The roll-out of finalists for one of New Zealand music’s biggest nights is underway.

The Silver Scroll Awards is being held at Ōtautahi’s Isaac Theatre Royal on 29 October and it will be a record-equalling occasion for Chris Gendall, one of the four nominees for the SOUNZ Contemporary Award - Aotearoa’s premier composition prize.

Gendall is nominated for the award for a seventh time - a feat previously only achieved by Michael Norris - for Wow Signal, a concerto for trombone and orchestra performed by the New Zealand Symphony Orchestra. Since winning the Contemporary Award in 2008, Gendall has been named a finalist on 6 other occasions (2010, 2011, 2013, 2017, 2019 and now 2025), looking to break his title drought.

He’s not alone as a former finalist backing up in this category - with New York-based Dunedin composer Ihlara McIndoe making her second consecutive finals appearance for of coral and foam, inspired by the poetry of Katherine Mansfield and performed by the Rhythm Method Quartet at Fridman Gallery in NYC. 

Dylan Lardelli is also back after a long time between drinks. The 2006 finalist is in contention for the Contemporary crown with Drift Aspect, commissioned by the Cologne-based Ensemble Musikfabrik, and premiered at Spain’s international festival, Mostra Sonostra Sueca. 

New to the finals list is composer, performer, and artist Flo Wilson from Tāmaki Makaurau - now based in Berlin. Their nominated work In the Stars premiered at The Second Aotearoa International Festival of Secret Sounds at Silo Park, where six of the said silos were transformed into “a kind of giant hybrid organ” which audience members could walk through while listening. 

The shortlist for original music accompanying screen works has also been unveiled, with more familiar names - each of the finalists for the APRA Best Original Music in a Film Award has tasted success at the Scrolls before.

One of the most acclaimed score composers in the country, Claire Cowan - nominated for documentary Jean Cocteau - is a previous winner of the series award and was last a finalist in the film category in 2023, among her many accolades that include concert, film, television, and theatre. 

Composer, producer and guitarist Arli Liberman is another past victor in the film category, winning in 2021 and was a finalist as recently as last year. His partner on the Ka Whawhai Tonu - Struggle Without End project, Tiki Taane, was triumphant in the Maioha category in 2018. 

Liberman told The Lowdown ”I am feeling very grateful to work on projects that allow me to express myself in pretty out there ways! When the project finishes, it’s very hard for me to gauge a true perspective, so being nominated amongst some truly, incredible talents feels very rewarding!

“When I create music for my own albums, the music is the main tool to express my vision as a music maker. For example, when I was collaborating with Rhian Sheehan, for our new album Traces (released 12 September), we attempted to create a montage of sonic worlds that gave us a sensation of past and future, darkness and lightness, all at the same time. We used the music as a vehicle of our own artistic expression.

“When composing for screen I collaborate with the filmmakers to express and serve their vision and their stories. I aim to create a sonic identity for the film so that even without seeing the film visuals, you still receive the resonance and the feeling of the story the filmmakers are telling.” 

Producer, arranger, composer, violinist and collaborator Mahuia Bridgman-Cooper is one of the most versatile artists in Scrolls history - having won the Maioha award in 2013, the  film award in 2016 and been a series finalist in 2023. He is in the running to pull off the rare same-year double of both screen awards, nominated for Plankton: The Movie in the film category and season 2 of The Gone in the series section.

Also getting the nod are 2020 series award-winner David Long and Stephen Gallagher - both were nominated separately for the 2018 film award, with Long winning on that night too. They’ve been made finalists together this time for their mahi on Secrets at Red Rocks.

It’s Luke Di Somma’s first time up as a Scrolls night finalist, but he’s already established himself as an award-winning composer, lyricist, writer, musical director and educator working across musical theatre, opera, and television.  His nom is for passion project Happiness - for which he’s the co-creator, songwriter and Executive Producer.

The finalists for the Maioha Award and the headline act - the coveted Silver Scroll Award - will be announced next week.

Tauranga's impending art eruption

Tauranga’s soaking up its time in the sun as one of the country’s leading creative centres over the next few months.

