Find out more about our Māori-language initiative here.
Over the past month, we connected with musicians from across Aotearoa as we launch our new initiative to cover more Māori music on Rolling Stone AU/NZ.
As we note in our introductory essay, Māori artists are more prominent than ever at the top level of our country’s music scene, including dominating the most recent Aotearoa Music Awards.
The initial artists we spoke with for our initiative’s launch rightly celebrated those wins, but they also wanted to make clear that a lot of work still needs to be done in terms of representation and support.
Rei told us that Māori musicians “definitely dominate” Aotearoa music in general, particularly during awards season, but there’s more work to be done.
“[W]hen it comes to te reo music, these songs still generally get a lot less radio play, playlisting, and air time,” he says. “We’ve come a long way in the past few years, but we’ve still got work to do.”
He has a dream: “I look forward to the day when I don’t get asked about singing in te reo in interviews, because it’s just become that normal!”
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Son & Water member Daimond Porima Ferguson agrees. “There are a lot more Māori artists who represent our music in the industry now, however, there’s always room for more and we hope to help fill those gaps.”
Huia Hamon, who has seen and done a lot in the Aotearoa music industry over the years, believes that the Māori language “is still not seen as the taonga it is.”
“Our country is still full of generational racism, the ‘Indigenous Pākehā’ complex and monglot preferences,” she continues. “However, te reo Māori was here first and will always be the reo and expression of Aotearoa.”
Hamon, who makes music as both Huia and Pakōpakō, also thinks that Māori artists in the electronic and dance genres are “unrepresented and unsupported.”
“Aotearoa has major bias and preferential attachment issues, and the perception of what ‘Māori music’ is (which to me, means it has te reo Māori in it) has been embedded through this bias,” she claims.
“We can change this by fixing our judging systems, looking at the data and futurisms, connecting with our Indigenous allies… and realising the truth that te reo Māori music is many genres and an international standard and worthy of major support.
“We have excellent Māori music without the support — imagine if it had the tuatoko it needs?”
Ardon England, meanwhile, acknowledges that Māori musicians like himself have “made incredible progress,” but he argues the challenge that lies ahead “is making sure that support doesn’t stop once Matariki or Te Wiki o te Reo Māori ends.”
“Māori artists deserve year-round investment from radio, festivals, streaming platforms, media, and funding organisations,” he says.
“Representation also matters beyond language. I’d love to see more space for artists who exist across multiple identities, whether that’s queer, Māori, Pasifika, or anything else. The more stories we hear, the stronger our music scene becomes.”
Rā Toia Booth, one half of Aotearoa duo Ra Charmian, agrees with England that “huge progress” has been made in recent years.
“More waiata in te reo Māori are reaching mainstream audiences than ever before, and that’s something to celebrate,” she says. “I think the next step is making sure that support continues all year round. Māori artists shouldn’t only be celebrated during Matariki or Te Wiki o te Reo Māori. Continued support from radio, streaming platforms, media and live events gives artists the opportunity to build sustainable careers and keep creating.”
The members of SUB-TRIBE also agree: “The key is continuing to back our artists — not just during Māori Language Week or Matariki, but all year round. We need to keep investing in rangatahi, creating opportunities, and making sure our stories are heard because Māori music isn’t a genre — it’s part of the soundtrack of Māori.”
Iharaira Starr — formerly known as Israel Starr — knows that change at the top is necessary. “As long as we have a government that has no regard for our language, then there is always going to be hills to climb.
“Structural racism still exists, even within our music industry. We’ve come a long way, but we’re still not there yet. The long game is about making sure that our generation and the next know and care about Māori values, so that when they eventually get into positions of power, they uphold our mana.”
For Tipare, the term ‘Māori music’ “needs to be broadened and supported in its evolution.”
“[…] I do think the funding bodies need to make space for alternative types of expression for Māori music, while supporting them financially to reach their audiences with expertise support for utilising the platforms,” she says. “And mainstream should look for ways to help evolve raw talent. This will grow the entire industry and everyone involved.”
Whangārei singer-songwriter Junny raises an interesting point. “Iwi radio stations play mostly reo Māori music. Ngāti Hine FM has an incredible playlist that I’m constantly Shazaming (to no avail). Independent and community radio stations play Māori music,” she notes.
“There are reo Māori artists and albums that kura kaupapa kids across Aotearoa know every word to (see: Maisey Rika or groups like Torea who are hugely popular).
“While ‘mainstream’ media does have a responsibility to offer adequate representation, I would also encourage people to assess [what] is mainstream for them and explore new-to-them channels of music and culture that exist and are thriving in many ways.”
