The rapper who disappeared for seven years.
Why PNC is making a comeback – this time on his own terms.
Hi. Just a quick note before we get into today’s story. I’ve had plenty of feedback about the ABC’s incendiary Live Nation documentary. Clearly, this is an evolving story with more to come. There have been crucial updates since last week’s piece which are included at the end of this newsletter. Skip ahead if you’re desperate for those, but please come back and read my story about PNC. We spent months setting up an interview and I really loved connecting with someone I hadn’t talked to in many years. I often wondered what had happened to Sam; it turns out, like many of us, he’s been through some stuff.
-Chris
‘People thought I’d basically retired from music.’
The rain’s stopped, the coffee’s delivered and the microphone’s on. Sam Hansen, the rapper otherwise known as PNC, has an admission to make: he hasn’t done this for a very long time. When did he last sit down for an interview? As the Mount Maunganui sun peeks through the clouds, Hansen leans his head to one side. “It was probably the last time I spoke to you,” he says.
That would make it 2017, around the time Hansen last released new music. It was a tragic time: after losing his mother in a Fielding house fire, he dedicated a music video to her. Known for crafting upbeat party rap with unrivalled rhyme schemes, ‘All I See’ was different. PNC’s mournful song was full of searing lines about how much his mum had meant to him: “Thanks for everything, I owe you in the worst way,” he rapped. “For making Ninja Turtle cakes back on my birthday.”
At that moment, Hansen was in the best form of his 15-year career. He knew it too, telling RNZ he was “operating higher than I ever have … I think I hit another level”. The Spinoff’s Hussein Moses called him untouchable, “at the top of his game … bar-for-bar in the best shape of his life”. That piece was headlined: “There’s little anyone can do stop him”.
That’s the moment PNC disappeared. Seven years later, I’ve tracked him down. Sitting in a Tauranga café just a short walk from the beachside townhouse where he’s been living for the past two years, Hansen is a far more relaxed version of the stressed-out rapper he used to be. “People thought I’d basically retired from music,” he says, preparing to reveal exactly where he’s been all these years. “It’s been ages, man.”
Hansen began making music from the moment he left school in Palmerston North. He never had a plan. “It was always the passion of music,” he says. He moved to Auckland at 19, named himself ‘PNC’ after his home city, and found himself riding a hip-hop tidal wave alongside P-Money, Scribe, David Dallas and many others. Mixtapes, EPs, albums and awards flowed freely. “It’s all I’d done, my whole life,” he says.
When his mother died, Hansen found himself in his mid-30s. The American hip-hop he’d grown up listening to often used age as a weapon. “Rappers would diss a guy because they’re about to turn 40,” he says. “As soon as you’re in your late 30s, it’s just like, ‘Hang it up, it’s embarrassing’.” He wondered if he should do that too. “You’re in bars at 3am, like, ‘Man, am I going to still be doing this in five years?’”
The answer was a firm “no”. This bazooka kid was finally running out of ammunition. After a trip to America with his then-fiancée, now-wife, Hansen decided it was time to make some changes. “It wasn't like, ‘I need to quit music’. It was around structure and trying something else.” His mother’s death jolted him into thinking: “What am I doing now?”
So, in 2018, Hansen quietly enrolled at Massey University, taking on a Bachelor of Arts with a major in psychology. Hansen thought he might last one semester and return to music. But it was for him. Hansen loved studying. He could feel his brain expanding. His outlook changed. “I found it enjoyable learning how humans think [and] writing in a different way,” he says. Months of study morphed into years. After his three-year degree, he enrolled in an honours course for another year.
During this time, Hansen got married. He left Tāmaki Makaurau and moved to Tauranga. Using his degree, he started a new career. He was still making music. Hansen never stops making music. He can’t imagine a time he doesn’t make music. But he couldn’t release any of it. His attention was elsewhere. “I mentally couldn’t focus the way I needed to for music,” he says. “I’m at university, trying to pass all these papers, I’m about to start a new job. I’m not comfortable yet where I am.”
These days, Hansen’s life is very different. Late nights in bars and clubs are out. Mornings spent having deep discussions are in. In Tauranga, he works as a family therapist with at-risk youth. That means meeting teens in their homes, assessing their family situations, and counselling them through troubled times. It’s rewarding work. It’s taxing, too. Post-Covid, Hansen says there’s a huge need for this.
Sometimes, though, when he arrives to meet a new family, parents give him a sideways look. He knows what it means: they’ve recognised him from his past life. “The kids are too young to know me,” he says. But, “the parents look at me sideways, ‘I swear I know this guy,’ sort of thing. I don’t bring it up off the bat because it can be confusing. It’s usually later on I tell them.”
He reveals that yes, he is the rapper from the music videos with the dancing red raptor. Sometimes, he tells them something else. It’s not over. He’s still doing music. He hasn’t given up on his career. For the past six months, Hansen’s been releasing music again. Under the working title of Unbothered Rapper, he’s released four songs, aiming to eventually have enough for a full album.
Hansen’s skills haven’t diminished while he’s been away. If anything, his wordplay has sharpened, making his bars more incisive than ever. But there’s growth and wisdom on display. He’s now able to look over his shoulder, to assess where he’s been. “Studying helped me have a different perspective on the world,” he says. “It matured my thinking.” He’s 40 now, the age rappers used to fire disses at. He doesn’t mind. His inspirations have changed. “The core motivation is to make a good song,” he says. “There is no other motivation.”
