The glow of summer may be long gone, but the month of May brings with it a welcoming warmth for those in the performance and venue sector. 

It's well-known as New Zealand Music Month, with many prompts for attending new gigs and giving emerging local talent more shine from the collective media spotlight.

But May is also home to a showpiece festival for a sector that makes up nearly a fifth of the country's annual live performance audience tally.

The New Zealand International Comedy Festival has bolted out of the gates, with more than 150 comedians slapping smiles on faces through over 600 performances between now and 25 May across Auckland and Wellington.

Lauren Whitney, Chief Executive of the New Zealand Comedy Trust which runs the event, told The Lowdown “The NZ International Comedy Festival is a launchpad for Aotearoa’s comedic talent - from rising stars to iconic artists like The Naked Samoans and Tape Face. With over 70,000 attendees last year and a $10.66 million economic contribution, the Festival is not only a major cultural event, but a vital contributor to the arts and creative sectors. 

"After 30 years of the New Zealand Comedy Trust championing the art of laughter, we’re proud to continue creating spaces where everyone can share a laugh — and where comedians can build sustainable, thriving careers.” 

While nothing says comedy like a detailed economic impact report...some of those figures are worth repeating - the Comedy Fest brings a $10.66 million boost in gross economic benefit.

For venues, it's also proven a staple in their year-to-year existence. In Auckland, the Festival accounted for 26% of Q Theatre’s annual audience and 27% of its hospitality revenue.
 
Between June 2023 and June 2024, comedy attracted 850,000 attendees - that's a staggering 19.7% of all live performance audiences in the country, outpacing theatre and musicals. 

Yet despite these remarkable stats, comedians and the festival itself are just like everyone else in the arts - on somewhat of a knife's edge.

There's no question that the stocks of New Zealand comedy has soared over the decades - the amount of international success stories should never be under-appreciated. But with the media landscape falling apart in seismic proportions, the number of on-screen, writer and producer gigs on TV shows has faded considerably - not just a place of income, but of raised profile too. That makes the live performance space even more important to our funny folk.

The NZ Comedy Trust has also expressed that it is at risk of losing funding and sponsorships that keep the whole operation afloat - and without their presence and support, a number of jobs, venues and careers would face uncertain times.

With its important role in the broader creative sector outlined, here's wishing plenty of laughs and ticket sales over the coming weeks.

In full swing

Back to the runaway freight train of success that is NZ Music Month - and it's always heartening to see the buy-in for Aotearoa musicians and the sector during this particular month.

As well as the staples that you become accustomed to during this period like the Aotearoa Music Awards, NZ Music T-Shirt Day, the start of Rockquest and a plethora of new music being launched (around 60 singles and over 25 albums or EPs by the NZ Music Commission's reckoning), the level of support for those in the industry can be felt in regional pockets all over the country.

From the latest instalment of the Kaitaia Metal Fest to this weekend's Heretaunga Hastings Music Trail - there's something popping up everywhere for people who can be persuaded to give Kiwi music a little extra love. 

To make it easier to find, NZ Music Commission has launched a new gig guide with the breadth of the motu in mind, a welcome addition alongside the likes of the tried, true and terrific undertheradar.

There's also the usual focus on helping New Zealanders find their next favourite Kiwi artists - this year veteran music journalist Charlotte Ryan curates a playlist of 40 recent NZ releases that should be on your radar.

“Introducing people to new music is one of my greatest passions – so being able to curate such a playlist with the team at NZ On Air and introduce some incredible new talent to audiences is right up my alley.”

One noteworthy initiative launched this year is the OUTPLAY campaign, where New Zealanders are being challenged to show more love to our musicians than they're getting overseas - both a call to arms and an acknowledgement of how well some artists are doing internationally. The goal is for more NZ streams than performers have in cities around the globe where their music goes off - like CHAII in Melbourne, Leisure in London, Earth Tongue in Barcelona and Teeks in Johannesburg.

