18 minute read
Feature interview
The beat goes on…
By Heather Barker Vermeer
MC Tali in Le Roys Bush next to her Northcote Point home. ©Serena Stevenson.
Pioneering musician Natalia Sheppard is better known by her stage name, MC Tali. The musician, writer, producer, performer, author and documentary maker has chosen to positively push the envelope during the last two years and, when the time arrives, plans to accelerate out of the current red setting at light speed.
When Natalia and her UK-born husband Benn Rolls Sheppard (aka Chiccoreli) moved back to her native New Zealand after making waves in London, the couple chose to make the North Shore home. That was November 2011, and Kiwi dance music icon MC Tali is as much in love with the place now as when it first stole her heart.
Down a steep driveway, Natalia’s house is encased in Le Roys Bush in Northcote Point, bordering onto Little Shoal Bay. “It has these incredible bush views,” she shares. “When I was in London, I said I’m not moving back to New Zealand and moving anywhere without either a bush or a sea view and this was love at first sight.”
Growing up on a farm in Taranaki, playing a wonky old piano was Natalia’s first taste of playing music herself. She was a standout in the local area schools’ choir and took part in theatre productions.
Her mum is artist Margaret Scott and her parents hosted plenty of parties on their dairy farm, where Natalia feels her love of music – and partying – derives from. Investing in piano lessons for their daughter when she was 12, they upgraded their old piano to the one that now sits nostalgically in Natalia’s Northcote Point home.
The first ‘big concert’ she went to was U2 at Western Springs.
Natalia recalls travelling by bus from New Plymouth as a 16 year-old and the experience opening her eyes to the magic of large, live gigs. A year later, ‘U2 weren’t that cool anymore’ - and her view after experiencing a ‘proper DJ’ playing live was rather different. “I remember seeing everyone raving and the way it united people of all genders, skin colours, ages. Nobody cared who anyone was or how anyone looked… I saw that dance music unites people. I knew there and then that was a culture I wanted to be a part of. “Drum and bass had a tribal element that I loved. It made my body move differently than the way I would dance to other music. It was deeper. Then there would be some beautiful soulful gospel vocals over the top and that just MC Tali, AKA Natalia Sheppard. blew me away.” After gaining her degree in English Literature from Canterbury University, a Diploma in Performance Art from NASDA, and a Teaching Diploma from Canterbury College of Education, Natalia headed to London, the UK home of drum and bass. There, in the UK, the list of dance music icons she encountered was a dream-come-true for the young Kiwi. “It was an exciting time. It was the birth of drum and bass, and it was where it was all happening. When I saw my heroes like Dynamite MC
and Roni Size perform, that was it. I said, ‘I want to be in this industry and become an MC’, and I did.” She would soon be breaking new ground as one of the few female MCs, working with the legendary artist and producer Roni Size, and signing to his legendary Full Cycle Label at the age of 24.
She went on to release her first album Lyric on my Lip with a UK top 40 single and a worldwide tour.
Never one to rest on her laurels, Natalia has been careful to cover her back. “I have grown to learn how fickle the music industry can be. It can be very cliquey and there are a lot of gatekeepers, shall we say. I’ve always made sure I have plenty going on beyond performing.”
Being a qualified secondary school teacher, she has been made a NZ Music Commission In Schools Music Mentor, which has seen her work with young musicians at schools across the North Island. She also is one of three leaders at Albany Senior High School’s IMPACT music programme, under the principalship of fan-turned-friend, innovative Shore education leader, Claire Amos. “Claire’s also now my roller-skating buddy,” smiles Natalia.
She’s written a book, The Little White House, which explores the concept of observing life happen, as opposed to really living, and the privilege of being able to travel around. She also recently turned documentary filmmaker – producing a documentary celebrating 15 years since the release of her first album 'Lyric On My Lip', featuring New Zealand and international music figures, made during the first lockdown in 2020.
But it was while recovering from an endometriosis operation last year, that Tali decided to start producing her own music using Logic as her chosen DAW (digital audio workstation) and where that has led in a short space of time has been remarkable. She fizzes about how, in the past four months, she has not only been working on a new album, but she has landed a contract producing music for the New Zealand Pavilion at the World Expo in Dubai and has been asked to complete a musical score for a US film, which she begins work on next month ahead of the major international film festivals next year. She says, “Honestly, at the thought that my music might get played at the Cannes Film Festival, my mind is blown!”
