New Music 01/05
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Today is the first day of Te Marama Puoro o Aotearoa 2026, marking the 26th NZ Music Month and celebrating the theme Our Sounds, Our Spaces, a nod to the many places across the motu where music is created, shared, and experienced. This year also carries added significance, with the official APRA gold colour recognising 100 years of APRA AMCOS and the songwriters behind the music that shapes our lives.
NZ Music Month kicks off today with Bandcamp Friday, a chance to directly support artists as the platform waives its revenue share, followed by NZ Music T-Shirt Day later in the month, continuing that support while raising funds for MusicHelps.
Evie Bamford — Company
Evie Bamford continues to build momentum as one of Tāmaki Makaurau’s most promising indie voices, following the breakout success of Through the Day, which climbed charts across student radio and the Official Aotearoa Music Charts. Drawing on a background in jazz and classical music, Bamford’s sound blends textured instrumentation with introspective songwriting, something she first introduced on her debut Money Bag and has continued to refine through both recordings and live performances.
Her latest single Company leans into that growth, pairing crisp, driving drums and a thumping bassline with layered keys, electric guitar, and bright trumpet. At its core, the track explores the shift toward self-assurance, centred on learning to enjoy your own company and letting go of external validation. Recorded live with her band and later expanded through overdubs, the process adds a sense of warmth and cohesion, capturing both the energy of her live sound and the clarity behind this new chapter.
Louise Lune — Shapeshifter
Louise Lune is stepping into the spotlight with her debut release Shapeshifter, introducing a distinct voice out of Ōtautahi. The track leans into themes of instinct and deception, offering something more confronting than comforting, where listeners may find themselves feeling exposed rather than understood. Written from a personal need to feel heard, Shapeshifter carries an introspective edge that signals a bold and uncompromising start to her project.
The Sour — Daughters (EP)
The Sour are bringing a fierce new energy out of Tāmaki Makaurau, with the all-women four-piece bonding over a shared love of grunge, punk, and everything loud. Early singles like Your God & Mine and Frank quickly turned heads, with the former debuting at number one on the bFM Top 10 and signalling their arrival as one of Aotearoa’s most exciting heavy acts. Follow-up track Hex continued that momentum, leaning into riff-heavy intensity and gritty hooks. Across these releases, the band have carved out a sound that blends grunge attitude with a distinctly local edge.
That foundation now comes together on their debut EP Daughters, a four-track project that captures their unapologetic energy and tight-knit dynamic. Alongside the singles, tracks like Drinking On A Sunday and You round out a collection driven by fuzz, grit, and raw expression. At its core, the EP celebrates friendship, whakapapa, and the power of wāhine making loud music together. With live shows lined up and their debut release out in the world, The Sour are only just getting started.
may-c — Josephine
may-c (May Clark) continues to emerge as a captivating new voice out of Ōtautahi, blending cheeky yet heartfelt lyricism with raw, expressive vocals. Known for her engaging live presence and emotionally honest songwriting, she is steadily carving out a space that feels both personal and relatable, offering glimpses into her own experiences while connecting with a wider audience.
Her latest single Josephine leans into that introspection, exploring the quiet ache of longing and the desire to become someone more complete. Rather than a person, Josephine exists as a concept, representing an idealised version of self that feels just out of reach. Through vulnerable lyricism, the track captures the tension between identity and expectation, reflecting the feeling of searching for fulfilment while still figuring out who you are.
Parallel Park — Empty House
Parallel Park close out a defining chapter with their latest single Empty House, marking their sixth release alongside a growing catalogue that includes a 2022 EP and their debut album Growing Taller. Formed in 2019 while still in high school, the Pōneke/Whakatū indie-rock band quickly built a reputation for thoughtful songwriting and self-produced releases, earning praise for both their sound and artistic vision. Written and produced by Florence McNabb and Kahu Sanson-Burnett, Empty House continues that trajectory with a more reflective and emotionally grounded approach.
