Monday can be a bit of a downer, unless you’ve got the right soundtrack. You can thank me later for choosing today to introduce you to Heavenly Antennas, a fun electro-pop duo from Sydney.

Their new single might be called “Misery”, but it’s far from depressing. The upbeat track features gorgeous guest vocals from Berlin-based songbird Larissa Rate.

Heavenly Antenna seem destined to make it big as they’ve landed the prestigious role of scoring this year’s light projections for the VIVID Sydney festival. If you’ve never been to Sydney, this is the time to do it. From May 24 to June 10, a rainbow-colored light show will be projected onto the sails of the Opera House, accompanied by Heavenly Antennas’ tunes. This is actually the first time Aussies have been invited to work on the initiative, so it’s a bloody big deal.

Something tells me we’ll be hearing a lot more from this talented twosome.

Over more than five decades in the business Carole King has penned more love songs that most. So it seemed fitting to spend Valentine’s Day in her company at the Sydney Entertainment Centre last week.

Shane Howard opened the show with an acoustic set of songs from his Goanna days and solo years. I shamefully admit that I wasn’t familiar with anything other than “Solid Rock,” but that didn’t diminish my enjoyment of his intimate performance. In stripped back mode I could hear every word he sang and really immerse myself in the stories he told. I appreciated the way he introduced each and every song, telling us about the experiences he’s had and the moments that inspired these personal numbers. It was so refreshing to witness such an accomplished singer-songwriter performing with nothing more than an acoustic guitar. I loved the lack of bells and whistles.

The good honest music continued when Carole took to the stage. This was the third time that I’ve seen her perform live, and again I marvelled at the way that she seems to defy aging. Her distinctively raspy voice is every bit as powerful as it was the first time that I saw her. She takes it easy at the piano most of the time, but she seems to enjoy stepping out and shaking her booty with her talented back-up singers. Frankly, she seems to enjoy everything about being on stage. She must have performed many of these songs countless times over the years, but she shows none of the fatigue I’ve seen in some classic artists. Her smile is wide, warm, and genuine as she interacts with her band and hears the crowd singing along to old favourites.

My dad remarked that it’s a true testimony to Carole’s discography that whenever we see her live she pulls out a song we weren’t aware she’d written. Like Dad, I was more familiar with “Hey Girl” as a Michael McDonald track, so it was great to hear Carole’s spin on it. I also really enjoyed “City Streets.” The song passed me by in the 80s, but with Carole the lone performer on stage, at the piano and illuminated by a single spotlight, I was wowed. I love that I can see Carole tour after tour and hear different songs each and every time. However my favourites, like many others judging by the rapturous applause, were those songs from Tapestry. “So Far Away” made me misty, as it always reminds me of the time my husband and I spent living in different countries, and “I Feel The Earth Move” had us all dancing in our seats.

At around an hour and a half the set was a bit shorter than those I’m used to, but I can cut the 71-year-old Carole some slack. She might need to head to bed earlier than modern rockers, but she makes the most of every moment that she’s on stage. And that’s what keeps me coming back.

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

The Pajama Club will play a very special show at Sydney’s Oxford Arts Factory on March 14.

Fans might notice that Alana Skyring is absent from the band photo. That’s because she’s decided to leave the music industry to pursue her dream of becoming one of New York’s best bakers.

Not to worry though, because Neil and Sharron Finn’s kids Liam and Elroy will take a break from their own musical careers to appear alongside their mum and dad at the show. It’s the same Pajama Club you love with an added dose of Finn-ness!

Tickets are available now from Moshtix.

Image used with permission from Two Fish Out of Water

I was introduced to The Wall in Mrs Pengilly’s year nine English class. We were learning about the poems of Robert Frost, and she decided that Pink Floyd’s trippy rock opera had parallels to his “Mending Wall.” I still think it was a bit of a stretch, but I’m thrilled that she helped me discover such an incredible body of work.

I held The Wall very closely for the next few years. In my darkest teenage moments it made me feel less isolated and misunderstood. As I listen back to it now it’s a little frightening to think how much I identified with Pink Floyd’s concept album, but there’s still something about those two discs and the accompanying film that resonates with me.

