Reviews – Page 3 – Sounds of Oz

Posted on 06/11/202507/11/2025 by Lauren Katulka

Rob Thomas @ Enmore Theatre, Eora/Sydney – 4 and 5 November 2025

Longtime readers will know that while I’m passionate about all kinds of music and performers, no artist thrills me like Rob Thomas. Whether he’s solo or fronting Matchbox Twenty, he moves me like no one else. His songs have soundtracked my life from my angsty mid-teens to my relatively calmer married years, and I’m so grateful for them. I see at least two shows each tour because anything more than one feels like a bonus and I can keep those post-tour blues at bay. Right now I’m performing that delicate balancing act of extending the buzz as long as I can while rejoining the “Real World.”

While local country act Fanny Lumsden wasn’t the most natural choice of opener for a pop-rock show, she quickly won over the audience with her infectious energy and catchy songs. She led the crowd in line dances and choreographed hand movements. Seeing the sea of people in the general admission section mimicking her movements in time with these songs they likely weren’t familiar with really brought a smile to my face. So did Fanny’s brother Thomas, who may be one of the most entertaining backup vocalists I’ve ever seen. Watching the siblings dancing around together, lapping up their first-ever shows at the Enmore, was really special.

Rob’s visiting Australia to promote his new album All Night Days, but I’ll use the term promote loosely. Just four songs from the album made the set on my first show, but that was pared back to three on Rob’s final night in Sydney. He opened with the explosive “I Believe It,” which really comes alive on the stage but then preferred to play with more familiar material. It’s a wise move, guaranteed to win over an audience, but as a diehard fan who’s seen multiple shows during his career I would have loved to hear more of that fabulous fresh material.

I will say, that’s my only criticism of these shows and it’s a minor niggle outweighed by all that was overwhelmingly positive. Now that Rob has five regular solo albums and just as many Matchbox releases under his belt, he has a rich discography that allows him to mix up the sets. What a joy for the ardent fans like myself who attend multiple shows! He wasn’t afraid to deliver deep cuts either. “Not Just a Woman,” a bonus track on a limited-edition version of …Something to Be, made its unexpected Australian debut. “Rest Stop,” which I’m not even sure I’ve heard Matchbox perform, let alone Rob solo also got a beautiful acoustic treatment. These gems for the faithful were sprinkled into the set, sitting easily alongside singalong favourites like “Lonely No More,” “3 AM,” and “Smooth.” Listening to the voices, looking around at the faces in the crowd, you can see that these songs matter. For me personally, watching Rob play tracks like “Mockingbird” and “Can’t Help Me Now,” which mean so much to me and my husband, while we sit close and take in every lyric, is pure magic.

The songs are at the heart of what Rob does. There were no big screen projections, no pyrotechnics, no flash. Rob doesn’t need the bells and whistles because he is so magnetic. His banter always feels natural, his joy at playing for audiences in one of his favourite countries evident. I’m also not quite sure how he’s becoming more energetic on stage when his peers are slowing down, but I witnessed two electric performances back-to-back. He also surrounds himself with a fantastic band. While the sound crew at the Enmore didn’t always do them justice with the mix, they really are some of the best in the biz. After several tours with Rob, drummer Abe Fogle, bassist Al Carty, and keyboardist/guitarist Matt Beck are familiar faces to fans. While they all play their parts well, I was most impressed by Rob’s son Maison Thomas-Eudy. He has big shoes to fill as lead guitarist, especially when it’s time for “Smooth,” but he has all the attitude and chops of a rock star. This is no nepo hire; “The Kid” has the goods.

I am so glad that I saw two shows. During the first, I was overwhelmed with the gravity of seeing my favourite artist. There were tears. It was incredible, but I’m not sure I took everything in as much as I did on night two. I was steadier, but every bit as grateful to be in the room with Rob. Thankfully I won’t have to wait too long for his return, as he assured us he’s already planning to bring Matchbox Twenty back in 2027. Until then, I’m just going to ride this wave for as long as I can. Meeanjin/Brisbane, you get the last show of this tour. It’s at Sandstone Point Hotel on November 8. If you don’t already have tickets, general admission passes are still available through Ticketek.