Centred on the lingering connection of a past relationship, Empty House captures the quiet tension between nostalgia and moving on, holding onto something that still shapes you even after it’s gone. That feeling extends into the accompanying music video, where contemporary dance brings the song’s emotional core into a physical space. As the band looks ahead, with members now spread across the globe, the release signals both an ending and a transition, with future music still on the horizon alongside a new electronic-pop project, Flairgum.
BRIGSY — Falling
BRIGSY is steadily carving out his lane in Aotearoa’s electronic scene, five years into a journey shaped by trial, growth, and a deep commitment to refining his craft. The Auckland-based producer has spent the past year honing his sound and pushing his production to new levels, emerging with a clearer sense of identity and direction. That evolution sets the stage for his latest release Falling, a track that reflects both his technical progression and his connection to late-night club culture.
Built as a closing moment for a DJ set, Falling leans into tearing synth bass, spacious leads, and anthemic vocals, culminating in a heavy, cathartic drop. The track captures the feeling of losing yourself on the dancefloor, with sparse verses giving way to a mantra-like build before everything releases into instinct and energy. Designed to resonate with both seasoned drum and bass listeners and newcomers alike, it signals an artist hitting his stride and continuing to define what the BRIGSY project stands for.
Tragedies — Ordinary
Pōneke-based trio Tragedies step into the spotlight with their debut single Ordinary, blending trip-hop, post-punk, and alt-rock into something raw and emotionally charged. Known for their intimate live shows, the band have been steadily building their identity ahead of this first release, recording, mixing, and producing the track entirely in-house. With a debut album already in the works, Ordinary marks an important starting point for a project rooted in processing and reflection.
Originally written as an acoustic folk song, Ordinary evolved into a hypnotic, beat-driven track, pairing vulnerable lyricism with looping rhythms and a subtle sense of movement. Drawing influence from acts like Massive Attack, Radiohead, and The Cure, the song sits in that space between introspection and release, capturing both emotional weight and danceable energy. With live shows lined up across Pōneke, the release sets the tone for what is shaping up to be a compelling arrival.
RENÉE — DISCLOSURE (EP)
Tāmaki Makaurau artist RENÉE continues her rise with the release of her debut EP DISCLOSURE, arriving alongside final single SEE ME LEAVING—a confident, groove-led cut that blends alternative R&B with UK garage influences. Built on smooth, expressive vocals and light, rhythmic production, the track captures a moment of clarity and self-assurance, centring on the decision to walk away from something that no longer aligns.
As the closing chapter of DISCLOSURE, SEE ME LEAVING brings the project’s themes of self-discovery and emotional honesty into sharp focus. Across the EP, RENÉE explores connection, growth, and truth-telling through a sound that sits at the intersection of neo-soul, dance and indie electronic, pairing introspection with movement. It’s a polished and assured debut that positions her as one of Aotearoa’s most compelling emerging voices.
Dani Josie — All of me
Dani Josie continues to build her momentum as one of Te Whanganui a Tara’s most exciting pop-punk voices, following recent releases Colour the Stars and FOREVER. Blending nostalgic early 2000s energy with a modern pop edge, her sound is driven by sharp hooks, emotional honesty, and a strong sense of identity. With growing support across Aotearoa and a reputation for high-energy releases, she is steadily carving out her place in the local scene.
Her new single All of Me reveals a more heartfelt and introspective side, leaning into themes of vulnerability and the search for belonging. The track trades urgency for emotional depth, allowing its lyricism to sit front and centre as it explores connection, identity, and what it means to feel truly seen. It marks a more reflective step forward, adding another layer to Dani Josie’s evolving sound.
Star Time — Stop the War (Arrêter Ce Guerres)
Star Time are riding a wave of momentum in Te Whanganui-a-Tara, bringing their Afrobeat jazz sound to bigger stages and audiences. Off the back of a headline set at CubaDupa and a run of shows including Great Sounds Great Festival and the Wellington Jazz Festival, the band have built a reputation for high-energy, dance-driven performances. Their appearance on RNZ with Jesse Mulligan further showcased that live intensity, capturing the vibrant, groove-led sound that defines the group. With a debut album on the way, Star Time are continuing to expand their reach across Aotearoa.
