Gig Review: Mā @ Tāwhiri Warehouse, Wellington – 28/02/2026

A fierce advocate of whenua and whānau, the Te Whanganui-a-Tara based rapper/songwriter, producer and sound artist Maarire Brunning-Kouka wears her heart and soul on her sleeve. Well, in her rhymes actually. Her latest aptly titled album, Blame It On The Weather dropped late last year, takes on colonial damage, inter-generational hurt, land conservation and relationship development, the lyrics intertwine and blend English and te reo Māori with hardcore hip hop and even be-bop free jazz.

The album bursts with the energy of exceptional local jazz talent – from Louisa Williamson’s expressive saxophone lines to Hikurangi Schaverian Kaa’s deft drumming and Leonardo Coghini’s impressive keyboard work, all brought together by his sharp and slick studio production. Since Hikurangi is predominantly a session player, I wasn’t surprised to find he wasn’t part of tonight’s live ensemble. But the real loss was Williamson. Her absence left a noticeable gap; those subtle, jazz-steeped inflections she brings are what give the album its richness and vitality. Without them, some of the colour nuances simply weren’t there.

Tonight’s one-hour mini‑gig leaned into heavier bass grooves and a nu‑soul vibe led by Mā’s trio (was this the Fly Hunnies?) delivered a stripped‑back but satisfying soundscape with Maiaho Hotere‑Wharehoka on bass, Coghini’s smooth keyboard work, and Keanu’s solid drumming anchoring the performance. It would have worked well if the venue was a little bit softer. But the foyer of Tāwhiri warehouse is a cold, hard metal box. Sound bounces off the corrugated iron walls with a piercing edge, which even starts to hurt a little after prolonged playing. I appreciate the sound techs did their best but with a room that bright it was a challenge to hear and understand their rhymes and lyrics clearly. The best place to hear clearly was actually perpendicular to the stage, which seems a bit counterproductive. But even the huge 4 metre curtains couldn’t dampen the sounds.

Still, I was in to have a good time. Drink in hand I was ready to groove it up with the small but dedicated crowd, which I noticed also included Mā’s dad Hone Kouka (who played Waiora Te Ūkaiō – The Homeland, which I caught at the Opera House the next day. It was so powerful, it brought me to tears).

Most of Mā’s set came from Blame It On The Weather. And despite the muddy sound I caught some pretty cool and funky renditions of Colonised Bro and Miss U (Romi Wrights). They started with the funky banger, Decay (which I’ve just learned is in the top 10 finalists for this year’s Taite Music Prize). With Mahi the beats get harder and deeper. The bass is starting its own groove- quake. Leo finally gets a chance to let loose with a bit of noodling across the ivories on Traps Jam, and that draws a cheer. Papa’s Song gets into slower soul drive, with a dash of rap and song and d’Angelo-nu-soul.

Mā announces the next track as a “love letter to the Gay community.” The sting is in the chorus, and it dawns on me what it’s about: “F*ck New Destiny, F*ck You Destiny (church)!” She’s never gonna hold back against bigots and homophobes, that’s for sure.

Also part of the new project is a swaggering Latin groove called Monogamous. Down the front during this one, couples are feeling it with a bit of a dance between each other, throwing shapes and moves encouraged by squeals of delight from friends on the sidelines.

I quite enjoyed the retro beats of Happy. “This one’s for the Aunties,” Mā says, “talks about tupuna and whānau love.” I can see why. It’s got a cool 80’s Māori reggae beat and synth-sax (courtesy of Leo’s keyboards) which reminded me of all those great tunes from Herbs back in the day. To add a bit more nostalgia she adds a few choice lines from the chorus of the Black Seeds’ classic So True. There’s one unnamed funky groove featuring a super nifty recurring keyboard line that deserves a slow sway. Homai e has a nice swagger to it, and we’re all really getting into it. But then the clock runs out. Too soon for me. I have to make do with the closer, with the line “Right Now!” ringing in our ears as we head out into a rare humid late summer evening.