The Levitators have served up one of the most diverse collections of songs I’ve heard in some time with their new EP Eclectica.

The unusual blend of sounds ensures there’s something for everyone here. I found the mix of genres intriguing and innovative. However an act that takes so many risks is never going to hit the mark all the time.

I found this EP really uneven. I embraced the big horns and bold blend of soul, Latin, and hip hop in the opening track “Once Again.” The very funky follow-up “Sunshine in my Juice” had me reaching for my dancing shoes. But for every inspiring number there was something that fell short for me. Some tunes seemed aimless, while others with a clearer vision appeared like they were trying too hard. Some of those songs might work better in a party or a club, but in my quiet little home they just didn’t gel.

Personally I feel The Levitators are at their best when they’re embracing melody and building upon their soulful voices. However I’m sure someone with different tastes might disagree with me. On paper a 50% strike rate is barely a pass. However that analysis would sell this EP short. Eclectica shows a band with a tremendous amount of promise and an innovative approach to music making which makes listening to them really exciting. You’re never sure what twist they’ll take next. The Levitators don’t always get it right, but when they do it’s really special.

I was lucky enough to catch Busby Marou and Georgia Fair last night as their 5 Rocks tour made its final pitstop at Newcastle’s Lizotte’s. A night out at Lizotte’s always feels indulgent, and when it’s married with performances from two of Australia’s most promising up and coming acts it’s made even more exciting.
I’ve been casually following Georgia Fair’s career for the last couple of years now, and I was thrilled to see how much they’ve grown. The banter with the crowd still feels a bit stilted, but all that awkwardness melts away once the music starts. The lads complement one another so beautifully, both with their instruments and their voices, and it’s a pleasure to witness. I can’t recall observing a crowd so hushed during a support act’s set in some time.

I loved Georgia Fair, but Busby Marou took the energy levels up a notch. They haven’t been on the national scene for very long, but their performance felt so comfortable and easy. Again we were treated to some incredible harmonies and a stunning meeting of instruments. I’ve loved the duo’s songs since I heard their self-titled debut album last year, but they took on extra meaning with the explanations Tom gave. I was thrilled to hear all my favourite cuts from the album, but out of my skin excited to hear them cover “Girls Just Wanna Have Fun.” It seems the cover came about on Triple J’s Like a Version sessions, but I hadn’t heard it before. What an introduction to its existence though. I thought I might have bounced out of my seat with joy.

My Dad often bemoans the state of modern music and longs for the glory days of the 60s and 70s. Yet after watching the performance even he concedes that with bands like Busby Marou and Georgia Fair around, the future of our local scene is in very safe hands.

Image source: own photos

After releasing a couple of EPs, William Street Strikers are showing us what they can do with a longer format with the release of their debut album Keep Left.

The disc’s title is an appropriate one, as this is a disc which refuses to play it safe. It’s a very eclectic collection of tunes, one which some people may accuse of being too eclectic. After all, as they’re so different there’s bound to be a few that won’t resonate with every listener. However by offering such a variety of music, William Street Strikers has also ensured there’s something for everybody.

Personally I find it hard to resist the bold brass of the ska influenced “Madboy.” The laidback summery pop of “Sinking in Quicksand” seems quite simple, but there’s something about it that kept me coming back for more. The cruisy beach vibe of “Let It Go” makes it another great summer anthem. While it didn’t make me smile wide like my other standout tracks, it’d be remiss of me to neglect mentioning the closing number, “Forget Your Bible.” This is such a well crafted song with incredible lyrics. If this is a sign of what these Adelaide lads are capable of we should hear a lot more from them in future.

The long play format has allowed William Street Strikers to stretch out a little more. In some instances they might have experimented a little too much, but there’s still a lot to admire here. Keep Left is a disc with boundless enthusiasm and energy, and while it’s not perfect that combination makes it a compelling listen.