The Bay of Plenty hotspot is hosting Creative New Zealand’s biennial Nui te Kōrero leadership conference next week, with several arts-inspired stopovers at the Incubator Creative Hub. And one of the city’s future cultural attractions is starting to take shape.

It’s been confirmed that the public re-opening of Toi Tauranga Art Gallery will take place on 15 November, with the doors thrown open for locals and art lovers alike with a free community celebration day.

Gallery Director Sonya Korohina beams “the Gallery’s completion marks a major milestone, a cultural anchor, in Tauranga’s Te Manawataki o Te Papa project – one of the country’s most significant civic precincts currently in development. Our reopening represents a pivotal moment for the city in arts, creativity and storytelling and our opening exhibitions reflect and celebrate this.” 

It’s been a long time coming - the gallery closed two years ago and during that period, the gallery team has juggled the redevelopment with trying to stay involved in the community by creating a pop-up gallery and running children's art workshops.

It’s an eye-watering level of investment. Multi-millions have gone into this project - which has included a reorientation of the gallery including a new entrance, an interior fit-out, upgraded lighting and air-conditioning systems, extensive seismic and structural restrengthening, a new café, retail space of local artist products and an education and creativity centre for families and young people.  

“The gallery’s $9.65 million gallery redevelopment - which was jointly paid by Tauranga Art Gallery Trust and Tauranga City Council - has been an investment in future-proofing an incredibly valuable civic asset for generations to come,” details Trust Chair Rosemary Protheroe.

“The gallery’s purpose is to build lifelong relationships with art for all people…by bringing artistic excellence, profound cultural experiences, arts education and joyful creative escapism to the heart of Tauranga Moana.”  

Korohina has also revealed the nine exhibitions in gallery’s first two-year cycle that will kick off this new era.

“We’ve made key upgrades that expand the Gallery’s capacity to showcase a wider range of art. The Venetta Miles Vault has been transformed into a dedicated space for moving image works.

“We’ve also added a brand-new gallery, ideal for exhibiting object-based works, which will debut with a striking contemporary jewellery exhibition (featuring Aotearoa designers Vanessa Arthur and Moniek Schrijer).

 “It is vital that our work represents the best contemporary and historical art while also being grounded in our place and reflective of our history. “

Tauranga Moana digital artist Kereama Taepa is among those to welcome the visitors back in, premiering his work Whakairo,  described as the most ambitious augmented reality art experiences to be shown in a NZ gallery. 

Taepa enthuses “it feels like an age since we began this journey – I’m so excited to finally share the work with everyone and unleash it into the world. It’s fitting I think – origins and starting points is a theme that runs through the installation – and I’m really grateful to be able to create for this amazing new space. 

“My very first exhibited AR artwork was also here at the Gallery, back in 2012, so it feels like a full circle thing too.” 

Local contemporary artist Maraea Timutimu (who has been the inspiration for the redesign, consulting to the gallery and Warren and Mahoney Architects on the interiors) will add to the opening occasion by creating an outdoor artwork – a durational performance of the movement of earth – which will naturally erode and the layers will fall, crack and disappear during the course of the exhibition. 

Pāpāmoa artists Tania Lewis-Rickard and Tawhai Rickard have collaborated on a series of mixed media installations that blend light, pattern and sculpture for the first series of art boxes ever exhibited inside the gallery.

Local artist, writer and arts administrator Darcy Nicholas’ career retrospective Land of My Ancestors will be presented in Tauranga Moana for the first time, while Dr. Penelope Jackson will curate Old Friends portraits, from the Gallery’s collection by the likes of Mark Braunias, Edward Bullmore, Nigel Brown, Vanessa Reed, Robin White, Venetta Miles, Doreen McNeill and Betty Wishart.

Mother and daughter artist pairing Pusi and Vaimaila Urale will exhibit together for the first time, representing their distinctive creative practices and more than a century of Samoan knowledge. 

Sculptor Tyrone Te Waa will put a joint exhibition with Melbourne-based artist Matthew Harris and Indigeous Australian pop-culture artist Kaylene Whiskey presents Ngura Pukulpa – Happy Place.

