Originally from Ahuriri Napier, now based in Tāmaki Makaurau, Arahi Whaanga is one independently-released EP and plenty of live shows into establishing himself as a promising singer-songwriter with potential international appeal. Also one half of alt country duo Pony Baby, alongside Jazmine Mary, it’s Arahi’s solo single We’ve Seen Better Days that was included on NZ On Air Music‘s New Tracks July compilation.

What is your full name, what are your pronouns, where are you from and what instruments do you play?

I try to keep my last name to myself to maintain some slight separation in a career that is sometimes so all encompassing. Arahi is my first name. Guitar is my main instrument – I play drums, bass and keys sometimes as well.

Was any high school or other music training especially important to you?

I had a strained relationship with music theory and study during high school, until it became useful once I started performing more. Now I feel like I have a healthy balance between dots on a page and intuition in the room.

Any other projects that we might know you from?

I’m a part of alt-country duo Pony Baby, as well as being one third of Te Reo swamp-rock trio Te Tokotoru.

How has your writing evolved from your beginnings in songwriting to now?

You can’t help but evolve as a songwriter if you’re constantly listening. I always find it easier for me to look back 50 years or so for influences, they’ve still got a lot to give – especially when you present it in a modern context.

What made you decide to stick with Arahi as artist brand?

Was easier. Considered changing it but omitting my last name where possible was enough to create a degree of separation between what’s performance and what’s not. That’s quite a blurry line sometimes, though.

What is the story behind We’ve Seen Better Days?

We’ve Seen Better Days is the first single I’ve written and released since moving to Auckland. Easy enough to write a melancholic song when moving from the country to a big city – inevitable almost.

What’s your favourite moment, musical or lyrical, of the track?

The song is little stories and memories all pieced together. The only thing tying these lines together is a feeling, not necessarily what they’re saying – which isn’t unique or anything, most songs are like that – but it’s fun for me to think of where each line is from as it plays.

Who did you record the single with and where?

I recorded this song with Jol Mulholland at his studio. Between us we can work really fast and cover a lot of ground.

What would you like listeners to take away from the song?

Hopefully something I couldn’t see. It’d be boring if their takeaway was just what I wrote – hopefully they can see something in the song that I couldn’t and maybe it’ll help.

How do you generally work out if a song would make a good single?

I get disinterested fairly easily. So if I can listen to it a bunch and still look forward to the first chorus or the instrumental – that’s a good sign.

Who else is in your team?

For this single I had the wonderful NicNak Media covering publicity and DRM as the distributor.

Are there any other musical endeavours you’re working on that we should keep an eye out for?

I have so much music lining up at the starting gates – it’ll make its way out into the world somehow – at some point.

Can you please name three other local tunes that would fit well on a playlist alongside your song. 

• Em – Cloud City
• Mel Parsons – 5432
• Molly Payton – Asphalt

Have any previous NZOA applications not gained funding or been included on NewTracks?

So many applications have not been accepted – it’s best not to think about it. Any ‘numbers’ criteria or questions are disheartening. It helps to be persistent and relentless. 

Who did you make the video with?

Directed by Annabel Kean, featuring Liv Tennet Filmed and edited by Callum Devlin. Camera assistant Ruby Walsh. A Sports Team production.