Photos credit: Stephen Katulka

Posted on 05/11/202505/11/2025 by Lauren Katulka

“Bad Dreams” – Fool Nelson

On a Hump Day that’s feeling more challenging than most, Fool Nelson’s Bad Dreams EP is delivering the sonic shot in the arm I need. If you’re struggling this morning or you just want to enjoy some stellar indie-rock music, take a listen.

The title track is an explosive opener which sets the tone for the rest of this six-track EP. The music is relentless, with a furious energy which almost seems at odds with Tom Broadbent’s easy vocals. I’m not sure why the unlikely blend works, but it does.

Fool Nelson barely takes their foot off the accelerator. The brief atmospheric “Interlude” gives listeners a little time to catch their breath before the energy amps up again with “Forget It” and “Big Shot.” This is big stadium rock music made all the more impressive when you realise it’s created by a trio. I’m not quite sure how three people achieve such a massive sound, but I’m so glad they do. By the time the final note of the closer “Don’t Feel Right” faded away I was invigorated, and so ready to listen again. It’s that kind of EP.

Bad Dreams is out now. Fool Nelson are currently playing shows around the country to support its release. They’ll also head to the United Kingdom and Europe next May, so stay tuned for those dates if you’re living abroad. It’s only a matter of time before they graduate to large venues befitting their massive sound, so take the opportunity to enjoy them in these intimate settings while you still can.

7 November 2025 – Port Beach Brewery, Walyalup/North Fremantle
27 November 2025 – Solbar, Muru-kutchi/Maroochydore (supporting DICE)
28 November 2025 – Hotel Brunswick, Brunswick Heads (supporting DICE)
29 November 2025 – Rolling Sets @ Ebenezer Park, Gugay/Tweed Heads
5 December 2025 – Harbord Hotel, Garigal/Freshwater
6 December 2025 – Rolling Sets @ Memorial Park, Karagi/The Entrance

Image used with permission from Good Intent

Posted on 31/10/202531/10/2025 by Lauren Katulka

“Rollin’ Stone” – Roosta and Tim Roose

There’s a certain magic that happens when blood relatives make music together. We often hear it when siblings collaborate, but partnerships between parents and their offspring are much rarer and potentially more interesting. With natural chemistry and a shared love of music, Roosta and his son Tim Roose deliver their exciting new EP Rollin’ Stone.

Although he’s much younger, Tim Roose has more recording experience under his belt after releasing his debut EP Polarity just a few months ago. At 59 years young, Rollin’ Stone is Roosta’s first EP but you would know it to listen to him. His voice has a seasoned quality that reflects his life experience. Roosta also wrote every song on the EP, so there’s an authenticity to his delivery that only comes when an artist shares their story. Tim Roose is more than just a supporting player though. His incredible guitar skills elevate every song on Rollin’ Stone. Each one gives Tim the space to really showcase his talents with impressive solos and prominent riffs.

I was instantly captivated by the opening track “Bitumen to Gravel.” With guest vocals from Chelsea J Gibson, this blues-rock number has an irresistible deep groove. Much like the proverbial rolling stone, this EP refuses to stay in just one place. There’s a little country in the stripped back “Down by the Riverbed,” a little psychedelic rock with “Deadwood,” even a little soul and gospel in the final track “I’ll Be Gone.” With Chelsea making her return, it’s the ideal closer for this eclectic, yet satisfying EP.

Rollin’ Stone is out now. Take a listen on your favourite streaming service.

Posted on 23/10/202523/10/2025 by Lauren Katulka

“The Significance of Time” – Tanya Ransom

From the moment I heard Tanya Ransom’s vocals open her new album The Significance of Time, I knew I was in good hands. This is her third full-length studio album and one that’s likely to fly under the radar. You won’t find it on the major streaming services, and its songs are unlikely to gain airplay on mainstream radio. But it’s so good that it’s worth the investment.