Close friends for many years with fellow Kiwi musician, Tiki Taane, Natalia is set to officiate his wedding ceremony next month. Becoming a wedding celebrant is just another string she has added to her already rich and varied bow.
Although Natalia’s career has run alongside that of fellow local drum and bass acts Shapeshifter, State of Mind and The Upbeats, she hasn’t been afforded the same billing locally over the years. It could be argued that her pioneering work as a female MC hasn’t been recognised as fully as it could have by her industry at home. “I’ve argued with promoters about this,” she says. “They’d come up with different reasons why I wouldn’t be headlining, but I was like, ‘put me in that position, give me that chance and see what I can do.’”
While she’s had some ‘amazing experiences’ performing gigs across the world, with stand-outs being Moscow, Miami and Tokyo, nowhere quite compares to playing here. “The best thing is playing to your home crowd,” she smiles.
Now in her 40s, MC Tali was given a Kiwi festival headline slot at Splore last year. “I played the main stage at 9.30pm on Saturday night, to a full crowd, with a full live band and a string quartet, playing my songs. I felt like a proper diva! And we absolutely smashed it.”
Live entertainment industries have been hit exceptionally hard over the past two years and the current red light setting has made live music almost impossible. Tali was moved to express her feelings, in solidarity with her fellow musicians, through poetry. She says, “I was depressed when we moved to the red setting. I felt like the New Zealand music industry was like a ship without a compass, sailing out to sea with only the stars to guide us… that’s how I chose to capture that feeling.”
She hopes that when crowd limits are lifted, people choose to support local artistic talent. “I hope promoters and fans will look to support Kiwi performers who have suffered and sacrificed so much.
“Let’s not rush to book a plethora of pale, male and stale UK DJs for our gigs and festivals, please. Let’s support and foster our local talent next summer. I’d like to see the scene looking after its own before we start bringing more acts in from overseas.”
Natalia practises what she preaches, too. She is working on a new album, to be released in mid-2022, on which she is giving emerging artists a chance to shine, as well as showcasing her own production skills.
She has also been producing for a new up and coming vocalist from Hamilton, Sophie May, and has been managing drum ‘n’ bass vocal sensation Elipsa, over the past two years.
“Even though it’s been hard, I have a deep faith in myself, and the universe, that things will be OK. Even when I am down, I always manage to see the light… with a little help from my husband, who’s my best friend; my mum, and my dad – with their ‘she’ll be right’ attitude. They’re my stars.
“By next summer, it’ll be great to have my own new music to share – I absolutely can’t wait to get out there performing again… I feel like my peak performance hasn’t happened yet.”
Shore couple MC Tali and Chiccoreli play Plane Sailing Festival in Auckland Jan 2022 - Credit DaLong Ye-Lee.
Natalia's North Shore 'Fun Fact':
Her Uncle Frank built Beach Haven's public beach - yes, that's right, he built the beach. Larkings Landing is named after her Uncle Frank Larking who, over the course of 40 years, moved and levelled nearly 700 cubic yards of mud with a wheelbarrow, a barge and rope to create the foundations of the beach at Hilders Park. The local resident then covered the levelled mud with over 1200 yards worth of sand he towed in his dinghy from Greenhithe. He later donated his dinghy to be used as a free community boat. As a result, the park adjoining the beach features a playground featuring a specially adapted memorial version of Frank's rowing boat as a focal point, unveiled after upgrade work by Kaipātiki Local Board in 2019.
James Bell in The PumpHouse theatre.
Securing the future of The PumpHouse By Christine Young
The PumpHouse Theatre was built on community passion and energy; it seems that its future might similarly rest on the actions and engagement of the North Shore community. With Covid wreaking havoc on The PumpHouse’s carefully curated – and very full – 2022 programme, and no Covid-related support from local or central government for performing arts venues like The PumpHouse, its financial sustainability is looking increasingly fragile. Manager James Bell is appealing to the community to consider what would be lost if The PumpHouse Theatre ceased to operate, and how it can be saved. Christine Young looks at the issue and some solutions.
