Gig Review: Mel Parsons @ San Fran, Wellington – 25/05/2025

“Last year,” explains Mel, tongue firmly in cheek, “we got to do our bucket list tour, supporting a little-known band called Crowded House, and now we are a stadium band we thought it was time to do our ‘humble’ tour.”

Humble or not, Mel Parsons, brother Jed Parsons (drums), Aaron Stewart (bass guitar, double bass) and Josh Logan (guitar) are currently on a 7-date tour of Aotearoa and Australia, which kicked off tonight with an extra early gig at San Fran.

“We can all be super-smug,” we said as we went to a gig, “and be home in time to cut the lunches.” Mel looks about the room, clocking a mixed audience with a fair few parents in the room. Being one herself, she’s definitely found her people. Later on, she joked that, “People ask me how I do this job, raising kids and playing night after night. And like any parent with a job, I say that when at work, I’m on holiday! Come with me on my holiday.”

The tour is actually to celebrate her Aotearoa Music Award (AMA) Album of The Year nomination for her 2024 album Sabotage, as well as recent nominations for a Taite award, and a brand new single called Post High Slide. “I think I’ve become a professional nominee,” she quips.

Mel Parsons has certainly earned all those accolades. Tonight we get a taste of her songwriting talents in a two-part set that featured material from Sabotage, along with highlights from her now quite extensive body of work.

From Sabotage we kick off with the infectiously catchy Offer Down. That song is still rattling around in my head. It’s followed up by a sweet rendition of Carry On, for her “Covid album” Slowburn.

The next song up Brick By Brick, Mel explains “is likely the only song to feature the lines ‘Yeah, Nah’. Don’t know how that one got past the editors.” And she goes on to laugh about the video, which features herself wearing Crocs. “There’s even some Duplo, a gateway drug to Lego!” I love her leftfield parent jokes, the crowd do too.

The song, a departure from her usual sombre side, is a lighter touch about procrastination and motivation and just getting on with it. We can all relate to that. And itself is just blissful to listen to. No question. It works better live than on record because it feels just a little bit more personal, to Mel and to us. Hand, speaking of procrastination, halfway through the song I remember to book concert tickets for my partner. So, note to self to complete after tonight’s gig. Thanks, Mel.

Then we are treated to the debut of a new song. We get to hear it first, being the first stop on the tour. Be gentle, we’re implored. She needn’t have worried. Grain By Grain is a sweet, endearing love song. With images of the sea, waves and a fragile construction in sand, it’s potentially about encouragement and support. As with many of her songs, it draws on themes of emotional support. We all clap and cheer enthusiastically with genuine appreciation.

As the queen of brood, there had to be a couple of darker numbers in the set, including the didactic, yet hooky Little Sadness, also from Sabotage, which, tonight, is surprisingly uplifting, despite the potentially depressive message in the undercurrent.

Apparently Mitchell Froom played keyboards on the recording of Be Here Now, according to Mel. “But tonight, you’ll have to just imagine this parts.” They carry off this melancholy track with ease. I barely notice any absences.

The first half completes with a rousing version of Far Away, a track that appears on 2015’s Drylands. Far Away was initially recorded in Fly My Pretties collective for The Homeland Recordings.
It was made extra buoyant thanks to Jed’s pounding floor tom and some compulsory audience participation, clapping along.

After a quick break, Mel returns solo to play a tender version of Glass Heart.

During her explanation behind Don’t Leave The Light On everyone’s phones light up by an emergency test text. “That’s a warning not to fall into a toxic relationship,” she laughs. Jokes aside, the song is delivered with real emotion and receives plenty of empathetic support.

Just Cause is given satisfactory treatment and there’s more from Sabotage with Circling The City and the chugging Americana feel of 5432. “I was in the airport yesterday; I thought I heard them announce Flight 5432.” No surprise, this earworm is still gnawing at my brain hours after it was played.

Finally, the tour’s namesake appears. Post High Slide is about the comedown. From what exactly is open to interpretation but it’s an enjoyable ride with more of Mel’s trademark smouldering Country/Folk mix.

Time bound by an impending flight to catch, the end of the how feels a little bit rushed and the usual ritual of going off after the final song is disposed of. Consequently, they band zip through faithfully, but not outstanding renditions of I Got The Lonely and Don’t Wait.

Still despite that, it was really great to see Mel and team back in the Capital. Her new album deserves more than just a nomination. I hope people of this tour will really get to understand that. She’s a fine troubadour, works hard and it always pays off. Anyone who goes to shows on this round of concerts will come away happy. Thanks for dropping by Mel. Hope to see you again soon.
Oh, and by the way, you finished on time and as promised, I was home by 7.30pm to feed the dog and make the kids lunches.

Photo Credit: Andy Russell for Muzic.NZ
Mel Parsons’ Photo Gallery