It seems fitting that Tanya has kept The Significance of Time away from the streaming services, because listening to it feels like a throwback. I was never tempted to skip or shuffle tracks, preferring instead to hear them in the order Tanya intended. I’ve heard this album countless times over the last week, with the sort of focus I used to feel when I’d purchase music as a teenager. There was no streaming then, so I’d listen to one album on repeat until I could afford the next. There’s no heavy-handed production either, just good songs presented without bells or whistles. I was reminded of classic acts like Fleetwood Mac and Tom Petty as I listened. Tanya has a similar lack of pretence, a way of making music that seems so organic and honest.

Every song on The Significance of Time is a standout. Tanya has refined her signature sound, a blend of folk, alt-country, and Americana that serves as the perfect vehicle for her stellar songwriting. “Winter Song,” “Traffic Lights,” and the fitting closer, “The Light at the End” hit me hard, but ask me for my favourites next week and I may have different answers. It’s that kind of album.

The Significance of Time is available via Tanya’s Bandcamp page as a digital download, CD, or vinyl. She’s currently on tour to support its release. Catch her at one of the following venues around the country.

23 October 2025 – Wesley Anne, Wurunjeri-willam/Northcote (with Adele Oliver and Misty Harlowe)
24 October 2025 – Shedshaker Brewing, Djandak/Castlemaine (FREE- with Adele Oliver)
31 October 2025 – Hybrid Warehouse, Walyalup/Fremantle (Trio show with Adele Oliver)
7-9 November 2025 – Blues At Bridgetown, Geegelup/Bridgetown
29 November 2025 – Good Day Sunshine Festival @ Gloucester Park, Wooditjup/Margaret River
5 December 2025 – Denmark Arts House, Kwoorabup/Denmark (with Tracey Barnett)
6 December 2025 – Wilson Brewing Co, Kinjarling/Albany (FREE – with Tracey Barnett)

Images used with permission from Tanya Ransom Music

Posted on 21/10/202523/10/2025 by Lauren Katulka

“Paper Cuts” – Lyn Bowtell

If the buzz surrounding the Australian premiere of The Golden Bachelor has taught it’s anything, it’s that Aussies want to hear from people who’ve lived a life. The Taylor Swifts and Sabrina Carpenters of the world might dominate the charts, but there’s perhaps a more important place for releases from seasoned talents like Lyn Bowtell. At almost 50, Lyn is sharing some of her most personal stories with the release of Paper Cuts.

The album’s name is so telling. Some say paper cuts are the worst kind. They sting while the rest of the world barely notices. But they heal, and you keep moving forward. In that spirit, Paper Cuts explores themes of pain and resilience.

Lyn eases us into the gritty stuff with the fun single “Cold Shiver” and uplifting blues number “I’m Here.” But by the time her Bella sisters Kate Ballyntyne and Karen O’Shea join her for “I Don’t Want to Stay,” she starts peeling back the layers. Lyn wraps some of the hardest-hitting words in upbeat music. The ukulele in “Small” feels playful, but its lyrics exploring insecurities are so vulnerable and relatable. “Scene of the Crime” has a cool country-rock feel, but it tells a powerful personal story drawn from Lyn’s own experiences of domestic violence, coercive control, and alcoholism. Paper Cuts also has some beautiful quiet moments, including the piano ballad “Ordinary” and the uplifting acoustic “Ride.”

There seems to be so much of Lyn in this album that it’s interesting that the final track, “Paper Cut,” is the only one with a solo songwriting credit. However, when talking about “Scene of the Crime” she explained that the song was too raw and personal to finish alone. I imagine many of the tracks had a similar songwriting journey. Lyn’s collaborators have helped her create an album which shares so much wisdom and makes a profound emotional impact.

Paper Cuts is out now. Lyn is currently on tour to support its release. See her anywhere you can.

