Tony Stamp to reflect on her life and career, and play ten of her favourite songs.
Song 1: 'Epitaph' by King Crimson from the 1969 album In the Court of the Crimson King:
As a kid, Kirsten used to listen to this album with her dad on the farm.
"The album has such great contrasts. The pomp and the understated loud/quiet. It's composed and improvised. It has these incredible soaring tunes. It encapsulates elements of pastoral folk and improved jazz and rock. There's also a lot of really great flute parts in it."
Side note: Kirsten is a classically trained flute player, who first taught herself to play by air as a child, with the help of Irish flute player James Galway's CDs.
Copying someone whose sound you like is a really good way of learning an instrument, she says. Another tip – practise in the bathroom, where you'll sound good.
Song 2: 'Indian Love Song' by Dirty Three from their 1995 self-titled album:
Kirsten discovered this Australian instrumental rock band around the age of 16.
"Me and my friends were going over to Palmerston North for raves and George Pie and moonshine and a record store called Pretty On The Inside [where she first heard Dirty Three]."
Song 3: 'Little Things' by Trinity Roots from their self-titled 2000 EP:
Trinity Roots are an incredible band New Zealand hadn't seen the likes of when this EP came out, Kirsten says.
She enjoys the frenetic drumming from former member Riki Gooch against singer Warren Maxwell's gentle croon.
"This version of 'Little Things', it sits right in the middle of my heart. I have sat in my car crying a few times."
Song 4: 'A Place Called Home' by PJ Harvey from her 2000 album Stories from the City, Stories from the Sea:
"I liked PJ Harvey in the late '90s but this was really the album where I stood up and listened to her. Such great imagery in this album and her vocal range is incredible and she's just continued as an artist to stretch that. And of course those beefy guitars of hers."
Song 5: 'Chicago' by Sufjan Stevens from his 2005 album Illinois:
Sufjan Stevens is one of Kirsten's all-time favourite musicians.
"I'd come out of a terrible relationship, found a job that I really loved… [The first time I heard this song, there were] actual tears of euphoria running down my face. It's such a great song for bottling that feeling of freedom, of not being tied down, of hitting the road with your friends."
(Kirsten says Sufjan was a gentleman when she interviewed him in 2011)
Song 6: 'Berlin' by So So Modern from their 2010 album Crude Futures:
Wellington band So So Modern played mind-blowing live shows, Kirsten says.
"This angular… polyrhythmic … I mean, its math rock, isn't it? So much energy. I loved this band. I probably went and saw them a dozen times."
Song 7: 'The Matter (Of Our Discussion)' by Boom Bip feat. Nina Nastasia, released in 2005:
"This song displays a kind of nihilism that really appealed to me at the time and still appeals to me now the casual way she says 'I might leave tomorrow' .. Nina Nastasia's plaintive unemotional voice just kills me here."
Song 8: 'Katie Cruel' recorded by Karen Dalton in 1966:
Kirsten says she has RNZ Music presenter Trevor Reekie to thank for introducing her to this "lovely and plonky" version of this song.
"[Karen Dalton] was this tall beautiful woman who turned up in the late 60s in Greenwich Village. She was half-Cherokee, half-Irish I think. [She arrived with] a banjo, a guitar, two little children and a failed marriage behind her."
"The story [in this song] brings up so many images in my mind and it's a little bit of a mystery as to what happens."
Side note: Kirsten plays the banjo herself, picking it up for the first time aged 30 'cause she missed playing an instrument.
Although she trained in the flute for four years, a classical music career wasn't for her, Kirsten says.
After university, she had bad experiences with conductors, one arrogant European especially, and her personal music taste was well outside the classical sphere.
"If you're going to be a classical player you need to give up everything else in your life and the competition to get a flute job is fierce."
Song 9: 'Mythological Beauty' by Big Thief from their 2017 album Capacity:
Adrienne Lenker sings about her own "incredible personal history" in this song, Kirsten says.
"The family had just escaped this cult and were living in a makeshift shed… … it just speaks to me about the dedication of motherhood in such an empathetic way, from a [daughter's perspective]."
Song 10: 'Fire and Rain' by James Taylor from his 1970 album Sweet Baby James:
Kirsten first heard this song in the 1988 River Phoenix film Running On Empty.
"It just gave me all the feels. It's one of those songs that in the last few years I've come back to time and time again. It's just a great ballad."
Some of Kirsten's favourite RNZ interviews:
Kim Deal (from The Breeders)
The Pixies
Jack White
Ian Anderson (from Jethro Tull)
Daddy G Marshall (from Massive Attack)
"Not all of them are fantastic interviews. When you're sitting on the end of a conveyer belt of international interviews and you've got your ten-fifteen minute time slot you're not going to get the best out of them no matter what you try but it's been a real privilege to be able to talk to some of those people."
She's also enjoyed meeting New Zealand musicians, including Rob Ruha, Marlon Williams, Aldous Harding, Teeks and Chelsea Jade.
