Album Review: Amplify Aotearoa: Take It To The Bridge

Part One, the album you hold in your hand.

Take It To The Bridge is much more than a collection of classic Kiwi songs on vinyl. Built through the Amplify Aotearoa programme, the project brings together school bands and young musicians from across the Waikato and Coromandel alongside some of Aotearoa’s most respected artists, teachers, producers and engineers. Rather than simply covering well-known songs, the students become part of the entire process, learning what goes into arranging, recording and performing music at a professional level. The result is a double LP that connects generations of New Zealand music, with established artists sharing both songs and experience while a new generation adds its own voice to the recordings. While the wider project is about education and opportunity, the album itself stands on its own as a celebration of the songs, musicians and musical history that continue to shape Aotearoa. Where Kiwi music history meets tomorrow’s talent.

Some records are easy to review track-by-track. Take It To The Bridge feels bigger than that. Spread across four sides of vinyl, the collection brings together legendary Kiwi musicians and a new generation of performers, revisiting songs that have helped shape the soundtrack of Aotearoa over the last five decades.

What makes this record work is that it never feels like a tribute album trying to copy the originals note for note. The familiar melodies, lyrics and arrangements are all there, but almost every song finds a small way to make itself relevant again. Sometimes it is a fresh voice stepping into a well-known role. Sometimes it is a choir of students adding extra depth. Other times it is simply the warmth of modern recording techniques bringing new life to songs many of us have known for years.

The album constantly moves between studio recordings and live performances, giving it a unique character. The studio tracks often sound cleaner and fuller than their original counterparts, while the live recordings carry the energy of the theatre, complete with applause, room ambience and the feeling that something special is happening in real time. Rather than feeling disconnected, these different recording styles complement each other and help tell the story of the project.

For long-time music fans, there is plenty to enjoy in hearing artists such as Don McGlashan, Jordan Luck, Hollie Smith, Nathan King and others revisit material that helped define New Zealand music. For younger listeners, the record introduces songs that may have been released long before they were born. The result is a collection that celebrates the past without being trapped by nostalgia.

Most importantly, Take It To The Bridge succeeds because it stays focused on the music. The performances are genuine, the arrangements are respectful, and the recordings capture both the experience of learning these songs and the enjoyment of playing them. Whether you are discovering these tracks for the first time or returning to old favourites, this double LP offers a reminder of just how rich Aotearoa’s musical catalogue really is.

Projects like this do not happen by accident. Following the success of Mental Notes in 2025, Lachie Holt has once again brought together artists, schools and communities to create something that celebrates both the legacy and the future of Aotearoa music.

Part Two, track-by-track, the album your ears get to listen to.

Don McGlashan took the time to dive into the studio with Albert Street for a revisit of the second most played song of The Mutton Birds self-titled album. A true “pass on the flame” as The Mutton Birds used this song to rise to fame in 1992 as they themselves picked it up from the legendary band The Fourmyula. From 1969 to 1992 to a 2002 ‘best of’ album titled Flock: The Best of The Mutton Birds, to now, played with a rising new band of keen Waikato youngsters. Clean sounds on this opening track, a tad slower than the original leaving room for a still perfect voice of Don and some extra notes from the lads on guitar, bass and drum. The opening track also has a must-see video released on YouTube.

What stands out is how clean the recording sounds. The original always had that pub-singalong energy, but this version feels a little more controlled in the studio. Albert Street don’t try to reinvent it, instead adding enough of their own style to make it fit naturally alongside Don.

Jason Kerrison takes the next track from his project The Babysitters Circus and brings his normal 4-piece band to the size of a school. Hamilton East School and some members of Albert Street again turning the song into a fun singalong. The part of the project shines as you hear the kids shine in a choir-style and start to fill in the solo rap sections while Jason brings it all together. His voice in the background and his effortless guitar keep the song honest and very real.

Jason keeps it going with the Platinum selling song of OpShop, One Day. A super-hit in 2007, and a small hit in 2017 as it was brought out as celebration of 25 years of Shortland Street. One day is certainly engraved in Aotearoa history and by releasing it this way again with The Mental Notes Project it sure sets that up in the history books. For those that were sleeping last year, The Mental Notes Project is Lachie Holts project of last year. The precursor if you will for this project.

The song Bathe In The River originally done by the Mt Raskil Preservation Society also gets a makeover. Parade (Hamilton Christian School) and the amazing jazz voice of Hollie Smith bring a warmer version to life. Recorded at the Clarence Street Theatre (Hamilton), it gives a real feel to the project. The applause at the end feels deserved.

