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?

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In a week that’s seemed far too short, it’s nice to take a breath and look back on a moment I got to slow down. There really is no better place to do that than Lizotte’s, especially when the wonderful Jake Shimabukuro is playing for you.

I ordinarily frequent the Kincumber Lizotte’s, but Easter festivities lured me to the Newcastle venue with my parents. There’s a different vibe to the Newcastle venue. It’s still warm, but there’s a little more space to spread out. That means it loses a little of the lounge room feel, but it’s still much more intimate than most venues around. And just like the Central Coast, the food is to die for. I struggled through my generous serve of herb battered fish and chips after a big Easter lunch, but it was too delicious to leave.

There was no support act tonight, perhaps because following Jake would be a tall order. I’d caught some of his performances online, but I really went into this show knowing very little. He joked that expectations are always low when people see someone playing ukulele. His reputation precedes him though. I was expecting greatness, but I didn’t expect to be quite as engaged as I was.

You see, I’ve always been a lyrics girl. Without lyrics to hang on to I wondered whether parts of the night might drag. No chance. Jake relished sharing the stories of the moments that surrounded his original songs, and they allowed us to understand the instrumental pieces better. He’s also such a compelling, dynamic performer. You can feel him, whether he’s strumming hard or playing so softly that you have to strain your ears.

The sounds he gets from a ukulele are incredible. The instrument has a range of just two octaves, yet he somehow makes it sound like so much more. He played it like a mandolin, like a guitar, like a piece of percussion. I couldn’t believe the tones he created.

While his originals were solid, the covers wowed me. I knew I loved his version of “While My Guitar Gently Weeps,” and it was a fitting encore. However I was most impressed by his take on “Bohemian Rhapsody.” It was just so clever, with the ukulele singing all of these incredible parts, from rock to opera.

My expectations weren’t as low as Jake teased that they might be, but they were still exceeded by this incredible musician.

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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.

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This concert review is way overdue. There were birthdays, a few days away in Port Stephens, and a nasty cold I’m still fighting, so it’s only now that I’ve had time to cast my mind back and reflect on the wonderful music I heard in Lizotte’s on April 12.

It was a stormy miserable night, the kind of night that tempts even the most serious music lover to pike on the cheap tickets they’ve already bought and rug up in front of the television. After all, we bought the tickets for Annabelle Kay’s show after hearing just one song, her cover of “The Real Thing” on Adam Hills’ In Gordon Street Tonight. But I didn’t pike, and once I was toasty warm in “the cubby house,” with a full belly, and being soothed by some gorgeous music I was glad I’d made the effort.

Dominique Morgan and two of the members of her outfit The Six Dollar Shoes kicked off the night with some bluesy folk music. I loved Dominique’s sultry, husky voice, and the stripped back sound of her band. I’m not sure what they sound like when they’re full strength, but the acoustic mode really allowed their songs to shine through. I want to make special mention of the drummer, who provided the backbone of the songs by banging on a box with his bare hands and feet. Their originals were surprisingly tight for an outfit that had only worked together for a few months. I also appreciated the covers that peppered their set. Their takes on “Steal My Kisses” and “Purple Haze” showed this is an act with real diversity.

Then it was time for Anabelle Kay, the local girl who’d captivated me with her unique voice and folky sound on television. As a newcomer to her music I didn’t know any of her songs, but this was the perfect setting for an introduction. In such intimate settings with stripped back instrumentation, often just Anabelle herself on a guitar, ukulele, or mandolin, I could hear each and every lyric and truly appreciate the melody behind them. I was a little disappointed she didn’t play more songs with the mandolin, the instrument that first attracted me to her, but it was a minor quibble on a night of such glorious music.

As my husband and I looked around the crowd it felt like we were surrounded by the friends and family of the artists that appeared. It’s encouraging to see musicians so well supported by their loved ones, but I hope it’s not too long before these two awesome acts earn some mainstream recognition.

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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.

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As I get older, it takes something really special to lure me out of home during the week. But the promise of Jimmy Barnes playing at Lizotte’s on Thursday night was so irresistible that even I couldn’t refuse.

I’ve seen Jimmy many times over the years, but never in a place so intimate. If you’ve never been to the Central Coast venue known affectionately as “The Cubby House” it’s hard to imagine just how small it is. Seeing someone there is almost like seeing them at a private party with friends.

I was smiling before anyone even graced the stage, with my belly full of Lizotte’s tasty soft shell crab and delicious herby battered fish. But that smile got even wider when Mahalia Barnes was introduced as our support act. Jimmy’s daughter is always good value, and I lapped up her soulful set. Her modern take on “You Are My Sunshine” was a real highlight, as was the closer which saw Jimmy make an early appearance to sing with his daughter. The name of the song escapes me, but I was singing along in earnest.

