Former Gold Guitar winner Amy Maynard says the awards have let down their Māori performers and attendees.
Former Gold Guitar winner Amy Maynard says the awards have let down their Māori performers and attendees.

ĀteaJune 11, 2025

Gold Guitar winner criticises awards, says ‘brown faces’ were treated unfairly

Former Gold Guitar winner Amy Maynard says the awards have let down their Māori performers and attendees.
Former Gold Guitar winner Amy Maynard says the awards have let down their Māori performers and attendees.

Micro-aggressions and a difficult history with te reo Māori is why last year’s Gold Guitar winner says she won’t return to the ceremony or its homeland of Gore.

Country singer and 2024 Gold Guitar main prize winner Amy Maynard has vowed publicly to never return to the ceremony and its host town of Gore, after facing what she believes were racially-charged micro-aggressions. She said the ceremony has a history of failing to recognise te reo Māori, and hopes her experience could push the Gold Guitar organisers to create a safer environment for Māori performers and punters. But the organisers say they’d rather sort out their differences in private.

Aotearoa’s premier country music awards, the Gold Guitar Awards, have been held every year since 1974 (excluding 2020) in Gore, as the last hurrah in the Tussock Country Music Festival schedule. Its honourees include the likes of Tami Neilson and Kaylee Bell, and in 2024, Maynard picked up the ceremony’s senior award.

Maynard told The Spinoff she had spent most of the festival last year – her first time at the ceremony – keeping to herself, and focusing on performing in several spots across the awards circuit.

Returning this year as a one-off performer and attendee, Maynard says the environment at the awards was “really disheartening”. She said that in her experience, the awards’ security were more likely to reprimand “brown faces” for actions such as singing, dancing or talking during performances. Her 16-year-old son, dressed in baggy clothing, was also stopped multiple times and questioned about why he was at the awards.

Amy Maynard performing in the 2025 Gold Guitar circuit in a pink dress.
Maynard performing at the 2025 Gold Guitar awards.

It was not just staff, but attendees that Maynard said made the awards feel unwelcoming. While one singer performed a reo Māori waiata, Maynard said an older Pākehā couple made disparaging comments about the choice of song.

When The Spinoff called the Gold Guitar office, convener Phillip Geary answered. “I don’t want to comment in a public forum,” Geary replied, when asked about Maynard’s experience.

In 2012, a Gore District Council employee left their job after criticising the Gold Guitar Awards. She had competed in the Gold Guitar Young Ambassador Awards, and wrote on Facebook that she “kicked ass at everything and then didn’t win, go figure … I think I was too brown for them bro”. At the time, Geary said he didn’t believe Green needed to resign. “With the way social media is these days, we’ve got to expect stuff like this. We’re not overly concerned about it.”

“As a Māori woman in this industry, it’s hard when you’re constantly fighting this uphill battle,” Maynard told The Spinoff. ”These people have built this idea of what you’re going to be in their minds”.

Maynard also criticised the awards’ policy that bars anyone other than the slated performer from appearing onstage. Maynard requested her mother and daughter sing with her, as “you should be allowed to provide and perform the show that you would like to put on for people … for me, that includes highlighting and showcasing my family, because whakawhanaungatanga is always going to be something I’m huge about”. The response from the awards was that it would “set a bad precedent”.

The rule affected another act, Sharon Russell and Lesley Nia Nia, who had won the previous year’s classic award. Russell had travelled to the ceremony without Nia Nia, who could not attend for personal reasons, but with her grandson as a replacement. Maynard claims Russell was told she couldn’t perform and her act was replaced.

A screenshot of Mike Puru's message on Maynard's post: "I’m so sorry all of that happened- I had no idea ! Wish I knew or saw it - I’m saddened by that all - especially being a Maori fella from Gore - I know what you mean - loved meeting your whanau and seeing them all on stage with you - it was special - and you shared that with us - a privilege. Think you are amazing - thanks for a being a pro on stage with all that in the background - will def pass on some “feedback” in the debrief"
Gold Guitar MC Mike Puru’s message to Maynard.

Maynard shared these experiences in a long social media post, which The Spinoff understands the Gold Guitar organisers have seen. Television personality Mike Puru, who MC’d the event, left a message of support on Maynard’s post promising to take her comments to the ceremony’s board. “I’m so sorry that happened – I had no idea … I’m saddened by all of that, especially being a Māori fella from Gore,” Puru wrote. “I know what you mean.”

In the last year, against the backdrop of the Treaty principles bill and Toitū Te Tiriti hīkoi, Maynard said she had noticed anti-Māori rhetoric had become more “vocal”. The singer, who lives in Hamilton, said she doesn’t feel comfortable returning to Gore or to the Gold Guitar Awards.

“I hope this opens a conversation for them.” 

Keep going!
A grayscale portrait of an older woman with long white hair, wearing a feathered cloak, is set against a red and cream artistic background with handwritten text overlayed.
Mira Szászy. (Image: Supplied. Additional design: The Spinoff).

ĀteaJune 10, 2025

Inside the Waitangi Tribunal’s Mana Wāhine hearings

A grayscale portrait of an older woman with long white hair, wearing a feathered cloak, is set against a red and cream artistic background with handwritten text overlayed.
Mira Szászy. (Image: Supplied. Additional design: The Spinoff).

