In a time when cannabis media is either sanitized or swayed by corporate interests, Trap Talk NZ is cutting through the noise with raw, unfiltered truth. Built on legacy roots and driven by a mission to document the culture with honesty, the platform is a bold answer to the safe, sugar-coated takes that dominate the conversation. We caught up with its founder—a third-generation grower, proud Māori, and unapologetic voice in both the underground and legal space—to talk about where the scene is at, who’s pushing things forward, and what still needs to change across New Zealand and Australia. From the underground legends to the myths outsiders keep believing, this conversation is a deep dive into the heart of cannabis culture in the South Pacific.
1. What inspired you to start Trap Talk NZ, and what’s the mission behind the platform?
I started Trap Talk NZ because there was a clear gap, not just in New Zealand, but globally, for real, unbiased cannabis journalism. Everyone was either playing it safe or pushing an agenda. No one was covering the uncomfortable truths, the things everyone’s thinking but no one’s willing to say out loud. That’s where Trap Talk comes in.
I come from a third-generation cannabis family—my uncle was one of NZ’s respected pioneers—so this isn’t just content for me, it’s personal. As a proud Māori, a creative, and someone deeply connected to both the legal and underground sides of the scene, I felt a responsibility to document the full story: the good, the bad, and the stuff that gets swept under the rug.
Trap Talk is about cutting through the noise. It’s raw, unfiltered, and built on honesty. Whether it’s highlighting underground legends, questioning industry moves, or calling out the misuse of terms like “premium” and “craft,” I’m here to educate, document, and push the culture forward—without bias.
2. How would you describe the current state of the cannabis scene in New Zealand and Australia? Are we progressing, stagnating, or going backwards?
When you look at the legal cannabis scenes in New Zealand and Australia, it’s hard to say we’re progressing. If anything, we’re stagnating, and in some areas, going backwards. The frameworks were supposed to bring safe access, better education, and premium quality to patients—but what we’ve ended up with is a confusing system full of red tape, poor product, and barely any cultural understanding.
Decriminalization still hasn’t been fully addressed, which means patients and legacy operators are stuck navigating a grey area. You’ve got people doing time for the same plant others are now legally selling, often at inflated prices.
On the product side, quality control is lacking. A lot of the so-called “medical grade” flower hitting shelves wouldn’t even pass for mids in the underground. Medical teams are rerocking strains or getting tricked into thinking they’ve got exclusive cuts, when in reality, it’s the same commercial phenos that’ve been floating around for years.
There’s no real grading process, no standard for what qualifies as topshelf, and no accountability when a “premium” product smokes like mid. Until we prioritize people who truly understand the plant and culture, we’ll stay stuck in this cycle of inflated hype and underwhelming product.
3. Legalisation aside, how vibrant is the underground or grassroots cultivation culture in both countries? What makes it unique compared to other parts of the world?
The underground culture in New Zealand and Australia is vibrant, but they’re at different stages. Australia is at least five years ahead. Their top underground operators have full branding, custom packaging, consistent drops, and strong identities. In New Zealand, that’s just starting to emerge. Maybe three or four crews here have a proper brand presence, but momentum is building.
What makes it unique is the cultural roots. These people understand the plant and the community—something the corporate side still hasn’t figured out.
In Australia, BST is a standout. He’s a breeder, grower, pheno hunter, and brand builder. He’s operating at a world-class level, working with genetics most people can’t even access.
In New Zealand, South Island Skunk and Flavours New Zealand are making waves. They’ve dialled in both product and presentation, which is rare in such an early-stage market.
Pricing reflects this too—$800 AUD an ounce for high-grade in Australia, $130 NZD for a 3.5g pack in NZ. The underground is driving demand for quality, not the legal system.
4. Let’s talk Tall Poppy Syndrome—do you feel it holds the scene back in NZ or Aus? Do growers and creatives support each other, or is it more cutthroat than collaborative?
