May 25, 2026 • 16 mins
Old mate from Opshop Jason Kerrison called up to chat about Amplify Aotearoa: Take It To The Bridge, a project pairing iconic Kiwi musicians with rangatahi artists to reinterpret classic New Zealand songs. Jase opens up about his own struggles with shyness as a kid, the teachers who changed his life through music, and why creating safe, welcoming spaces for young artists matters so much.
See omnystudio.com/listener for privacy information.
Listen
Watch
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Welcomes So Radio, Hodo Keys Off the Record podcast.
Speaker 2 (00:07):
With Big Sandy's Jason Kerrison is best known as the
frontman of Opshop, one of the defining Kiwi bands of
the two thousands. Opshot scored massive hits with One Day
Maybe and No Ordinary Thing, while album's second Hand Planet
and Until the End of Time went multi platinum Here
in New Zealand. Jason won the Apress Silver Scroll for
(00:27):
One Day and was made a member of the New
Zealand Order of Merit for services to Music in twenty eleven. Now,
outside of the band, he's worked across TV, radio, songwriting
and mentoring, and has long been involved in projects supporting
New Zealand music and young artists. Now Jason's Evolved and
Amplify al Tata take It to the Bridge, which appears
(00:47):
iconic Kimi musicians with Rangatahi artists to reinterpret classic New
Zealand songs, culminating in a live show at Clarence Street
Theater in Hamilton on August twenty third. There was a
massive tro but Cura and welcome, thank you.
Speaker 1 (01:03):
Yeah, it makes me feel old. That was in there
and that's only half of it.
Speaker 2 (01:08):
Well, you've been part of the New Zealand music saying
for decades. Oh no, that's kind of aging. But what
was it about this project with Amplify Altata that made
you want to jump in and take part?
Speaker 1 (01:20):
Well, I've been one of those kids. I've been one
of those kids who was, you know, sitting there wondering
if I'm alloud in the room, wondering if I was
worthy of hanging out with the mates and playing music,
And like I used to hanging out with my dad,
it was kind of told to be quite at the corner,
have your bag of chips and your coke. And when
(01:41):
I was a kid, I was super, super shy, Like
I paed my pants when I was about five, standing
in front of the class, and that just ruined it
for me. I did not like the idea of eyes
on me at all, and certainly never occurred to me
to be, you know, standing on stage, and in fact
everything in had shut down that that might be an opportunity.
(02:02):
And I didn't know I had summinate ability to sing,
let alone eventually write songs, so being able to be
nurtured by teachers when I went through high school, they
kicked the door open for me and showed me that
I was allowed to do that, and of course Dad
came around and eventually would let me play bass for
his band once I wasn't invited back, but anyway, Yeah,
(02:26):
so the stuff that Locke's doing is it makes a
big difference generationally. I think these kids will be hugely
impacted by being involved and being allowed in these rooms.
And I really do mean allowed. I like an invited
and sense of you belong that you know, there's a
(02:47):
sense of equalization when when we talk about music because
we were just jammed. We just hang out on the
same stage and we all belong. So yeah, I think
it's really important that the stuff that Locke he's doing
with AMPI file Or and I think peering Tahi with
experienced musicians like myself, like Jordan Luck, like Neil Fern,
(03:09):
like just a whole raft of amazing people who have
got them behind and lead their way to this is extraordinary.
And he does an incredible job. And I was actually
talking with him this morning and I think he's just
getting started.
Speaker 2 (03:24):
That's an exciting project. And I feel like New Zealand
is one of the maybe only countries you could do
this because we're so special in that way that we're connected.
I mean, it's two degrees of separation almost, But to
kind of have an idea of I love this band
one day, I'd love to see them live and then
actually be in a room making music with them, especially
(03:44):
as young people in New Zealand, do the younger musicians
are they bringing really exciting things to the table with
you when you're in a room making music. Are they
bringing are they inventing new reffs?
Speaker 1 (03:56):
Like?
Speaker 2 (03:57):
Are they bringing their own sort of personal flavor to it?
Speaker 1 (04:02):
Yeah? Well it's an interesting question because you know, one
of the younger ones is only like seven, and so
has he got a lot of life experience to draw on.