And it was that something that took me to Sydney’s Allphones Arena on Wednesday night to witness Roger Waters performing the piece in the flesh, so to speak. As I looked at the T-shirts of the faithful fans gathered outside the venue I realised nine years has passed since I last caught his act. However the years have not wearied him.

I’m not someone who typically sees those big spectacle shows. Give me a few guys with guitars and I’m a happy woman. But this production blew my mind. I expected a lot. Pink Floyd set the standard for this kind of thing all those years ago. But I wasn’t prepared for exactly how thrilling this show was. It was a visual feast, with exploding airplanes, flying pigs, oversized puppets, pyrotechnics, and of course, that wall. The projections beamed onto those bricks were like nothing I’ve ever seen.

While the production was slick, it wasn’t all about the gloss. Roger Waters clearly still believes in this piece, and he performed it with everything he had. He inhabited his Pink role, only breaking the fourth wall now and again to remind us how grateful he was for our attendance and love. His voice is still superb, and his band matched him. Replicating David Gilmour’s guitar solo in “Comfortably Numb” is a feat, but the appointed guitarist came close. Seeing present day Roger accompanying his 1980-self on “Mother” was breathtaking. I also loved seeing those personal favourites like “One Of My Turns” and “Nobody Home,” the tracks I’d never hear at an ordinary Pink Floyd or Roger Waters show. Closing the show with “Waltzing Matilda” once those bricks had toppled might have been corny, but it was still a lot of fun.

The show was the perfect marriage of music and theatre. I’ve never seen anything like it. It’s early days yet, but it just may prove to be the concert of the year.

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

I figured I’d change pace a little to tell you about the musical Hairspray, which I was lucky enough to see at Sydney’s Lyric Theatre last weekend. I talk about rock concerts on here all the time, so why not a bit of musical theatre?

I came to Hairspray a little late in the game I suppose, on the release of the John Travolta movie in 2007. I instantly fell in love with the sweet but often naughty John Waters penned songs and the unwavering optimism of the story, so when I heard it was heading to the Sydney stage I couldn’t refuse.

I had high expectations, which were happily met. In many cases the performances were better than the ones we saw on the big screen. I guess that’s what happens when you can choose your players based on talent rather than their box office power. Esther Hannaford definitely outperformed Amanda Bynes’ insipid Penny, and while Queen Latifah was no slouch I think Cle Morgan brought added soul to Motormouth Maybelle. I’d also take the all-singing, all-dancing Jack Chambers over Zac Effron’s Link Larkin any day, and my inner teenager went nuts for Tevin Campbell’s Seaweed. I thought Nikki Blonsky was a wonderful Tracy Turnblad, but the Sydney star Jaz Flowers was every bit her equal.

The stars were standouts, but the clever lighting and staging was what really made the show for me. Images projected on plain screens created the Technicolor world of the 60s in a way that no old-fashioned stage scenery ever could. Elevating platforms added to the fun, giving more depth to the relatively small Lyric Theatre stage. I was swept up in the world created as you should be in any musical, and I relished it.

Hairspray will stay in Sydney until September 11, unless the season is extended. If you’ve been considering getting yourself along, I would highly recommend it. This musical is a whole lot of fun.

Image source: Hairspray The Musical Australia website

Ordinarily I go and see bands that I’m enthusiastic about, but on Thursday night I headed to the State Theatre to discover the Indigo Girls. I say discover because aside from a few tracks my husband had played me the weekend before, I really wasn’t familiar with their music. This was a band he adores, and I was happy to discover what inspired him so. It’s exciting to learn about a band in the flesh, and I had a blast.

But before Amy and Emily took the stage we were warmed up by Henry Wagons. And warm us he did with his quirky alt-country tunes. He was without his band, with only an acoustic guitar to accompany him, but his big personality filled the stage. My husband wasn’t too sure what to make of him at first, but by the time Henry got to his closing song “Willie Nelson” he was joining in the chorus.

