Back in 2009, New Zealand’s freight scene was in a heavy place. Lines across the country were moving with colour, style and attitude, carrying pieces from one end of Aotearoa to the other. It felt like every yard, every line and every passing train had something worth looking at.
What made that era stand out was the mix. You had writers from different cities all bringing their own flavour — Auckland, Wellington, Christchurch, Hamilton, Dunedin and everywhere in between. Different hands, different styles, different crews, but all part of the same moving gallery. Freight became the connection point. A piece painted in one city could roll through another days later, seen by people who might never meet the artist behind it.
There was something raw about that time. It was the start of the Flickr era, but still a long way from the instant-posting-for-likes world we know now. Back then it was still steel, paint, risk, patience and style. If you saw a fresh piece running, you had to catch it in the moment. Maybe it rolled past while you were driving, maybe it sat in a yard for a day, maybe someone snapped a blurry photo before it disappeared again. That was part of the magic.
The scene felt saturated in the best way. Whole panels, end-to-ends, burners, throw-ups and characters were travelling the country, building a visual record of what was happening in New Zealand graffiti at the time. It was a period where the freight lines told a story — not just of one city, but of a nationwide movement.
Part of what made that era so good was the variety of stock running the lines. There were so many different types of carriages and freight to catch Spacerunner's, the different varieties of Tranz Link curtains, Auto Express with some of the oldest pieces running including the iconi "MR WEBSTER' whole freight, and the last of the old ridgy metals still rolling around. Each one had its own look and feel, and when they were hit properly, they became part of the piece itself. The surfaces, the logos, the colours and the shape of the carriages all added to the character of what was running.
For anyone wanting to see more of that era documented properly, check out Spacerunner Magazine
Writers like Baik, Zes, Lurq, Berst, Haser, Depik, Berns and Syk1 were part of what made that period stand out. Different styles, different cities and different approaches.
Looking back, 2009 feels like one of those years people still talk about because it had weight. The pieces were active, the styles were sharp, and the country felt connected through the rail lines. It was underground, rough around the edges, and full of energy.
For Railside, that era is a big part of why freight culture still matters. It reminds us that graffiti has always been more than paint on a surface. It is movement, memory, style, and a connection between artists, cities and the tracks that carry it all.
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