I’ve been reading a lot of criticism about The Voice lately. I’ve heard that the program exploits its artists, that it doesn’t recognise the talent of established musicians, that industry professionals shouldn’t appear in the first place, that it’s gimmicky and fake and not the place Australians should turn to when discovering local music. I don’t deny the talent of many Aussie musos slogging away in the pubs and clubs. I accept this program isn’t an arena that many musicians would feel comfortable competing in. But when I question the value of a program like The Voice, I just have to look at Darren Percival.

Darren was one of those musicians I knew before he stood in front of those four chairs last year. I’d seen him sporadically live before then, singing backup vocals for James Morrison, and Jimmy and Mahalia Barnes. It took that program to take Darren to the front of the stage. And that’s just where I like him.

There’s something about the promise of a Darren Percival performance at Lizotte’s Kincumber that is irresistible to me. I’ve now seen him three times at the venue since he won The Voice, and every show’s been special. Darren seems so comfortable here, in this small space where punters can pass him handwritten notes acknowledging their parents’ wedding anniversary and milestone birthdays. He seems to thrive on the intimacy that comes when he can step down off the stage and walk amongst us, sitting down beside one adoring fan, taking the hand of another. There’s none of that inevitable distance that comes from a larger venue, and we all lap it up.

Much like the last time I saw Darren, the set contained highlights from Darren’s time on The Voice, the Ray Charles covers featured on his latest album, and a few other favourites. The blend doesn’t change too much, but there are always a few surprises. Who on earth would have expected a cover on Eddy Grant’s “Electric Avenue”? That alone might have been worth the price of admission, but I also hung on every word of his incredible version of “Georgia on My Mind”, and his solo take on “Without You”, the song he sang with mentor Keith Urban while on “that reality show”. His rousing rendition of “Hit the Road Jack”, with back-up singing from the captivated audience, was also spectacular.

You can say what you want about The Voice, but I’m thrilled it exists if only to see artists like Darren headlining concerts like the one I witnessed. I wonder which of the new breed I’ll be raving about in this way next year?

Image source: own photo

Jordan Millar is one of those rare artists that I fell in love with at first note. “Walking on Me” was just so ridiculously catchy, and its follow-up “Maps” was every bit as impressive. I knew I’d love his latest album Cold Lights On Curious Minds, and I wasn’t disappointed.

“Maps” really is the perfect opener, as it sets the scene for an album that’s instantly accessible. It’s an easy blend of pop and folk, two genres that underpin many of the album’s tracks. Not that Jordan is a one-note pony. He shows more edge with “High Horse”, a bluesy tune which wears its heart on its sleeve. I also felt the helplessness and hurt in the moving “Guilty”. “Losing Hope” is a poignant number made that much more beautiful with Elle May’s angelic guest vocals.

“More Time, More Money” is a fitting closer for an album that features guest appearances from many of Jordan’s friends including Elle, his touring buddy Jack Carty, Australian Idol graduate Amali Ward, and acclaimed keyboardist Beau Golden. This track feels like a jam, a coming together of voices and hand claps and instruments that truly reflects the collaborative nature of Cold Lights On Curious Minds.

It might have been a group effort, but Jordan is the star here. His acoustic guitar chops drive the tracks, and his warm voice has an honest, organic quality that immediately draws you in. This album is a really easy listen. Some might criticise it for being too easy, too pleasant, but since when has that been a bad thing?

Image source: iTunes

Goodness, has it really been that long? I apologise, I really do. Life’s been a bit hectic with birthday celebrations (yes plural – I managed to stretch mine out over four days, which is no mean feat) and concerts. I could wax lyrical about the former, but since this is a music blog turning my attention to the latter is probably for the best.

The day before the big birthday bash I made a pilgrimage to the Opera House to see one of my favourite bands of all time, the Counting Crows. I’ve loved them since I hit my teenage years and the lads released August and Everything After. So much has happened since then, but I found myself becoming that enthusiastic thirteen-year-old again as I entered the venue.