I guess it's all valid. Yeah, absolutely, But at the
moment where we're not so much roughing new ideas, we're
(04:25):
rehearsing through the show, and so there's a real I
guess there's a sense of nervous anticipation where they are
suddenly aware of the gravity of what's going on, because
there's a sense of disciplined rehearsal. We show up, we
don't muck around, we're only we've only got each other
for a certain amount of time, and so there's that
(04:46):
energy they're bring into it because you can see them
want to be kids and they just want a burst
of shells, run around and have a great time, and
sometimes we all do. But yeah, I think they get
to realize there's a craft to it. And a part
of that craft, of course, it's about having fun. It's
while we do it telling stories, telling our own stories primarily.
But yeah, what they bring into the room is that
(05:08):
that real fresh energy at the moment. But having said that,
there was one quite rehearsal last week. Man, he was
on his own tangent and I loved it. It was
really cool. He was just out. I think we were
just playing on one day or something, and you know,
that's quite a brooding, slow, soppy love song really and
he was just jamming out some cool rips to it.
(05:30):
And you know, one of the other teachers like, hey,
hey does it man, that's actually that's really cool, and
you go for a dude, like, if you're feeling it,
you take away.
Speaker 2 (05:39):
So the youngest is seven that you've been working with,
So their experience of your music is a lot different
to our experience because you know it was for us,
it was a snapshot and time, right.
Speaker 1 (05:51):
So.
Speaker 2 (05:53):
It's just a song and they get into play and
that maybe the gravity, like you're saying, the gravity of
what that song means to people isn't really in the
in the realm of thinking that, just in this room,
just getting to jam and play music and be very
much in the present and very much in the moment
of that without too much overthinking.
Speaker 1 (06:12):
Yeah, I think so. I think I'm really there just
to facilitate exactly that. You know, I'm not some super start.
I've never been a superstar, but I'm not the guy
well kind of, it's how do you frame it? But
I think back to a time when when I was
just I must have been seven or eight, and you
you may remember this name Beck. There was a guy
(06:32):
called Leif Garrett, Yes, and he was in the band
who was in a movie called Shaker Round which is
being recorded here, filmed here, And we had no idea,
but we were lined up in the schools, lined up
in the local scout den and Leif Garrett walks in
and we were like, it's leeve Garrett. And he also
had a music career. But it was a collapse, kind
(06:54):
of a collapse of screen versus abstract. You know, suddenly
he was there and you're just talking. It was like
we were called and he was just one of us
at one point. And I think there's kind of that
going on to certainly not pretty much out to let go, well,
more like this this presence that exists on a TV
or coming out of the speakers, and then we're all
(07:15):
just sitting there, sitting on the tiny primary school. She
is talking to each other and playing music. Is really
something really special about And you know, leif Garrett didn't
have to show up, I'm sure he was pretty busy
and much like all these other people who are involved
with Anbiota or I'm sure they were very very busy.
(07:37):
And my experience in New Zealand, at least especially with Ranatagi,
with kids coming through and wanting to be nurtured, people
are very very generous with the time.
Speaker 2 (07:46):
Yeah, so how did you How did you get and
I mean, Locky, was it just as simple as Lucky
reaching out to you? Did you know Locky? Before getting
involved in this project, I.
Speaker 1 (07:57):
Had been involved in a project I think I'm going
to say twenty twenty three something like that where we
had an online jam and I was invited along to
be part of that with some kids going through the
program at the time of school, excuse me, And so yeah,
(08:17):
we got to know each other in the meantime, and
I've always just said to him, look, because anything I
can help with, just reach out. As I said before,
I think he's got some really big plans for this
and I won't it's for him to talk about that,
not me. But as excited as I had for all
the undertaking that he's going through, it's pretty cool. Yeah.
In fact, call when sorry. I recall when when I
(08:38):
was at high school, right and Rockquest was a big
thing for us, and what rock Quest became when I
was at school, so I was in the Funk Express
as the base plan the Funk Express and we won
the first ever smoke free rock Quest Nash And I
think Barbara Cousins was the person that got to that stage.
(09:01):
And then of course you have Glenn and Peach that
took it from that point on and made it massive,
and it's made a huge impact on so many, so
many of the artists that we are commonplace in our
scene now that had not been here as a platform.