Images used with permission from Bec Gracie Publicity

Posted on 09/10/202510/10/2025 by Lauren Katulka

“Stonewater” – New Delica

Naarm/Melbourne funk-rock act New Delica are stretching their artistry with the release of their third album, Stonewater. It’s an exciting 12-song collection that will have you coming back for more.

The opening track “Steady” sets the tone for this genre-bending record. A collaboration with Aussie-born, Berlin-based producer and DJ Holo, the electronic beat drops before a bluesy harmonica joins in. It’s such an interesting fusion; I’m not sure it should work, but it does. Single “Dreamin’” follows, a straight-up groovefest which calls to mind classic 70s disco and the slick contemporary sounds of Daft Punk.

Stonewater continues taking exciting genre twists and turns as it unfolds. “Count Me Out” and “Love in Vain” are blues-rock bangers, “Down to the River” is spine-tingling and seductive with an epic, cinematic quality, and there’s such a laidback charm to the romantic “All I Know.” “Call Me Tonight” is another unexpected collaboration, this time with local folk singer Yours, Georgina. Her sweet voice is such a gorgeous contrast to Pat Coyle’s roughened, masculine tone. The way they play against each other so beautifully brings this country-folk duet to life.

The title track, a piano ballad brings this album to a gentle close. It’s not the place I expect to land given the upbeat openers, but it’s still so satisfying. New Delica kept me guessing, right up to the end. Rather than being disconcerted though, I felt exhilarated by the way New Delica refused to stay in any particular lane. Their sound is dynamic and their talent undeniable, no matter what genres they’re playing with.

Stonewater is out now. New Delica will celebrate its release with an official launch for hometown fans at the Brunswick Ballroom on October 17.

Images used with permission from New Delica

Posted on 08/10/202508/10/2025 by Lauren Katulka

“Evacuate” – Lines of Conviction

Undalup/Busselton rockers Lines of Conviction have given some of their live favourites the studio treatment with the release of their EP, Evacuate. If you’re new to this West Coast band, these five tracks are the perfect introduction.

Capturing the energy of a live performance can be challenging, but the fire behind Lines of Conviction translates beautifully. My speakers may not be a patch on the ones that usually blast out their music, but I still found myself bobbing my head along to opening track “Go My Way.” Lines of Conviction turns the dial up a notch with one of their most requested numbers, “San Miguel.” Every rock act should have a good drinking song in their repertoire, and this is one of the best I’ve heard in some time.

The EP takes a left turn with “The Words You Said.” Featuring the beautiful guest vocals of Sofia Watt, it shows these Aussie rockers have a gentler, more romantic side. If an Aussie ever fronted the Gin Blossoms, their music might sound a little something like this. We get just a glimpse of the softness before Lines of Conviction put the foot back on the floor to bring Evacuate home. “Back to My Place” and the title track are two more rock belters that leave no doubt this band is the real deal. They’re a quintessential Aussie rock act, singing songs for battlers in an accent we recognise as our own. Evacuate doesn’t sound slick as some major label releases do, but it sounds authentic, and I think that’s much more important.

Evacuate is out now on all your favourite streaming services.

Images used with permission from Lines of Conviction

Posted on 07/10/202507/10/2025 by Lauren Katulka

Reece Mastin @ Avoca Beach Theatre, Darkinjung Country/Avoca Beach – 4 October 2025

When I saw Reece Mastin at Ettalong Diggers back in 2016, I swore that while it was my first time seeing him, it wouldn’t be my last. I didn’t imagine I’d be left waiting nearly 10 years for a return visit. But it was all worth it to see him perform another acoustic show at one of my favourite local venues.

Local country-pop darling Chelsea Berman warmed up the crowds with a mix of originals and covers. It’s a testament to her talent that I hadn’t heard songs like “Going There” for years, but I remembered them well enough to sing along. It’s also impressive that she could capture the attention of a crowd interested in another artist with just her voice, an acoustic guitar, and her charm. The hush over the audience as she chatted easily between songs proved just how captivating she is. She had us hanging on her every word.

