Pieta Hextall reviews Lawrence Arabia and CSO, conducted by Sarah-Grace Williams, orchestrated by Alex van den Broek, at the Douglas Lilburn Auditorium, Christchurch Town Hall, Saturday 8 August 2026.
As a devotee of both classical orchestras and indie music, Saturday’s performance by the Christchurch Symphony Orchestra (CSO) alongside Lawrence Arabia offered a perfect fusion of these worlds. Under the baton of Sarah-Grace Williams, the ensemble brought out psychedelic textures and infectious grooves that elevated the music beautifully.
The concert traced the 20-year journey of James Milne, the man behind Lawrence Arabia, highlighting a career defined by steady achievement and high-profile collaborations. Milne’s accolades include winning both the APRA Silver Scroll and the inaugural Taite Music Prize, while his body of work features partnerships with Lorde, Neil Finn, and Split Enz, as well as composing for the film What We Do in the Shadows with Taika Waititi and Jemaine Clement.
Like many artists born and raised in Ōtautahi, Milne left the city seeking greater opportunities a bittersweet reality for Ōtautahi, where talented individuals often must depart to fully develop their careers, particularly in the arts. His narrative resonated deeply with the audience, echoing a common local story of leaving and eventually returning to contribute to the place that remains home. While many considered this his debut at the Town Hall, Milne noted he was actually returning after performing in the Christchurch Primary Schools’ Festival years earlier, a tradition that continues to thrive and remains vital to the city’s musical life.
The complex love-hate relationship with one’s hometown is a theme familiar to many. Often, it takes a degree of disillusionment to summon the courage to leave and spread one’s wings, especially when faced with doubters who claim success elsewhere is impossible. Milne’s journey serves as a powerful counter-narrative, proving that with determination, such dreams can be realised. His story not only inspired the audience but also reaffirmed the immense talent this city continues to produce and export.
The entire musical experience felt like a dreamy, ethereal journey that seemed to tick every single box for an indie lover, with James Milne’s raw, unpolished, and deeply authentic voice serving as the perfect vessel to emphasise the humanity of the music-making process. There was a profound commitment to staying true to that indie ethos throughout the set, creating an atmosphere where the raw emotion of the performance shone brighter than any technical polish could.
The orchestration by Alex van den Broek was nothing short of exceptional, seamlessly weaving together a rich tapestry of sound that ranged from the incredibly delicate string and harp moments in Look Like a Fool to the raucous, powerful brass sections found in One Unique Creature. One of the most exciting musical details was the addition of high string glissandi in Travelling Shoes, a choice that perfectly accentuated the traveling-through-the-country vibe and added a layer of dynamic movement to the track. This country vibe resurfaced beautifully in the second half of the concert with Milne’s latest song, a very enjoyable piece that he wrote in Tennessee during a songwriting workshop. At first, I did question the noticeable lack of a traditional drum kit, but that doubt was quickly erased as I became convinced by van Broek’s creative percussion setup, which I particularly enjoyed for its unique texture and rhythm.
My absolute highlight of the evening was undoubtedly Contagious Dream Heals the World/You Won’t Remember This Feeling, a track that opened with a purely orchestral introduction that demonstrated Alex’s insanely good orchestration ability in a way that was nothing short of breathtaking. The dark string glissandi, foreboding percussion, and brass lines spiralled upwards alongside upper wind lines to create an introduction that was incredibly ethereal, all while the music seemed to be “falling, falling, falling away” until it finally landed on a twinkly moment featuring harp, strings, and glockenspiel, allowing the vocals to enter with a sense of gentle relief.
Alex’s orchestrations were filled with sophisticated word painting, where every musical choice seemed to echo the themes and meaning of the words with masterful technique. The choir was an exciting addition to the ensemble, wearing stunning red outfits that perfectly matched Milne’s guitar, creating a striking visual contrast against the black attire of the orchestra where the Canterbury colours really shone through. The choir looked like they were genuinely having the time of their lives, and that infectious energy was truly contagious, lifting the entire room. The stage setup, which included sofas, created a warm and inclusive environment that made the performance feel intimate and accessible.
One particular moment that could have easily been criticised by a less forgiving audience turned into a powerful display of character. After Milne messed up the entry to a song and had to restart, he didn’t try to hide it or pretend everything was fine; instead, he stopped, owned the mistake openly, and started again. I loved that moment deeply because it demonstrated his growth mindset in real-time, showing there is absolutely no shame in owning mistakes and putting ego aside. It was a wonderful example to set for everyone watching, turning a potential technical glitch into a memorable instance of artistic integrity and humility. The combination of such high-level musical talent, the emotional connection with the audience, and the genuine moments of human vulnerability made for an unforgettable night that celebrated the true spirit of indie music.
The Christchurch Symphony Orchestra has once again punched above its weight, delivering a concert of such magnitude that it exposes the absurdity of the current funding cuts. While public infrastructure fails to provide the necessary support, leaving the orchestra to struggle against a backdrop of financial instability, the arts in Ōtautahi continue to thrive through sheer force of will. This concert is not just entertainment; it is a powerful argument for why cultural investment must be seen as essential infrastructure, not a luxury to be cut when budgets tighten.
Lawrence Arabia and CSO took place on Saturday 8 August 2026.
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