MNZ Interview: Iva Lamkum

It has been a long time since I last caught up with neo-soul singer Iva Lamkum – at least 10 years. So, it was a real pleasure to reconnect and kōrero about return to music, the upcoming Pacific Music Awards, motherhood, moving to Aussie and approaching life in her 40’s. As it happened, it was also a big milestone for her. “I don’t even remember until I get those emails I’ve subscribed to from different websites,” she laughs. “It’s like, oh my gosh, it’s my birthday today.”

The reason for the call, however, was Lamkum’s return to the spotlight. The 2026 Pacific Music Awards mark both recognition and re-entry for the Pōneke-raised, Melbourne-based singer, whose single Don’t Mind If I Do has earned three major nominations: Auckland Council Best Pacific Female Artist, APRA Best Pacific Song, and NZ On Air Best Pacific Music Video. The video, directed by David Truasheim, extends the song’s celebration of movement, personality, freedom and self-possession.

There is also a fourth connection through producer Josh Fountain, whose work on the track places him among the producer finalists. “Yes, yes,” Lamkum says, still sounding faintly surprised by the scale of it. “I think, also my producer on the track as well. So that’s, like, four nominations, so that’s pretty exciting.”

Don’t Mind If I Do is the kind of song that dances into the room without asking permission. Bright, funky and confident, it is built around Lamkum’s unmistakable smoky vox. Released in 2025, the track was produced by Josh Fountain and co-written by Lamkum with James Newman and Diaz Grimm, who also features on the song. Publicly, it has been described as a celebration of freedom, self-expression and “owning your presence”; Lamkum’s own memory of making it is even more immediate.

“Basically, James said to me, what are you feeling right now?” she recalls. “I said, I just want something funky. I just want something upbeat. I want some vibes, partying vibes.” The song began not in a conventional album campaign, but inside APRA AMCOS SongHubs Aotearoa, the collaborative songwriting retreat designed to bring New Zealand writers together with local and international songwriters and producers. Lamkum places the session somewhere between 2015 and 2017. “We were kind of put together in a room with different collaborations, different artists for different songs, and producers as well were involved.”

The song was written during APRA AMCOS SongHubs Aotearoa, the collaborative songwriting initiative that brings New Zealand artists together with local and international songwriters and producers. Lamkum places the session between 2015 and 2017. “We were kind of put together in a room with different collaborations, different artists for different songs, and producers as well were involved,” she says. “We basically just went in, nothing. There was no demo or anything like that. It was pretty much written from scratch.”

At first, she says, the process was intimidating. “It was kind of cool, but also scary as well, because it’s like, okay, these guys have done this for a long time. So, what have I got to offer for this track?” But the room opened quickly. “Everyone was just so comfortable, and everyone was open-minded. We just came in and laid all the ideas on the table.” Within half a day, the song had taken shape. “It was pretty much written from scratch, and we wrote it in half a day.”

Motherhood, however, changed the pace of everything. “My son’s four years old now,” Lamkum says. “It’s been a beautiful journey. You trust the process. I’ve always wanted to go back to music, and I’ve always had that drive, but after being a mother, it changes everything.” For her, that change was not a loss of ambition so much as a deeper recalibration: “It changes your perspective on things, especially things that you thought were real or you thought were your purpose.”

Her family is now at the centre of the decision-making. “Don’t get me wrong, I love music,” she says. “I love to do music here and there, but I think my main focus is prioritising my family, my young family.” That can make touring and promotion complicated. “When we released a song, a lot of people spoke with my agent and they were like, are you keen to tour? And I was like, ooh. Do I want to take myself away from my family?”

The absence of a close support network makes those choices sharper. “There’s no balance, especially when you don’t have the village to support you in terms of family, but also that time to have that creative space,” she says. Her mother is still in Pōneke, while her siblings are scattered through Australia. “In terms of close by, no, it’s just our young family. Mum comes over when she can.” Late night remains her best creative window. “I’m a gargoyle,” she jokes – the hour when the creative monster comes out.

Wellington remains the emotional anchor. “My home base was Wellington for the duration of my music career,” she says. “I was in and out of the country a lot, but I’ve always stayed with my mum in Wellington.” But the need to move was real. “Every time I took a break from music, from touring, writing, collaborating, I kind of felt stuck. It almost felt like I was a big fish in a small pond.”

America was the first dream. “My plan was to dream big, and that was just to go to the States,” she says. “Obviously, that’s everyone’s dream when you’re a musician. But there was always something blocking that opportunity.” The practicalities wore her down: “It was the whole visa situation, entertainment visas, and I just never quite made it over there in terms of basing myself there.”

Melbourne became the easier doorway into something new. “I ended up choosing it because that was the easy route,” she says. “That was a plan to keep writing music here. Then I met my partner from Ireland, and then we had a son. Then it’s kind of just paused everything.” Her partner is from Derry, in Northern Ireland, another long-distance family connection that adds to the sense of making a home between places.

Now in her 40’s, Lamkum sounds less interested in proving herself than in enjoying the craft again. “Now that I’m in my 40’s, I just realised that I know who I am now,” she says. “I know that music is music. People are going to love it regardless.” The industry has changed around her but so has her relationship to it. “I didn’t have to overthink everything,” she reflects. “I’m happy where I am with the music that I’m producing at the moment – definitely transitioning to more fun and enjoying music.”

The Pacific Music Awards recognition has landed as encouragement rather than pressure. “It’s nice to be recognised for your creation,” she says. “It’s always a blessing when people recognise that. It’s been a while that I have come out with anything, and just to be recognised for that, it’s a great experience.” As for what comes next, Lamkum is open but realistic. “I love being this age, going through my 40’s now, and I’m enjoying it,” she says. “I’m calmer and more at peace, and hopefully I will be inspired again to write music.” The challenge is keeping momentum while keeping life intact: “You’ve got to keep being creative, you’ve got to keep evolving, you’ve got to keep up with the industry. And it’s exhausting sometimes.” Still, it is all part of the same long, unfolding story. And part of that story are the 4 nominations at the upcoming Pacific Music Awards. Not a bad birthday present, I reckon.

The 2026 Pacific Music Awards take place on Wednesday 12 August 2026 at the Due Drop Events Centre, Manukau, Auckland, with main doors opening at 6pm, arena doors at 6.30pm, and the awards night running from 7pm to 10.30pm.

Online viewing details are expected to be available through the official Pacific Music Awards website: https://www.pacificmusicawards.org.nz