Auckland City Limits 2018 review

Did the crowd at Auckland City Limits 2018 have too many options despite the impressive performances by Grace Jones and Beck, who were slightly delayed?

 

This year’s Auckland City Limits festival featured performers who had to put in extra effort to capture the attention of the somewhat reserved audience. The festival, taking place at the expansive Western Springs Stadium, had a lot to offer. With ticket prices starting at $179.90, attending ACL provided value by offering the chance to see multiple international acts at a cost similar to individual concert tickets. 

The pleasant autumn weather allowed attendees to enjoy the event without discomfort from the sun. Food and beverage choices were diverse and plentiful. Families were also taken care of, with entertainment options suitable for younger audiences. The festival featured five stages, each providing great sound quality for the various international and local artists. Special recognition goes to the sound teams for their excellent work throughout the event.

Aradhana graced the Tamaki stage in the afternoon with her remarkable vocals accompanied by her band. She brought a fresh twist to her popular single ‘Wake Up’. Watching Aradhana perform her older songs highlighted her growing confidence and hinted at exciting new directions in her music.
 
At the Golden Dawn stage, acts like Disasteradio, Fabulous/Arabia, and Heavy entertained the audience. Disasteradio’s energetic performance in the early afternoon demonstrated why he continues to be a favorite at festivals.

Fabulous/Arabia’s lively covers of yacht rock favorites delighted the crowd, especially during their rendition of Doobie Brothers’ ‘What a Fool Believes’. Interestingly, this coincided with Thundercat, a jazz bassist and yacht rock enthusiast, performing at the Tamaki stage.

 
The scheduling conflicts like the one between Fabulous/Arabia and Thundercat left festival-goers struggling to choose between performances. While schedule clashes are common at festivals, the lineup at Auckland City Limits seemed especially busy. Some speculated that the acts were grouped loosely by genre, making it easier for fans of specific styles to plan their day.
 
An artist who resonated well with the audience was George Ezra. His early evening set drew a large, mostly youthful female crowd, whose cheers reverberated through the mic. The sing-along during Ezra’s performance of ‘Budapest’ was enthusiastic and harmonious.

Future’s performance attracted a vocal, young audience, but the lack of his fans in attendance became apparent. Even though Future and his dancers engaged the crowd, the night saw competing slots causing artists to struggle for attention, exemplified by Grace Jones overshadowing Future.

Justice wowed the arena with their lightshow and electro beats before Beck took the stage.

Beck treated the audience to a night of his greatest hits, kicking off with a mellow rendition of ‘Devil’s Haircut’. Despite a strong 90-minute set, excitement dwindled when Phoenix started their performance 30 minutes into Beck’s set. Beck humorously acknowledged Phoenix multiple times during his show, even pausing to direct his audience to the other band. The highlight was Beck’s bold move to jam over Phoenix’s music, showcasing a mix of covers from various artists. Beck’s engagement with his band and out-of-the-box performance failed to fully energize the audience.
 
Even during his well-known track ‘Loser’, Beck faced challenges in getting the crowd engaged. His closing song ‘Where It’s At’ received a lukewarm response, despite his effort, including a shirtless moment. This lukewarm reception was surprising, especially after a two-decade hiatus from performing in New Zealand.
 
When Auckland City Limits hosts high-caliber international artists in a central venue at an affordable price, one must ponder on how to further appeal to the audience’s interests?

If music enthusiasts fail to support festivals like this, we may be limiting our cultural experiences.