D.Matthews Unveils “Tomato” — A Bold Afropiano Statement Positioned for Global Impact

Australian-based Nigerian recording artist D.Matthews is set to further cement his rising international presence with the release of his highly anticipated new single, “Tomato,” arriving worldwide on June 12, 2026. 

A polished fusion of Afropiano’s rhythmic bounce, Afro-fusion’s melodic sophistication, and mainstream commercial appeal, “Tomato” is a strategically crafted record designed to resonate across streaming platforms, radio, nightlife, editorial playlists, and global digital audiences. 

Driven by infectious percussion, emotionally engaging songwriting, vibrant melodic performance, and dance-centric production, “Tomato” captures the essence of modern African music’s evolving global influence while reinforcing D.Matthews’ distinct creative identity. 

The single reflects themes of attraction, movement, celebration, and confidence — delivering both immediate listener appeal and long-term commercial versatility. 

“Tomato is about energy, rhythm, and connection. It’s a record built to make people feel good, move, and experience my sound on a global level.” 

As African music genres continue dominating international charts and cultural conversations, D.Matthews strategically positions himself at the forefront of this movement through disciplined artistry, brand consistency, and globally relevant releases. 

“Tomato” serves as a significant next chapter in his growing catalog, demonstrating both artistic evolution and commercial readiness. 

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About D.Matthews

D.Matthews is a Nigerian-born, Australian-based recording artist whose sound blends Afropiano, Afrobeats, and contemporary Afro-fusion into commercially strategic, culturally resonant music. Through consistent artistic growth, strategic branding, and international market positioning, D.Matthews continues building momentum as a formidable emerging voice in global African music.

JUNE MEMBERS ONLY ONLINE SESSION: INTEGRATING AI INTO CREATIVE BUSINESSES

Join MMF Aotearoa for our June members only online seminar, focused on Integrating AI into our creative businesses.

If you think integrating AI into your creative business means handing over your work to a machine, Emily Makere Broadmore wants to challenge that assumption.

In this session, Emily will unpack what it actually means to integrate AI into a creative business, addressing the most common misunderstanding head-on: that AI adoption is a technology problem. It isn't. It's a thinking problem. She'll explore how to reframe AI as a creative thought partner, why resistance in creative industries is so common (and so understandable), and how your human skills of judgement, voice and influence remain the irreplaceable foundation of everything you do.

Make it stand out

Emily Makere Broadmore is a novelist, publisher and creative intelligence practitioner based in Wellington. She builds creative businesses and ventures - and helps other creative people use AI without losing what makes their work theirs.
She is the founder behind Folly, the fastest-selling new literary journal in Australasia, and Folly Press; she also built the Wellington Writers' Studio, New Zealand's first co-working space for writers. Prior to this she was a political advisor to government ministers, an experience that led her to founding a nationwide strategic communications consultancy which she led for six years.
Emily now helps organisations move their people from AI-hesitant to AI-fluent, redesigning how the work gets done along the way. She sits on the Creative Industries Working Group advising the NZ AI Forum and wrote AI for Communicators. Her angle is practical and creative-first: she runs a publishing house that bans AI-generated writing, while advising leaders on how to use AI well. As she puts it - machines are fluent, fast and powerful, but not yet wise, and that gap is where she works.

MMF AOTEAROA  MEMBERS ONLY ONLINE SESSION
INTEGRATING AI INTO CREATIVE BUSINESSES

Date: Tuesday 23 June 2026

Time: 6pm – 7pm

RSVP: For MMF members only. RSVP to Rachel admin@mmf.co.nz. 
Spaces are limited so RSVP is essential.

Due to the limited places please note if you RSVP and then fail to attend the session without notifying us, unfortunately you will not be eligible for future sessions

Sylvee is set to release her third EP, Tender, on June 5, 2026

Featuring previously released singles “Ice Grit,”  “Before I Met You,” and  “Hell of a Man”, Tender marks a defining moment in Sylvee’s artistic evolution. Tender is a record that feels like Sylvee at her core. Her ability to write cross-genre (Country, Pop, Drum & Bass, Folk, Rock, Alternative) is a testament to her skill and experience, but this project “has been the most fulfilling and natural to explore” says Sylvee.

The six tracks are a dusty, cinematic kind of country-pop that feels like highway lights bleeding into rain on the windshield, or sitting outside long after everyone else has gone to bed because your thoughts are too loud to sleep through.