Tall Poppy Syndrome is real—and in New Zealand, it hits hard. It’s one of the biggest things holding the scene back. When someone gains traction or does something different, instead of support, they’re met with jealousy or silent sabotage. People are more focused on dimming others’ shine than uplifting the culture.
In Australia, you see it less. There’s more space for mutual respect and collaboration among the real ones. But in NZ, the scene is smaller and more guarded, so people get territorial.
We’ve got growers and creatives pushing against that energy—trying to build a more collaborative, community-first culture—but we need more of it. Too much talent is hiding in the shadows because standing out makes you a target.
5. In your eyes, who are the most respected names in the game right now—whether it’s breeders, growers, or voices in the community? And what makes them stand out?
East Coast Cannabis in NZ is doing it right. They care about the full process—from grow to final product—and their roots in the culture show. Even though most of their work is offshore due to local restrictions, their name still holds weight.
In Australia, Motherplant is a major player. They bring unique genetics, solid R&D, and a rare ability to merge underground mentality with professional execution. They’re long-term thinkers, and their drops reflect it.
6. How important is social media, particularly Instagram, to building the cannabis community down here? Have you seen it help people connect, or does it also bring problems like clout-chasing and misinformation?
Instagram has been huge for building the community. It’s connected underground growers, patients, creatives, and educators like never before. It’s allowed real players to build something from nothing through consistency and content.
But it comes with real problems. Clout-chasing is everywhere—people overhyping strains or reposting work that’s not theirs. And then there’s misinformation, which makes it hard for people to separate fact from flex.
The biggest issue is Instagram itself. Cannabis lives in this grey area on the platform. One day your content is fine, the next you’re banned, no warning. We’ve seen legit brands lose their accounts with no explanation. There are no clear rules, and until that changes, everyone’s walking on eggshells.
7. What are some of the biggest misconceptions about the cannabis scene in NZ and Aus, especially from outsiders or mainstream media?
The biggest one is that we’re dialled in because we have medical programs. That’s a myth. The reality is, both countries are way behind globally in access, quality, education, and culture.
The media sees a framework and calls it progress, without asking what’s actually being delivered. Most medical products don’t reflect patient needs, and decision-makers often have zero cannabis experience.
The underground, though—that’s where the real culture lives. World-class growers and breeders are doing amazing work, but because it’s not legal, it goes unrecognised. People think it’s either bush weed or a polished medical system. The truth is, the underground is carrying this scene.
8. How does the stigma around cannabis impact everyday people in the scene—whether they’re small growers, creatives, or just fans of the culture?
(Answer not provided—likely omitted unintentionally. Let me know if you’d like to draft this missing answer in line with the tone of the others.)
9. What role does music, streetwear, or art play in shaping cannabis culture in our part of the world? Is it all connected or more fragmented?
Music, streetwear, and art are huge—they give cannabis culture its sound, style, and identity. From hip hop lyrics to graffiti tags to local brands, it’s all part of the same energy.
But here, it’s still fragmented. We’ve got the pieces: dope artists, strong streetwear, music scenes that ride for the plant. But it’s not always linked. It shows up at events or in tight-knit crews, but not on a broad scale—yet.
Look at Cookies in the U.S.—they connected fashion, branding, and weed culture into a movement. That model is inspiring people here to do the same. We’re early, but the potential is real. Once our scenes collaborate more and let go of ego, we’ll see something powerful emerge—something uniquely ours.
10. Looking ahead, what’s your hope for the future of cannabis culture in NZ and Australia—and what do you think needs to happen to get there?
I want to see a real culture—one that honours the plant’s roots, the legacy operators, and today’s creatives. A space where quality wins over hype, and people don’t have to hide.
To get there, we need decriminalization, not loopholes. People shouldn’t risk jail over a plant. We need real representation in the legal system—curators, educators, breeders, not just investors and suits.
We also need to bridge the gap between underground and legal. The best flower still comes from the shadows. If those people aren’t invited in, we’ll get a watered-down version of cannabis culture.
Lastly, we need standards. Everyone talks “high grade” but no one defines it. We need grading systems, education, storytelling—and unity. That’s how the scene evolves.