Festival Review: Great Sounds Great Part 2 @ Cuba Street Precinct, Wellington – 6/09/2025

After a monstrous storm that battered the capital, including uprooted trees and trampolines swept away, Te Whanganui-a-Tara was treated to an unusually sunny day in time for Great Sounds Great festival. This was the festival’s fourth year of offering a loaded and diverse lineup including forty artists across ten venues set up around the Cuba Street precinct.

For the first time in the festival’s history, St. Peter’s Anglican church on Willis was used as a venue and unofficially (but perhaps appropriately) opened the festival with Jazmine Mary. Wearing an amazing and highly reflective catsuit in bright pink, the Australian-born singer and guitarist Jazmine Rose Phillips, treated the growing early crowd to their special blend of experimental ambient-folk which was well suited to the ambient reverb of the building. Playing mostly from their latest offering, The Licking of a Tangerine, Jazmine played a high energy set that at times reminded me of Florence and The Machine.

I headed to Meow to check out another similar artist, Reb Fountain, who has written a song I’ve become just a little obsessed with: Silver Linings. Previously, I had seen Reb perform at Camp A Low Hum and I was interested to see her play in a very different setting (i.e., no trees). The magic, I’m glad to say, was still very much there. Playing songs from her acclaimed album How Love Bends, the singer played a high energy set reminiscent of Kate Bush. Reb Fountain is known for her unique blend of alternative pop-rock, folk with hints of country. Although many songs began or featured moments where she carried the song with her playing, she was supported by her full band of Dave Khan (guitar/keys), Karin Canzek (bass), and Earl Robertson (drums). She played songs that were both catchy and at times nearly eerie. Hits such as He Commands You To Jump Into The Sea felt mystical, while songs such as City, Forever and How Love Bends were serious tunes about heartache and yearning. The set was not without humour, as Hey Mom always brings an air of satire to the proceedings.

Then I was off to San Fran to see Wellington’s favourite pop/rock stars, The Phoenix Foundation. I had seen them in Meow Nui, in December last year, and it was a real treat to see them closer, performing in a smaller venue. Before they played there were multiple instruments set up on stage, including the usual rock instruments, but multiple synths, percussion and even a lapsteel guitar. Singers and band leaders Samuel Flynn Scott and Luke Buda, interacted with the crowd before the set began and between songs. While the crowd was spellbound during songs, they were similarly casual, almost like close friends, calling out and responding to jokes. The six member band played with passion including songs from their classic albums such as Horse Power and Pegasus. They also played more modern songs such as Decision Dollars, a ballad to hangovers from the Friendship album. Likewise, Whistling In The Dark (another recent addition to their setlist) is a cynical tune about the state of the current world, and although it certainly wasn’t all sunshine and smiles, the song is pretty enough to make you absorb the harsh words hidden by the melody. Conrad Wedde also led the band with his vocals on songs he had written and contributed his fair share of friendly banter.

The Bats performed right after The Phoenix Foundation at the same venue with a stripped-down stage. Including all original members from their modest beginnings in early 80’s Christchurch, Robert Scott (lead vocals, rhythm guitar, keyboards), Kaye Woodward (lead guitar, vocals), Paul Kean (bass) and Malcolm Grant (drums), they took the growing crowd through classic tracks. Of course, they played the classic North By North, from Daddy’s Highway, but many newer songs were played from their eighth album, Free All The Monsters. The venue was at full capacity and there was nearly no room to dance, but people tried. At one point, an announcement was made to ask people to make room for those attempting to use the toilets and walk past the throbbing crowd.

Next up, Hans Pucket took the stage. This band has enjoyed a fruitful last few years with the release of the highly acclaimed and critically celebrated album, No Drama, and won several music awards in the process. Their quirky sound is informed by a sixties-tinged, upbeat aesthetic including depressing or confessional lyrics. The band blazed through songs such as Mentor, The Spiral and one of my favourite tunes from their growing repertoire, You Must Chill. Earlier songs such as Eczema were performed to a grateful crowd who seemed to know all the words, ironically singing along to one of the most personal songs they have. The sound was really incredible, but an easy band to set up: the band makes use of three-part harmonies with traditional rock band instruments. Songs such as Straight To My Heart and F*ck My Life were also well received and what room there was available was utilised for bouncy dancing. Twin brothers Oli and Callum Devlin, along with drummer Jono Nott, demonstrated to the audience their special blend of indie rock with hints of musical theatre, groovy disco and pop-tastic melodies that reminded me of The Shins.

Then it was off to Meow to see the rest of the night out with a back-to-back DJ set of DJ Kirsten Stewart and $tacey Lee. DJ Kirsten Stewart (New Zealand born but now Los Angeles based) is an electronic music DJ (and broadcaster) played massive trance beats between ethereal breaks. Samples from meditation soundtracks or indigenous instruments seemed to be utilised between the big beats. Their set was full of high-energy fast-paced jungle and 90’s inspired trance.

$tacey Lee played last to an absolutely massive crowd – it seems like the whole festival convened down at Meow. Her set was full of aggressive hard tech with her Sigil Sound crew. The bass frequencies at times seemed to shake the establishment and $tacey’s set was full of hardcore and raw techno bangers. At some point, my ear protection was dislodged from a nearby reveller enjoying themselves too much, and I made the decision to leave without damaging my hearing, but the party seemed to be a long way from finishing.

I also managed to see some of the set from local band Dropper and Cruelly at The Flying Nun Records store. Although the ‘venue’ was not well suited for an audience, as most people could not see the bands perform on the small stage in the long and narrow location, the sound was well mixed and the bands played with passion through their feedback decorated grunge-tinged songs. Dropper played fast, bouncy songs that stopped and started quickly, while Cruelly relied more on beautiful harmonies (sung or played or both) that contrasted with harsh moments of dissonance.

The staff on the night were incredibly helpful, assisting those in need and always visible in their pink Hi-Viz vests. Everyone was friendly, bar staff, performers and security alike. There was a wonderful vibe throughout the night, the only downside being that it was impossible to see everyone on offer. I’m already looking forward to seeing who they will have next year and if they might include another unusual venue to spread out even further.

Photo Gallery Part 1 – Jayden Bradshaw
Photo Gallery Part 2 – Tim Gruar