Their latest single STOP THE WAR arrives as a powerful and deeply personal statement, written by vocalist Francios Judah following his experience fleeing war in his home country. Grounded in a message of unity and humanity, the track channels the band’s signature upbeat energy into something more direct and purposeful. While the song calls for peace, it still carries the rhythm and movement that have become central to the band’s identity.
Te Wehi — I'm Home (ALBUM)
Te Wehi has built a strong connection with audiences across Aotearoa through a sound grounded in real-life stories, cultural pride, and deep whakapapa. With a self-produced approach and no initial intention of chasing fame, he has steadily grown a loyal following, dominating the Aotearoa Music Charts and holding the number one spot throughout 2025. His rise has also translated to the stage, with standout performances at Homegrown and Rhythm & Vines, alongside supporting L.A.B across New Zealand and Australia. It is a trajectory shaped by consistency, humility, and a clear sense of identity.
That momentum now leads into his debut album I’m Home, created in collaboration with producer Kings. The 15-track project reflects the same emotional honesty that has defined his work so far, tying together themes of identity and belonging. Alongside the release, Te Wehi is taking the album on the road with his first headline tour across New Zealand and Australia, marking a major step in his live journey. With a full-length project out in the world and a nationwide run of shows ahead, I’m Home signals the arrival of a new chapter.
Vera Ellen — Heaven Knows What Time (ALBUM)
Vera Ellen returns with a new body of work that builds on her already acclaimed catalogue, following recognition at both the Aotearoa Music Awards and the Taite Music Prize. Written during a two-week residency in Greytown through the NZ Pacific Studio Artist Residency Programme, the project offered space away from touring and performance to focus purely on songwriting. That period of solitude shaped an album grounded in reflection, with Vera setting out to create something more uplifting after the weight of her previous work. The result is a collection that moves fluidly through themes of love, joy, humour, and heartbreak, without settling into easy resolution.
That vision comes into focus on Heaven Knows What Time., a record that leans into both frustration and surrender, capturing the unpredictability of creativity itself. New single Walking In Vegas sits alongside earlier releases Thaw, Gayfever, and When It’s Over, exploring ideas of identity and artifice through the lens of a surreal, blurred reality. Featuring guest vocals from her brother Albert River, the track adds another layer to an album that positions Vera Ellen as a sharp observer of both inner and outer worlds. Released via Flying Nun Records, the project marks a thoughtful and expansive step forward in her artistry.
aysi* — i just wanna fuck*
aysi* returns with i just wanna fuck*, marking a bold and energetic follow-up after his 2025 releases Giuseppe* and Giuseppe Vol. 2*. Originally from Whakatū and now based in Pōneke, the producer has been steadily carving out a space in the local electronic scene with a sound that resists easy categorisation. Known for his unpredictability and genre-blurring approach, each release continues to push his identity further.
With i just wanna fuck*, aysi* leans into high-intensity production, blending breakcore and jungle techno influences drawn from contemporary scenes in New York and Paris. The track carries his signature sample-heavy style while dialling up the energy, offering a chaotic and driving listen that feels built for late-night settings. It also hints at what’s next, with anticipation building around the long-awaited third instalment in the Giuseppe* series.
Borderline — That Girl
Borderline are riding a wave of momentum after returning to Aotearoa from a 14-date run across the United States and Canada, where they continued to build an international following. The Tāmaki Makaurau four-piece have already made their mark with recent singles Terrify, Tainted, and Watching It Burn, alongside nominations for Best Pop Artist and Breakthrough Artist of the Year at the Aotearoa Music Awards. Blending pop, rock, and funk, the band’s chemistry and musicianship have become central to their growing reputation. Still in the early stages of their career, they are quickly positioning themselves as one of the country’s most exciting emerging acts.
