It can sometimes feel like Wellington’s music scene gets overlooked on a national scale.
While we’ve been (rightly) focused on Dunedin’s exciting new generation, and Auckland remains, well, Auckland, the centre of the universe, a bunch of excellent musicians have been quietly going about their business down in the capital, making music on their own terms.
One of those musicians is Miles Sutton, who leads earnest and honest indie rock outfit Welcomer.
After releasing the band’s self-titled EP in 2022, Sutton got to work fine-tuning his songwriting, and the hard work has paid dividends. Welcomer’s debut album, Calendars, is just a few days away now, and its three lead singles promise much from the full record.
Sutton’s vulnerable vocals and lyrics recall Belle and Sebastian sentimentalist Stuart Murdoch or, more recently, Fazed on a Pony’s Peter McCall.
If you ask the man himself, though, he’s got a more lofty comparison in mind. “It always feels a bit like ‘how dare you’ when bringing up [Silver Jews’] David Berman to talk about your own music, but it’s the most efficient signal to send,” he tells Rolling Stone AU/NZ.
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The late, great Berman inspired an entire generation of indie musicians, like Sutton and McCall, another avowed Silver Jews fan, to give themselves fully to a song, which Sutton does throughout Welcomer’s music. And like Berman, too, Sutton knows when to incorporate humour into a song. “You went to like four festivals in a town without festivals,” he sings drolly on “Magazine Clippings”.
That track, the standout release from Calendars so far, is the only one to feature a guest: Wellington music royalty Eddie Johnston, aka Lontalius, who featured in not one but two major Rolling Stone AU/NZ lists last year. “[…] I do think he’s one of the most talented and hardworking musicians in this country,” Sutton says of his collaborator.
Aside from Johnston, Sutton’s tracks are brought to life by his tight-knight band and collaborators: Eddie Crawshaw (Lake South), Ox Lennon, and Shannen Georgia Petersen (Sports Dreams).
“I think it’s an album about the messy transition into young adulthood (and not so young adulthood). I can hear myself reflecting on friendship, the nature of memory, heartache and intimacy, getting hurt, causing hurt, and so on,” is how he describes the album.
Following the release of Calendars this Friday (June 12th), Sutton will take his debut album on the road through June and July, beginning in Palmerston North on the same day and culminating with a hometown show at Valhalla on July 3rd. He’ll be joined by his full band at most shows, with the exception of a solo house show in Dunedin. Ticket information for the tour can be found here.
Ahead of his album drop, we caught up with Sutton as part of our Up-And-Coming Aotearoa Artists series to find out more about his life and music.
Welcomer’s Calendars is out Friday, June 12th via Papaiti Records.
Rolling Stone AU/NZ: How much did music influence you in your early life?
Miles Sutton: Hugely. My parents played the classics growing up (Split Enz, Bob Dylan, and The Beatles). Dad played piano and guitar in church or school bands.
A shift for me happened when my uncle came back from London and started importing CDs in the early 2000s though. This was before streaming and smartphones — I was 12 on the rural bus line listening to [TV on the Radio’s 2006 album] Return to Cookie Mountain or whatever. I was never the same, I’ve been trying to contribute something ever since.
What artists influenced you growing up?
I always loved reading lyrics, so bands like The Hold Steady, Pavement, Bright Eyes, and Los Campesinos! were big for me in my teens.
Friend-bands were very influential too: Tied on Teeth, Alec, and the Caroles extended universe. Lawrence Goodwin, Reuben Winter, and Hugh Piesse with all their various projects had a massive impact on me. Die! Die! Die! released Form around then too, which felt like the centre of gravity for years.
What are some career highlights so far?
I’ve done some cool things with Eddie [Lontalius] like Laneway and CMJ. I’ve also been lucky to play in Australia, Europe, and America, but what comes to mind with a question like this are moments where someone has let me know that they connected with a song.
Tell us about your debut album. How long has it been in the works?
The record itself, from the first session to submitting it to the vinyl plant, took about three years. The songs were developed and played live with the band for maybe two or three years before then. If that seems like a long time, I would agree with you. It’s been a lot of work.
I think that’s largely because it’s a really layered record. We tinkered, experimented, and reduced for a long time. Jesse Austin-Stewart, who mixed the album and produced it with me, is a very patient man.
How was it working with Lontalius?
A pleasure. When I sent him the demo I thought he’d maybe add some production elements, so when I heard the verse for the first time it was amazing. I think it pulls it up for air and completes the song. Eddie doesn’t need me to sing his praises, but I do think he’s one of the most talented and hardworking musicians in this country.
What kind of personality traits and values do you believe it takes to succeed in the music industry?
I believe in hard work over innate talent, but we all know hard-working musicians without an audience. I also think being able to make friends and connections is important, but that doesn’t necessarily result in success. Having rich parents almost certainly helps, but you can still have rich parents and write bad songs… so who knows?
That said, if your vision of success is maintaining a sustainable creative practice and being part of a community, then it changes things. You can achieve that with empathy, discipline, and courage.
Credit: Supplied
How would you describe your music to a potential fan?
In an e-mail recently I said “The Beths’ slower songs feat. Silver Jews.” It always feels a bit like “how dare you” when bringing up [Silver Jews’] David Berman to talk about your own music, but it’s the most efficient signal to send. How about “folk-indebted indie rock from the South Pacific?” “Emo-adjacent?”
Are you looking forward to your national tour?
1000%. It’s humbling seeing our name on a poster alongside so many amazing artists. I’m excited to play, but I’m just as excited to see the others’ sets. For example, Belladonna in Pōneke, who put out the incredible Arcus Way late last year, or Peter (Fazed on a Pony) doing a solo set in Tāmaki. It’s going to be a great series of shows.
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Excited to play a house show in Dunedin?
Yes, I’m doing that one solo which will be interesting. I like to think the songs stand up on their own, so it’ll be fun to kick the tires on that theory. The lineup for that one sounds wild too — my friend Fi [Soda Boyz/ Radio One] is organising it. I think it’s getting announced on the day — I’d really recommend coming along if you’re in town.
What are your thoughts on Wellington’s current music scene?
I think Wellington is in a great place right now. When I was 21 I wished the scene was like this. It’s loud, passionate, and frankly the bands are very tight. I recommend checking out King Hit, Half/Angel, Cruelly, Silicone Tongue, and the whole Glasshead Records crew.
What are your goals for 2026 and beyond?
Leave it all on the field these next few months! And break even on the vinyl…