Ready, Peggy, go

On a smaller scale both physically and financially, it’s always promising to see local independent galleries believe in themselves and proclaim themselves in the arts world. In a time where many established ones are having their doors forced close, it is a considerably brave act that is worth admiring.

Peggy Robinson - a young gallerist with a decade of experience in the arts - has announced her new contemporary art space, PEG, will open its Cuba Street doors on 1 November. The commercial gallery and artist dealership will focus on new works by early to mid-career artists from Aotearoa, with an emphasis on context, care, and ongoing dialogue.

Robinson told The Lowdown of her ambitions to both encourage critical and creative practices, as well as offer artists meaningful income opportunities.

“I’m hoping to create a space where artists can be ambitious, and where audiences encounter art that is alive, relevant, and uncompromising. Just as importantly, I want the gallery to provide real support that enables artists to keep making their work. 

“It’s a privilege to work alongside artists in this way, helping to foster an environment where their practices can develop and thrive, and where their audiences, communities, and relationships can continue to grow.”  

The gallery’s first exhibition will feature new work by Tāmaki Makaurau-based artist Reece King, the 2025 Frances Hodgkins Fellow titled  Halfway to the split.

Backing artists and backing herself - Robinson’s enterprising attitude is one the sector can always use more of.

Away laughing

Staying with Pōneke, the city’s comedy scene has turned into a diamond mine in recent years, and it’s produced another gem.

The Wellington Raw Comedy Quest finals - the captial’s premiere open mic competition - have seen winners go on to great things. This year’s Billy T Award winner Hoani Hotene won the event in 2022 and last year’s winner Liv Ward was recognised with a Best Newcomer gong at this year’s NZ International Comedy Fest. Other event-winning alums like Janaye Henry, Maria Williams and Gabby Anderson have all gone on to be Billy T nominees. 

That puts 2025 Wellington Raw winner Lydia Sainsbury on an exciting path with the National finals later this year. She was a regional finalist last year too, impressive considering she only took up stand-up two years ago.

A product of Neil Thornton’s NZ Comedy School, Sainsbury told The Lowdown “Winning feels surreal. Both years I’ve been stoked to have made it to the finals. But in the past year, I’ve put a lot of work in to shift my mindset as a performer and this win feels like evidence of that growth. 

“I just feel chuffed to be included in conversation with these performers that I admire. I think having a win under your belt helps with getting a foot in the door, but their successes come from hard work. I’m gonna do what I can to keep up!’

Bigger than ever

It’s all go in the capital - with the finalised line up of the Wellington Jazz Festival (15-19 October) believed to be a record-breaking one.

Festival Co-Director Dolina Wehipeihana confirms that more than 200 performances will take place at over 50 venues across the five days. 

“It’s a testament to the vibrancy and resilience of the jazz community here in Pōneke. This Festival not only connects audiences with international stars but also celebrates our local legends and rising voices.” 

Fellow Co-Director Tama Waipara adds that the line-up ”reflects a jazz scene that is bold, diverse, and alive with energy. From seasoned jazz masters like pianist and composer Jonathan Crayford to the youngest performers in The 1867 Combo, the Festival embraces the full spectrum.”  

Incredibly, about 20% of that programme is being drive by one collection of musicians - long-time festival contributors Capital Blues. 

Capital Blues NZ  President Damian Forlong , a talented trombonist with the likes of The Rodger Fox Big Band  and (perhaps the best named group of the festival) Battleska Galactica , states the collective was “started by musicians, for musicians, in 1996 and has been an incorporated society of volunteers putting on a weekly gig ever since. It is the longest running blues music club in the southern hemisphere. 

“Our current crew range from a retired diplomat, a former UK-based stage manager (for Live Aid), a trombone player, an accountant, singer and arts administrator, and several ardent fans of live music that all come together to present this year's 37 gigs at the Wellington jazz festival.  

“As a musician and sound engineer curating this line up, I have heard every single one of these musicians, including many of the young players from the NZ School of Music jazz program, that are appearing at Capital Blues NZ for the festival.  

“We are also catering to many different tastes. In jazz we have four big bands, soul jazz, New Orleans jazz, bebop, guitar trio, hard bop, swing, and cool jazz. We also have soul, hard driving rock ‘n’ roll, funk, and of course, some blues. 