And I know people talk about or you can't be
your music because competition, it's not really about that I
(09:22):
thought it's really about the competitive nature means that everyone
brings their best. It doesn't matter whether you win or not.
Everyone's just got better through the experience. And that's what
I think.
Speaker 2 (09:34):
Yeah, And I mean because you're doing the concert in August,
you get legends of New Zealand music on stage with
the Rangatahi and I reckon, it's going to be quite
an emotional experience for not only the audience but for
those on stage, don't you reckon?
Speaker 1 (09:49):
Yeah, easily. There are the people I know who are
involved as musicians were pretty emotional creatures anyway, right, So
that's the outlet we for our for our emotions. We
may look we may look stoicn on the outside and
hardened by years on the road, but actually we're just
softened mushy on inside. And I think we'll all be.
(10:12):
We're all pretty excited and to be part of that.
And what's call about being the athor kids is that
there's no there's no ego and use because of activity
for many many egos to do many things, not doing
much other great music. But when you can put that
(10:33):
all aside because the because of the difference you're making
for the kids who are there. It's really special. That's
where we would the overarching emotion for them of the day.
So yeah, it's a collaborative effect, really lovely.
Speaker 2 (10:52):
It's kind of a community. It's like bringing everyone together
from all sides, from audience to people on stage to
kind of Hamilton, Like having a cool gig like this
in Hamilton has to be I mean, I think there
might be a few of us who are like, yeah,
we're pretty king to come from Auckland just to come
down and see it, because it's not that often you
get all of these New Zealand artists in one room.
Speaker 1 (11:14):
I can't think of the time me that's really happened
before you've got all these like I'll have like my
experience alone will be that I'm going to be playing
with fifty six year olds. Let me rephrase that, I'm
going to be playing fifty hang on like six a
lot of six year olds, fifty of them, and you know,
(11:35):
the fifty six year olds will be the other guys
like me playing on stage, but we'll be playing Everything's
going to be all right, And a bunch of six
year olds playing that song who were not even a
twiddle in their mom and dad's I at that time
and yet reflecting that song not only back to the audience,
but in a weird musical feedback loop back to me
(11:58):
and me having my experience is with that and me
having a four year old now coming through the system.
I think that you know, that's super special to me.
And I'm sure give one in their own right, guys
have evolved as musicians. They're going to have a similar situation.
And I think it's quite deliberate and as far as
you know, lucky, as far as the way that Bockies
(12:20):
compose it and put this together, it may not be.
Speaker 2 (12:24):
Yeah, like what you were saying, it's going to be.
I think it's going to be a very special night.
And like you're saying, you've got fifty six year olds
doing a song with you. So what's the rehearsal schedule?
Are you rehearsing from now all the way through until August?
Is this until they're like they're not off by heart,
that's in their body styles? Or have you only got
(12:46):
limited time with them between now and then?
Speaker 1 (12:49):
Well we have limited time. Yeah, we have limited time
with them. That being said, it's the it's being in
that room and really nothing down really have some hyper
focus about it. You know, I'm old school ADHD, so
when it comes to actually hyper focusing, when we get
into the nitty gritty of it, I'm pretty good at it.
I've to kind of use it as a superpower. But yeah,
(13:14):
there's not a lot of It might seem like there's
a lot of time. There's a good few months before
we're actually we hit the stage, but the actual time
we have to get it is pretty limited, so were
making the most of it. But you know, we're not
looking for perfection. What's this saying? Like perfection there's the
enemy of progress. We're just looking for a good time.
(13:34):
And they'll probably know the words better than me every
time I jump on the stage and I'm like, man,
how's it going. So I'm not sure if it's a
function of age or a function only a limited space
and the hard drive. I don't know, but I'll probably
be as nervous as they are, if they're nervous at all.
Speaker 2 (13:55):
Yeah, I wonder if if nerves is a thing. When
you're as more, they're just so present and in the
moment they're just they'll just be frothen the whole time
just to get it. Probably won't be a thing till
afterwards and when they get older, when they're like, whoa,
we were on stage with some of the coolest musicians.
Maybe nerves isn't a thing when you're young and you
(14:18):
and you.
