Paul Goldsmith sat through criticism of the government, the Mint Chicks had a message, Marlon Williams became a STAG and other takeaways from this year’s ceremony.

Things looked a little different at the Taite Music Awards this year. For one thing, they were held at a new venue. Auckland’s gleaming, long-awaited International Convention Centre brought a shiny, networky quality to the event (last year’s was at the more intimate Q Theatre). It was also the first time tickets were sold to the general public for what’s historically been an invite-only affair; for the small price of $40 punters could put themselves in the same room as New Zealand’s music community – around 500 of the artists, media, promoters, publicists, funders and venue owners that make the wheels go round. They were there last night at the shiny Te Paepae Theatre to celebrate a shiny new crop of awards. The big kahuna, the Taite Music Prize, was awarded to Marlon Williams for Te Whare Tīwekaweka, but that wasn’t the only revelation…

Musicians are punctual, actually

Challenging all the stereotypes about tardy bands and laidback schedules, guests began filtering in as soon as doors opened at 5.30pm – an hour and a half before the ceremony began. By 6.30pm the lobby was nearly full, with Mokotron, Matthew Crawley, Half Queen, Bic Runga and more familiar faces quietly milling about on the spore-like patterned carpet. (Getting everyone inside the Te Paepae Theatre was another matter.)

The International Convention Centre feels professional

It’s a little disconcerting to see people that you’re used to watching in a dark venue blinking in the crisp brightness of a convention centre. Perhaps the location encouraged good behaviour, or have New Zealand musicians become a comparatively low-key bunch these days? Either way, the vibe was polite. Things loosened up a little after the ceremony, when the volume of small talk became unmistakably louder. 

It’s not a cliche – New Zealanders really do wear a lot of black 

It was everywhere you turned, but whether that was due to patriotism, introversion or directly inspired by the return of a black (rather than red) carpet is hard to say. Host Sarah Thomson wore a glamorous velvet dress with gloves, broadcaster Jesse Mulligan’s suit, shirt and tie were all black, musician Princess Chelsea wore black and so did nominee Zoë Larsen Cumming. Second only to black were tartan and plaid, also very Kiwi.

You have to be strategic with croutons

There were a lot of them. Do you go in for a bite, risking total collapse and crumble, or just shove the whole thing in your gob? And what if someone cool sees you?

Marlon Williams is finally a STAG

This was the fourth time Marlon Williams was nominated for the Taite, and he finally won, joining the ranks of other winners, including Mokotron, Princess Chelsea, Troy Kingi and Lorde. The Taite Music Prize honours originality and skill, awarded to the year’s “most creative” album by a raft of industry judges. 

The win meant he also became a STAG – the winner of a Taite, Silver Scroll and Aotearoa Music Award who has reached Gold status for single or album sales.

Te Whare Tīwekaweka is certainly a creative departure for Williams, who delivered the whole album in te reo Māori. It’s a deeply personal album (the cover art was painted by Williams’ mother before he was born) but Williams wasn’t there to receive the accolade. He’s currently on a hiatus announced earlier this year after a busy 12 months that included a tour, album release and a documentary, among other endeavours. His Taite Music Prize win now puts a bow on what’s been a professionally fruitful chapter in his 20-year career. He wasn’t at the ceremony but, via a video filmed at Bodø Airport in Norway, he paid tribute to the late music journalist Dylan Taite, who the prize is named after, and thanked the Taite family, before acknowledging the other finalists: Dick Move, Geneva AM, Jazmine Mary, MĀ, Phoebe Rings, Reb Fountain, Ringlets, Tom Scott and Womb.

Collaborator Kommi, a rapper, poet and activist from Lyttleton, Williams’ hometown, accepted the prize on his behalf. Kommi played a pivotal role on the record. “It’s been a really fun journey,” Kommi said, explaining how surprised they were at how involved they became. “I thought it was just one song at first, turned out it was the whole album.” It felt good to be in a room with others from the music industry: “It’s important that we get together and celebrate these things,” they told The Spinoff. “Particularly this one, the Taite, recognising artistry and the mana of people within that realm.”

It took three round table discussions to anoint the winner. Judge Rachel Ashby, from the New Zealand Music Commission, told The Spinoff that it was a hard process because everyone involved cares a lot about music and “we’re all nerds”.