There’s heartbreak here, but not just romantic heartbreak. There’s the ache of trying to understand your own mind. The tension between tenderness and survival, and the weight of generational strength. Some songs smoulder. Some unravel slowly. Some feel like confessions you weren’t supposed to overhear. There’s a rawness to the project that feels lived-in rather than polished. Imperfect vocals kept for emotion, home-recorded moments left intact, and stories told exactly as they happened.

From the restless pull of “Ice Grit” to the vulnerable spiralling of “What I’m Talking About,” and the weathered warmth of “Grace Over Hurt,” the EP moves like a series of late-night thoughts you can’t outrun. A record more interested in honesty than perfection. Tender feels rooted in modern country storytelling, but there’s an understated intimacy running through it that gives the project its own space: raw around the edges, feminine without fragility, and deeply human.

It’s the kind of record that belongs on long drives, quiet nights, heartbreak playlists and healing playlists all at once. Equal parts grit and vulnerability, chaos and comfort.

“Ice Grit,” released in June 2025, introduced this new chapter with drive and vulnerability, landing editorial and curated playlist support. “Before I Met You” (November 2025) expanded her reach surpassing 55.9K+ streams also earning further editorial and curated playlist support, including placement on Air New Zealand’s “Runway Tracks”.  With the third single “Hell of a Man” (April 2026) following, those singles are continuing to build and resonate strongly with audiences for their honesty and emotional depth. 

The final three tracks on Tender reveal the true heart of the EP.

“What I’m Talking About” is a strikingly candid reflection on navigating previously undiagnosed ADHD during a pivotal life transition. Written primarily by Sylvee and brought to life with long-time collaborator Joel Jones, the track captures the internal chaos behind a composed exterior. With lyrics like “I know I look like I know what I’m doing / But I don’t”, the song offers a rare and relatable window into neurodivergence, self-doubt, and the struggle to keep up.

This song feels like trying to hold yourself together in a room full of people while your mind is running in ten different directions at once. It captures the quiet panic of overthinking every interaction, struggling to focus, masking confusion and feeling disconnected from everyone around you, all while looking “fine” on the outside. Driven by conversational lyrics and emotionally charged country-pop production, the track turns neurodivergence and anxiety into something deeply human and relatable. It fits naturally within introspective country-pop, alternative country, mental health-focused playlists, indie singer-songwriter spaces and emotionally vulnerable modern folk-pop.

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“Grace Over Hurt” stands as one of the EP’s most emotional moments, a tribute to Sylvee’s mother. Written by Sylvee and produced with Aaron Clarke (Mountain Boy), the track embodies themes of compassion, resilience, and generational strength. The song carries an added layer of meaning: Sylvee recorded the vocals at home while pregnant, even capturing a moment speaking to her baby in the womb. “It felt right to leave that in,” she shares. “This song is about my mum, and I’m about to begin my own journey into motherhood.”

It’s the kind of song that makes you think about the people who shaped you and choosing softness in a hard world. It feels deeply rooted and timeless, combining heartfelt Americana textures with emotional country storytelling. The song belongs in Americana, acoustic country, reflective folk-country and emotionally grounded storytelling playlists that focus on healing, family and human connection.

Closing the EP is “In the End,” a reflective and cinematic track written during a studio session with Joel Jones, inspired by the rugged, emotional landscape of Yellowstone. The song explores the journey from youthful idealism to hard-earned understanding, ultimately landing on a simple but powerful truth: “In the end, all you needed was the love.” 

This is the song that plays after the dust settles. When you’ve lived enough to know life doesn’t turn out the way you imagined, but somehow that’s not the tragedy you thought it would be. “In the End” feels expansive, weathered and cinematic, blending western-inspired country with reflective storytelling about anger, mistakes, survival and love. It’s the soundtrack to long drives, open landscapes and moments where everything finally starts making sense. The track fits naturally within Americana, modern western, cinematic country, reflective road-trip playlists and emotionally driven singer-songwriter spaces.

During the writing process of this EP, Sylvee immersed herself in country influences, listening almost exclusively to artists such as Joshua Slone, Morgan Wallen, Ernest, Ella Langley, Lacey Kaye Booth and Kacey Musgraves, a deep dive that helped shape the sound and storytelling style.