Speaker 1 (14:21):
And me, and you know, having said that, you're perfected
on what they said before that, I piped my pants
in front of the class and they never want to
go a stage here, a stage ever again. And look
anyone in that the cohort of fifty kids that I'll
be playing with a situation. But it's more about mitigating
that and making them feel welcome it ever got to
(14:43):
that stage, You're welcome to come and just be involved,
come and have it go. Nothing has to be perfect,
have some fun.
Speaker 2 (14:49):
Yeah, making that safe space for them to beat in music.
Speaker 1 (14:52):
Like absolutely, just holding the space for the kids. It's
not about again, it's not about the ego of any
one person on that stage. That's actually about to collective
coming together and what we do have in common with
this music. I mean, it's literally can only speak from myself,
but I'm pretty sure with the relationships that I've had
with the guys who are coming into this, including the artists,
you know, the results that's amazing. But the gravity of
(15:17):
the people that again that Lucky has involved, it's phenomenal.
Like all the people in the orbit, we're in the
orbit now I'm in the orbit of of this sort
of That's the other thing. These created, these concentric circles
of these artists who may may never really get to
hang out together, and yet here we are.
Speaker 2 (15:35):
That's amazing. So it's happening the twenty as a Sunday,
the twenty third of August. It's amplify Altata take it
to the bridge where we're going to see iconic Kiwi
musicians jamming on stage with the with the Agatahi artists.
I can't like to see it.
Speaker 1 (15:50):
I'm so looking, so looking forward to being a part
working welcoming them in.
Speaker 2 (15:56):
It's going to be good for good Anya, for being
amongst I mean when I say good on you, it's
like you've been bringing bands and music and people together
for a long time now and it's no surprise to
me to see you being part of this project. And
I just think mad props.
Speaker 1 (16:10):
It's so cool. Listen, Biggs, all right, we'll take care
a thank very much. Radio hod aches Off the Record podcast.
Speaker 2 (16:18):
Why not subscribe so they download automatically and don't forget
to rate us five stars.
Speaker 1 (16:23):
Thanks mate.
Speaker 2 (16:24):
Find out more about this podcast and the people who
make it at hodache dot co dot nz.
Welcomes So Radio, Hodo Keys Off the Record podcast.
Speaker 2 (00:07):
With Big Sandy's Jason Kerrison is best known as the
frontman of Opshop, one of the defining Kiwi bands of
the two thousands. Opshot scored massive hits with One Day
Maybe and No Ordinary Thing, while album's second Hand Planet
and Until the End of Time went multi platinum Here
in New Zealand. Jason won the Apress Silver Scroll for
(00:27):
One Day and was made a member of the New
Zealand Order of Merit for services to Music in twenty eleven. Now,
outside of the band, he's worked across TV, radio, songwriting
and mentoring, and has long been involved in projects supporting
New Zealand music and young artists. Now Jason's Evolved and
Amplify al Tata take It to the Bridge, which appears
(00:47):
iconic Kimi musicians with Rangatahi artists to reinterpret classic New
Zealand songs, culminating in a live show at Clarence Street
Theater in Hamilton on August twenty third. There was a
massive tro but Cura and welcome, thank you.
Speaker 1 (01:03):
Yeah, it makes me feel old. That was in there
and that's only half of it.
Speaker 2 (01:08):
Well, you've been part of the New Zealand music saying
for decades. Oh no, that's kind of aging. But what
was it about this project with Amplify Altata that made
you want to jump in and take part?
Speaker 1 (01:20):
Well, I've been one of those kids. I've been one
of those kids who was, you know, sitting there wondering
if I'm alloud in the room, wondering if I was
worthy of hanging out with the mates and playing music,
And like I used to hanging out with my dad,
it was kind of told to be quite at the corner,
have your bag of chips and your coke. And when
(01:41):
I was a kid, I was super, super shy, Like
I paed my pants when I was about five, standing
in front of the class, and that just ruined it
for me. I did not like the idea of eyes
on me at all, and certainly never occurred to me
to be, you know, standing on stage, and in fact
everything in had shut down that that might be an opportunity.