"The perception of an old-timey incorporated society doing volunteer work in 2025 is a hard sell,” he notes, adding “No other organisation has put on a weekly gig for 29 years - or has 37 shows in the festival.” 

It’s an impressive record, and clearly a breeding ground for the genre that will have many toes tapping come October.

Choice from Joyce

Aotearoa’s young vocalists, musicians and music lovers are getting the chance to pick the brain of one of the world’s leading opera voices.

The New Zealand Symphony Orchestra (NZSO) are bringing Grammy and Olivier Award-winning American opera star Joyce DiDonato to not only perform, but host two masterclasses in November. The mezzo-soprano’s insights are highly sought after, described as an intimate look into artistry and discipline.

“Artists need time and space to develop,” states DiDonato. “Opera lovers can see behind the gloss … to the profound amount of work it takes… These young singers are so brave … and I love that the public can come along for the ride.” 

NZSO Chief Executive Marc Feldman sees this as an extraordinary opportunity, tying in partnerships with the likes ofThe Aotearoa NZ Opera Studio (TANZOS), Dame Malvina Major Foundation, NZ Opera and Circle 100. 

“Her generosity—on stage and in the studio—is legendary. Her work with young singers in her renowned Carnegie Hall programme has inspired countless artists around the world. For the NZSO this is truly an honour, it's more than a teaching moment; it’s a chance to connect, collaborate, and help shape the next generation of operatic talent here in Aotearoa.” 

500 free tickets are being made available for the 27 November masterclass at the Michael Fowler Centre in Wellington, where several TANZOS artists will work one-on-one with DiDonato in an open teaching setting. It will also be livestreamed, opening the door for students, educators, and opera enthusiasts around the world.

The Auckland masterclass on 30 November is being held in a more intimate space of NZ Opera’s Parnell  studio, with a limited number of tickets going on sale next month. 

Circle100’s chair Carmel Walsh states “We are excited to have the opportunity to view her work at close quarters and know that all our singers and the audience will be immensely impacted experiencing such a skilful and delightful proponent of the artform,” while NZ Opera General Director  Brad Cohen highlights “Bringing in world-class expertise like hers enriches our entire opera whānau.” 

Four orchestras, one composer 

A unique joint venture’s set to be a huge career boost for New Zealand born Sāmoan sonic artist Joshua Pearson, after being named the recipient of the $14,000 SOUNZ Tarling Trust Orchestral Commission. 

Joshua’s work Digital Fenua: Fakatili Te Kiloga Fou (Navigating the Changing Environment in Tuvaluan) looks at the very real effects of climate change on Tuvalu as they look towards becoming the world’s first digital nation, including everyday challenges like rising sea levels, coastal erosion, drinking water shortages, and extreme weather patterns. 

"I’m still in complete awe from when I first heard the news,” Pearson responds. “This opportunity means so much to me as an early-career Moana Pacific composer, it not only allows me to gain invaluable experience, but also helps me create networks, develop new skills, and to build my confidence as a creative.

“In my proposal for the orchestral commission, I’ve been really drawn to exploring the important issues in the Pacific, especially the atoll islands of Tuvalu,” he continues. ”I’ll be looking forward to bringing these ideas to life through my music as a way to amplify the voices of Tuvalu and raising awareness of their struggle."

Pearson’s work will be premiered across four different cities across 2026/27 including at the Auckland Philharmonia, Orchestra Wellington, Christchurch Symphony Orchestra and Dunedin Symphony Orchestra - the first collaboration between this quartet. A representative from each orchestra were part of the panel to whittle down the 42 applications from early-career and emerging composers to the winning entry.   

Legacy lives on

Still reeling from the loss of their founder and leading arts philanthropist, keeping the legacy of their namesake alive is of huge importance to the Michael Hill International Violin Competition. 

It’s been confirmed the Hill Family Foundation for Arts and Music will continue to back the event, that will return 30 May - 6 June 2026, with entries open until 20 November.

