Gig Review: Delaney Davidson @ Meow, Wellington – 18/07/2026

Tāmaki Makaurau artist Mainard Larkin was an inspired opener to kick off a thoroughly excellent evening with Delaney Davidson and his incendiary band, on a welcome mild, late-July, Saturday night in Te Whanganui-a-Tara. Joined by his Rattlesnake Boy producer Shannon Fowler (AKA Tom Lark), Larkin (AKA the former rapper Randa) connected with Delaney Davidson when they both played Josh Worthington-Church’s Exploding Rainbow Orchestra of Joy in 2023, and how fortunate that was. 

Larkin and Fowler deliver a fun romp through most of the tracks from the recent album. Catchy-as-fleas (and just as likely to get you jiggling) songs like Empty Street and Stand for Something attempt to make way for more ambling tunes like Lost My Smile; but with the duo running on a potent blend of Pepsi/Pepsi Max cocktails, the vibes lean gleefully towards the “super-maxed” end of the scale. 

For anyone who doesn’t know Larkin’s sound, his cover of Big Star’s I’m in Love With a Girl (also from the album) is a good taster. I found myself variously musing on the mid-90’s golden days of Juliana Hatfield, the loping, rap-infused early pop of Eels, and the chart-topping indie vibes of Lisa ‘Stay‘ Loeb. But there’s also a country blues vein running through slide guitar romps like the lyrically lively Gossip, which fits well with the disposition of the legendary headliner we’re here for. 

Delaney Davidson and band arrive on stage to the mournfully transporting tones of Baby Heavyweight‘s intro track The Fall, waving hankies as if on a ship leaving the shore. It is immediately clear; we are about to embark on a kind of Hero’s Journey. Davidson is wearing sparkly blue eyeshadow and a natty green suit, with a red tie; and joined by Heather Webb on guitars, keyboards, and backing/duet vocals. Although they sometimes play as a duo, tonight they are joined by Cass Basil on electric bass and backing vocals; and her Tiny Ruins bandmate Alex Freer on drums. Thoroughly charming multi-instrumentalist Ryan Fisherman plays all sorts of shakers, guitar and keys, as well as providing backing vocals. 

Delaney will invoke the thread of the Baby Heavyweight album’s concept – namely Lucifer reckoning with his fall from Heaven – in conversation with the audience throughout the night. 

Initially following its tracklisting, Everything Is Here immediately brings the gothic Americana, ‘True Detective’ vibes, followed by a surely winged Holy Slave. Jumping forward to Tumbleweed turns up the funk, with Davidson rapping KOMMI’s Te Reo Māori parts from the album. On an album as lyrically rich as Baby Heavyweight, the phrase “whose sugar are you bowlin’ now?” particularly delights me. 

Hello Heartache shimmers. Love is Real is a great showcase for the dual backing vocal of Webb and Basil. A riotous Misericordia really lays down some track, and then proceeds to tie the audience to it – with train harmonicas, vocal distortions, and Basil taking to her bass with a bow. 

Ryan Fisherman has a showcase turn as frontman. He explains how Davidson has grown from mentor to friend, until here they are on stage together (gracious Davidson behind Fisherman, no less). His cover of The Kinks’ Strangers is a real treat. Davidson and Fisherman swap places again, the latter hitting the bongos to dial up the disco beat of Baby Heavyweight. The dancefloor responds accordingly. 

The funk goes dirty glam for Can’t Get You Out of My Head, before changing gear for the heart-tugging Heaven Is Falling (both from the 2024 album Out of My Head). There is some posing of the question of whether one can or even should attempt to please all the people all the time, and the people are duly pleased. 

Webb provides the second “surprise” lead of the night, with one of her own songs, featuring intricate electric guitar picking and delicate vocals, with Davidson providing electric slide. In reversed positions again, some blistering guitar play between the two sets fire to first Deathwish 25, then their cover of Steve Earle’s The Devil’s Right Hand (from the Sad But True (Vol. 3) album with Marlon Williams and friends). The cumulative effect is like being thrown in an incinerator while soaked in gasoline. 

Davidson precedes Broken Wheel musing on the desire to be left alone, then gets a transcendent groove going that shows why everyone wants to party at his place. The band will not be allowed to leave the stage after that, no matter how long they hang in a bow for. 

Calls of: “You’re a bloody treasure!,” and: “Where’s your back catalogue?,” combine with the inexplicable lofting of a freshly purchased Simon the Sign Guy sign reading If I Was a Bird I Know Who I’d Shit On.

Thankfully, the band are charmed enough to stay on and play Little Heart, followed by an absolutely blazing version of the murder ballad First There Was a Demon (both also from Sad But True (Vol. 3)). Davidson ambled into the latter tonight – an intoxicating tale of a casually marauding, down-on-his-luck murderer – as if it was a personal memory. Webb made a whole new miracle out of the original Marlon Williams vocals. Watching the theatre of this song play out suggested nothing short of the death of its narrator, while sirens wailed, and eventually Davidson’s eyes seem to follow his own spirit as it leaves the room. 

Now, that’s what I call giving your all. Devastatingly great.