While this was another acoustic show from Reece, it was a very different one from the gig at Ettalong all those years ago. A decade ago, Reece seemed keen to prove himself as a serious original artist. Coming off the back of his brilliant Change Colours album, originals took centre stage. He wanted us to know what he could do. These days though, Reece doesn’t have to convince us. He’s got more original material under his belt, yet the set was a much more even mix of originals and covers. The cover that made the set last time was a fairly obscure Yes track. Now though Reece seems happier to play crowdpleasers he knows his fans will love. While he celebrated his love of classic hits with a stunning cover of Bonnie Raitt’s “I Can’t Make You Love Me” and the Irish folk ballad “The Fields of Athenry,” he made sure to connect with his predominantly young audience through some more contemporary choices. They seemed to lap up “Oh Caroline” by the 1975 and “Breakeven” by The Script, which he originally covered on the X Factor Australia all those years ago.

It feels like Reece has made peace with his time on X Factor and his early music career. While just a couple of those early hits made the set last time, he breathed new life into “Stars” and delivered the fairly cheesy “Girls (All Around the World)” without a hint of cringe. Watching the way the faces of audience members in the front row lit up, why wouldn’t you?

I really enjoyed the artistry Reece displayed all those years ago, but I had more fun this time around. I think he’s got the balance right. He doesn’t have anything left to prove. He’s got some fantastic music under his belt, so he can just have a good time delivering it with his bandmates. The smiles on the stage said it all. They hadn’t prepared an encore, because what do you do after “Good Night”? You come back and improvise. A cover of Chris Stapleton’s “Tennessee Whiskey” capped off yet another fabulous show at Avoca Beach Theatre. Reece promises us he’ll be back in our neck of the woods before long, so hopefully I’m not kept waiting close to a decade for the next gig! If you get the opportunity, make sure you catch Reece Mastin at one of the following shows before the year ends:

7 November 2025 – The Beer Shed, Tharawal Country/Leumeah
8 November 2025 – The Great Big Beer Band @ The Beer Shed, Tharawal Country/Leumeah
21 November 2025 – The Deck, Ballaarat/Ballarat
4 December 2025 – The Landing, Kyleeup/Alkimos Beach
5 December 2025 – The Stirling Arms, Mandoon/Guildford
6 December 2025 – The Burlington Hotel, Goomburrup/Bunbury
7 December 2025 – The Carine, Whadjuk Noongar Country/Duncraig

Photo credit: Stephen Katulka

Posted on 03/10/202507/10/2025 by Lauren Katulka

Rent @ Opera House, Eora/Sydney

I wasn’t going to see Rent this time around. It’s my comfort musical, and I love it, but I always wonder just how many times I need to go. However, those canny folks at Opera Australia suckered me in with a free dinner promotion. Second row dress circle tickets and a delicious grilled barramundi dinner with a beer for $99?! It’d be rude not to! So I found myself at my fifth production of Rent last night.

I’m not one of those people who see a show multiple times within the same run. It’s always a show here and there. I saw the original Australian run in Naarm/Melbourne in 1998, a production in Philadelphia while I was holidaying there in 2004, an amateur theatre production in Mulubinba/Newcastle in 2017, and another production in Darkinjung Country/Wyong as the world was emerging from lockdowns in 2021. When you add in my familiarity with the original Broadway cast through the soundtrack and film, I know this musical better than any other. I have such clear ideas about what it’s “supposed” to be and opinions about what new productions get right, and what they get wrong. So how does the latest iteration playing at the Opera House measure up? On the whole, remarkably well.

There were some standout performances. I remarked last time I saw Rent that Sean Miley Moore’s Angel was the best I’d ever seen. Sorry Sean, but I think Jesse Dutlow may have stolen your crown. They floored me with their incredible vocals and heart. When a production casts Angel right, they’re halfway there. Calista Nelmes’ Maureen was breathtaking with vocals that hit that high bar Idina Menzel set and true commitment to this challenging role. She was matched beautifully by Imani Williams as Joanne. This is one of the more understated roles in the musical, one that can easily get overlooked because the character is straightlaced and doesn’t have any solo songs. However, Imani is so magnetic with such powerful pipes and personality that my eyes were drawn to her whenever she was on stage. And when she came together with Calista on “Take Me Or Leave Me,” my favourite song in Rent, I was spellbound.

