Reviewed by Malcolm Calder
Royal Edinburgh Military Tattoo
Creative Director: Alan Lane
8pm Eden Park, Auckland
19-21 Feb 2026
Reviewer Malcolm Calder
20 Feb 2026
Och aye, Tattoo lives up to its hype
Well the hype was certainly great and I’m sure the vast majority went home blissfully sated with the sound of pipes.
In its 75th anniversary year, the Royal Edinburgh Military Tattoo, regarded by many kiwis of clan ancestry (and there are a surprising number of us in New Zealand) as ‘ours’, arrived in Auckland this week, hot on the heels of success in Brisbane. Over those 75 years many New Zealanders have travelled to Edinburgh, many, many more have seen one of its various iterations on television (they change each year), and thousands were on the edge of their seats before the Tattoo hit Auckland. And they weren’t disappointed.
Originally a relatively simple parade ground musical gathering on The Esplanade outside Edinburgh Castle, this annual event has grown considerably gaining a momentum all its own and spawning several similar events particularly in Europe. The event has gained an international stature ever since and, through both the sourcing, invitation and participation of military musicians from many parts of the world, and through attracting and growing an international audience which has hardly harmed the tourist trade of Edinburgh. The late Queen Elizabeth granted the Tattoo royal assent in 2010.
In more recent years, some have criticised the Tattoo as departing a little too far from its musical and military origins and pays obeisance more to Disney rather than to Scotland’s own heritage. But these were not apparent in what Creative Director Alan Lane brought to Eden Park.
Themed as ‘The Heroes Who Made Us’ this 2026 edition and originally conceived for Edinburgh last year, paid tribute to military music, to parade ground excellence and to the contributions of many in every sector of society. Everyday people. Just like you and me. And, although far from preponderant, to military history too. Sort of an early Pride Week you might say. In tartan.And for those who feared the pipes might dominate, well they did. But, following an initial and culturally appropriate welcome from Ngati Whatua Orakei, there was also rather a lot of brass, a delightful string and woodwind section a range of vocalists of varying capabilities and some fairly unique percussion culminating in delightful all-in crescendos. Much of the audience around me was in singalong mode when the massed bands got to’500 Miles’ and the best of the Eurythmics. There was plenty to delight the visualists among us too. Flagwork, calisthenics, highland dancing and even a powerful kapahaka.But all built around there was a musical crispness and grandeur built around the Band of the Royal Regiment of Scotland with a Drum Major who commanded about a dozen others heading the several other bands from south of the border and multiple army, police, civilian and school bands from Australia, Norway, Japan, Switzerland and the US.
I happened to be seated behind a Tongan family who, not only unfurled their own Tongan flag when the King of Tonga’s Armed Forces Royal Corps of Musicians stepped onto the arena, but oozed delight and pride in their boys. They knew the words to all the songs too.
Singing guardsmen with musical instruments I hear you ask ?. In a word. Yes. There were many highlights but for me the Japan Air Self Defence Force Central Band was a standout. Their vocalist sent shivers of delight down my spine in what looked like a shimmering military gown.
Plenty of New Zealand accents evident too featuring our three top pipe bands, and bands from the NZ Police and two top-rate school bands. Rather sadly, I cannot say the same about the NZ Army Band which, despite its outstanding reputation gathered ever since pink-panthering their way into the hearts of every kiwi at the Christchurch Commonwealth Gemes Opening all those years ago, just felt a bit flat and even off-key in places.
The US Marines were a bit underwhelming too and, although the tattoo is far from a competitive thing, were easily outpointed by the Norwegian King’s Guard Band and Drill Team. Likewise the Swiss Top Secret Drum Corps provided a highly technical routine
Given that this is largely the same lineup that performed in Brisbane last week there was a heavy representation from across the ditch. They were was musically tight, had an energy and a couple of more than able vocalists who did NOT sing ‘Waltzing Matilda’.
As a proud kiwi with some scots blood myself, I must admit it a little piece of me was hoping there would be a lone piper atop the grandstand at Eden Park playing ‘Flower of Scotland’ echoing what happens at Murrayfield. – I could even know the words. No rugby this time but that’s what both venues are best known for, They have a synergy. Besides, the timing was perfect as ‘we’ beat ‘them’ only last weekend so why not celebrate it.
Well, there WAS a lone piper atop the grandstand but there were technical glitches and I have no idea what was played. I’m sure Creative Director Alan Lane’s intention was otherwise but **** happens!
During the rest of the show it occurred to me that it must have been awkwardly difficult to march on grass – not to mention dance. Anyone who was at school cadets will know that marching on a hard surface is a lot easier, and provides an audible marching rhythm. As for the dancers, well none tripped over so well done.
And on a final note, and while congratulating the Eden Park staff I encountered who were pleasant, helpful and courteous, I wondered whether this was the right venue for something like this Tattoo. Eden Park is BIG as rugby grounds go, but at a cost of intimacy that parts of this Tattoo required. At times it approached theatre-like blocking in some of its presentation. Several times I wished the performers were a little closer. Perhaps Mt Smart (Go Media) for whatever the future holds? Or maybe I am still wishing to see a Tattoo on The Esplanade in Edinburgh.
New Zealand Arts Review 