“This year will be a challenge, and there is a real risk the PumpHouse will not survive,” James admits. “We would like people to join the Friends of The PumpHouse.” It may not seem that a mere $35 annual fee ($25 for seniors and students) would have enough impact, but as James says, there were 70,000 visits to The PumpHouse last year, 35,000 tickets were sold, and somewhere between five and six thousand people are actively involved in participating in the shows presented there each year. If just 1000 of those people joined The Friends, that’s $35,000 – and James says that would “make such a difference to what we could do”. That could be further bolstered if companies joined at the $100 per annum corporate membership rate.
“We’re happy to share information about our corporate supporters through our newsletters, and build their visibility in the community,” James says. Benefitz (publisher of Channel) has been a contributor, assisting with printing costs, for many years, he notes, but confesses it’s been a struggle to get beyond that. “We have 10,000 newsletter subscribers, all of whom have come along to see something at The PumpHouse, who have parked here, and who have no doubt visited shops in Takapuna. It is an invaluable connection, and we have a way [for businesses] to talk to these people.”
The community energy that led to the restoration of the disused water pumping station and its conversion into a vibrant theatre venue has sustained The PumpHouse Theatre for the past 40+ years. The Friends of The PumpHouse was formed in the 1970s, and the work of the original group is done. “We need a new group to join forces and show their support.”
James says that The PumpHouse, to some extent, has been a victim of its own success; in his eight years at the helm he has done a sterling job of building The PumpHouse into a sought-after venue that puts the needs of the artists or companies, and their audiences, at the forefront of what The PumpHouse does. He works with companies and producers (for example, through free workshops on creating the necessary health and safety plans) to support them to put on shows, and has reduced the up-front hire costs as far as possible to ensure that seasons at the PumpHouse, whatever the genre or audience
appeal, have a strong chance of success.
The full programme, with virtually no “dark” periods (to use theatre parlance for nights when nothing is presented at the theatre) has meant that, with funding it receives, The PumpHouse has been selfsustaining. The PumpHouse refrained from applying for grants in the early stages of the pandemic as they felt others’ needs were greater.
Funding, community fundraising and corporate sponsorship have always been sought for specific projects, such as the soon-to-becompleted canopy to protect audiences in the courtyard between the theatre and the outdoor auditorium and toilet block. The PumpHouse has had ongoing support from Auckland Council – James says the Devonport-Takapuna Local Board has been "very supportive over the last couple of years and maintained funding levels when they could have cut arts funding".
But now funds are needed for sustenance and survival. Performances have been postponed, and from being fully booked for all of 2022 at the end of last year, James says there is now very little happening between now and the end of May – and perhaps longer. Some additional funding is available from the Ministry for Culture and Heritage, but can only be sought if the venue is within six weeks of insolvency – and it’s contestable, so there’s no guarantee an application will succeed. Not something he’s keen to contemplate.
Instead, James has put his focus on encouraging the community to rally behind a venue that has no equal anywhere between Devonport and Orewa. He is also seeking funds through other channels. For example, The PumpHouse has had to put on more paid staff; he simply can’t rely on volunteers to implement the necessary Covid measures for when a show can go ahead. He’s working to identify companies to partner with The PumpHouse in supporting these additional staff costs – which could be up to $25,000 a year. He envisages a t-shirt for front of house staff that boldly displays the logo or message of the company that assists in this way. All 70,000 visitors to the PumpHouse would know which company was helping sustain a critical piece of the Shore’s cultural infrastructure. “People want to fund a show,” he laments, “and receive discounted or free tickets to invite guests. But as a venue for hire, we don’t promote shows, and we have no access to tickets.” These are the property – and responsibility – of the producer. “But we can promote the venue,” he says, “which is open to everyone.”
Without support, the eclectic range of performances on at The PumpHouse simply won’t happen, he says, and there is a danger that one of the original plans for the old pumping station, as a storage shed for rowing skiffs or kayaks, or worse, would become a reality.
Despite the challenges, James is proud of what he has achieved at The PumpHouse, and has a vision for how it can develop. He is particularly proud of the community engagement programme, which encompasses everything from the community Christmas carols, to volunteering, classes and workshops, to the popular creative talks – free to anyone to attend, where you have an opportunity to hear from talented local artists, writers and theatre practitioners.