I’m kicking myself that my dinner dragged on and I missed the start of Jackson McLaren’s set. Vocally he reminded me a lot of one of my favourite singers Howie Day, but his tight alt-country rock band gave his music a different dynamic. Not enough acts play with a fiddle either; I take my virtual hat off to their violinist who added a real richness to the sound. I definitely want to hear more from Jackson and his crew. I’m a fan.

I could have listened to Jackson all night if I weren’t so psyched to see the Counting Crows. They set the scene with the opening number, one of those first singles “Round Here”. It’s a song that’s morphed into something very different over the years, as many of the Counting Crows songs have. The band likes to play free and easy with the melodies and lyrics, which can be alienating. I know I’ve criticised some acts for this before. But I felt that the changes were sincere and heartfelt. It wasn’t about being bored with the songs or trying to be clever. It’s just how they come out right now.

The Counting Crows aren’t a band that ever delivers a predictable set. There are no certainties, and that makes every favorite song you hear that much more exciting. To hear my two absolute favourites was something I hadn’t dared dreamed of. Yet sure enough, “Mrs Potter’s Lullaby” made an early appearance, and “Anna Begins” came out in the encore. “Colourblind” was also breathtaking, with a single spotlight on singer Adam Duritz ensuring we stayed transfixed. As if that was ever in doubt. “Rain King” had me pumping my fists in exultation.

If I was to make any criticism it’s that I wish Adam talked to us a little more. We had a word here or there, but there were none of the long explanations of songs or tales of travel that I adore. However it’s a bit hard to criticise someone for not sharing enough of themselves when they do it so completely with their music.

They say that you can never really go back and perhaps that’s true, but when you can spend a night with a favourite band it feels like for just a few hours, you can.

Image source: Jimmy Harris @ Flickr

The sophomore effort from Perth’s Sons of Rico was always guaranteed to put fun first. The band’s moniker was inspired by cult comedy classic Napoleon Dynamite, and their latest record playfully pays tribute to a cheesy Latin crooner. The good vibes are in abundance, but by the end I was left scratching my head.

Perhaps that confusion isn’t a bad thing. I admire Sons of Rico’s ambition. The album opener “Against the Grain” is a big bold start, and while the second track “I’m Not Thinking About You” gets a bit shouty at times, it makes its point. “In My Eyes” was a real highlight for me, with angelic harmonies combining with raw rock riffs.

And then the album takes a sharp left turn, abandoning its modern rock feel for something much more retro. “Just My Type” and “Adjustable Value” call to mind Electric Light Orchestra and Supertramp. Referencing such classic rock pioneers isn’t a bad thing at all. It just doesn’t gel with what came before.

I’m still not sure whether that’s a problem though. Sons of Rico might be a band still trying to work out what they want to be, or they could be an outfit that enjoys making music genre constraints. In any case what they do is damn good fun, with a bubbling energy that’s infectious. Perhaps that’s what matters most.

In Rico Glaciers hits stores on March 29. Sons of Rico will launch it at the following shows:

5 April 2013 – Amplifier Bar, Perth
6 April 2013 – Settler’s Tavern, Margaret River
11 April 2013 – Sol Bar, Maroochydore
12 April 2013 – Great Northern Hotel, Byron Bay
13 April 2013 – Alhambra, Brisbane
26 April 2013 – Revolution, Geelong
27 April 2013 – The Workers Club, Melbourne
2 May 2013 – Good God, Sydney
3 May 2013 – Hoey Moey, Coffs Harbour
4 May 2013 – Great Northern Hotel, Newcastle

Image source: JB Hi Fi

The Evening Cast might be a fledgling act, but their stellar debut EP Lake proves the Victorian band is a force to be reckoned.

This is a lush recording, with exquisite layered harmonies and rich orchestration. It takes some talent to ensure a big sound doesn’t become a mess of noise, but The Evening Cast are up to the challenge. No doubt they’ve been guided well by the production team of Joe Laporta (Bjork, Foo Fighters) and Marty Brown (Clare Bowditch, Art of Fighting). The skills of these supporting players make this disc seem more polished than most debuts.

I love the poetic lyrics and quirky romantic of the EP opener “Knots and Bows”. The poppy “Surprise” and “Heartbeat” are pure joy. Not that it’s all sweetness and light though. “No Stopping” shows a darker determination with its pounding pianos and earnest vocals. I really felt this one.