“When I started writing in this genre back in 2023, Hell of a Man was one of the first songs I wrote” says Sylvee. “I remember telling Joel (Jones) that I wanted to write a country project, and he was enthusiastically all for it”. 

The majority of the tracks also feature Tom Broome and Neil Watson,  both touring musicians for Tami Neilson, adding an authentic country texture with live drums and pedal steel.

At a time where polished perfection feels increasingly disconnected from real life, Sylvee offers something deeply human. A body of work that’s about surviving hard seasons without losing softness. With Tender, Sylvee isn’t just stepping further into country music, she’s carving out a space within the genre that feels entirely her own.

TîMMY the FIRST stamps his mark with powerful new single ‘Air’

One of the most exciting new voices in Aotearoa hip–hop TîMMY the FIRST delivers a poignant message of belonging on his brand new single, ‘Air’.

“This song captures the heart of who I am as an artist,” explains Zimbabwean-born, Aotearoa-based TîMMY. 

“My music has always been about telling honest stories and creating from a place of purpose. I’m drawn to songs that explore identity, belonging, and the courage it takes to follow your own path.”

‘Air’ also perfectly encapsulates TîMMY’s unique sound, which blends African influences and global sonics with contemporary production. The song sits at the intersection of Afropop and hip-hop and is warm, uplifting, reflective and introspective all in one. 

The song’s production – with Tinaye at the helm - is built around melodic guitar lines inspired by Zimbabwean and South African sounds. Those organic elements are blended with contemporary Afropop production and subtle hip-hop influences creating a sound that feels both nostalgic and modern. The result is an inspired and powerful track that is emotionally honest and deeply rooted in a sense of identity, purpose, and home.

“‘Air’ is about carrying a dream, vision, or sense of purpose that feels unrealistic to the people around you. It speaks to the experience of pursuing a path that others may not understand, while knowing deep down that you can’t ignore it,” says TîMMY.

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For TîMMY the song evokes a sense of home.

“Zimbabwe is where I was born, but I didn’t grow up there. New Zealand is where I’ve built my life, but I wasn’t born here. For a long time, I’ve lived between worlds. This song brings those different parts of me together and creates a space where I feel fully at home.”

“I hope listeners take away the courage to trust themselves. No matter how unconventional or unrealistic your path may seem to others, don’t betray who you are just to fit into someone else’s expectations. Follow what feels true to you, and embrace your uniqueness.”

Keep your eyes and ears posted for the video for ‘Air’, which premieres on June 12.

Beth Torrance returns with ‘Suzy May’ (single) OUT NOW, via Particle Recordings

Suzy May is indie rock with a smirk: the story of a new bond that demands your full attention, whether you like it or not. 

It's not a love song, exactly. “It’s about the tensions that can come about with new connections; there’s intrigue and desire.” Through the enigmatic protagonist of the track, Suzy May, the artist tells the story of that person you know, but don’t really know: the one you keep crossing paths with and clock across the room. “Suzy May is someone who will never give you what you want,” Beth says. “They’ll elude you, yet they’re someone you can’t resist.”

Suzy May delivers the indie-rock sound Beth Torrance has been building toward with her band, the Garden Party. Known for her intimate, layered indie folk with delicate guitar, killer melodies, and poetically honest lyrics, Suzy May doesn’t leave that behind. It just turns it up several notches.

She puts the acoustic aside for her Danelectro silver sparkle electric guitar and is joined in the studio by John Heywood (Alex G) on bass and Jordan Lim (Preacher) on drums. Recorded and mixed at Bigpop Studios by Jacob E. Rush and mastered by Howard Rogers, the track feels both crisp and gritty. It’s kinetic and alive.

The Your Favourite EP was written with a band in mind from the outset. It’s a natural evolution, and one that fits like a glove.

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Directed by Calum Dewsnap, with Alfie Saunders (DOP), Chris Jackson (gaffer), and Josh Clarkson (art director), the Suzy May video splits the difference between ’60s psychedelia and ’90s rock irreverence; think Penny Lane crossed with Beck’s Loser music videos. Staged as a garden party in full bloom (a direct homage to her band’s name), Beth appears at first demure, then her beguiling rockstar presence takes over. The confident frontwoman has always been there. Now there’s a full band to elevate the noise.