From a sector point of view, NZMM also gives a great platform to bring music professionals together to educate, upskill and build contacts and community.

Last weekend saw Wānaka host the YAMI Sounz Summit for its tenth year, with two days of workshops and seminars will include artists such as Gin Wigmore, Black Seeds and Fly My Pretties legend Barnaby Weir, award-winning producer Alex Corbett and Daimon Schwalger AKA The Nomad. Both night ended with concerts, the second night seeing participants performing alongside the musos they have been working with.

And come 24 May, the NZMM Summit will over panel discussions and industry insights at Tāmaki Makaurau's Tuning Fork - a one day programme with the combined resources and support of the NZ Music Commision, Music Managers Forum Aotearoa, APRA AMCOS and Recorded Music NZ that will focus on live music performance, promotion and touring.

Among the topics being covered: Touring 101 - everything you need to know the touring landscape in 2025 through the eyes of artists, managers and venue owners, Promoting Your Show - top tips on increasing your reach, Pulling Together The Show - a panel discussion on how to make your gig stand out, Put Your Best Pitch Forward - mastering the art of pitching your music to bookers and promoters.

These events (much as Verity Johnson wrote about the PANNZ Art Market for The Big Idea ) do more than just raise the music industry's collective knowledge - they help build bonds and create communities that can thrive together.

Queens of Country 

The APRA Best Country Music Song awards another another May highlight, with the finalists announced for the annual Gore event highlight on 23 May.

And it's one heavy-hitting trio.

Arguably the country's most prolific Country artist is back in the reckoning, with five-time winner of this award Tami Neilson back in contention for the soon-to-be-released Borrow My Boots (which she wrote and performed with American stars Ashley McBryde, and Shelly Fairchild, featuring Grace Bowers).

She's up against last year's Best Country Song Award winner Holly Arrowsmith, nominated for the title track from the album ‘Blue Dreams’ and 2024 MLT Songwriting Award winner Mel Parsons, a finalist for her tune 5432.

All three of these talented wāhine are also in contention for the Aotearoa Music Awards - against each other in various categories.

Parsons (Sabotage) and Neilson (Neilson Sings Nelson) are both Best Album and Best Album Artwork nominees, while Arrowsmith (Blue Dreams) and Parsons square up in the Best Folk Artist category. 

Neilson is also a Best Country Music Artist finalist at the AMAs - a now almost annual nod to her extreme talent. The former Silver Scroll winner is in for a busy time, as she prepares for her next studio album “Neon Cowgirl” to be released in July before she travels the US supporting icons Willie Nelson and Bob Dylan.  

SOUNZ logic

In more music sector news, Dana Youngman has been announced as the new Co-Chair of SOUNZ Centre for New Zealand Music.

Youngman notes “Having served as a board member, I’m honoured to now take on the role of co-chair at SOUNZ, working alongside the esteemed Robert Wiremu and our exceptional board. 

"I’m excited to continue supporting our composers and musicians, helping their work reach audiences locally and globally, and amplifying the vital role music plays in shaping the stories of Aotearoa.”

Youngman's held some key roles in her extensive career as an award-winning content executive and board director, include as head of Production at TVNZ, Commissioner for both scripted and unscripted content at Sky Television, Strategic Advisor to the Chief Executive at the New Zealand Film Commission and member of the International Emmys.

What's up, Doc?

Just because you can't get too much of a good thing, May also sees the Doc Edge Film Festival launch its programme on Friday (9 May).

Before the reveal, the event's board has revealed some changes, with experienced producer Matthew Metcalfe its new Chair.

Having joined the board in August last year, Metcalfe steps into the position following the departure of Glenn Johnstone, who has served as Chair over the past several years.

Metcalfe states it's an honour to pick up the role. 

“Doc Edge is an essential platform for bold, authentic voices from New Zealand and beyond. As the organisation celebrates its 20th anniversary, I look forward to helping shape its future and supporting its growth as the Asia Pacific centre for documentary.”

