Synthony
10th February 2024
The Domain, Auckland, New Zealand.
Review by Sarah Kidd. Photography by RadLab.
An estimated thirty-five thousand people packed into the Auckland Domain yesterday for what was Synthony No.5, and though it didn’t seem possible, the event was even bigger and better than last year.
A superbly well organised event saw punters enter with ease and be greeted by a plethora of options to begin their afternoon; with fifty-one food trucks, bars and amusements and of course more musical choices then you could shake a giant glow stick at.
For those that wanted to start their afternoon off with their dancing shoes on, both the main and Pioneer DJ stages offered some of the best DJ’s Aotearoa has to offer, both Dick Johnson and Ruby Lee kicking the day off in style. If dancing in your own world was more your thing, there was even a silent disco thanks to ZM.
First of the live acts on main kicked off with the triple-threat Prins who with a background of acting, dancing and modelling can now add artist to her CV, as she proved that she certainly knows how to work a crowd with her unique brand of electro-pop.
American-Australian singer John Butler, well known as the front man for the John Butler Trio, took to the stage as the sun was at it’s highest, Tāmaki Makaurau turning on a beautiful afternoon to accompany some of the best guitar playing of the day. Combined with his messages of hope and a tongue in cheek dig about flat earthers, Butler floored those in attendance with superb banjo playing, a heart wrenching version of ‘Wade in the Water’ and a Celtic instrumental that stopped people in their tracks as they watched on in wonderment.
Unsurprisingly, fans immediately started running to the left-hand side of the stage as kiwi legend and gentleman Tiki Taane began to perform his one-man band set. Armed with a guitar, drum pads, looping pedals and even a melodica, Tiki explained that each track would take a few minutes to set up. But in the hands of Tiki even the set up is a sight to behold!
Aotearoa classic ‘Summer Time’ immediately had the audience grooving, Tiki freeestylin in shout outs to fellow artists of the day such as Jess B and Fat Freddys before moving into the classic ‘Push on Thru’ for all the Salmonella Dub fans; the fact that he recreated this sumptuous track live as a singular artist was an absolute joy to behold. Finishing with what he referred to as “this old kumara”, ‘Always on my Mind’ had the crowd instinctively singing along in all the right places much to the joy of Taane.
Since forming in 1999, Fat Freddy’s Drop have become an international household name, so to have them back on home turf for what is now one of the country’s biggest festivals was an honour in itself. From the second the seven members arrived to the moment they left, Freddy’s brought their all with a brand of music so unequivocally good that Synthony could have almost ended the day there.
Kicking off with ‘Slings and Arrows’, it was evident that Freddy’s were in fine form, vocalist Dallas Tamaira’s smooth vocals encasing the audience in a velvet shawl. The sassiness of the horn section was evident and a huge part of what makes Fat Freddys Drop so iconic, their sound quite like any other as they meld together elements of jazz, funk, soul infused psychedelia and of course urban drenched reggae.
‘Blackbird’ from the seminal album of the same name saw Ned Ngatae aka ManRaro throw down a jazz infused trombone solo that would have had J.J Johnson nodding his head in reverence, his dance moves in his ensemble of white complete with sweat band hard to tear your eyes from. MC Slave soon took the forefront for ‘Special Edition’ the set upping the tempo and getting the crowd into full afternoon party mode. ‘Mother Mother’ continued the vibe, the green fields of the domain now an undulating sea of bodies moving in time to the beat. By the end of their set, ManRaro was down to shorts and a singlet and was moving through the crowd dancing with whoever was up for it, ‘Shiverman’ the perfect song to shake your body to, before returning to stage for a Tuba solo that had fans on their knees.
If anyone needed proof of why Fat Freddy’s Drop are hailed as one of the world’s best live acts, yesterday was it.
As the incredible production team scurried about setting up for the next act, Jaime Porteous, synonymous with names such as Ladyhawke, Bryan Ferry and Duran Duran delivered a DJ set heavy on the stylings of Groove Armada to keep the crowd moving.