Image source: William Street Strikers website

I expected the kind of merry Christmas and happy New Year that all the greeting cards tell us everyone receives, but I didn’t get it this festive season. On December 25 my Grandma had a bad fall, which led to her admission to hospital the day later. Also on Boxing Day my Mam, my mum’s stepmother, found herself in hospital too. While Grandma’s still resting up, Mam passed away. We had her funeral yesterday. Consequently the season which is ordinarily so festive was stressful and sad.

Of course I turned to music, this time the 80s pop showcased on David Campbell’s latest covers album Let’s Go. We have a rule in my family never to buy ourselves anything in the lead up to Christmas, so I was a bit late getting my hands on it. But goodness it was worth the wait.

This is the David Campbell album I’ve been waiting for. Anyone who knows me knows the 80s is my decade, and David’s done it justice. Some clever arrangements see the tunes feeling fresh, although they’re not so different as to alienate the diehard fans.

Funnily enough the album features many of the 80s tracks my husband and I had discussed prior to its release. David equals Tony Hadley’s silky smooth vocals on “True.” Adam Ant’s “Goody Two Shoes” has just the right amount of pep, while “You Make My Dreams Come True” should put a smile on anyone’s face. I’ll say this; David Campbell has impeccable taste.

In some cases he’s even done the unthinkable and bettered the originals. The arrangement of “Missing You” brings out the gutwrenching heart of the lyrics like John Waite’s version never did. I must have heard “Come On Eileen” a million times on radio, yet David’s version has so much energy that I find myself hitting repeat.

This is one of those albums that begs for a sequel, just as we saw with his Swing Sessions. I’m not sure whether I’ll get my wish, but I’m certainly in for an amazing show when David Campbell hits town later this year!

Image source: David Campbell Facebook page

With just four tracks Sydney’s The Gypsy Bangles manage to transport us back to music’s heyday. Their debut EP Women & Whiskey channels a simpler time, before auto-tuning and sampling. And I love it.

It’s so refreshing to hear the band’s earthy, bluesy sound and rich, raspy vocals. The music is free and spontaneous. You get the sense listening to it that it’s just what you’d hear if The Gypsy Bangles were jamming in front of you.

The EP bursts out of the gate with its title track. It took me to one of the iconic rock festivals of the late 60s with its easy rock groove. It really sets the tone for the disc, and is probably its strongest track. But that shouldn’t take nothing away from the other songs. I particularly love the driving guitars of “Dark Haired Woman,” which are reminiscent of Cream or Deep Purple. “Love and Light” winds down softly, easing us back home to the tenteens or whatever we’re calling it. Thankfully we can always give the disc another spin and return to that world of classic rock The Gypsy Bangles have created.

Physical copies of the disc have sold out, but it will be re-released shortly. Until that time you can hear Women & Whiskey through The Gypsy Bangles Bandcamp page.

Image source: The Gypsy Bangles Bandcamp page

The last time I saw Jimmy Barnes he was stripping things back with an acoustic show at the most intimate of venues, Lizotte’s on the Central Coast. Just a few short months later I witnessed a show that couldn’t have been more different. He was back with his Cold Chisel band mates and playing it loud in Newcastle great big shed, the Entertainment Center. While I appreciated the quietness of the first gig, there’s something about seeing a Chisel show that can’t be beat.

Before the rock veterans graced the stage we were treated by a set by The Break. Psychedelic surf music is an unusual entrée for some pub rock, but the skill of these musicians made it a tasty treat. The Break features members of Midnight Oil who spoke fondly of their love of our city. That sort of flattery helped win over the crowd, who listened attentively to the drum-heavy instrumental tracks.

While the crowd appreciated The Break, the excitement went up a notch when Cold Chisel took to the stage. It was sad at first to look out and see someone else sitting in Steve Prestwich’s chair, but new drummer Charley Drayton settled into his very big shoes. He slotted in seamlessly, helping original members Jimmy Barnes, Ian Moss, Phil Small, and Don Walker belt out hit after hit. We knew the lyrics to all the songs and sang along enthusiastically.

While I appreciated the loud rock numbers, the moments when the band stripped things back were real highlights. A pared back version of “When the War Is Over” was a fitting tribute to the late Steve Prestwich. I also appreciated the reggae-tinged take on “Breakfast at Sweethearts,” one of my personal favourites that wasn’t played the last time I saw them live. I’m also not sure anything can beat singing along to numbers like “Khe Sahn” and “Flame Trees.”