The board vacancy left by Johnstone's exit is filled by strategic communications expert Sarah Stuart.

"In our chaotic world, documentary storytelling brings connection, emotional resonance and insights that enlighten and uplift us," Stuart states. "Doc Edge is a world class festival that every Kiwi should have the opportunity to experience. I am so excited to help it on its next stage of growth."

Arts criticality - wanted and needed

One of the most impactful families in the New Zealand arts community is making its mark once again.

Producer Kathryn Graham - daughter of Arts Icon Fred Graham and brother of Arts Laureate Brett Graham - is the mind behind the new arts and culture podcast Tukua, which sees three generations of artists come together to share their respective thoughts on a series of shows and events. The cast is a stellar one - academic, writer, and activist Ngahuia Te Awekotuku, her sculptor sibling Brett, and comedian Kura Turuwhenua. 

Graham told The Lowdown "This has been my first experience making a podcast after nearly 40 years of being involved in the film and television industry. It has been a liberating experience and a steep learning curve. 

"I started working in the arts department at TVNZ on a show called Kaleidoscope but it has been many years since TVNZ has supported an arts show. Tukua was supported by Creative NZ and NZ on Air for the RNZ platform after a piece of research was commissioned that informed them about the lack of arts and culture programming in the wider New Zealand media environment (New Mirrors - Strengthening Arts and Culture Media for Aotearoa New Zealand - detailed here). There were three series commissioned through the Arts and Culture Podcast Co-Fund 2024. 

"I believe that Tukua is important as you have three distinct generations represented, Ngahuia who is a native speaker, Brett a second language learner and Kura a young wahine Māori with a moko kauae.  They represent three very different perspectives, and react to experiences in different ways.

"I got the idea when Dad opened his show at Te Uru last year - two other artists opened the same night, with a Nigel Borrell curated exhibition. One was Shannon Te Ao with some large photos and the other a young queer artist, with these large yellow rubber horse penises around the walls. As I looked around these shows, I wondered if this was what Dad and his cohorts has imagined we would be when they took their art into the galleries.

"I feel very proud of these first few episodes - each of our panelists get to choose two subjects and the production chooses two. Ngahuia chose Te Matatini and I chose Photosynthesizers, 40 years of women behind the lens - at Te Uru gallery in Titirangi.  

"The third episode will be about the two competing art fairs in Auckland, Brett’s first choice, and we are hoping to cover a Matariki celebration -still to be determined.

"The first episode has received mostly positive feedback but anything that inspires critical thinking about the arts in Aotearoa is a good thing. The sector shouldn’t be afraid of informed criticism, we need more criticality in the visual arts particularly."

Artwork at risk

Information is indeed power, and there's a hope that informing New Zealanders about historic Wellington public art works may help save them.

Public Art Heritage Aotearoa New Zealand (PAHANZ) has added a further 38 works from around the capital to its website an online register of New Zealand’s 20th Century Public Art.

Four of those works face an uncertain future and are listed as 'at risk': one in Te Ngākau Civic Square (Rewi Thompson’s Te Aho A Maui (1991)); and three in the Michael Fowler Centre (Gordon Crook’s Banners and Wall Hangings and Jock McEwen et al’s two Pou (1983)).

PAHANZ Co-director, Bronwyn Holloway-Smith states “The uploading of these works in Wellington has proved to be particularly timely given the spotlight on Civic Square and the Michael Fowler Centre with the proposed Te Ngākau redevelopment.

“By documenting, promoting, and seeking protections for Aotearoa New Zealand’s 20th century public art, we are highlighting the value of these creative contributions to public space, and raising awareness about the stories they embody to ensure this important aspect of our culture is accessible to future generations.”

Of the other new additions, works from the likes of Jim Allen, Roy Cowan, Robert Jahnke, Lydone Smith and Robyn Kahukiwa are know catalogued and easier to be found by the public.

Fellow Co-Director Sue Elliott adds “many of these works have been destroyed, covered over, or simply lost. Others remain undocumented and at risk due to a lack of public knowledge of their significance and value.  Our website is New Zealand’s first national register of these cultural treasures; launched with 380 works in mid-2023."

