Review

Bill Direen, master of words and driving force behind The Bilders, returned to Auckland supported by collaborators Alex McManus on Guitar/Slide, Matt Swanson on Bass and joined for the tour by the experienced Steve Cournane on Drums and Percussion.

As observed by his grandson Jasper, the deep underground venue itself felt referential for an artist whose career while prolific has largely remained deep underground. With a career spanning both decades and disciplines—music, poetry, literature, Direen seemed relaxed and comfortable, an artist among friends, fans and family.

Over two plus hours and across three sets, Direen delivered 26 jewels of songs. The Bilder’s two latest releases, Neverlasting (2025) and Dustbin of Empathy (2024) naturally served as the backbone of the set, offering a rich tapestry of lyricism, personal disclosure, experimental soundscapes, and socio-political commentary.

The show opened with a request, Danced and the attentive audience was immediately immersed the audience in Direen’s lo-fi and no fuss world. What followed by a series of songs underpinned by themes of displacement, other worlds, loss and love (and telescopes). Each song was carefully crafted and delivered with genuine affection. The back half of this first set included the rhythmic urgency of Shakin’ , the hidden humour of Scaribus and the pointed commentary of Libertalia.

After a short break, Set Two commenced, building on the earlier themes with stories of personal history, the atrocity of war and a plea for peace. Sharin’ East and White Guitar provided a tempo change, Anvil and Angel Dark took us higher before the three pieces of Comrades, The Third War, and Obedience hit us in the gut before My Fathers Enemy left us silent and in awe. Bill finished the set with a short reading about Chris Knox ,Tall Dwarfs from his latest book Apropos

After an even shorter break, Set Three commenced with a beautiful, stripped back version of Stancing. During this set, Matt got to display his delightful moving bass lines, Alex an array of sonic moodscapes, while Steve chipped in perfectly in time. The Weevil was an off-piste wee story, then Neverlasting was an evening highlight of complex and intense words and music, Direen’s lament on impermanence and ecological exhaustion was palpable .The energy remained high through rip-roaring delivery of TetraPak where the band displayed an ability to shift from melodic to dissonant within a single track, next up a deep cut with Clifford Flat , a rendition of Blam Patrol that was fierce and politically charged, an eerie The Creatures and a blast from the past with Alien before the night finished with the engaging narrative driven The Virgin Boy.

Direen’s delivery was highly personal, part philosopher, part punk poet, part southern bard. The band’s chemistry was evident in their feel for Direen’s lyrics and in the interplay between Matt’s bass and Alex’s multi-instrumental layering. The crowd responded with quiet intensity, absorbing rather than reacting. It was a performance that demanded attention and rewarded it.

Personally, The Bilders’ 2025 Auckland performance felt like a key cultural moment. Direen’s dual legacy as a musician and poet was on full display, bridging the gap between post-punk grit and literary finesse. His deep resonance with the Country, particularly his personal and family roots, was clear throughout. With their last two releases The Bilders reaffirm their place in New Zealand’s musical canon, proving that musical evolution and personal authenticity can coexist while delivering music that is deeply affecting and relevant.

Dunedin in the late 1970s delivered NZ three fiercely independent songwriting musicians, Chris Knox, much loved, eventually curtailed by health, Luke Hurley, king of the buskers – still writing and recording and Bill Direen, NZ Arts Foundation Laureate 2025, a man who has dedicated his life to his craft.

“We are the Neverlasting renter-squatters of Earth exhausted.”