This production didn’t take as many risks as the one I saw in 2021, preferring instead to stay faithful to Jonathan Larson’s original vision. While Jonathan created a brilliant music, I would always love to see productions putting their stamp on the show. There were a few little moments where this production changed things up, with mixed results. I can’t remember another production where Angel cried out in anguish as they lay in the hospital bed during “Without You.” I felt myself starting to tear up at that, much earlier than I normally do. Watching Angel ascend and get their wings in “Contact” was visually so powerful. However, I feel like introducing marijuana into “Santa Fe” diminished this song’s honest yearning for a different, better life, turning it into nothing but stoner ramblings. It deserved better. I’m also not sure the cardboard cutout policemen were nearly as effective as real humans might have been. They took me out of every scene they appeared.

Ultimately, Rent is about community, so it was only fitting that I felt this show was at its best when the cast came together. Special songs like “Seasons of Love” and “La Vie Boheme” were highlights. Hearing the voices of the stellar principles and chorus, watching their faces as they bounced off one another, was beautiful. And Rent is beautiful. There’s a reason I keep coming back to it. Whether you’re a longtime fan like me or you’ve never seen it, there are plenty of reasons to check out Opera Australia’s new version. It plays at the Opera House until November 1. Tickets are available now from the Opera Australia website.

Image source: Opera Australia media centre

Posted on 29/09/202529/09/2025 by Lauren Katulka

Greg Gould & Karise Eden @ Flamingos Live, Mulubinba/Newcastle – 27 September 2025

Greg Gould and Karise Eden are long-time favourites of mine, so when I heard they were teaming up for their Lady and the Tramp shows, I couldn’t resist heading up the freeway to Flamingos Live. The poster promised a celebration of “the greatest jazz, blues, and soul.” These two talented Coasties delivered that and so much more.

I must admit, given the tagline and references to Frank Sinatra, Nina Simone, and Etta James in the marketing materials, I expected a show that played mostly in the old-school standards space. While vintage classics were certainly represented, Greg and Karise delivered a much wider retrospective of the songs that made them.

There were reality show favourites like Greg’s masterful performances of “Feeling Good” and “Purple Rain” and Karise’s show-stopping take on “It’s a Man’s Man’s Man’s World.” I’ve heard it so many times before, but I’m always floored. There were the crowd favourites, like “Ain’t No Mountain High Enough” and “Knew You Were Waiting For Me.” And then there were deep cuts, like Etta James’ “Damn Your Eyes,” which Karise said she would have preferred singing on The Voice to “I’d Rather Go Blind.” As a massive Janis Joplin fan, I was in raptures when she took on “Cry Baby” instead of the more predictable “Piece of My Heart.” While most song choices were nostalgic, a cover of Chappell Roan’s “Pink Pony Club” was an unexpected delight.

Greg and Karise are both incredible talents in their own right. This show gave them many opportunities to wow and charm us with solo performances. But my favourite parts of the night were the moments when they came together. Their Darkinjung Country/Central Coast roots and big breaks on reality TV have helped cement a natural rapport that’s wonderful to witness. To say nothing of their fantastic voices, which come together more naturally than you might think. Greg’s showmanship helped bring out a playfulness in Karise that I loved to see. For a night of sing-along fun with some of Australia’s best talents, make sure you catch one of Greg and Karise’s upcoming Lady and The Tramp shows:

7 November 2025 – Camelot Lounge, Eora/Sydney
8 November 2025 – Memo Music Hall, Euro-Yroke/St Kilda
6 December 2025 – Avoca Beach Theatre, Darkinjung Country/Avoca Beach

Photo credit: Lauren Katulka