Cass McCombs puts on memorable performance on May 26, 2026

Cass McCombs recently performed his first show in Aotearoa, New Zealand, as part of the opening night of Strange Universe’s “Not a Festival” winter series in Tāmaki Makaurau. The series features 10 shows at various venues throughout May and June, showcasing a deliberately curated yet diverse lineup of artists.

During the Double Whammy event, Holly Arrowsmith, a local artist, served as the opening act for McCombs. Hailing from California, McCombs is known for his genre-defying music, which blends elements of folk-rock, country-soul, psychedelia, and Americana. His songwriting style is characterized by a unique blend of straightforwardness and elusiveness, drawing listeners in while keeping them on their toes. Arrowsmith’s performance, on the other hand, offered a more intimate and direct experience, setting the stage for McCombs’ set to follow.

Arrowsmith’s acoustic folk set, accompanied by Tom Healy on bass and electric guitar, featured soulful and introspective songs that touched on spiritual and personal themes. She welcomed McCombs to Aotearoa and seamlessly transitioned into new material like “Neon Bright,” exploring themes of artificiality versus nature, which served as a segue into McCombs’ enigmatic songwriting.

Throughout his performance, McCombs exuded a wry and slightly elusive demeanor, engaging with the audience in between songs while allowing the music to speak for itself. Drawing heavily from his 2025 album, “Interior Live Oak,” McCombs delivered a set filled with tracks like “Priestess,” “Asphodel,” and “Home at Last,” each evoking feelings of distance, homecoming, and introspection. The band’s dynamic interplay elevated the songs, with Brian Betancourt’s melodic basslines and Austin Vaughn’s colorful drumming adding depth and texture to the music.

While McCombs’ studio recordings often convey a sense of solitary introspection, his live performance showcased a more expansive and collaborative side to his artistry. Tracks like “Big Wheel,” “Bum Bum Bum,” and “Sleeping Volcanoes” captivated the audience with their nuanced arrangements and captivating melodies. The show concluded with an encore performance of “County Line,” leaving the audience with a sense of familiarity and closure.

Overall, McCombs’ performance at Double Whammy set the tone for the upcoming Winter series, offering a blend of dry humor, musical craftsmanship, and understated brilliance. It was a night of music meant for listeners who are willing to immerse themselves in the music and let the songs unfold at their own pace.