It wasn’t a perfect show. Jimmy’s voice seemed to be showing the strain from all that touring, especially during the ballads. The mix also wasn’t quite right, with Don Walker’s keys dominating at times they should have been more subtle, particularly in the stripped back moments.

But even these minor niggles couldn’t detract from seeing the band that I believe are the greatest Australia’s ever produced. It’s amazing to have them back in business.

Image source: own photos

Where has the time gone? A week has passed, yet it seems like only yesterday I was settling myself in at Allphones Arena to catch living legend Dolly Parton.

It’s impossible to underestimate the presence of this woman. She steps on stage all big blonde hair and glittering rhinestones and grabs you, captivating you with her presence for the hours she spends on stage. Not bad for a woman of 65, is it?

As she burst on to the stage with her version of ’80s smash “Walking on Sunshine” we knew we were in for a special night. Dolly seems to delight in delivering the unexpected, whether it’s 80s pop, rap, or even bluegrass versions of Collective Soul’s “Shine” and “Stairway to Heaven.” I honestly could have done without the latter, but she gets major props for trying!

Of course with several hours to play with the hits were represented too. I was thrilled to see “Jolene” trotted out only a few songs in, and ecstatic to hear her end with the Holy Trinity of “Islands in the Stream,” “Nine to Five,” and “I Will Always Love You.” Her backup singer is no Kenny Rogers, but we were so thrilled to hear the duet that it mattered not. I also relished a few songs that I didn’t know before, especially “Coat of Many Colours” and her stunning a capella version of “Little Sparrow.”

I enjoyed those songs that were new to me mostly because of the stories Dolly weaved around them. She’s such a generous performer, one who stops to take the time to share herself with her audience. She showed us all her facets, including the playful side concerned with aging and flashy clothes and the dedicated daughter thinking fondly of her formative years. Those more heartfelt moments where she spoke of her large family, poor but happy and full of love, were so poignant and made her songs that much sweeter.

She told us that she hasn’t visited us for 25 years, and that she hopes that if it’s another 25 years before her return we still think she looks good for her age. I’m sure she will, but I really hope she doesn’t leave us waiting that long!

Image source: own photos

Even grey skies and relentless rain couldn’t dampen my enthusiasm for catching Rai Thistlethwayte at Lizotte’s on Friday night. Catching the Thirsty Merc frontman solo was always going to be a rare treat, especially at my favourite venue.

With my belly full of salt and pepper squid and succulent pork belly I was ready to listen to the sweet sounds of local talent Jacob Pearson. I’d heard a lot of buzz about this youngster, and was thrilled to experience him first hand. His voice sat somewhere between Jeff Buckley and Howie Day, although his tunes reminded me more of John Mayer in his early coffee house days. Just like Mayer he’s a dab hand at the guitar, and the ukulele as well. He told us the way Rai Thistlewayte’s music had influenced him early in his career, and it reminded me how young he was. He seems much more seasoned than his years would suggest. He’s cute too; with the right exposure he could definitely be the next big thing. It’s a shame too many people chatted through his set because it was something special.

That feeling of witnessing something rare and precious continued as Rai took to the stage. He seemed to revel in these intimate surroundings, which were perfect for road testing new material and treating us to some of his favourite Thirsty Merc cuts. While singles were represented, the setting also gave Rai the opportunity to play his some of those album tracks that didn’t hit the charts. Personally I preferred these; I still don’t think I’m over the mass saturation of airplay “20 Good Reasons” received. The superb new tunes definitely have me excited about the next album. In this intimate setting with the hushed crowd I could focus on every lyric and every note and really take them in. Rai chatted easily with us, telling us about his recent songwriting trips and the tours he’s been taking. Lizotte’s facilitates that kind of show experience, the breaking down of the barrier between artist and audience. He encouraged us to get to our feet for a stomping new number and to sing along loudly with “In the Summertime.”