Breathe by the band Grace Falls and Jesse O’Brien bring many diverse vocals to this country song. Hamilton West School studied the lines and performed in a true recording session mixed and produced by Jesse. This shows the many interactions the youth get in this project. Not just learning an “old” song, but becoming part of producing, recording, mixing, performing on stage and seeing the project making it to vinyl. BTW, if you listen on vinyl pressed in Tāmaki Makaurau you will now need to flip the record…

The B side starts as the A-side started, Don McGlashan and Albert Street bringing Dominion Road back to life. Recorded in the iconic Stebbing Recording Studios, yes, the same studio that pressed this vinyl, it shows how much time was spent by the legends to work on this project. The words still fresh in Don’s memory now combined with new memories of slick bass licks and high electric guitar riffs of the lads. An easy song to sing along to as it sure survived the years.

Don stays on the mic as Anchor Me is next. It was re-released as a duet in 2025 with Anita Clark (Motte) as the second vocalist. The Amplify Aotearoa’s 2026 version has Miss Ally from Coromandel School join in a duet. One of the youngest voices on the record shows that Lachie has a knack of finding talent. Mixed perfectly by Oliver Allan at Stebbing Recording Studio, the version with instruments from Albert Street feels fitting.

The record shows a bit of connection as Albert Street continues, but this time with Jordan Luck and Harry Harallambi from The Exponents. Why Does Love Do This To Me, lets the band perform the classic in the same way it was done on the 1991 album keeping it warm and contained, while Jordan brings his live and raw voice to the studio. A mix of a listening song and an energetic live version has great potential as best of this record.

The songs with The Exponents are also released as videos filmed in Stebbing recording studios. Showing a joyful Jordan perform Sink Like A Stone is a must-watch. You either observe the skills the young band has learned to play this song or see the 1980’s interior of the studios or let Harry and Jordan bring out your own singing voice. This project delivers it just like they needed it in the days of MTV, with a full band visual. It leaves you with more The Dance Exponents hunger for sure. And this project backs it up with one more classic from the masters.

Victoria played as an intimate set, with Mady and Nicky assisting in keeping close to the original of 1983. Leaving room next to Jordan’s voice to sing it in harmony, Mady’s voice making sure Jordan keeps his voice contained. Not as slow as the release of Victoria on the 1986 album Amplifier, but the fun faster version now pressed in vinyl.

It is also one of the moments where the project succeeds best in blending generations. Instead of sounding like students backing a veteran singer, it comes across as musicians sharing the same stage and recording space. Almost asking the question of who teaches who in this song.

Closing this side is the 2005 NZIdol Season Two contestant Jesse O’Brien again. His voice and his love of teaching and engage youth is infectious. The powerful song Angel performed by Hamilton West School hits a special note. Amplify Aotearoa show a short on Instagram of the behind-the-scenes of the recording. The sound carries the powerful message Jesse lives by, and the vocals added are skillfully trained. Not all heroes wear capes but the time this hero brings to the project deserves more attention. Wedged on this record between The Exponents and OpShop, the two artists he himself covered in the NZIdol days, he feels as the ‘must-have’ for this project. There must be a reason, Side A and Side B both close with Jesse. It gives you time to find him on Spotify and search for some more of his songs when the repeating click of the needle hits the last track on the vinyl.

Jason Kerrison performs on the piano as Te Pahu School performs OpShop’s hit No Ordinary Thing. An honest production again was recorded live at the theatre performance. Clear, open and with the new generation of voices biting into the hits that made NZ sing loud in 2004. Jason follows through on the record with the Mental Notes Project Band and OpShop’s greatest hit to date, Maybe.

These next songs are all recorded and produced by Judgment Day Productions; and they sound complete. Youthful energy and fresh vocals hit the right notes, while their instruments make you forget that they are not professionals. Compared with the original Maybe release, there is naturally a little more youth in the vocals and arrangement. Rather than trying to match OpShop note for note, the performance captures the same optimism that made the song such a favourite in the first place.

Nathan King, also known as lead singer of Zed, started himself in a school band. Forming Supra, while growing up in Christchurch, he now assists in making dreams happen of a new set of students. Marian Catholic School performing 2 songs from the 2000 debut album Silencer. Renegade Fighter showcases a wide range of instruments making an even broader sound than the original. The vocals sound like your own school dance of the early 2000’s, when everyone knew the lyrics by heart. Nathan’s voice still carries through the song while not letting us forget he is backed up by a full band. The bigger group arrangement also gives the song a different weight. Little instrumental parts that could sit quietly in the original recording get a chance to stand out here, helping create a fuller sound without losing the identity of the track.

Glorafilia lets us hear even more of the school’s talent. Without sounding like an amateur group, the mixing and dedication to teaching make the sound flow professionally. Still a true copy of the Zed song while playing a little faster than the original.