Executive Director, Anne Rodda admits this year’s event “will be particularly poignant”, after Hill’s passing. “We will certainly miss seeing him in the front row of every performance, but will be taking the opportunity to honour him and his vision.”

It will be the 25th anniversary of the late Sir Michael’s brainchild, with 16 of the leading 18-26-year-old violinists from across the world descending upon Queenstown (and then Auckland for the semis and final) for the triennial event.

On the line for the winner - $40,000 (of a total prize pool of $100,000) a recording contract with the Atoll label and a multi-centre Winner’s Tour with Chamber Music New Zealand.

“The ‘Michael Hill’ has been a platform for some of the world’s most successful contemporary soloists, teachers, concertmasters and ensemble players in the world,” Rodda details. 

“The Competition takes very seriously the responsibility of setting the world’s best violinists on their career paths. As such, judges consider all aspects of the competitor's presentation - technique, musical knowledge and maturity, as well as their audience engagement, and communication skills.”

The selection panel initially hears only applicant recordings to remove any bias from the selection process, before including video analysis for the third and final round.

Little Barking Dog silenced

A pat on the back and punch to the gut for the Little Dog Barking Theatre Company this week.

News that its founder the late Peter Wilson has been named a Member of Honour of The Union Internationale de la Marionette (UNIMA) - the oldest international theatre organisation in the world - should be cause for popping champagne corks.

But it’s couched with the heartbreaking announcement the company is drawing the curtain for the last time.

Jacqueline Coats, who co-directed several works with Wilson, took up the artistic reins of Little Dog Barking following his death in 2021, notes  “COVID 19 hit the company hard. Audience demand and income has been slow to recover. With pressure on arts funding locally and nationally and faced with ever-increasing costs, our Board has made the very tough call to close.” 

But that doesn’t diminish the pride Coats and the team feel for seeing Wilson receive such a prestigious honour to sit  alongside the most respected figures in puppetry history, acknowledging his more than fifty years as a puppeteer and co-founder of four theatre companies, including Capital E National Theatre for Children and Little Dog Barking in 2010.

“I’m thrilled Peter’s work is being recognised on a global scale. It’s wonderful news and the company is immensely proud of everything we have achieved over the past 14 years, presenting quality theatre for up to approximately a quarter of a million children, and their families. Peter was an extraordinarily talented and generous person.” 

Little Dog Barking brought creativity to children and families of Aotearoa, Australia, United Kingdom, China, Korea and Japan through international and regional festivals, and extensive schools touring. 

It was all built around Wilson’s ethos that children deserve only the very best that the arts can offer. Given the Loss of Capital E and the Tim Bray Theatre Company in recent times - that’s proving more challenging.

But Coats is optimistic.

“As the light that Little Dog Barking shone now dims other creative fires will be lit. We look forward to a brighter future, where children’s theatre builds on Peter’s legacy of wonderful joy, and can flourish, both here in Aotearoa and around the world.” 

Next generation's arts head-start

Getting the chance to have your work shown in an institution like the Auckland Art Gallery (AAG) can be a crowning career achievement for many.

For others, it is hopefully just the beginning.

AAG has just finished showcasing student art from across 28 secondary schools with the Pat Hanly Creativity Awards exhibition. It’s been running since 2002, but in the last couple of years, it’s been ramped up considerably.

Previously schools across Tāmaki Makaurau would nominate a couple students who have displayed outstanding creativity in the visual arts to receive an award. Now schools will sign up an entire classes or classes to participate in the gallery education project. 

Since April, over 1000 students were involved in artist-led workshops and visits to the gallery to gather inspiration for an artwork which they create in response to this year’s theme is Ko Wai Au? Who Am I?

The gallery staff then chose 33 works to put on display, with some promising splashes of creativity. Just as promisingly, it gives these rangatahi encouragement to continue on the artistic path.

A teacher remarked “Some (students) have never walked into a gallery before - it just opens their worldview on what they can produce and who they can be.”

As one student noted, “Seeing other peoples artworks has inspired me for my art moving forward and being chosen to have my art displayed for this event has given me more confidence in my art.” Another added how uplifting it was to be “listened to and valued in regards to my art.”