At seven tracks, Lake is much longer than most EPs. It feels more like a mini album than an EP. It’s a bit risky for a new act to take on such an ambitious release, but The Evening Cast are up to the challenge. There are no filler tracks here. Lake is an excellent debut that shows the promise of this exciting Aussie act.

I’ve sat down to write this review a few times. However the problem is, every time I slip The Magician’s Daughter into my stereo, I forget to make any notes. Not because there’s nothing noteworthy about Mama Kin’s sophomore effort, but because the music tends to take over.

My analytical brain is rendered defenseless against her haunting voice and uncanny knack for crafting a song. It seems wrong to dissect the album note by note or tune by tune. It’s much easier to just listen and appreciate it. And so I do, until next time that I intend to write the review and realise that I never did get around to taking those notes.

I really love this eclectic collection of songs. Mama seems to rail against being placed in any box. She serves up retro soul, gentle country, sultry blues, and more with ease, borrowing from whatever musical styles she deems best to tell her stories. The term “warrior songs” came to mind on one of the many occasions I’ve listened to The Magician’s Daughter, and I can’t seem to get rid of it. There’s a lot of feminine strength here, the strength of loving someone, of being a mother, of feeling loss and living through it. I was so struck by the tender intimacy in tracks like “Bosom of Our Bed” and “The River as She Runs,” the stoic pain of “Cherokee Boy,” and the explosive power of “The Fire.”

Mama Kin proves she’s a real musical force with her exquisite second album The Magician’s Daughter. It’s released across Australia on February 22.

Image source: Liveguide

I was blown away when I caught Darren Percival at Lizotte’s last September. This intimate Central Coast venue was perfect for showcasing the talents of this incredible performer with a knack for connecting for people. The impact he made on our television screens in The Voice was amplified ten-fold in the small surroundings of the “Cubby House.” So when he announced a return visit, we snapped up more tickets without hesitation.

Darren had a bit more material to play with this time around thanks to the recent release of A Tribute to Ray Charles. The audience embraced those classics tunes just as they did the covers Darren delivered on The Voice. I was particularly impressed by his takes on The Beatles’ “Blackbird” and Ray’s “Georgia on my Mind.” I’ve heard so many people put their stamp on the latter, but his soulful version stands out as one of the best I’ve heard. In hindsight perhaps encouraging people who’ve enjoyed too many of the house wines to take over the vocals on “Shower the People” wasn’t a good idea, but the singalong was certainly lots of fun. Familiar tunes made up the bulk of Darren’s two-part set, but he treated us to a few choice originals, including the stunning “Damage Down” heard on The Voice.

There was no support act; instead Darren played for close to three hours. We couldn’t believe it when we left and realised we’d enjoyed Lizotte’s hospitality for almost six hours that evening. But time flies in this place where good food and wine are in abundance, the service is always warm, and some of the world’s best performers entertain you from mere meters away.

As we were enjoying those delicious meals a Lizotte’s spokesperson came to our table and informed us Darren had announced more shows at the venue this April. Again, we didn’t hesitate to buy a few more tickets. The combination of Darren Percival and this wonderful venue is just impossible to resist.

Image source: own photos

I’ve enjoyed the music of Keith Urban for years. My husband and I cut our wedding cake to “You’re My Better Half” and we consider “Without You” one of ‘our songs’. But it took Keith’s turn on The Voice and the release of a greatest hits album to convince us we needed to make the leap from casual fan to concert goer. And we’re so glad we did.

I’ve got to admit, we missed the Madden brothers’ supporting set. Starting a midweek show way out in Homebush at an early 7:30 is just madness in our books. Pairing country-singing Keith with these pop-punksters also seemed a strange decision, despite their association on The Voice. And so we opted for a leisurely dinner instead. Not being a fan of the Madden music, I don’t think we missed too much.

We were there in the thick of it once Keith took the stage. Our fifth row seats were incredible, but I must admit to feeling a little out of place. Keith fans seem lovely, but boy are they passionate. I bobbed my head in time to songs I was enjoying while they danced and sang with gusto to every tune.