The industry’s changed since 2017 too. Social media is a huge part of an artist’s career now, but Hansen is no content creator. “I commend the younger artists doing that,” he says. “I’m never going to be doing skits on my Instagram.” Formats have changed as well. As well as asking him where he’s been, fans request vinyl. “Everyone's expecting the vinyl,” he says. “No one cared about vinyl when I was putting stuff out.”
He confirms there will be vinyl, and maybe live shows too. Everything’s happening slower, when Hansen feels ready. “People call it a side-hustle,” he says. “I don’t look at it like that. It’s not a hustle. I paint pictures on the weekend.” He can’t imagine a time that will ever stop. But he can’t help but wonder: “What will it be like when I’m real old? Will there be a time where I stop thinking about that?”
Sam Hansen explains more about his return through his own Substack, Unbothered Rapper.
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Everything you need to know.
In the wake of damning allegations made about Live Nation in a searing documentary by the ABC, Australia’s government is banning the practice of dynamic ticket pricing. “Hidden fees and traps are putting even more pressure on the cost of living and it needs to stop,” Prime Minister Anthony Albanese says. “We’re going to change the rules.” Those plans will prohibit “unfair trading practices”, “subscription traps” and “drip pricing,” as well as “specific prohibitions of a range of dodgy practices”. Bravo! The Guardian has more.
Meanwhile, for the same publication, Andrew Stafford says the documentary was long overdue, claiming Australia’s industry has been in crisis for decades. “The grassroots of Australia’s live music scene has been on the threatened species list for at least two decades … long before Covid crushed attendances and Live Nation arrived on these shores to skim any merch money left on top,” says Stafford. He calls Live Nation “a parasite sucking the marrow from an industry that bled out a long time ago” and offers a suite of solutions. You can read his thoughts here.
Meanwhile, in a scathing indictment about how our own industry used to operate, Ladyhawke has opened up about the toll releasing her first two records took, saying the impact nearly ended her career. “I got told I was shit, you know, like my confidence just got pounded into the ground,” Pip Brown tells Anika Moa. “I felt like nobody listened to me. It was so hard, and then my only escape was partying and drinking, like honestly, I just disappeared into that world … It's been hard, and it nearly ended me and my career. I was ready to turn my back on it.” It’s a riveting listen that goes deep; RNZ has the full story, and a video interview.
Another local artist who has been through some trauma is Ladi6, who says she was trying to make a party record when Covid hit. Then she lost her mother. “The idea was we were going to make the whole record in our robes,” she tells Karl Puschmann for NZ Herald. “It ended up being depresso-robes.” Instead, she’s pivoted and made it “a transformative thing … I describe it as ‘Crying on the Dancefloor.’” Her first single, from an album due next year, is out November 7.
Amidst the horrifying tabloid coverage of Liam Payne’s tragic death, there have been a handful of beautiful, heartfelt tributes. “Beneath the defiant, bad-boy persona, my impression was of an earnest young man who had not yet found his place in the world – who maybe wasn’t quite sure of who he was. And really, what chance did he get?” writes Elle Hunt for The Guardian. Meanwhile, Lyric Waiwiri-Smith’s first One Direction memory is of “holding an iPad incredibly close to my face to soak in every pixel of the five boys through the screen ... nothing makes an impressionable young girl feel more seen than the talented pop star speaking to them by way of a YouTube video diary or Instagram story.”
Recently, my phone pinged with a Ticketmaster alert. “Hurry … last chance for tickets to Travis Scott.” That’s funny, I thought – last time I looked, there were lots of tickets available for the rapper’s October 31 show at Eden Park. When I checked again, plenty of tickets remained, but there was one big difference: they’ve all been heavily discounted. Right now you can get a Travis Scott ticket in a very good seat for just $65.90. Is this dynamic pricing working in reverse?
Supergroove are reuniting for a huge 25th birthday celebration, with the band’s original line-up playing nine dates in April on The Phenomenon Tour. “We were barely in long pants when Supergroove used to roll into towns of all shapes and sizes to go nuts in the local halls, venues, streets and occasionally schools,” says front man Karl Steven. “That youthful excitement was true of our audiences as well, and the level of enthusiasm we encountered across the country was both humbling and, at times, borderline bonkers.” Dates and ticket details are here.
Finally, he’s my Prince, my Lady Gaga, my Paul McCartney, my Taylor Swift, my Michael Jackson, my Beyoncé and my Kanye West all rolled into one. Tyler, the Creator is my everything, and we have a new, quickfire album coming from him very soon. That album is called Chromakopia (whisper it) and it’s out on October 28. Here’s the first taste, an expansive genre-bender called ‘Noid’. I’m not ready. The world’s not ready. Is anyone ready? Anyway, I’m excited! (Can you tell?)…
I had no idea about PNC being back about - I always thought he was super talented.
Subscribed to his SubStack now!
Also, great news about Australia banning dynamic ticket pricing. Lots of great links there at the end. And I'm also hyped for new Tyler.
It's often said but seldom has merit that if so and so were born in the US, they would be huge, but this is true with Sam...the man is a genius, as are the producers he collabs with.