To say that the domain was heaving by the time UK legends Rudimental arrived was an understatement, the cheers of anticipation and approval welcoming the group to the stage like a red carpet. Having formed in 2009, Rudimental have a long history of being a tour de force of the live scene, and they showed their Synthony audience exactly why they have earned that title.
‘Give You Up’ began proceedings, the eight-piece act only growing in intensity as they moved through their just over an hour long set of unadulterated soundscapes. ‘Not Giving In’ saw attendees jumping while belting out the words, DJ Locksmith hyping the crowd as the wonderful baritones of Piers Agget on keyboards underscored the sublime vocals of Chenai, who slayed in a bright red ensemble complete with full length matching gloves. Chenai was instrumental last night in making Rudimentals live set absolute fire and if you get the opportunity to see her perform live it is something you should grab with both hands.
‘Dancing is Healing’ which speaks of how “love is the answer” saw Auckland come together as one, and herein lies the beauty of Synthony. Once a show that attracted an older demographic, the domain was filled with varying ages, all of whom danced and sang as one, everyday problems forgotten for one magical afternoon.
Ella Henderson’s ‘Alibi’ featuring the iconic Coolio’s ‘Gangsta’s Paradise’ melody was done absolute justice by Chenai who sang with such tenacity that it was hard to focus on any other member. That was until Afronaut Zu laid down vocals for a version of Ed Sheeran’s ‘Bloodstream’ that blew the domain apart, his ferocious presence that saw him high kick the air and cover metres in seconds unmissable. An artist in his own right, check out his EP ‘Melanalia’.
Covers of Natalie Imbruglia’s ‘Torn’ and of course the classic ‘These Days’ kept energy levels on high; Rag’n’Bone Man’s ‘Human’ also being delivered with a reverence that spoke to one’s very soul. Slowly but surely the tempo increased, old school Prodigy fans visibly getting excited as they recognised ‘Out of Space’. “Where are our old school ravers?” DJ Locksmith enquired, cheers emanating from across the fields as Rudimental gifted them their own version of the track that was bona fide magic.
Unsurprisingly ‘Feel the Love’ undoubtedly one of Rudimental’s most well well-known tracks set the venue on fire; DJ Locksmith’s enquiry as to whether or not the crowd wanted one more answered by thousands of voices screaming “Yes” simultaneously. ‘Waiting All Night’ a pinnacle track in Rudimentals career was the perfect way to end a superlative set. Synthony should consider it an absolute crown jewel in their glittering crown of artists that they have brought to Tāmaki Makaurau.
The hour where the Auckland Philharmonia Orchestra would take the stage was soon upon us, but not before Fleetmac Wood, an amazing project curated by DJ’s Roxanne Roll and Alex Oxley ushered in the night with their unique mix of Fleetwood Mac songs.
‘Tusk’ and ‘The Chain’ were complimented by outstanding visuals, a tribute to the late, great Christine McVie ushered in with ‘Everywhere’. New Zealand’s own ‘I Got You’ by Split Enz even making its way into the mix as a nod to Neil Finn who of course joined the ranks of Fleetwood Mac back in 2018.
Created back in 2012, and now touring internationally, Fleetmac Wood are essential viewing and a wonderfully playful addition to the Synthony family.
Darkness had now rolled in as thousands held their breath in anticipation of what was about to befall them. With promises of new tracks, everyone was chomping at the bit to see what Synthony would deliver.
As the main theme from 2001: A Space Odyssey (‘Also Sprach Zarathustra’) brought the stage to life, the crowd went wild, our MC for the night, the incomparable P Diggs of Shapeshifter welcoming everyone in only a way he can before introducing conductor extraordinaire Sarah-Grace Williams.