The thing is though, you don’t need to know every song to appreciate Keith’s easy stage presence and incredible guitar skills. You don’t even need to have those seats near the front of the arena; Keith delivered several songs from another stage near the back of the auditorium. The interaction with the fans continued when Keith encouraged three devotees to sing off during “Kiss a Girl.” None of the punters could hold a candle to Keith’s voice, but you had to admire their enthusiasm! All good fun.

Keith and his stellar band were more than enough to keep us entertained, but the appearance of a few choice special guests took the energy in the room up a few notches. Benji and Joel Madden returned to the stage to join Keith for a cover of Oasis’ “Wonderwall.” Keith’s The Voice charge Darren Percival made a not so unexpected appearance later on. But when Jimmy Barnes joined Keith Urban for “Flame Trees” I lost my mind. What a special concert moment it was.

Keith’s Sydney show was pure entertainment. He gave us the right mix of upbeat numbers and heartfelt ballads. He chatted easily to the crowd and seemed genuinely humbled by their support. And he looked pretty damn good while he was doing it. Who could ask for anything more?

Image source: own photos

After releasing a solo album a couple of years ago, Queensland’s Mark Boulle is back with his band mates for Haba Dudes album number five. On Gofer Land the outfit is billed as Mark Boulle and the Haba Dudes but make no mistake; this recording is still very much a band effort.

Mark Boulle’s ruggedly raw voice stands out front and centre, but the instruments really elevate it, whether they’re the swell of strings, a classic piano, or some simple hand claps. These elements help bring the songs Mark penned to life. They add gravity to the words, and realise Mark’s vision.

When you slip a Haba Dudes record on, you know you’ll be entertained. At 15 tracks Gofer Land is an ambitious album, but its diversity ensures that it doesn’t drag. The band seems to delight in delivering the unexpected.

The album starts with the laidback “Lovin in Your Mind,” a track which is as much fun to listen to as it seems like it was to perform. “Hurt U Again” is another of those numbers that feels like we’re listening to a jam session. I was thrilled to be taken along for the ride. More highlights come with the ultra-catchy “Take Me Slowly” and sultry “Animal Kingdom.” I was beginning to almost feel like I knew what to expect from the Haba Dudes, some gypsy music here, a little folk there, when they threw me for a loop with “Gypsy Man.” This track shows real fire with its rocking, reverby guitars.

I guess you never really know what to expect from the Haba Dudes. And that’s just why I like them, and their latest release Gofer Land.

Image source: Mark Boulle and the Haba Dudes Bandcamp page

Amongst the pre-Christmas baking, wrapping, and general craziness it was a pleasure to sit down and relax at my favourite musical haunt, Lizotte’s. It doesn’t matter who I’m going to see, or who’s keeping me company, the evening is always stellar. And it was no exception when I stepped out to see The Trouble with Templeton.

Before the Brisbane band took the stage we were treated to a performance from Sydney duo, The Falls. I loved their debut single “Home” and was thrilled to hear more of their pitch perfect harmonies and gentle folk melodies. Melinda Kirwan is an especially compelling performer who draws you in with her conviction. Their set was sublime, and over all too soon.

Then it was time for The Trouble with Templeton, an outfit that’s grown from solo act to ensemble in recent years. I became a fan in those early days when Thomas Calder adopted his moniker and released his impressive debut Bleeders. He seems at ease with his band, a bunch of talented performers in their own right, but I’m not sure they really fit a venue like Lizotte’s. And I’m not just referring to The Cubby House’s small stage! The sound was turned way up to eleven, a jarring contrast to The Falls’ more delicate set. There’s nothing wrong with being brash and bold, but sometimes less is more. Something tells me I’d have been better able to appreciate their songs if I could catch all the lyrics. It was also disappointing to see “Bleeders” so poorly represented. The cries for “I Wrote a Novel” fell on deaf ears; it would have made the perfect encore if they’d felt like giving us one. Encores are almost mandatory these days, so I was surprised the band didn’t return to the stage.

Any night at Lizotte’s is a good night, and The Trouble With Templeton are clearly a talented band. They just need to pare things a back a bit of they hope to make the impression of their stellar support act.

Image source: own photos