Kirsten says one of her favourite things about working with RNZ Music has been covering music festivals, big and small.
"Running around with a microphone gives you license to talk to anyone that you want. And I love that. I wish I was that brave without a microphone."
More stories about favourite kiwi venues: (no audio)
Dave Dobbyn | Cassels Blue Smoke, Christchurch
“One of my favourite venues is Blue Smoke in Christchurch. A wonderful place for warmth and hospitality provided by Jess and her crew.
“Great room with a high stage and excellent sound. A short fella like me can see everyone and really rock the house. I had a wonderful night there last time and met up with local artists who I admire greatly.
“Blue Smoke was opened five years ago at a difficult time in Christchurch, but it deserves to be a major draw for local and international artists for many years.
“I certainly support it and can't wait to play there again. Good on you Blue Smoke.”
RNZ Music’s Tony Stamp | The Dogs Bollix, Auckland
"I’ll be honest, many of the gigs I’ve attended in the last twenty years have sort of smudged together in my mind. Half-remembered, bleary-eyed fragments; it’s hard to say exactly when they happened. But I’m pretty sure I saw M Ward in 2006, on the 10th of January. I definitely saw him at the Dogs Bollix.
"It was a balmy night. No seriously, it was really warm. And within the walls of that pub we experienced heat so punishing the show was whispered about for years to come.
"That’s mainly why it’s stuck with me. Or maybe it was a combination of that and the delicacy of the music: it was so mellow, so beautiful, but temperature-wise it was like attending a sludge-metal show at Whammy, or getting in the mosh pit at a Big Day Out under a blazing summer sun.
"We were all drenched, slipping and sliding against one another while the man on stage plucked his acoustic and sang in hushed, reverent tones. It was gorgeous, and he played his incredible cover of ‘Let’s Dance’ in the encore (a version which is somehow even sexier than Bowie’s).
"But I remember the sense of relief when it was over, and we all poured out onto the street like soup from a tin. Literally steaming, but so musically satisfied.
Anthonie Tonnon | Wine Cellar, Auckland
No one tells you how to be a musician. There’s no job interview you can go for, no relevant qualification that will make a difference, and no one will call to ask you to start on Monday.
"And yet, the only way to be a musician is to learn on the job.
"As a young musician, independent music venues like The Wine Cellar gave me a task that was straightforward and tangible: put on a show, convince a number of people to see it, and make it good.
"Visiting from Dunedin, a city devoid of people aged 23-35, where gigs were five bucks, I remember my first show at The Wine Cellar, and being amazed at these older-but-not-old people, who would hand over ten dollars to come in, even if they knew nothing about my music. My first reflex was to feel bad that the owner, Rohan, was letting me charge them.
"But he was showing me that I did have a real job, one that was worth money. And he was challenging me to make it worth the audience’s while.
"Later, when I moved to Auckland - he put me on his yearly Borderline festival, and suggested me as an opener for other acts at Wine Cellar. One gig led to another and before long I was playing and touring a lot.
"As a musician you can spend a lot of time thinking about things you can't control - streaming plays, blog reviews, international labels. Spending your time on these things is a little bit like working on a full-time plan to win lotto.
"I didn't always know it at the time, but the most important thing I did when I started in music, was to play at places like The Wine Cellar. I played to real people, and I learned to make sure their door charge was money well spent.
"I hope new musicians get the same tangible chance to develop, and be paid at the same time."
Miss June | Whammy Bar, Auckland
"Although I (Jun Park, guitarist) look happy in this picture I'm actually in a great deal of pain. Before I'd done this successfully, I'd actually jumped straight into the low roof, giving myself a concussion and possibly breaking my back... spinal (said in the style of Mike Tyson)!
"But that's what makes Whammy, Whammy. It's a stomping ground for all up-and-coming, professional and veteran musicians, but where all are treated equal... because frankly no one cares who you are.
"It's a place where it's impossible to separate yourself from the audience. Not only do you feel their energy, but their literal spit and sweat too.
"It's a place where you test, break and build yourself. It's a place where I feel safe, yet terrified at the same time, 'cause I don't know whether the audience is gonna love me or smell the fear leaking from my pores and gnaw me to bits.
"It's a place where honesty, chaos, creativity, and love mix into one to create a hostile yet welcoming environment.
"Simply put it's a place that needs to stay in our home of Auckland, New Zealand, so please help out your local venues in these tough times everyone!"
Milly Tabak, of Milly Tabak and the Miltones | Leigh Sawmill Cafe, Auckland
"I’ll never forget sitting behind the banister, completely enchanted by the chilling voice of The Veils' Finn Andrews. Or witnessing a younger Marlon Williams accompany the amazing Delaney Davidson.
"I have been sonically captivated by many artists at the Leigh Sawmill Cafe and my soul has been nurtured inside this rustic and intimate building. It’s one of the iconic venues and has accommodated so many artists on their journey through music.