The government was in the spotlight too

Host Sarah Thomson encouraged guests to “be nice to your neighbour, even if they happen to be a member of parliament”, alluding to an incident at last year’s Aotearoa Music Awards when National minister Chris Bishop was caught describing Stan Walker’s performance – there were Toitū Te Tiriti flags on stage – as “a load of crap”. Music legend Don McGlashan took him on over it (arguably one of the worst things that could happen to a Kiwi). 

Bishop wasn’t at the 2026 Taites but Paul Goldsmith was. The minister for arts, culture and heritage had to listen to multiple award winners using their time on the microphone to criticise the government.

Independent Spirit Award winner Carmel Bennett called on the government to do two things: “sort out the copyright act” and make it mandatory for international artists performing here to book New Zealand opening acts. “No local act, no visa,” she said to a standing ovation. (Green MPs Chlöe Swarbrick and Kahurangi Carter and Labour’s Reuben Davidson were in the audience too.) 

It’s not the first time Goldsmith has copped some flak at a local awards show; he was subject to boos at the Silver Scrolls – something he brushed off as “usual and predictable sniping at a conservative government” – and was also asked directly by Marlon Williams to help “turn things around” for Māori.

There’s a lot of love for local music

The industry contributed $932m to New Zealand’s GDP in a single year (2024), noted host Sarah Thomson, also stressing that it’s a “pretty challenging time” to produce music independently. “And at a time when we need it the most, it’s certainly worth fighting for.” That sentiment was echoed in every speech of the evening.

Independent Music New Zealand chairperson Pip Ryan-Kidd called independents the “backbone” of the industry.

Music journalism has a future

If the night’s industry award is anything to go by, the future of music journalism could be independent. Print title Newzician Magazine and its creators Rosa Nevison, Flynn Robson and Sam Elliott were honoured with the NZ On Air Outstanding Music Journalism Award, with judges pointing out that they make their magazine with no institutional backing. The other finalists this year were Under The Radar’s Chris Cudby and 95bFM’s Hunter Keane, both small outlets. Last year saw the prize go to Chris Schulz for his newsletter Boiler Room, a solo endeavour. There’s a pattern here, and it’s independent.

Music journalism is also foundational to these awards

The work and legacy of Dylan Taite, who died in 2003, were acknowledged again and again – music is a small industry and Taite made a big impact. Carmel Bennett told the audience how she and Taite would have cups of tea together at the Powerstation.

Bennett was being honoured for her career, and most recent work with the charity MusicHelps. “The music community is a caring one,” she said. “MusicHelps isn’t some hippie bullshit… it’s founded on science.” She said she saw the difference it made to the community every day. The industry helped put a roof over her and her daughters heads, she said. “It’s important to give back”.

Making music really does takes a village

Best Independent Debut honoree Geneva AM had a long list of people to thank for her winning album Pikipiki. That’s what it takes to do an independent record, she said. “It’s not something that I do alone. In fact, if anyone, out of all of the people who have been nominated, like each one of them, have had their own village of people behind them that they needed to thank,” she told The Spinoff after the ceremony. “They give up their time and they show up for you. It’s very meaningful.”

The Mint Chicks are alive and well

Crazy? Yes! Dumb? No is the album seared in the memory of anyone around in 2006 (and many who weren’t). The live gigs were legendary. Now, 20 years on, the band’s fans are older and wiser, but the album still sounds as urgent and fresh as when it hit the airwaves. It looms large in the minds of elder Millennials, but it didn’t actually achieve gold album status until 2018. It’s only just become eligible for the Independent Music Classic Record Award, which it won. 

Ahead of the Taite’s, people wondered if the Mint Chicks would turn up. They did. Well, most of them anyway. Kody Nielson, Paul Roper and Michael Logie were all there (US-based Ruban Nielson was in Portland about to go on tour with UMO).

Their friend and former manager John Baker was on presenting duties, pulling out an exercise book to take the audience down a memory lane line involving chainsaws, set list collectors, unseen Rip It Up covers and the crumbling ceiling of the St James theatre. 

The band’s highs and lows have earned mythic status, but the members felt thoroughly real last night – the first time some of the younger attendees had seen them in person. “They have big, big hearts,” Baker said. 

Nielson, Roper and Logie took the stage quietly. “This is amazing,” said Kody, accepting the trophy. “We really appreciate it”.

That famous album was recorded in his garage, an anecdote that hammered home his message for the room. “If no one’s going to help you, just do it yourself.”