James is certainly not letting the challenges facing The PumpHouse deter forward planning. Given the reputation of The PumpHouse as a venue for artists and producers, and a willing audience for a variety of theatre, dance and music performances, he expects there will be a return to a full programme of performances once Covid allows. He sees future growth potential in more community engagement; more classes and workshops, for example an adult version of the successful ‘Shakespeare in a Week’ programme that runs for students in the holidays; a playwriting challenge that starts on Friday evening, and involves 12 hours playwriting followed by 12 hours of rehearsal and a performance on Saturday evening. Exhausting, one suspects, but great fun, he assures us.
James has already developed strong relationships with key Asian theatre companies which put on vibrant new works, and which bring new audiences to the venue. He’d love to similarly develop Māori and Pasifika programming but admits The PumpHouse hasn’t had the necessary connections in the community to develop these. That too is for the future, as are big projects like refurbishment of the inside of the theatre, including new seats and carpet.
But for now his focus is on ensuring The PumpHouse sees Covid out, so that the performing arts community and their audiences can continue to enjoy local theatre in a local venue.
James Bell outside The PumpHouse.
To join Friends of the PumpHouse, visit https://pumphouse.co.nz/ support/join/, click the appropriate button, or give Mags a call on 09 486 2386 to arrange payment over the phone. The PumpHouse Theatre https://pumphouse.co.nz/ Killarney Park (off Manurere Avenue), Takapuna Email: info@pumphouse.co.nz Box Office: 09 489 8360 Administration: 09 486 2386
Miles Group’s new world class home for Peugeot & Citroen North Shore and Mercedes-Benz North Shore is taking shape.
Those who travel through Esmonde Road or Fred Thomas Drive – whether by bus or private vehicle – will have noticed a new building rising opposite the golf driving range on Fred The new facility is being purpose built, Thomas Drive. When including the absolute latest design and technology, to cater for four leading completed mid this European brands. year, this will become one of New Zealand’s most comprehensive motor vehicle facilities. It will also be the new world class home of Peugeot & Citroen North Shore.
The new facility is being purpose built, including the absolute latest design and technology, to cater for four leading European brands. Peugeot & Citroen, alongside Mercedes-Benz and one other highly anticipated European brand that has yet to be announced. This massive investment is being made on the North Shore by Miles Group.
“By partnering with Miles Group on the North Shore, both Peugeot & Citroen will now have a world-class, purpose-built, local, facility that will provide customers the very best of experiences,” says Chris Brown – Chief Executive Officer ADNZ, distributor for Peugeot & Citroen in New Zealand. “The timing couldn’t be better, with an array electric passenger, SUV and light commercial products launching over the next year, complementing our existing ranges, the North Shore will showcase the best we have to offer promising to make Peugeot & Citroen more popular than ever.”
As would be expected this new facility will be state-of-the-art. There will be two levels of vehicle showrooms complete with vehicle elevator and sales, administration and finance suites. The brand new workshop will include 18 technician bays supported by a comprehensive parts and accessory department as well as grooming bays and an automated carwash. The facility There will be two levels of vehicle showrooms complete with vehicle elevator and sales, will be ‘EV ready’ with administration and finance suites. onsite electric vehicle chargers.
“To say we are excited about our new home would be an understatement,” says Craig Innes – Miles Group’s (North Shore based) Auckland Managing Director. “We love doing business on the Shore which we have been doing for many years now from our Wairau and Takapuna locations. It’s our home. To have secured such a great site and to be making this investment in the future of our business feels so right. It will also be very good for our customers as well as our brands. Everything brand new and so accessible with the central location.”
As well as Mercedes-Benz North Shore and Peugeot & Citroen North Shore, Miles Group also represents the GWM/Haval brands on the Shore, with a new dealership established last year in Barry’s Point Road. As mentioned above they will also be adding a fourth European marque to the stable at the new dealership.
The brand new dealership is scheduled to open in early July this year.
Great work Miles Group! We love it when commercial entities are investing on the North Shore, it’s so good for our community and its future.