"Not only did I witness many incredible bands in that venue, I have my own experiences performing there. A fond memory is the mayhem that was our first headline show at the Sawmill.
"A water-based hazer set off the fire alarms during the opening band (despite assurances it wouldn’t), prompting the local fire department to rip down the road and load fire fighters into the building. Safe to say we had to hand over our bond pretty quickly.
"A stern warning was delivered that we'd foot the bill if the venue was given a fine. Jump forward an hour and the venue was absolutely packed to the brim, we had people on shoulders and I even serenaded my mum on stage for her birthday.
"The manager of the venue came up to me after the show and asked us to come back. That night was a beautiful roller coaster and just the beginning of many phenomenal nights to follow."
Paige | Shed 10, Auckland
"My most loved venue in New Zealand is probably Shed 10. I opened for Ruel there in September, and before the show, we all played tag in the downstairs foyer and ping pong upstairs - it was such a big wide open space.
"The sound while being on stage was the best sound I’ve had at any show I’ve played. I also saw Lauv at Shed10 and made so many friends and danced at the back of the crowd with people I met that night. It was so fun."
Mali Mali | Wine Cellar, Auckland
"I can’t count how many times I’ve played shows at Wine Cellar. I’m pretty sure my last four consecutive shows have all been at this venue. Rohan is generous and gentle and knows the local scene like no one else.
"This venue is my training ground and my arena. It’s taught me hard lessons and given me encouragement to keep moving.
"When I’ve traveled and made new musician friends I’ve always brought them back to play this venue and it feels like things coming full circle.
"I am the musician I am today thanks to Wine Cellar."
RNZ Music's Alice Murray | The King’s Arms, Auckland (closed 2018)
"It was summer 2005 and The Shins were my favourite band. They were set to play two sold-out shows at Auckland’s famed live music venue The King’s Arms, but I could only get a ticket to the first night.
"That first night was incredible. 23-year-old me was utterly blown away. I had to see them again.
"So, the next night, I skulled some whisky for Dutch courage; I had my friend Michael boost me onto the sports bar balcony; I climbed up and over the veranda and jumped down into the crowded garden bar.
"I’d cut myself on the roof while climbing over and had blood pouring down my arm, so when I landed smack bang in the middle of a circle of mates, bleeding, I looked pretty badass... for a Shins concert.
"That second night was just as incredible as the first.
"Although the King's Arms is now closed, the feelings and memories will always be with me. I saw so many bands there, both local and international. The place helped make me into the music fan I am today.
"That's why small venues are so important, not just for the bands, but for the music lovers like me."
Music played on this week's show:
12-1 p.m.
Stevie Wonder - Superstition
Straitjacket Fits - She Speeds
Moby - Too Much Change ft. Apollo Jane
Fiona Apple - Under The Table
The Beths - I'm Not Getting Excited
Strawpeople - Drive
Talking Heads - Once in a Lifetime
Tami Neilson - Dynamite
Little Richard - Slippin' and Slidin'
Neil Young - Try
1-2p p.m.
Marlon Williams - Hello Miss lonesome
Patea Maori Club - Poi E
Fat Freddy's Drop - Hope
Benny Salvador - Dimensions, Hau, Wat Shu, CardboardBox
Khruangbin - Time (You And I)
Sam Wave - Find Someone Sexy
Mermaidens - I Might Disappear
The Datsuns - Cruel Cruel Fate
Vallé - That Nice, Trip Advisor, No Love
2-3 p.m.
Reb Fountain - Hawks & Doves, Its A Bird, Gold, Last Word, Don't You Know Who I Am (live at Mercury Theatre)
Anna Coddington - Bird in Hand
The Pretty Things - Don't Bring Me Down
Andrew Fagan & the People - Act Normal, Scene Of Fun, Bad Choice, Here Comes the Storm, Channel Me, My Favourite Human, Someone More Gorgeous Than Me, You’ll Be Fine
Ebony Lamb - Beautiful Things
The Stone Roses - She Bangs the Drum
Tama Waipara - East Coast Moon
3-4 p.m.
Shihad - Deb's Night Out
Blondie - Once I Had A Love aka The Disco Song
Church + AP - War Outside
Chronixx - Dela Move
BC Camplight - Back to Work
BC Camplight - I Only Drink When I'm Drunk
Young Franco - Juice
The Phoenix Foundation - Nest Egg
4-5 p.m.
King Crimson - Epitaph
Dirty Three - Indian Love Song
Trinity Roots - Little Things
PJ Harvey - A Place Called Home
Sufjan Stevens - Chicago
So So Modern - Berlin
Boom Bip - The Matter (of Our Discussion)
Karen Dalton - Katie Cruel
Big Thief - Mythological Beauty
James Taylor - Fire and Rain
https://www.rnz.co.nz/national/programmes/music101/20200516