For New Zealand alt-country duo The Bads Brett Adams and Dianne Swann the road has been as unpredictable as a spin of Le Bandit Hacksaw, filled with extraordinary highs, crushing lows, and the kind of stories that make for legendary touring tales. Over their decades-long career, this musical partnership has weathered everything from international acclaim to industry heartbreak, all while maintaining their commitment to crafting songs that matter.
From West Auckland to the World Stage
The story of The Bads’ touring adventures begins not in New Zealand, but during their 12-year odyssey in London as The Julie Dolphin. In the unforgiving British music scene of the 1990s, Adams and Swann cut their teeth supporting some of the world’s biggest acts, creating memories that would fuel their songwriting for years to come.
The Radiohead Connection
One of their most remarkable touring experiences came when they supported Radiohead during The Bends era. The duo remembers “collaborating with Thom Yorke [Radiohead] on The Bends sessions and playing keyboards on Street Spirit at the Astoria” as a career highlight. Swann’s voice was so impressive that Thom Yorke recorded a duet with her, a testament to the musical connection forged on the road.
But it wasn’t just the studio work that made an impression. They recall “seeing Frank Black in the audience when we played at the 100 Club in London”, one of those magical touring moments when your musical heroes become part of your own story.
Supporting the Giants
The Julie Dolphin era saw Adams and Swann opening for Green Day, Oasis and Radiohead among others, experiences that shaped their understanding of what it means to work a crowd and hold your own alongside established acts. These weren’t just gigs—they were masterclasses in stagecraft and professionalism.
The Julie Dolphin received glowing accolades from the tough British music press for their album Lit and 2 EPs and toured extensively in the UK headlining their own shows, proving they could not only support major acts but command audiences on their own terms.
The Label Dream That Became a Nightmare
Perhaps their most devastating touring-related experience came when success seemed within reach. Under the name Boom Boom Mancini the duo attracted the attention of boutique US label Almo Sounds, run by the founders of A&M Records, Jerry Moss and Herb Albert. They were living the dream, signed to their UK branch and became label mates with Gillian Welch, Imogen Heap and Ozomatli.
But the music industry’s cruel nature struck hard. Almo Sounds was abruptly and unexpectedly wound up with their album only weeks away from release. It was a crushing turn of events that saw the pair return to New Zealand soon after – with a fairly jaundiced view of the music industry – and questioning whether they even wanted to continue making music.
This experience taught them harsh lessons about the business side of touring and recording, but it didn’t break their spirit.
The Nashville Dream Realized
Fast-forward to 2015, and The Bads had transformed their touring dreams into something more achievable and fulfilling. The band headlined a show at Waiheke Jazz festival, embarked on a 14 date tour of New Zealand with folk rock band Great North and then travelled to Nashville to play at country legend Marty Stuart’s Late Night Jam at the revered Ryman Theatre.
Playing the Ryman Auditorium—the “Mother Church of Country Music”—represented a full-circle moment for the duo, validating their journey from London’s unforgiving rock scene to Nashville’s hallowed halls.
The Logistical Realities of Touring
As The Bads evolved, so did their approach to touring. Perhaps as a response to the vagaries of availability of the full line-up, and no doubt the expense of moving a five-piece around the country, Brett and Dianne have worked up duo versions of their material, often augmented by Kahn, which has proven an ideal vehicle for exploring some of the smaller population centres.
This practical adaptation reflects the reality many touring musicians face: balancing artistic vision with financial constraints and scheduling challenges.
Supporting International Legends
As The Bads, their touring experiences took on a different character. They have opened for Lucinda Williams, Emmylou Harris, Joan Armatrading, The Jayhawks and Rodrgio Y Gabriela, and at the end of 2014 the band were invited to Melbourne to play support for Rodriguez.
Each of these experiences brought different lessons. Supporting seasoned country and folk legends like Emmylou Harris required a different energy than opening for Spanish guitar virtuosos Rodrigo y Gabriela, showcasing the duo’s versatility and adaptability on the road.
The Balancing Act
One of the ongoing challenges for The Bads has been balancing their own touring with their work as in-demand session musicians. Brett Adam’s endlessly inventive and stylish guitar playing has made him an in-demand sideman who has worked with Tim Finn for a number of years and does guitar duties for the irrepressible and upwardly mobile Gin Wigmore when she is performing down under.
Adams admits this creates complications: “And when I’ve gone on tour we’ve had to put things on hold a bit, which is slightly annoying, but it’s what I’ve had to do. Sometimes I’ve been thinking I’ve got to make a choice, if I wanna do this I’ve just gotta not be a sideman”.
Unique Venues and Special Moments
The Bads have also created special touring memories through unique venues and collaborations. They’ve opened WOMAD 2014 as Tim Finn and The Bads and returned home to NZ to headline a sold-out show at the beautiful Rotorua Museum, proving that touring success isn’t just about big arenas—it’s about connecting with audiences in meaningful spaces.
The Wisdom of Experience
After decades on the road, The Bads have learned that touring success isn’t measured solely in venue size or crowd numbers. Their journey from the crushing disappointment of London’s industry machinations to the intimate satisfaction of playing Nashville’s Ryman Auditorium represents a mature understanding of what touring can and should be.
Their story serves as both inspiration and cautionary tale for emerging artists: the road will test you, disappoint you, and occasionally reward you beyond your wildest dreams. The key is persistence, adaptability, and never losing sight of why you started making music in the first place.
For The Bads, as Swann once said, “It’s the song that matters”—and that philosophy has guided them through every touring triumph and disaster along the way.
Whether they’re playing to 85,000 people or an intimate club audience, Brett Adams and Dianne Swann have proven that the best touring stories aren’t always about the biggest stages—they’re about the moments when the music connects, the audience responds, and everything makes sense, if only for those few minutes when the songs take flight.