Closing this C-side with an absolute hit from The Swingers. Andrew McLennan lending a helping hand in busy times as he just released work himself through Another Life. Brought to number 1 in 1981, Counting The Beat is now performed by Fairfield School. From a solo vocalist song, we can now hear many students practice their voices. A less polished sound on this one, as we get again the sound of the live performance. The nearly 10 second applause lets this side end on a high note. This record sure is there to juggle the old memories as melodies like this keep on repeat many moments after.

This vinyl is a huge collection of songs that the project covered with Rangatahi musicians. Building on showing us the best of the past and a bridge to the new crew coming onto the music scene. Andrew McLennan is a great example of this journey. Many bands many roles and many songs later he performs the classic Sierra Leone with Hamilton Boys’ High School. The lads pick up the instruments and vocals while Andrew is filling in backing vocals and guitar to get it perfectly recorded in Bagnall Hill Recording Studio.

I have not fully checked all songs, but 1975 must be the oldest dug up hit the project covered. Blue Lady of Hello Sailor does also get the Amplify Aotearoa treatment. The second song for the Hamilton Boys’ High School sees Harry Lyon come to the party. Also, multi-instrumentalist and producer Stephen Small makes sure the song sounds just like the original. Swaying vocals, layers of background vocals and sharp instruments. Adding nearly 20 seconds to the original, with better sound, did the project just prove songs can find the best version years later?

Keeping the 1970’s going is Gutter Black from the self-titled debut album of Hello Sailor. With many songs on this project from early 2000’s, the fans it does attract, will still have this song remembered word for word, as theme song to Outrageous Fortune. Performed by Coromind (Whitianga) this also shows as a better polished version of the original. The energetic vocals and a variety of instruments all bring new life to the song. The extra voices also add another layer to the chorus. It gives the song a communal feeling, almost as if the audience has been invited into the recording itself.

This year has a slot for Split Enz again. Drummer Paul Emlyn Crowther picking up the sticks as youth from Pirongia School gets to showcase the song Matinee Idyll. Many instruments, and solo parts to cover in the song, but with the help of Lawrence Arabia it is brought to life in the sold-out theatre. The recording has a live feel, open sounds, even a slight echo that shows the size of the venue. Not the first song you think of picking from the Split Enz catalogue, but the remastered version on Spotify shows the number of plays still make this a timeless song. Also, an indication this project is not only about the big hits, but also about what musicians, bands and music means and uses it to teach the new generation.

The live recording environment works particularly well here. Small sounds from the room, the openness of the performance and the natural acoustics all help give the track its own personality compared with the polished studio original.

The last two closing the LP are showcases of where a performance can go. Music is everywhere, it makes many memories, covers many emotions, languages, generations and beliefs. Taking TEEKS, Whakaaria Mai to the stage again together with Hollie Smith feels just right. Hamilton Girls’ High School filling in the voice of TEEKS, in an intimate piano-only setting. Hollie’s voice in a nice duet connecting style and language. Take It To The Bridge here is literally used as the beatbox part of the original song is here a perfect timed choir style almost gospel break. We all feel the song ending, but the fact you can hear a pin drop even on the live performance feels powerful.

Stripped back arrangements can often expose weaknesses in a song, but here the opposite happens. The simplicity allows every vocal part to land exactly where it should, making the performance feel even more personal. We all know the voice of Hollie Smith and now getting a glimpse of the talent of the girls singing on this version. If the project breathes energy into the future, we will sure hear these voices come back through their own bands or solo careers.

Across four sides of vinyl there is a noticeable respect for the source material. Most songs stay close enough to the originals to trigger memories, but almost every track finds a small way to add something new. Whether that is a choir of voices, a fresh arrangement, a different recording environment or simply the excitement of musicians discovering these songs for themselves, the record consistently rewards repeat listens.

The show must end with everyone on stage – teachers, artists, production – everyone involved in the Amplify Aotearoa dream on one stage. As Rangatahi learned now all the processes involved in music, including what it can bring to a stage a salute to a Kiwi hero is just appropriate. Taking a song with simple percussion loops and a clean and distorted guitar originally played by Chris Knox to the stage. Chris was not on stage; his contribution comes in the album cover you hold when you buy the vinyl. His song Not Given Lightly, performed live with everyone on stage. The Teacher’s Band, led by Jason Kerrison and hundreds of voices slowly coming through your speakers. A raw version, but a version where the love just makes you smile. As the last seconds tick away it just leaves you with a feelgood mood. And makes you wonder what next for Lachie Holt, Amplify Aotearoa and the many involved in making this happen.

Across four sides of vinyl, Take It To The Bridge connects the legends who shaped Aotearoa’s soundtrack with the Rangatahi who will write its next chapter.

Classic songs. Fresh voices. One unforgettable bridge.

Hat off to all involved in making this happen.