There is a power to live orchestral music that just cannot be described, the melding of dozens of instruments, evoking something deep within one’s spirit and elevating it to a higher plain of consciousness. The creation of Synthony has not only introduced new generations to the wonders of a live orchestra, but it has also taken instantly recognisable songs and transformed them into completely different beasts.
Ushering in several new elements both the Sky Tower, visible from the venue and the Harbour Bridge were illuminated to compliment the music, a trio of drummers lining the front as pyrotechnics ushered in the heavenly tones of Nate Dousand to sing ‘Summer’ by Calvin Harris. From here it was only overwhelmingly good vibes as tracks such as ‘Destination Unknown’ (aka Destination Calabria), ‘World Hold On’ featuring Jenny B and Sam Allen on vocals respectively rained down upon the audience in quick succession ensuring that feet and bodies continuously were kept moving.
The late, great Avicii’s ‘Wake Me Up’ was done justice by John Butler, thousands of stars illuminating the giant screens behind him, the addition of the Synthony choir, again a new element for 2024 creating another incredible layer of sonic ecstasy.
Classics such as The Potbelleez ‘Don’t Hold Back’ intertwined with Kings of Leon’s “Sex on Fire’, the production team going all out as pyrotechnics and fireworks wowed the fans, insanely intense graphics and close-ups of the phenomenal orchestra members playing across all three screens. This was without a doubt a world class event that should make Aotearoa proud.
Pink Floyds ‘Another Brick in the Wall’ went back-to-back with ‘The Rhythm of the Night’ a 90’s dance classic sung by none other than Jenny B herself, the original vocalist of Corona who now calls herself a kiwi. Dressed in a stunning black gown she was accompanied by saxophonist extraordinaire Lewis McCallum – a legend in his own right. Prins returned to deliver ‘I’m Blue’, while our very own Tali proved why she is the supreme queen of the drum and bass scene, dressed in a shimmering gold playsuit from none other than Brooke Tyson of RITUAL.
It would be hard to top Tiki Taane’s trio of Prodigy songs from last year’s Synthony, and to be fair if he had performed it again, not a single soul would have complained. But Tiki always loves to deliver something new and exciting. and he did just that last night as he appeared in a tracksuit hand graffitied in neon colours featuring a green alien on the back. A goliath of an artist, he made collective jaws drop with a version of Chemical Brothers ‘Galvanize’ that would give Q-Tip a run for his money.
Of course, the staples that saw the APO shine such as their version of Robert Miles ‘Children’ shone, Nate Dousand soon returning to sing the opening lines of Queen’s ‘Bohemian Rhapsody’ as the orchestra incredibly transformed it into a DnB breakdown that was in some ways incomprehensible at how good it truly was.
Two hours flew by in a heartbeat, a pang of disappointment throbbing as fans knew the end was in sight. But Synthony wasn’t quite done with us yet, as Cherie Mathieson sang an uplifting version of Florence and The Machine’s ‘You’ve Got the Love”; and of course, what would be Synthony without Darude’s ‘Sandstorm’, which was delivered with aplomb and a giant fiery phoenix winging its way towards the audience on visuals.
But this is New Zealand, and that calls for a Kiwi classic, the night ending with Peter Urlich accompanied by Ethan Jupe on guitar and a rendition of ‘Bliss’ by Th’ Dudes to end all others, thousands of voices joining the chorus with unbridled glee.
Just when you thought Synthony could not get any better… 2025’s version cannot come fast enough!
Were you there at the Auckland Domain for this high energy crossover dance festival? Or have you seen Synthony somewhere else before? Tell us about it in the comments below!
Note: Ambient Light was provided passes to review this festival. As always, this has not influenced the review in any way and the opinions expressed are those of Ambient Light’s only. This post contains an affiliate link. If you purchase a product using an affiliate link, Ambient Light will automatically receive a small commission at no cost to you.
If you enjoyed this content, please consider donating towards the running of Ambient Light, covering expenses and allowing us to expand the coverage you love by visiting our PressPatron page.