With 424 works now listed on the website, PAHANZ expains it still has much to do, with a further 800 works to be researched that are lost/hidden/destroyed, or whose current status is not confirmed. 

Honour for Hawkins

From historic art to the contemporary scene, Objectspace has bestowed a new honour on one of the country's most dedicated arts supporters.

Interior designer Sonja Hawkins - one half of arts financiers My Art's founding duo with husband Glenn - has been named as Objectspace's inaugural Honorary Patron.

Objectspace Director Kim Paton details “For the last 10 years, Sonja has been a huge part of Objectspace’s growing ambition. Our 2017 architectural refurbishment of 13 Rose Road was made possible with the critical support of her and her husband Glenn. 

"Since then, Sonja has been our enduring and remarkable champion. Undisputably the real deal – she lives and loves all things craft, design and architecture. We are delighted to acknowledge Sonja as Objectspace’s inaugural Honorary Patron.”

The Hawkins has a proven track record as a staunch advocate for the arts - they annual fund one of the $30,000 Arts Laureate Awards for visual art. 

Sonja Hawkins states “I strongly believe in the strength of the aesthetic. So much of the world around us is created by the human hand and mind, that we must champion good design. It is essential to our wellbeing. At its core, this is what Objectspace is all about, and I’m proud to be part of their mission.”

Objectspace has gifted Hawkins a gold butterfly pin made by jeweller Warwick Freeman, as a koha for her enduring support.

Balkans bound

Artist Matthew Galloway's punched his ticket to expand his creative horizons - selected to participate in the 2025 Summer School | Revolutionary Roads. Destination: Comradeship August.

The opportunity comes from the Office for Contemporary Art Aotearoa, with Galloway picked from 70 applicants.  The summer school will give 28 participants from 21 countries a nomadic learning experience, traveling through three cities in the Balkans to explore the legacy of Yugoslav socialism, solidarity work actions, antifascist monuments, and the cultural connections of the Non-Aligned Movement. 

This journey will include lectures, workshops, discussions, and performances, with a special focus on “locally situated knowledge.” 

Galloway reacts “Much of my recent work has centred on resource extraction and power dynamics within industrial systems, with an emphasis on questioning the colonial and capitalist frameworks that shape them. The opportunity to participate in Revolutionary Roads. Destination: Comradeship provides a deeply valuable context for expanding this research. I am excited to see how the themes of this program play out across different locations, and to learn from the participants and facilitators involved.”

Prior to leaving for the Balkans, Galloway will be undertaking the three month Parehuia Artists Residency at McCahon House, in Titirangi.

Anderson's big opportunity

A $10,000 boost for illustrator, designer and writer Kim Anderson - confirmed as the CNZ Deaf and Disabled Artist Fellow for 2025 by Arts Access Aotearoa.

Of Māori and Singaporean Chinese descent, Anderson - the graphic designer for online disability culture magazine The D*List - was selected for the Fellowship from what has been described as 23 "high-calibre applications".

Anderson will now turn her attention to a graphic novel exploring themes of identity, mental health, neurodivergence, and growing up as a mixed-culture kid in Aotearoa.

“As a writer and illustrator, I’ve been itching to explore graphic novels  as a medium for these themes,” Anderson states. “But I’ve never had the time, money or capacity to dedicate to such a large project.

“This is an extremely exciting opportunity for me, only possible through something like this Fellowship. If you know about the Spoon Theory, it’s like having a drawerful of extra spoons dropped into my lap. I am deeply appreciative of the financial and creative support from Arts Access Aotearoa and CNZ.”

Arts Access Aotearoa Executive Director Richard Benge says the Fellowship supports Deaf and disabled artists to take creative risks and develop ambitious work.

“Kim has a wealth of experience and skills to draw on and I’m pleased this Fellowship will buy her the necessary time to focus on her exciting project.”