(02:02):
And I didn't know I had summinate ability to sing,
let alone eventually write songs, so being able to be
nurtured by teachers when I went through high school, they
kicked the door open for me and showed me that
I was allowed to do that, and of course Dad
came around and eventually would let me play bass for
his band once I wasn't invited back, but anyway, Yeah,
(02:26):
so the stuff that Locke's doing is it makes a
big difference generationally. I think these kids will be hugely
impacted by being involved and being allowed in these rooms.
And I really do mean allowed. I like an invited
and sense of you belong that you know, there's a
(02:47):
sense of equalization when when we talk about music because
we were just jammed. We just hang out on the
same stage and we all belong. So yeah, I think
it's really important that the stuff that Locke he's doing
with AMPI file Or and I think peering Tahi with
experienced musicians like myself, like Jordan Luck, like Neil Fern,
(03:09):
like just a whole raft of amazing people who have
got them behind and lead their way to this is extraordinary.
And he does an incredible job. And I was actually
talking with him this morning and I think he's just
getting started.
Speaker 2 (03:24):
That's an exciting project. And I feel like New Zealand
is one of the maybe only countries you could do
this because we're so special in that way that we're connected.
I mean, it's two degrees of separation almost, But to
kind of have an idea of I love this band
one day, I'd love to see them live and then
actually be in a room making music with them, especially
(03:44):
as young people in New Zealand, do the younger musicians
are they bringing really exciting things to the table with
you when you're in a room making music. Are they
bringing are they inventing new reffs?
Speaker 1 (03:56):
Like?
Speaker 2 (03:57):
Are they bringing their own sort of personal flavor to it?
Speaker 1 (04:02):
Yeah? Well it's an interesting question because you know, one
of the younger ones is only like seven, and so
has he got a lot of life experience to draw on.
I guess it's all valid. Yeah, absolutely, But at the
moment where we're not so much roughing new ideas, we're
(04:25):
rehearsing through the show, and so there's a real I
guess there's a sense of nervous anticipation where they are
suddenly aware of the gravity of what's going on, because
there's a sense of disciplined rehearsal. We show up, we
don't muck around, we're only we've only got each other
for a certain amount of time, and so there's that
(04:46):
energy they're bring into it because you can see them
want to be kids and they just want a burst
of shells, run around and have a great time, and
sometimes we all do. But yeah, I think they get
to realize there's a craft to it. And a part
of that craft, of course, it's about having fun. It's
while we do it telling stories, telling our own stories primarily.
But yeah, what they bring into the room is that
(05:08):
that real fresh energy at the moment. But having said that,
there was one quite rehearsal last week. Man, he was
on his own tangent and I loved it. It was
really cool. He was just out. I think we were
just playing on one day or something, and you know,
that's quite a brooding, slow, soppy love song really and
he was just jamming out some cool rips to it.
(05:30):
And you know, one of the other teachers like, hey,
hey does it man, that's actually that's really cool, and
you go for a dude, like, if you're feeling it,
you take away.
Speaker 2 (05:39):
So the youngest is seven that you've been working with,
So their experience of your music is a lot different
to our experience because you know it was for us,
it was a snapshot and time, right.
Speaker 1 (05:51):
So.
Speaker 2 (05:53):
It's just a song and they get into play and
that maybe the gravity, like you're saying, the gravity of
what that song means to people isn't really in the
in the realm of thinking that, just in this room,
just getting to jam and play music and be very
much in the present and very much in the moment
of that without too much overthinking.
Speaker 1 (06:12):
Yeah, I think so. I think I'm really there just
to facilitate exactly that. You know, I'm not some super start.
I've never been a superstar, but I'm not the guy
well kind of, it's how do you frame it? But
I think back to a time when when I was
just I must have been seven or eight, and you
you may remember this name Beck. There was a guy
(06:32):
called Leif Garrett, Yes, and he was in the band
who was in a movie called Shaker Round which is
being recorded here, filmed here, And we had no idea,
but we were lined up in the schools, lined up
in the local scout den and Leif Garrett walks in
and we were like, it's leeve Garrett. And he also
had a music career. But it was a collapse, kind
(06:54):
of a collapse of screen versus abstract. You know, suddenly
he was there and you're just talking. It was like
we were called and he was just one of us
at one point. And I think there's kind of that
going on to certainly not pretty much out to let go, well,
more like this this presence that exists on a TV
or coming out of the speakers, and then we're all
(07:15):
just sitting there, sitting on the tiny primary school. She
is talking to each other and playing music. Is really
something really special about And you know, leif Garrett didn't
have to show up, I'm sure he was pretty busy
and much like all these other people who are involved
with Anbiota or I'm sure they were very very busy.