That momentum carries into their debut self-titled album, led by the new single That Girl. Leaning into ‘80s-inspired instrumentation, the track showcases live vintage synths and expressive, groove-driven performances, paired with a playful, high-energy music video set in a haunted house. The album brings together a wide range of influences, shaped through home studio sessions before being refined at Roundhead’s Brick Room. With a full-length project on the way and tour dates set to be announced, Borderline are stepping confidently into their next chapter.
Shivers — Ready
Shivers return with Ready, continuing to build on their reputation as one of Te Whanganui a Tara’s most dynamic cross-genre acts. Since forming in 2020, the trio of Adrian Win, Timmy Porter, and Josh Parata have fused soul, R&B, reggae, and electronic influences into a sound grounded in storytelling and community. That approach has seen them gain national traction, with singles like Right of Way and Look at ‘Em Now climbing the Hot 20 Aotearoa Singles Chart, alongside the release of their reo Māori waiata Tahuti.
With Ready, the group step into a new phase, bringing fresh reflections on both personal and social themes while maintaining the rich musicality and emotional depth that defines their work. Drawing on their shared influences and lived experiences, the track continues their thread of creating music that feels both deeply personal and widely relatable, signalling the beginning of another chapter for the band.
emerson — Tell Me What I Want To Hear
Emerson continues to emerge as one of Aotearoa’s most exciting alt-pop voices, building on a breakout run that has already seen multiple releases land on the Hot 20 Aotearoa Singles Chart. A former Rockquest winner, her sound blends honest, personal songwriting with infectious hooks, shaped by years of performance and a growing focus on crafting memorable, melody-driven tracks.
Her latest single Tell Me What I Want to Hear leans into that balance, pairing a catchy, immediate hook with lyrics that explore the tension between truth and comfort. Built around its central refrain, the track captures the push and pull between wanting honesty and holding onto something softer, while a reworked sample from one of her early Instagram posts adds a distinctive, playful edge. Co-written and produced by Kahu S-B, it marks another confident step forward in Emerson’s evolving sound.
Emily Esplin — EAT ME ALIVE
Emily Esplin steps into the spotlight with her debut single EAT ME ALIVE, introducing a bold and uncompromising new voice out of Ōtepoti. Leaning into angsty, vulnerable, and sharply witty lyricism, her sound taps into the spirit of the Dunedin lineage while pushing it into more provocative and unsettling territory. As a fully independent artist, Emily’s arrival feels self-assured, offering a clear sense of identity from the outset.
With EAT ME ALIVE, she embraces campy messiness and raw emotional honesty, crafting a track that is as confrontational as it is intimate. Written, produced, and mixed entirely by Emily, the release showcases her willingness to experiment with sound, space, and sensuality, creating an experience designed to pull listeners in and leave them slightly off balance. It marks a striking first statement from an artist intent on doing things entirely her own way.
MariaClara — 8:30 (Peace of Mind)
MariaClara continues to carve out a calm and reflective space within Aotearoa’s indie-pop scene, bringing her Brazilian roots into a sunlit, acoustic-led sound shaped by bossa nova influences. Her songwriting leans toward introspection, inviting listeners to slow down and reconnect, with a style that feels both gentle and grounded in everyday moments.
Her latest single 8:30 (Peace of Mind) carries that approach forward, offering a soft, thoughtful reminder to step back and avoid pouring from an empty cup. Blending indie-folk textures with reflective lyricism, the track centres on letting go of pressure and choosing stillness over urgency. With a video set to follow, 8:30 (Peace of Mind) continues to build MariaClara’s quietly resonant world.
Ella Pollett — A Name I Knew
Ella Pollett continues her rapid rise as one of Aotearoa’s most exciting pop voices, building on the breakout success of Losing My Mind, which topped the Hot 20 Aotearoa Singles Chart and brought her nationwide attention. Hailing from Napier, the young singer-songwriter has quickly developed a reputation for emotionally driven songwriting and polished pop sensibilities, backed by standout milestones including Smokefree Rockquest wins and major live performances. As part of Lil Sister’s Rising Stars, she is firmly positioned as an artist to watch.