Sing when you're winning

The creative and cultural sectors has had some exceptional wins at the New Zealand Event Association (NZEA) Awards at Hamitlton’s Claudelands Events Centre.

Last year’s exceptional World Choir Games, hosted in Tāmaki Makaurau by the NZ Choral Federation, was crowned both the Major or Mega Event of the Year and New Zealand’s Favourite Event.

WCG 2024 Executive Director and all-round arts sector champion Kylie Sealy was there, noting on social media “It’s brilliant to see arts, culture and creativity being recognised at a major events level... a reflection of the power and potential they have at scale.

“These awards are an acknowledgment of the incredible team who made the Games possible, along with the Choir 2024 and NZCF Boards, and all our remarkable partners who stood alongside us every step of the way. Together we created an event that was not only highly successful, but also truly joyful.

“Hosting the Games in Aotearoa gave us the chance to share our music with the world and this feels like the perfect way to close an extraordinary five-year journey!”

The event’s legacy will be felt for years to come - as this inspiring video story on one of the Aotearoa participants illustrates.

There was more for the sector to take pride in from the awards, with – Aronui Arts Festival’s Matariki Drone Show declared the Arts, Cultural or Heritage Event of the Year, the SYNTHONY Festival proclaimed Music Event of the Year and Ashburton’s Glow in the Park winning the Local Government Event category.

There was a gong for Christchurch’s Isaac Theatre Royal, winning Venue of the Year - but not for its usual theatrical fare - rather its role in hosting the 2025 NZ Squash Open.

Believe in Karma 

New Zealand artist Karma Barnes is set for a busy end to 2025 - after being selected for a pair of major international exhibitions.

She'll be flying the NZ flag at the Larnaca Biennale in Cyprus (15 October–28 November) - which features 117 works from 43 countries - and the Arte Laguna Prize’s 20th Edition in Shanghai (1 November–15 December).

Interdisciplinary artist Barnes - who tackles installation, sculpture, painting, and participatory projects - is getting further global recognition for her evolving installation CO–Lapses, which will be presented at both of events.

The work was shown at last year's Arte Laguna Prize in Venice, where it was a finalist, exploring climate adaptation and ecological interdependence through suspended vessels that gradually release pigmented sands, creating durational landscapes of erosion, accretion, and renewal.

Barnes told The Lowdown "I’m excited to be presenting at my first biennale, and representing Aotearoa New Zealand is a significant milestone in my practice. Having CO-Lapses selected for both Larnaca Biennale and the Arte Laguna Prize in Shanghai at the same time is pushing and expanding my skills immensely. 

"I’m developing a new large-scale iteration of the work for Shanghai while working closely with the curatorial teams in both contexts. The logistics, from adapting the installation to two very different sites to sourcing local sands and oxides, are complex but also one of the most rewarding aspects of the process so far." 

Changes at The Big Idea

It didn't sit right to put this news above any of the artists that The Lowdown is here to promote - but after five and a half years of leading The Big Idea's content, this is my last Lowdown and final week with the organisation.

I've privileged to bring my passion for storytelling, experience in journalism and desire to share the stories that makes the creative community so special to The Big Idea audience over this time.

Starting a matter of weeks before the pandemic, we quickly shifted TBI's focus to standing up for the sector, addressing the areas that impact livelihoods and championing those who were prepared to put their head above the parapet. While the impact of those days continue to hamper the arts, the collaboration - the sense of community - that was built from it will hopefully last even longer.

Stepping in to run The Lowdown in the big shoes of Mark Amery (a wonderful arts writer) four years ago has been a little challenging, slightly daunting but vastly rewarding, knowing how important it is for those within the creative sector  be celebrated, have the issues that matter to them covered and help everyone see beyond their own mediums - to feel connected.  

To everyone who has trusted me to tell your stories, had faith to speak about the key issues, to all the organisations that fronted when the arts spoke, to the talented writers and colleagues I've had the pleasure to work with - thank you.

I'll be staying connected to the sector and I'm sure our paths will cross again - don't be a stranger.

It's time for the next editorial direction at The Big Idea and with The Lowdown - I wish the team all the best.

Ngā mihi nui

-Sam Ackerman