(07:37):
And my experience in New Zealand, at least especially with Ranatagi,
with kids coming through and wanting to be nurtured, people
are very very generous with the time.
Speaker 2 (07:46):
Yeah, so how did you How did you get and
I mean, Locky, was it just as simple as Lucky
reaching out to you? Did you know Locky? Before getting
involved in this project, I.
Speaker 1 (07:57):
Had been involved in a project I think I'm going
to say twenty twenty three something like that where we
had an online jam and I was invited along to
be part of that with some kids going through the
program at the time of school, excuse me, And so yeah,
(08:17):
we got to know each other in the meantime, and
I've always just said to him, look, because anything I
can help with, just reach out. As I said before,
I think he's got some really big plans for this
and I won't it's for him to talk about that,
not me. But as excited as I had for all
the undertaking that he's going through, it's pretty cool. Yeah.
In fact, call when sorry. I recall when when I
(08:38):
was at high school, right and Rockquest was a big
thing for us, and what rock Quest became when I
was at school, so I was in the Funk Express
as the base plan the Funk Express and we won
the first ever smoke free rock Quest Nash And I
think Barbara Cousins was the person that got to that stage.
(09:01):
And then of course you have Glenn and Peach that
took it from that point on and made it massive,
and it's made a huge impact on so many, so
many of the artists that we are commonplace in our
scene now that had not been here as a platform.
And I know people talk about or you can't be
your music because competition, it's not really about that I
(09:22):
thought it's really about the competitive nature means that everyone
brings their best. It doesn't matter whether you win or not.
Everyone's just got better through the experience. And that's what
I think.
Speaker 2 (09:34):
Yeah, And I mean because you're doing the concert in August,
you get legends of New Zealand music on stage with
the Rangatahi and I reckon, it's going to be quite
an emotional experience for not only the audience but for
those on stage, don't you reckon?
Speaker 1 (09:49):
Yeah, easily. There are the people I know who are
involved as musicians were pretty emotional creatures anyway, right, So
that's the outlet we for our for our emotions. We
may look we may look stoicn on the outside and
hardened by years on the road, but actually we're just
softened mushy on inside. And I think we'll all be.
(10:12):
We're all pretty excited and to be part of that.
And what's call about being the athor kids is that
there's no there's no ego and use because of activity
for many many egos to do many things, not doing
much other great music. But when you can put that
(10:33):
all aside because the because of the difference you're making
for the kids who are there. It's really special. That's
where we would the overarching emotion for them of the day.
So yeah, it's a collaborative effect, really lovely.
Speaker 2 (10:52):
It's kind of a community. It's like bringing everyone together
from all sides, from audience to people on stage to
kind of Hamilton, Like having a cool gig like this
in Hamilton has to be I mean, I think there
might be a few of us who are like, yeah,
we're pretty king to come from Auckland just to come
down and see it, because it's not that often you
get all of these New Zealand artists in one room.
Speaker 1 (11:14):
I can't think of the time me that's really happened
before you've got all these like I'll have like my
experience alone will be that I'm going to be playing
with fifty six year olds. Let me rephrase that, I'm
going to be playing fifty hang on like six a
lot of six year olds, fifty of them, and you know,
(11:35):
the fifty six year olds will be the other guys
like me playing on stage, but we'll be playing Everything's
going to be all right, And a bunch of six
year olds playing that song who were not even a
twiddle in their mom and dad's I at that time
and yet reflecting that song not only back to the audience,
but in a weird musical feedback loop back to me
(11:58):
and me having my experience is with that and me
having a four year old now coming through the system.
I think that you know, that's super special to me.
And I'm sure give one in their own right, guys
have evolved as musicians. They're going to have a similar situation.
And I think it's quite deliberate and as far as
you know, lucky, as far as the way that Bockies
(12:20):
compose it and put this together, it may not be.
Speaker 2 (12:24):
Yeah, like what you were saying, it's going to be.
