Synthony Auckland 2026: Orchestra, Nostalgia & a School Disco Vibe
Auckland’s night saw Synthony, New Zealand’s biggest one-day music festival, draw a crowd of approximately 40,000 to the Auckland Domain, slightly eclipsing the 36,000 attendees at the nearby Laneway festival. The event, described as a “collision of the biggest electronic dance anthems with a live orchestra,” offered a curious blend of high-energy EDM and classical performance, a dynamic that proved both exhilarating and, for some, a little unsettling.
The festival’s lineup included international headliners Faithless and Peking Duk, alongside local acts like Shapeshifter. But it was Kaylee Bell, a Canterbury country singer, who delivered one of the early highlights, performing her 2024 hit ‘Cowboy Up’ during the day’s second set. The performance, described as “rousing, fun and enthusiastically delivered,” presented a striking juxtaposition: a country line-dancing anthem performed for an audience more accustomed to electronic beats. As one observer noted, the lyrics – “heel toe and round we go” – felt more suited to a line dancing convention than an EDM crowd.
The choice of ‘Cowboy Up’ too stood out in the broader context of the festival’s setlist, being one of the only songs performed over the subsequent six hours written within the last decade. This highlighted a broader trend at Synthony – a reliance on nostalgia to draw crowds, a strategy increasingly common as touring costs rise and disposable income becomes more concentrated among older demographics.
Yet, the orchestra itself was a clear success. The Auckland Philharmonic Orchestra, acting as a backing band for the EDM classics, demonstrated a remarkable adaptability. Conductor Sarah-Grace Williams was singled out for particular praise, deftly maneuvering her instrumentalists through a technically demanding, pyrotechnic-infused set, providing a “heap of emotion” whereas maintaining calm amidst the chaos. The orchestra proved that aging artforms don’t necessarily have to fade quietly and that a big brass section can add significant weight to a pounding bassline, or sweeping strings can elevate iconic synth lines.
The festival wasn’t without its awkward moments. Devilskin’s Jenny Skulander delivered a powerful rendition of Avicii’s ‘Levels,’ while Cassie Henderson, a former X Factor contestant, impressed with her performance of Gala’s 1996 hit ‘Freed From Desire.’ But the reliance on older material, and the occasional forced singalongs – including a particularly cringe-inducing attempt to secure the crowd to join in on Oasis’ ‘Wonderwall’ and Guns N’ Roses’ ‘Sweet Child O’ Mine’ – occasionally veered into “elevated school disco” territory. Hot Dub Time Machine’s set, in particular, felt like a repeat of material already performed earlier in the evening, including another rendition of ‘Freed From Desire’ without Henderson’s vocal contribution.
The evening concluded with a strong performance from veteran British duo Faithless, whose set was described as “dark, pulsating, immersive,” and a cut above much of what had come before. As attendees dispersed after Faithless’ performance of their 1997 hit ‘Insomnia,’ the lingering sound of a dance remix of ABBA’s ‘Gimme! Gimme! Gimme! (A Man After Midnight)’ – also played by Hot Dub Time Machine – underscored the festival’s central tension: the allure of nostalgia versus the need for creative renewal.
Synthony’s success, drawing a large and diverse crowd, suggests a continued appetite for these kinds of hybrid events. However, the festival’s reliance on familiar hits and occasional missteps also raise questions about its long-term sustainability. The challenge, as one observer noted, is to balance the appeal of nostalgia with the need to create something genuinely new.