Beth Torrance and the Garden Party, is completed by Ben Frisby (bass) and Finn McNeill (drums). Her earlier songs land differently in the hands of the taut, transcendent power trio: bigger, wider, and with room to breathe

SONOROUS RELEASE POWERFUL NEW SINGLE “STATE OF A NATION”

Taupō-based blues-rock trio SONOROUS — featuring Lucian McDermott (Ngāi Te Rangi)  (Lead Vocals/Guitar), Khani Te Mete (Bass), and Cooper Paalvast (Drums) — return with their powerful new single “State of a Nation”, — a deeply reflective track that speaks to the pressures many communities and whānau are facing right now, while offering a message of resilience and hope.

What began as reflections on everyday struggles slowly evolved into a song designed to capture the emotional weight many people are carrying — the pressure of rising living costs, uncertainty, and the challenge of simply trying to get by. Rather than focusing solely on hardship, SONOROUS wanted the track to acknowledge the reality of difficult times while still reminding people they are not alone.

Written and produced by Lucian McDermott and Justin McDermott, and recorded at 11B Studios in Mt Maunganui, State of a Nation grew from honest conversations and reflections on the realities many people are facing right now.

“This song comes from looking around and seeing people trying to keep their heads above water,” says Lucian McDermott. “We wanted it to feel honest, but also leave people with a sense of connection and hope.”

For co-writer and producer Justin McDermott, (Ngāi Te Rangi) the song reflects the emotional pressure many people are quietly navigating every day.

“‘State of a Nation’ is really about the pressure a lot of people are carrying day to day,” says Justin McDermott. “We wanted to write something people could connect with and hopefully remind them they’re not alone in feeling that weight.”

Blending thoughtful lyricism with the band’s signature soul-infused psychedelic blues rock sound, State of a Nation delivers emotional depth alongside immersive musicianship — offering listeners a song that reflects the times while creating space for reflection and understanding.

Releasing, State of a Nation marks another important step for SONOROUS as they continue building momentum toward their debut full-length album, pushing their blues-rock foundations into bold new territory through a growing catalogue of original releases.

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ABOUT SONOROUS

SONOROUS are a soul-infused psychedelic blues rock trio from Taupō, New Zealand, featuring Lucian McDermott (Lead Vocals/Guitar), Khani Te Mete (Bass), and Cooper Paalvast (Drums).

Known for their explosive live shows and raw, soul-charged sound, the band has built a growing reputation for emotionally driven performances and powerful musicianship since forming in 2021.

Frontman Lucian McDermott was recently recognised by Blues Festival Guide USA as one of the top eight emerging blues guitarists in the world, alongside artists such as Taj Farrant.

SONOROUS have shared stages with iconic acts including Simple Minds, Collective Soul, Texas, Pseudo Echo, Grant Haua, and Black Comet, while performing at major events such as Greenstone Entertainment’s Summer Concert Series.

Omega Levine Explores Pacific Roots on New Single “Sweet & Sour”

Auckland singer-songwriter and performer Omega Levine continues his return with "Sweet and Sour," a release signaling a fresh sonic direction rooted in his Pacific heritage. 

Following his recent comeback single "All Things New," his first official single in six years, Levine this time blends funk, R&B, hip-hop, and pop with subtle rock influences. Driven by a catchy hook, groove-heavy production, and layered percussion, the track also draws inspiration from Levine’s Samoan heritage, marking the beginning of a deeper exploration into that influence within his music. 

The release also features strong Pacific collaboration with INF of SWIDT and ANKA, alongside AIRPORTS, with NZ On Air Pasifika support. 

“This record represents real life. The sweet moments, the messy moments, the tension, the love, and everything in between. Growing up Samoan in Aotearoa, music always carried emotion and storytelling, and this song naturally came from that space,” Levine says. 

Known for his versatility as a songwriter and performer, Levine has spent years building a reputation across Aotearoa’s music scene through collaborations spanning electronic, pop, worship, and live performance. With "Sweet & Sour," he steps into a space that feels new and authentic, showcasing his ability to create music that connects commercially while remaining true to his roots.

"Sweet & Sour" (feat. INF, Anka, and Airports) is available now on all streaming platforms and the Music Video will follow this June. 

