In the sun-drenched hills of Waitakere, West Auckland, a musical partnership has been quietly crafting some of New Zealand’s most compelling alternative country-pop for over two decades. The Bads – the creative vehicle for Brett Adams and Dianne Swann – represent perhaps New Zealand’s most underappreciated musical treasure, a duo whose journey from London’s unforgiving music scene to homegrown critical acclaim deserves far wider recognition.
From London’s Indie Battlegrounds to Kiwi Acclaim
The story begins in the early 2000s when Adams and Swann were living their “Big OE” in London, forming The Julie Dolphin and earning glowing accolades from Britain’s notoriously tough music press. This wasn’t just another antipodean act trying their luck overseas – they headlined their own shows, opened for Green Day, Oasis, and Radiohead, and even collaborated with Thom Yorke on The Bends sessions.
Under the name Boom Boom Mancini, they caught the attention of Almo Sounds, the boutique label run by A&M Records founders Jerry Moss and Herb Albert, becoming labelmates with Gillian Welch and Imogen Heap. Yet fate intervened cruelly – the label was abruptly wound up just weeks before their album release, a crushing blow that saw them return to New Zealand with a jaundiced view of the music industry.
The Phoenix Rises in Waitakere
England’s loss became New Zealand’s gain when Adams and Swann reformed as The Bads in 2003. Since then, they’ve released four albums that showcase their evolution from alt-country newcomers to seasoned storytellers. Their 2013 album “Travel Light” reached #3 on the New Zealand Music Album Charts, while “So Alive” earned nominations for Best Country song and album in 2010.
Their 2017 release “Losing Heroes” represents their strongest work yet – a cohesive collection that pays homage to influences spanning from Brixton to Nashville while reflecting on time’s passage and planetary troubles. The album charted at #3 and received finalist status for the prestigious Taite Prize in 2018.
Masters of Musical Alchemy
What sets The Bads apart is their ability to blend genres with sophisticated restraint. Their sound traverses lovely alt country-tinged pop, swinging down into valleys of darker sentiment with adventurous, rock-oriented arrangements that always let their guileless vocals rise to the top. From indie pop stylings to shoegaze country-rock, their albums are never not interesting, with superb guitar work throughout.
Live, they’re “like the Arcade Fire for now” – delivering mature, adult pop with songs that possess a sophisticated edge. Their performances feature guitar licks reminiscent of Cold Chisel’s Ian Moss – tasty, but without its head up its technical arse.
A Pedigree That Speaks Volumes
The respect The Bads command within New Zealand’s music community is evident in their collaborators and touring partners. They’ve opened WOMAD 2014 as “Tim Finn and The Bads,” collaborated with Australian legend Don Walker, and supported an impressive roster including Lucinda Williams, Emmylou Harris, Joan Armatrading, The Jayhawks, Rodrigo y Gabriela, and Rodriguez.
Their journey has taken them to Nashville’s legendary Ryman Auditorium for Marty Stuart’s Late Night Jam, proving their appeal transcends geographical boundaries. As skilled producers, they’ve also created music for television series including “Homegrown,” “Hunger for The Wild,” and “Coasters,” with songs featured in films and TV across New Zealand, Australia, and the US.
The Secret Ingredient: Authenticity in an Age of Artifice
In an era of manufactured pop and algorithm-driven playlists, The Bads represent something increasingly rare: authentic musical partnership forged through genuine adversity and triumph. Their latest work addresses universal themes about the state of the world, written for these troubled times. As Swann observes, “There’s so many incredibly sad things going on in the world… People are just getting bombarded with all this bad news” – yet their music offers solace rather than cynicism.
Their approach has evolved from their earlier career anxiety to a more relaxed philosophy: “I think being less worried about everything in so many ways helps”. This maturity permeates their recent work, creating music that feels both seasoned and vital.
Why They Remain New Zealand’s Best-Kept Secret
Despite critical acclaim, chart success, and industry respect, The Bads haven’t achieved the household name status their talent warrants. Perhaps it’s their West Auckland base, away from Wellington’s political scene or Dunedin’s storied music history. Maybe it’s their refusal to chase trends or manufacture controversy.
More likely, it’s because they represent something that doesn’t fit neatly into marketing categories – they’re too sophisticated for mainstream radio, too accessible for indie purists, and too New Zealand for international breakthrough while being too worldly for parochial pigeonholing.
As they continue creating under “the fiery skies of Waitakere Auckland Aotearoa New Zealand”, The Bads remain living proof that sometimes the best secrets hide in plain sight. In a music landscape increasingly dominated by viral moments and fleeting fame, Brett Adams and Dianne Swann have built something more valuable: a body of work that rewards discovery and deepens with time.
For those willing to venture beyond the obvious, The Bads offer rich rewards. They are, quite simply, one of New Zealand’s finest musical exports – a secret that deserves to be shared far more widely. In an age when authenticity is often performed rather than lived, The Bads represent the real thing: two musicians who’ve weathered industry storms and emerged with their artistic integrity not just intact, but stronger than ever.
Their secret is no gimmick or marketing ploy – it’s simply great songs, beautifully crafted and honestly delivered. In the end, perhaps that’s the most radical act of all.
