Moments Like These: Ngahiwi Apanui

When and where was this photo shot? Who took it?
The photo was taken in the summer of 1986 at the Grey Lynn Festival in Auckland. I have no idea who took it, but it somehow ended up at the Jayrem Records’ office.

What are some of the the key things you remember of that day?
Firstly, I remember a very nervous fill-in on keyboards, who also happened to be our manager. We had prepared some chord charts etc. for him but somehow he managed to lose them. The first three songs were a mixture of, “What’s the chords?”, “What key is it in?” and then, “I’m freaking out!” The poor bugger was paralysed with nerves and looking back it was a big ask to expect him to play at such short notice. It’s fair to say, that was not uppermost in my mind at the time and I was on the verge of clocking him with my guitar. In the end I just had to laugh and signal to the guy on the desk to take him out of the front of house.
Secondly, the crowd was over 10,000 and we were supposed to play second-to-last, with Patea Maori Club closing the day. At the last minute, Dalvanius (strategically I think) decided they had to go early and asked the promoters to take our spot. That led to everyone leaving at the conclusion of their set – with the exception of the 10 or so people in the photo sitting in front of the stage. So much for getting to a new Auckland audience!
Thirdly, Joe Williams was our lead singer at the time and was an exceptional frontman. He was trying to rev up the remnants of the big crowd who were basking in the beautiful weather and no doubt enjoying some of Aotearoa’s finest green (that distinctive aroma was wafting onto stage). After 20 minutes or so, in frustration, Joe said to the audience, “Gee you fullas are useless. Is it the weather or is it the rubber band?” As quick as a flash a woman in the small crowd retorted, “Nah, it’s you man. Shut up and sing!”

Where were you and the band at in your respective musical careers?
It was an important time because we had lost practically all of the founding members of the band [Aotearoa] with the exception of myself and Joe and we were trying to bring through some very young musicians. A 15 year old Maaka MacGregor can be seen playing percussion. Solomon Simmons on sax was only 16. Jon Wrigley on bass was 18. Lucy Fuli on vocals (middle of the picture) was only 16. Ngapera Hoerara (far left) and I were early-20s, Joe was mid-20s and Taimua Fuimaono was just a few years older. The newish band was still gelling and I was trying to keep everything within the group’s musical ability despite the impatience of some of the young guys who wanted to do all sorts of things.
Taimua and I were the most experienced members, he with Wellington blues/rock band Taste of Bounty and myself with a variety of cover bands. I had a very clear kaupapa (rationale) for the band and that revolved around te reo Maori and communicating pride in being Maori. I also wanted to move towards incorporating taonga puoro (traditional instruments) and waiata tahito (traditional song poetry) into our music, but culturally the band wasn’t ready for it. The band began to move towards its potential around 1987/88 and by the time of our last gig at Otago University in 1989, I felt Aotearoa had become a very strong live act.

You have been heavily involved in Maori music and broadcasting since, what of the others in the band?
Most notably Joe Williams is now Justice Joe Williams, a highly respected member of the NZ High Court. Ngapera Hoerara is working for Te Puni Kokiri, on projects like the RWC. Jon Wrigley was a carpentry apprentice at the time of the photo but last I heard he was living in the Bay of Plenty. Taimua went on to play in a variety of bands mostly with family members. Solomon has had a nomadic existence but is now living on the East Cape of the North Island looking after the whanau homestead. I haven’t heard from Lucy since she finished with the band. Maaka MacGregor has made a living out of music producing, engineering and playing most notably with Moana and The Moahunters, Southside of Bombay and Wai.

How has being a musician defined your own career path?
The reality of having a partner and children has probably had the biggest influence on my career path. I have kind of fitted my music around them and with my partner; I have made decisions around what’s best for them. A common theme in my career choices has been working in areas where I can be of benefit to Maori people and this includes music. In recent years I have been the chairman of Puatatangi (the music arm of Toi Maori Aotearoa) and event manager for annual Maori Music Showcase, Pao Pao Pao!, furthering the interests of Maori musicians. It’s fair to say however, that in an environment where self- promotion is king, it’s frustratingly hard work.