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2026 Tūī winners revealed at Aotearoa Music Awards

Che Fu inducted into Te Whare Taonga Puoro o Aotearoa | NZ Music Hall of Fame, Fat Freddy’s Drop celebrated as Aotearoa Charts Icon

Recorded Music NZ tonight revealed the winners of the 2026 Tūī, at the Aotearoa Music Awards.

In a remarkable sweep, Marlon Williams was awarded NZ On Air Te Tino Pukaemi o te Tau | Album of the Year for Te Whare Tīwekaweka, Spotify Te Tino Waiata o te Tau | Single of the Year for ‘Aua Atu Rā’ and Te Tino Reo o te Tau | Best Solo Artist. The hattrick is a culmination of recent acknowledgements that has seen Williams win the 2026 Taite Music Prize – for which Recorded Music NZ provides the $12.5k cash prize as Founding Partner – and APRA Best Country Song at the 2026 Country Music Honours. In October 2025 he was awarded the APRA Silver Scroll Award | Kaitito Kaiaka for ‘Aua Atu Rā’, alongside album co-writer KOMMI. Mark Perkins was also awarded Te Taumata o te Pūkenga Oro | Best Engineer at AMA 2026 for his work on Te Whare Tīwekaweka.

Te Tino Kāhui Manu Taki o te Tau | Best Group was this year won by 2024, 2020 and 2019 category winners The Beths, off the back of their 2025 release Straight Line Was A Lie. Te Manu Taki Arotini o te Tau | Best Pop Artist was won by Lorde, whose 2025 album Virgin proved a global phenomenon. The star was also awarded the Tohu Tutuki o te Ao | International Achievement Tūī, an award presented for the first time since 2020, in recognition of the international success of the album. As well as debuting at #1 on the Aotearoa Top 40, Virgin went to #1 in Australia, #2 in the US and, fresh off the back of a secret set at Glastonbury, hit #1 in the UK – the first of Lorde’s albums to do so.

Te Manu Mātārae Tūī, which recognises artists that have made a significant impact on the music landscape in Aotearoa and beyond, was this year awarded to Balu Brigada. The band of multi-instrumentalist brothers Henry and Pierre Beasley from Tāmaki Makarau has seen huge success in the last year internationally. They are building a devoted following with 5 million monthly listeners on Spotify and – since releasing their first album Portal in August last year – have been busy touring around the world, including at US festival Lollapalooza. They return to Aotearoa for a sold out show at the Powerstation next month.

Te Māngai Pāho Mana Reo was taken home once again by 2025 category winner Stan Walker for ‘Mō Āke Tonu’ (feat. Hana-Rāwhiti Maipi-Clarke). Te Māngai Pāho Te Manu Taki Māori o te Tau | Best Māori Artist was awarded to 2024 category winner TAWAZ.

Te Wehi, a new local chart-topping artist from the East Coast, who has had a huge year on the Official Aotearoa Music Charts, was acknowledged as Te Iti Rearea o te Tau | Breakthrough Artist of the Year. He also won Te Manu Taki Taketake o te Tau | Best Roots Artist, and opened the night with a performance with frequent collaborator and 2025 Breakthrough winner and 2026 multi-finalist Hori Shaw. At peak, Te Wehi simultaneously held six of the Top 20 positions on the Official Top 20 Aotearoa Singles Chart, and closed the year with five singles in the Top 20 End-of-Year Aotearoa Singles Chart.

Te Manu Taki Rakapīoi / Rakatū Pāorooro o te Tau | Best Rock / Metal Artist went to Alien Weaponry for Te Rā. The category was expanded from Best Rock to Best Rock / Metal in 2026, to reflect the thriving metal community of Aotearoa. Fittingly, the Tūī was this year won by an established metal act – that have previously won the Rock category in 2022 and 2018. Alien Weaponry also brought their mighty version of waiata reo Māori to The Civic stage with an epic performance.

Tom Scott (Avantdale Bowling Club, Home Brew) was awarded Te Manu Taki Manako o te Tau | Best Soul/RnB Artist off the back of his first solo album, ANITYA. He also performed a medley of tracks from the record on the night. Album producer and engineer Ben Lawson was awarded Te Taumata o te Kaiwhakaputa | Best Producer for the release.