I think it's going to be a very special night.
And like you're saying, you've got fifty six year olds
doing a song with you. So what's the rehearsal schedule?
Are you rehearsing from now all the way through until August?
Is this until they're like they're not off by heart,
that's in their body styles? Or have you only got
(12:46):
limited time with them between now and then?
Speaker 1 (12:49):
Well we have limited time. Yeah, we have limited time
with them. That being said, it's the it's being in
that room and really nothing down really have some hyper
focus about it. You know, I'm old school ADHD, so
when it comes to actually hyper focusing, when we get
into the nitty gritty of it, I'm pretty good at it.
I've to kind of use it as a superpower. But yeah,
(13:14):
there's not a lot of It might seem like there's
a lot of time. There's a good few months before
we're actually we hit the stage, but the actual time
we have to get it is pretty limited, so were
making the most of it. But you know, we're not
looking for perfection. What's this saying? Like perfection there's the
enemy of progress. We're just looking for a good time.
(13:34):
And they'll probably know the words better than me every
time I jump on the stage and I'm like, man,
how's it going. So I'm not sure if it's a
function of age or a function only a limited space
and the hard drive. I don't know, but I'll probably
be as nervous as they are, if they're nervous at all.
Speaker 2 (13:55):
Yeah, I wonder if if nerves is a thing. When
you're as more, they're just so present and in the
moment they're just they'll just be frothen the whole time
just to get it. Probably won't be a thing till
afterwards and when they get older, when they're like, whoa,
we were on stage with some of the coolest musicians.
Maybe nerves isn't a thing when you're young and you
(14:18):
and you.
Speaker 1 (14:21):
And me, and you know, having said that, you're perfected
on what they said before that, I piped my pants
in front of the class and they never want to
go a stage here, a stage ever again. And look
anyone in that the cohort of fifty kids that I'll
be playing with a situation. But it's more about mitigating
that and making them feel welcome it ever got to
(14:43):
that stage, You're welcome to come and just be involved,
come and have it go. Nothing has to be perfect,
have some fun.
Speaker 2 (14:49):
Yeah, making that safe space for them to beat in music.
Speaker 1 (14:52):
Like absolutely, just holding the space for the kids. It's
not about again, it's not about the ego of any
one person on that stage. That's actually about to collective
coming together and what we do have in common with
this music. I mean, it's literally can only speak from myself,
but I'm pretty sure with the relationships that I've had
with the guys who are coming into this, including the artists,
you know, the results that's amazing. But the gravity of
(15:17):
the people that again that Lucky has involved, it's phenomenal.
Like all the people in the orbit, we're in the
orbit now I'm in the orbit of of this sort
of That's the other thing. These created, these concentric circles
of these artists who may may never really get to
hang out together, and yet here we are.
Speaker 2 (15:35):
That's amazing. So it's happening the twenty as a Sunday,
the twenty third of August. It's amplify Altata take it
to the bridge where we're going to see iconic Kiwi
musicians jamming on stage with the with the Agatahi artists.
I can't like to see it.
Speaker 1 (15:50):
I'm so looking, so looking forward to being a part
working welcoming them in.
Speaker 2 (15:56):
It's going to be good for good Anya, for being
amongst I mean when I say good on you, it's
like you've been bringing bands and music and people together
for a long time now and it's no surprise to
me to see you being part of this project. And
I just think mad props.
Speaker 1 (16:10):
It's so cool. Listen, Biggs, all right, we'll take care
a thank very much. Radio hod aches Off the Record podcast.
Speaker 2 (16:18):
Why not subscribe so they download automatically and don't forget
to rate us five stars.
Speaker 1 (16:23):
Thanks mate.
Speaker 2 (16:24):
Find out more about this podcast and the people who
make it at hodache dot co dot nz.
Popular Podcasts
Hey Jonas!
Hey Jonas! The official Jonas Brothers podcast. Hosted by Kevin, Joe, and Nick Jonas. It’s the Jonas Brothers you know... musicians, actors, and well, yes, brothers. Now, they’re sharing another side of themselves in the playful, intimate, and irreverent way only they can. Spend time with the Jonas Brothers here and stay a little bit longer for deep conversations like never before.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com