Her latest single A Name I Knew sees her pushing further into a moodier, more atmospheric space, while holding onto the honest storytelling that defines her work. Centred on the feeling of holding onto someone who is slowly becoming a stranger, the track captures that in-between state where memories linger but connection fades. With its mix of vulnerability, nostalgia, and quiet acceptance, A Name I Knew signals an artist continuing to refine her sound and step confidently into her next chapter.
Lace Mine — Wait
Lace Mine continues to build momentum following her debut, with strong streaming numbers and viral attention around her first single Wolf. She has quickly established a presence through emotionally driven releases, including Haunt, which recently landed on the Hot 20 Aotearoa Singles Chart. With a growing audience and a clear sense of direction, her sound leans into atmosphere and vulnerability, setting the tone for her forthcoming EP Body.
Her latest single Wait marks her most stripped-back release yet, trading intensity for stillness and intimacy. Written during a month spent in a cabin on Vancouver Island, the track centres on sparse acoustic textures and subtle ambient layers, allowing her voice to sit front and centre. Exploring the lingering weight of emotional presence, Wait offers a quiet but powerful moment ahead of the EP, capturing an artist leaning confidently into restraint and space.
PARK RD — Burn Away
Auckland indie rockers PARK RD return with Burn Away, marking their first release of 2026 as they continue building toward their highly anticipated second album. The Tāmaki Makaurau indie-rock outfit have been steadily gaining momentum across Aotearoa and Australia, following previous singles English Boy and Antidote, while refining a sound that leans into both energy and emotional depth. Now based in Sydney, the band are entering a new phase, expanding their reach while staying true to their roots.
With Burn Away, PARK RD push their signature sound further forward, led by driving drums and walls of guitar that give the track a sharp, immediate punch. Frontman Tom Chamberlain’s restrained vocal delivery adds contrast, creating a balance between intensity and control. It is a confident step forward, signalling a band sharpening their identity as they move closer to their next full-length release.
Mel Parsons — Grain By Grain
Mel Parsons continues to affirm her place as one of Aotearoa’s most celebrated indie-folk voices, announcing her seventh studio album CASTLE HILL while building on a catalogue that includes award-winning releases like GLASS HEART and the critically acclaimed SABOTAGE. With a career defined by consistent touring and deeply emotive songwriting, Parsons has maintained strong momentum through recent singles such as Don’t Leave The Light On, Caravan, and Be Here Now, further cementing her reputation both locally and internationally.
Her latest single Grain By Grain offers a delicate and reflective preview of what’s to come, leaning into themes of change, acceptance, and quiet resilience. Framed through an ocean metaphor, the track carries a gentle, calming presence, allowing her voice and storytelling to take centre stage. Accompanied by a behind-the-scenes video captured on tour, Grain By Grain signals a more introspective tone for CASTLE HILL, as Parsons continues to evolve her sound with subtlety and emotional depth.
Casual Healing — ONE (EP)
Casual Healing is continuing to shape a thoughtful and deeply rooted body of work, with Pōneke-based artist Nikau Te Huki drawing on Te Taiao to guide his creative direction. Across a four-part EP series inspired by the natural elements, he has explored Ahi, Hau, and Wai through a lens of soulful songwriting and rich musicianship. The project has marked a bold new chapter, earning warm reception from listeners and media across Aotearoa. Grounded in themes of spiritual and human connection, the series reflects a clear sense of purpose in his evolving sound.
He now completes that cycle with ONE, the final EP representing earth and bringing the wider project into full focus. Pronounced awe-ne, the release ties together the elemental journey while continuing his commitment to intentional, expressive artistry. Across the series, each project has been carefully curated to reflect both environment and emotion, with ONE acting as a closing moment that anchors the full body of work. As Casual Healing moves forward, the completion of this series signals a defining step in his artistic growth.