Tami Neilson collected Te Manu Taki Tuawhenua o te Tau | Best Country Music Artist for a record-sustaining eighth time, for Neon Cowgirl. She also performed ‘King Of Country Music’ (from 2022 album Kingmaker) with a nod to Topp Twins classic ‘Untouchable Girls’ on the night. Neilson was joined for the performance by a group of special guests that included fellow Country finalist Jenny Mitchell, and The Mitchell Twins. The tribute followed the heartbreaking news earlier this week that Dame Jools Topp – a key mentor for Neilson, alongside Jools’ sister and bandmate Dame Lynda Topp – passed away on Saturday. The Topp Twins were celebrated at the Country Music Honours in Gore on Friday, with the Country Music Honour for Contribution to Country Music in Aotearoa. Tami Neilson won the inaugural Honour in 2025.

The 2026 JD Sports Tā te Iwi | People's Choice Tūī was awarded to indie pop sensation Borderline, who have had a huge year off the back of the release of their debut EP Chrysalis. The band was also a finalist for Te Manu Taki Arotini o te Tau | Best Pop Artist and Te Iti Rearea o te Tau Breakthrough Artist of the Year.

Te Manu Taki Whanokē o te Tau | Best Alternative Artist went to autodidact alt hip hop artist and performer MĀ for her first album Blame It On The Weather. She also took to the stage to present a special performance of ‘TrapsJam’, from the multi-nominated release.

Te Manu Taki Tāhiko o te Tau | Best Electronic Artist was awarded to Caru & Brandn Shiraz for their collaborative EP, Back 2 Back. Te Manu Taki Ātete o te Tau | Best Hip Hop Artist Tūī went to MOKOMOKAI for PONO.

Te Manu Taki Ahurea o te Tau | Best Folk Artist was awarded to ex-Harry Styles backing vocalist and multi-instrumentalist Ny Oh (Naomi Ludlow), for her debut album Wildwood.

Te Manu Taki Tautito o te Tau | Best Jazz Artist went to London-based composer Louisa Williamson for her second solo album Groundwork. Te Manu Taki Tuauki o te Tau | Best Classical Artist Tūī was awarded to Michael Norris for his Rerenga collection of chamber and orchestral music spanning 2015–2022.

Te Taumata o te Toi | Best Album Artwork was awarded to Nick Keller for his work for Beastwars album The Ship // The Sea. NZ On Air Te Taumata o te Ataata | Best Music Video Content was won by Stella Reid for ‘Scared Old Men’ by Dick Move. The band also delivered a high energy live performance featuring the song.

Te Taumata o te Hokona | Highest Selling Artist was won by Six60 for the eighth time in a row. NZ On Air Te Taumata o te Horapa | Radio Airplay Record of the Year was won by RIIKI REID for her hit single ‘Over Romantic’. The artist performed a rework of the track with a troupe of dancers.

Che Fu was inducted into Te Whare Taonga Puoro o Aotearoa | New Zealand Music Hall of Fame by Recorded Music NZ. The hip hop legend was welcomed to Te Whare by his longtime hero Betty-Anne Hall, the voice of Ardijah – who only recently released her first solo album, Slow Burn. Che closed out the night with a medley of some of his most iconic tracks, accompanied by the current iteration of his longtime band The Kratez.

Fat Freddy’s Drop was celebrated as the 2026 recipient of the Aotearoa Charts Icon award, introduced in 2025. The taonga acknowledges the group’s success in the Official Aotearoa Music Charts over the course of their career – an impressive, ongoing run that has seen them release eight acclaimed studio albums, four of which went to #1 on the Top 40.

Marlon Williams, Lorde and 2025 People’s Choice Tūī winners Devilskin were also acknowledged with the first-ever Aotearoa Charts #1 awards, for going to #1 on the Official Top 40 in 2025.

Recorded Music New Zealand CEO Jo Oliver says;

“Congratulations to all winners at the 2026 Aotearoa Music Awards. These incredible artists are resonating with audiences both locally and overseas.

“Recorded Music NZ is proud to promote and champion New Zealand artists and music through the Aotearoa Music Awards and the Official Aotearoa Music Charts, celebrating success and shining a spotlight on emerging talent.”

AMA 2026 was co-hosted by return host Kara Rickard, and comedian and actor Tom Sainsbury. The event was livestreamed via AMA Official Media Partner RNZ and is available to view on the RNZ Music YouTube channel. The broadcast is brought to our screens with the invaluable support of sponsorship and broadcast partner Irirangi Te Motu | NZ On Air and Te Māngai Pāho.

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