It wasn’t too long before the Aussie legend was back on the stage with Mahalia and band in tow. He delivered a surprising set, but one that suited this venue perfectly. Anyone who came hoping to hear Jimmy’s greatest hits might have been disappointed. “Khe Sahn” and “Working Class Man” were notably absent, although he did treat us to a few Chisel and solo singles. The focus though was on songs that shone acoustically, especially those from one of my favourite Barnesy albums, Flesh and Wood. To hear some of my favourite cuts from that recording, especially “Guilty” and “Brother of Mine” was really special. Personally I enjoyed the opportunity to hear some of the songs that don’t usually get a work-out in the live arena; I’ve heard him sing the big numbers enough times at other shows.

The intimate setting made this show very personal. Where normally Jimmy moves quickly from track to track to please the punters, here he felt he could stop and talk to us about the songs a little more. I really appreciated that interaction. One of the most poignant moments of the night came when he stopped to talk about Steve Prestwich before performing one of his late mate’s songs, “When the War is Over” with Mr Percival on guest vocals. I also particularly loved his left of center closer, his version of “Love Me Tender,” again from Flesh and Wood, rather than a more predictable choice.

There are plenty of opportunities to see Jimmy rocking out. I’m thrilled that this week I got to see another side of this Australian music legend.

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I first saw Bachelor Girl in the last 90s. They’d just released “Buses and Trains” and the strength of that song saw them supporting The Goo Goo Dolls at the humble Newcastle Workers Club. I was a young thing then, keen as mustard to catch a live show, and so I arrived with plenty of time to catch their set. I remember being struck by the power of the pint-sized Tania Doko, the charisma of this tiny creature who sang pop songs that were far more intelligent than the average.

A lot of years have passed, but I was every bit as impressed as I caught them on their extended reunion tour last night at Lizotte’s. “The Cubby House’s” small stage was warmed up by singer-songwriter Beth Robertson. Her set was simple but moving. It was touching to see her interacting with her guitar-playing husband, and hear the way her voice fit so perfectly with her back-up singing sister. An ode to Newcastle and its small-town feel inevitably won me over, and her stripped back cover of Katy Perry’s “California Girls” was another highlight. It was a set without frills, but its sincerity and simplicity won me over. I really hope to catch Beth somewhere again; she was brilliant.

Bachelor Girl have certainly lost nothing over the years. If anything the time apart seems to have done Tania Doko and James Roche good, as they appear to be performing with real joy. There’s an easiness about the way they appear on stage that can only come from so much time together.

Their set was punctuated by the big singles, but also featured some of the “lost songs” only heard on the new greatest hits album. I didn’t know all the tunes, but I didn’t need to. It was much more fun to discover them as the evening unfolded, listening to the lyrics and the anecdotes James and Tania told between tunes.

The acoustic setting shed a new light on the songs I’ve loved for years. Songs like “Permission to Shine” and “Treat Me Good” were played to death on radio in their day, but I found a new appreciation for them last night. To hear personal favourites “Buses and Trains,” “Lucky Me” and “I’m Just a Girl” once more in the live setting was another thrill. And their version of “Help,” which has only been performed a handful of times, was breathtaking.

There aren’t too many second chances in life, but I’m thrilled I got another chance to see Bachelor Girl. They were one of the most talented Aussie acts of the 90s, and in 2011 they’re sounding every bit as good.

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As winter weather sets in, it gets to be a bit quiet on the gig front. What better way to ease myself back into the live music scene than a night out at Lizotte’s. I’ve made no secret of my love of this live music experience. Whether at the Central Coast or Newcastle venues, you can always count on delicious food, warm, friendly service, and of course, excellent music.

My Saturday kicked off with Matt Zarb, a singer-songwriter with magical guitar fingers. I had mixed feelings about his set though. While he was a wiz on the acoustic guitar and mandolin, his songwriting felt a little basic and his vocals couldn’t match his musical prowess. His music too was very derivative, with songs virtually imitating “Amazing Grace” and Mark Knopfler’s “Going Home.” There’s nothing wrong with being a cover artist, but if you are you should probably be honest about it rather than pretending to be delivering original material. He had such an infectious personality though; I sat captivated as he recounted stories of the romance between his grandparents and his time abroad. It’s also impossible not to be impressed by a man with a harmonica slung around his neck and a tambourine strapped to his foot.