On leaving it was back to reality. The summery Thirsty Merc tune almost made me forget that The Coast is dark and gloomy at the moment. A good gig does that though. It takes you away from the real world and just lets you live with the music for a while. I think it’ll be hard to go back to those sweaty Thirsty Merc pub gigs after this one. The delicious food, comfy seats, and excellent music left me feeling positively pampered. What a way to ring in the weekend!

Image source: own photos

All too often I get excited about an album on the strength of its single, before discovering the long player doesn’t live up to the hype. It’s much rarer to find a disc that makes me appreciate the artist even more than I did before, but I found it with The Trouble with Templeton’s Bleeders.

I became enamored with the title track last month, commenting on its slow burning beauty. However just quietly I wondered whether that slow burning charm might wear a little thin and turn sleepy on an extended release. Happily Bleeders is about more than this mellow number. While it sits well on the album, it’s just one side of a very diverse artist.

I became excited at the opening track “When Will,” a song that started quietly but snuck up on me, enveloping me in such gorgeous sounds. The Trouble with Templeton has a real knack for creating soundscapes which make lush backdrops for his emotive lyrics. As a writer I was particularly drawn to “I Wrote a Novel”; it’s easy acoustic folk strumming and harmonica strains blend beautifully with the very personal yet relatable lyrics. After hearing such velvety vocals the gritty ones of “Someday Soon” took me by surprise, but they were so fitting for a track which channels the slave roots of rhythm and blues. I also loved the way the playful background vocals of “30 Something” propelled the tale of dissatisfaction.

I enjoyed listening to Bleeders so much that I was shocked when after just nine tracks, it was over. It really felt a little short, but that might not be such a bad thing. I was left wanting more, and surely that’s better than a disc that drags.

Bleeders is an impressive debut for this Brisbane singer-songwriter. I only hope he doesn’t leave us waiting too long for the next one.

Image source: The Trouble with Templeton Bandcamp page

I first saw Jason Mraz live roughly seven or eight years ago. “The Remedy” was his “I’m Yours,” and acoustic performances were more common that those with a full band. I’m pretty sure I had change from $100, and that bought me not just the show but my dinner at The Vanguard.

A lot has changed since that time. The venues are bigger, the catalogue of songs is larger, and acoustic performances are increasingly rare. So it was pretty special to recapture some of what drew me to his music in the first place with Saturday night’s performance at the Sydney Opera House.

The Opera House is a long way from The Vanguard, but at least in my seats the show felt just as intimate as that first one. I wish I had some photos of my own to give you a sense of the show as I saw it, but I figured the Opera House’s usual no cameras policy would be enforced. Anyway, Jason joked easily with the crowd and his first mate and percussionist Toca. He encouraged us all to sing along and follow his lead as he scatted. He also delivered a selection of songs that should have satisfied most of the fans he’s picked up along the way.

We were treated to a generous helping of songs from his as yet unreleased album, but as he graced the stage for almost three hours I couldn’t fault that. Their acoustic treatment meant we could really listen to the unfamiliar lyrics and appreciate what he’s been building while away from the public eye.

All three studio albums were represented (although if I’m critical I would have appreciated more numbers from the first two), and the diehard fans were also treated to a few beloved rarities. I was thrilled to hear one of my personal favourites “1000 Things,” one song I never expected to make the set list. “Mr Curiosity” stripped back on the piano was another highlight, as was my all-time favourite Mraz number “You and I Both.”

There was no “The Remedy” this time, and I thought about the days when he couldn’t play a show without it. These days it’s been replaced with “I’m Yours,” a number which is still as much fun despite the radio saturation. As the extended version wound down Jason and Toca played recorded looped audio and their words rang out as they left the stage: “You are Loved.” It was more than simply the tour’s name. It was a reminder that they appreciate all the fans have given them, especially here where their music has been embraced for close to a decade. It was a lovely parting sentiment, and one that reinforced the giving way they played for us. I’m sure most people who left the Concert Hall were every bit as grateful for the night’s amazing performance.

Image source: Matthew Straubmuller @ Flickr