The Waitangi Tribunal’s latest hearings delved into the historical and systemic marginalisation of Māori women – and the constitutional future their voices demand.

As the cold embrace of Hine Takurua set upon Te Upoko-o-te-ika-a-Māui, the wharenui at Te Herenga Waka Marae was warmed by the testimony, challenge and reassertion for the Mana Wāhine claim. Last week, the Waitangi Tribunal held hearings for the Mana Wāhine Kaupapa Inquiry: a landmark claim addressing the Crown’s ongoing failure to uphold the status, rights, and constitutional authority of wāhine Māori.

Heard before judge Sarah Reeves and panel members Robyn Anderson, Kim Ngarimu, Linda Tuhiwai Smith and Ruakere Hond, the Mana Wāhine inquiry centres on the enduring impacts of colonisation, patriarchy and the Crown’s exclusionary systems of power. From the appointment processes of state boards to the structure of commercial fisheries, the claim argues that wāhine Māori have been deliberately sidelined from decision-making, leadership and economic participation.

Claimant representative Natalie Coates opened with a challenge to look inward as well as out: “Acknowledging that the patriarchal ideas infiltrated our tikanga and how we conduct and order ourselves in our whānau, hapū and iwi is a necessary part of our healing journey as a people.” It was a confronting reminder that while colonisation imposed new systems, some damage manifested through the reshaping of tikanga.

Legal academic Ani Mikaere was the first witness, opening proceedings with a clear articulation of what has been lost: “Our creation stories and tikanga once upheld the mana of wāhine Māori, recognising them as leaders, protectors of whakapapa, powerful spiritual figures. Colonisation has rewritten those stories, often with misogyny, fear and racism layered over our own truths.”

Across four days of presentations and cross-examination, a diverse group of lawyers, historians, researchers, kuia and claimants took the stand. The hearings wove together a narrative that was both historic and current, doctrinal and lived.

The claim traces its lineage to one woman in particular – Mira Szászy. As the sole wahine commissioner on the Māori Fisheries Commission in 1990, her exclusion from subsequent appointments was a catalyst for Wai 381. Several witnesses described her as having “grandparented” both the fisheries settlement and the Mana Wāhine claim. Ripeka Evans, an original claimant, told the tribunal: “The opportunities for wāhine Māori weren’t lost. They simply weren’t presented.”

Much of the testimony outlined how the Crown’s systems are structurally incapable of recognising mana wāhine on their own terms. Tribunal veteran and claimant representative Annette Sykes framed the inquiry as “a constitutional moment”. “This is the first time the tribunal has been called to confront the Crown’s breaches through the distinct and intersectional lens of wāhine Māori.”

That lens includes land and resource alienation, gendered violence, the denial of political agency and systemic exclusion. According to historian Aroha Harris, the doctrine of discovery and the English common law model erased not just indigenous rights, but indigenous women. Tina Ngata highlighted the stark link between the two: “The doctrine of discovery replaced our systems of sacredness with a hierarchy. The more white, and the more male you were, the more sacred. The further you were from that, the more disposable.”

Carla Houkamau, deputy dean of the University of Auckland Business School, spoke about the 1989 and 1992 Treaty of Waitangi fisheries settlements, focussing on Mira Szászy’s extensive qualifications and governance expertise, and her inexplicable exclusion from the 1992 Treaty of Waitangi Fisheries Commission, observing: “Commercial success cannot erase the exclusion experienced by wāhine Māori during the fisheries settlement negotiations.”

But the hearings showed that wāhine Māori are not just participating – they are leading in the way. The final day was dedicated to testimony from the Māori Women’s Welfare League, led by current president Hope Tupara. The league, with its ECOSOC status at the UN and more than 70 years of intergenerational organising, emerged as a central vehicle for mana wāhine.

That unity was tested over decades of Crown interface. Tupara told the tribunal: “They don’t value our mātauranga. The Crown doesn’t understand our way of thinking, because it doesn’t operate that way.” Several former presidents outlined how Crown processes had repeatedly sidelined the league from major policy decisions. One spoke of the “opportunity cost” of the Crown’s insistence on engagement with newer pan-Māori bodies: “Despite our leadership in communities, we were increasingly outside the consultation room.”

A core focus of the next steps is remedies. Many witnesses called for changes to appointment structures, constitutional recognition of mana wāhine, and support for pathways rooted in whakapapa rather than CVs. Indigenous rights lawyer Dayle Takitimu urged the tribunal to consider the fundamental shift needed: “Wāhine Māori have inherent mana and authority embedded into us. The Crown have causal responsibility in the disruption of our traditional stories, our traditional curricula, our history.”

Barrister Natalie Coates reinforced that any future framework must move beyond individual fixes: “We’re talking about the wellbeing of wāhine Māori being inseparable from the communities from which we come from… It’s not a zero sum struggle, it’s a return to collective health and justice.”

The claimants were also clear that this was not about slotting women into existing colonial frameworks. Rather, as Mikaere said, it is about restoring a reality that existed long before colonisation – one where mana was understood as shared, relational and grounded in whakapapa. “It is only when women achieve mana recognition that the Māori people will rise up,” she said.

Last week marked the first round of hearings in a long process. However, for many present at Te Herenga Waka, it was also a reclamation. The Wai 2700 hearings will continue later this year.

This story previously contained a inaccurate quote attributed to Carla Houkamau that has been amended.