Every year, New Zealand’s annual music awards roll around like a particularly glamorous school prizegiving — if your school had sequins, smoke machines, and an open bar.
On cue, the country’s finest musicians descend on the red carpet, bravely pretending they’re not freezing in evening wear designed for a different climate. Interviewers ask deep, searching questions like, “Who are you wearing?” “Are you excited?” and "Growing up, did you ever believe you would be here?" to people who, five minutes earlier, were eating a pie in the Uber.
Inside, the show begins. A host appears, determined to convince us this is the biggest night in New Zealand music, even though we all know half the audience has to be up at 7 am for their day jobs—if they have one. Awards are announced for categories like Best Single, Best Album, and Best Artist Who Hasn’t Moved to Australia Yet.
Inevitably, there will be at least one artist who bemoans the lack of government funding for the arts, conveniently forgetting the unemployment benefit they’re on. Equally inevitably, there will be another artist who bemoans the lack of Māori representation on the awards list, ignoring the fact that 75% of award winners are Māori or purport to be Māori.
Every winner delivers a speech that starts confidently and then slowly dissolves into a panicked list of everyone they’ve ever met. “I’d like to thank my mum, my band, my dog, the barista who believed in me, and the algorithm.”
The performances are a highlight: pyrotechnics, choreography, and at least one act bravely attempting to make a keytar seem cool again. Somewhere in the back row, a veteran musician leans over and whispers, “In my day, we were lucky if the smoke machine worked.”
By the end of the night, everyone agrees it was a triumph for local music, a celebration of creativity, and an excellent excuse to wear sunglasses indoors. And just like that, the industry returns to normal — until next year, when we do it all again, slightly louder and marginally and hopefully more in tune.