But the main attraction was Rick Price, making his return to Lizotte’s after time spent in the US of A. It’s always a shame to lose local talent to the bright lights of the States, but it seems the time away has done Rick some good. He always sounds amazing, but there was a little something extra in his performance this time. He shared more of himself that he typically does; the stories I’ve heard accompanying particular tracks were expanded upon. He seemed genuinely thankful to be home, and to be in front of such an appreciative audience.

Rick was spruiking his new acoustic greatest hits album Revisited, but he still found time to treat us to a handful of new songs. These were well received, especially the sexy “It Started With a Kiss.” He might be a grandfather now, but that man still has the power to make the girls in the audience swoon!

Revisited is an album that’s been too long in the making. In the past few years I can’t recall ever seeing Rick without his acoustic guitar in hand. That gentle treatment breathes new energy into the songs that are more than a decade old, and makes us appreciate the raw emotion behind them.

When I fell for Rick as a 13-year-old I was wowed by his long flowing hair and sweet love songs. Years later he’s proved himself to be much more than a pretty boy; he’s grown into one of the greatest singer-songwriters in this country. If you’ve never seen him live, or you’re keen for another fix, you can catch him at the following shows.

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This weekend was busier than most for me; I saw George Michael live on Friday and on Saturday I caught Josh Pyke wrapping up his acoustic tour. While George Michael is at home entertaining the masses in a stadium, Josh Pyke seems made for intimate gigs like that I witnessed at Lizotte’s in Kincumber.

Before Josh even graced the stage I was in a good mood. While the busy restaurants at Sydney’s Fox Studios saw me grabbing a lukewarm pie at the football stadium on Friday, Lizotte’s treated us to a feast. Good wine was paired with delicious dishes like prawn and lobster tail ravioli and chicken breast supreme. I was already grinning from ear to ear when support act Russell Crawford began his set. I liked him instantly, a quirky singer songwriter delivering tunes on keyboards. Think Ben Folds without the angst. His music wasn’t especially challenging, but it was easy on the ear.

But Josh Pyke was the real attraction. When he stepped up the quiet chatter stopped and the room was transfixed. It’s always a treat to see a performer at Lizotte’s, a venue which holds no more than 100 lucky music fans. It takes intimacy to a new level, feeling more like a jam session amongst friends than a concert. Seeing Josh Pyke live makes you realise just how many hits he’s had. While he was still spruiking his latest disc Chimney’s Afire, his set also drew heavily from his breakthrough debut LP Memories & Dust. There were a couple of new tracks too, a hint at what’s next to come. He chatted easily with the crowd, joking with the girls singing along enthusiastically down the front and explaining the inspiration behind many of his songs.

I could not have asked to attend more different concerts this weekend; one a superstar performing on a grand scale, the other a more modest show in a stunning location. Just as I was glad to see George doing his thing on Friday, I am thrilled to have experienced Josh Pyke up close and acoustic at my favourite venue.

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Last night I was back at Lizotte’s. I’m beginning to think I should just set up a bed out back and be done with it! This time I was enticed there by the prospect of seeing Aussie music legend Daryl Braithwaite.

But before all that we were treated to the musical stylings of Jess Locke. I was initially entranced by this folk singer with the pure voice and her quiet acoustic guitar strummings. But pretty soon the lack of variety in her songs made me lose interest. Her introspective tunes were well crafted, but ultimately depressing. When she introduced a track called “Happy Song” I perked up looking forward to the change of pace. Yet as the lyrics told us, she tried to write a happy song but it didn’t work out! Jess has a real talent, but some light and shade would make her music a lot more accessible.

Jess might not know how to have fun, but Daryl sure does. I’m not sure how I’ve made it to my age without seeing him live, but I definitely won’t wait long before repeating the experience. From Sherbet to his solo career, Daryl’s been around for an awfully long time. He’s had hit after hit, and he crammed as many of them as he could into his set.

Daryl’s appeal crosses all generations. My mum used to squeal over him when he was the long-haired frontman of Sherbet, while I remember Rise being one of my primary school soundtracks. No matter when you knew him, his songs are classics ingrained in us all. So it took little prompting for Daryl to engage us all in a little sing-along session.

Iconic tunes like “Howzat,” “One Summer,” and “As The Days Go By” sat comfortably alongside covers of James Reyne’s “Slave” and Free’s “Wishing Well.” Daryl performs with energy and a healthy dose of humour, and as a member of his audience you find yourself having just as much fun as he appears to.

By the closing number, “The Horses,” we were all on our feet and singing raucously. Our applause was enthusiastic and the smiles on our faces wide. After a show like that, it’s not hard to see why Daryl Braithwaite continues to be a strong force in the Australian music industry.

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