There was less quirk to the Indigo Girls but a similar raw energy. This is music the way I like it best, without frills or fuss, back to basics. With only acoustic guitars, a mandolin and harmonica, and two sublime voices the American girls wowed me. I understood why they’re such legends in their home country, and wondered why they’ve never really caught on here. I felt privileged to be exposed to their exceptional songs and musical prowess, like someone had let me in on a secret. I have my husband to thank for that, and I do.

A poignant moment came near the end of the set, when Amy and Emily welcomed a guest speaker to talk to us about the fallout from uranium weapons. It might seem strange to incorporate this element into a concert, but the crowded tables surrounding the petitions at the end of the show spoke volumes. This was a night about being moved in so many ways.

I couldn’t sing along like the faithful fans, but I could clap and cheer and I did. What a wonderful introduction to an exceptional act. Amy and Emily say they hope to be back on our shores soon; I promise to get myself up to speed before then.

Image source: own photos

It’s been a year and a half since I first saw The Script live. After that show I was buoyed and excited, thrilled to see one of the greatest pop acts of our time doing their thing in the flesh. As they say in the classics, what a difference a year makes.

Let me make it clear: I still think that The Script are one of the greatest pop acts of our time. But walking out after their Sydney show on Friday night, I felt none of the same euphoria.
My mediocre night started with Tinie Tempah. I have no clue who thought it’d be a good idea to pair the inoffensive piano pop of The Script with the stylings of this brash Brit rapper, but it was a weird mix, to say the least. I hated his music, but was amused by his arrogant on stage persona. There’s something very contrived about a performer who demands crowd participation. People will wave their hands in the air and sing along if they feel like it; you really shouldn’t need to push it. I also feel a bit cheated when a performer merely raps over the work of other musicians, but that might just be me. The Video Hits loving crowd on the floor seemed to lap up his set, but I spent it giggling and cringing at his over-the-top antics. At least I was entertained.

Hearing the familiar piano driven music of The Script was a welcome respite from all that hip hop garbage. The Irishmen delivered a really solid set featuring tunes from their self titled debut and their sophomore effort Science and Faith in equal measures. They interacted with the crowd, and I couldn’t help melting every time they told us how much they appreciated our support and country. We sang along loudly to the big hits, no prompting needed. See Tinie? We’ll sing if we want to.

It’s hard for me to put my finger on exactly what was missing, but I certainly didn’t feel the adulation I did the first time around. The venue didn’t do them any favours. The Hordern is like a bit shed, with terrible acoustics and a lack of real intimacy. I certainly felt removed from the band, as often it seemed like they were just performing for the squealing girls in the first few rows. I don’t expect that I’ll get the same show sitting on the sides, but I expect a band used to stadiums to play the room a little more. Perhaps after such a brilliant Cyndi Lauper concert last week, most nights are going to pale in comparison. Either way, there was something missing. A night spent with The Script is always enjoyable, but this show wasn’t quite what it could have been.

Image source: own photos

This review’s coming a little late by my standards, but I figured this is one of those articles best written once the high’s faded a little. If I’d sat down on Friday I’m not sure I could have written more than “I love Cyndi Lauper so much!” Even now I’m not really convinced I’ve got the necessary objectivity, but I’m going to try.

On Thursday night I made a pilgrimage to Sydney’s State Theatre to see one of my idols, Cyndi Lauper. Like many women of a certain age, I’ve been dazzled by Cyndi for as long as I can remember. In a musical landscape that is so often beige and homogenised, she’s always been a rainbow of color, fierce and fabulous. My expectations for her live show were sky high, but I’m thrilled to say she met every one.

But before she graced us with her presence it was Casey Donovan’s turn to charm us. I’ve been a fan of Casey’s since her Australian Idol days, and I was thrilled to see she’s only gotten better. Accompanied by a single acoustic guitar she delivered a stunning stripped back mix of covers and original material. Casey’s always been a master at delivering a song, but I’m thrilled to see her stage presence now matching her delivery. She’s come a long way from the quiet teen that wowed us in Idol. She bantered easily with the crowd between songs, charming us even more with her confidence. I was desperate to see Cyndi, but also disappointed to see her all too short set end.

I couldn’t be upset for too long though, because I was finally going to see Cyndi. The years certainly have not wearied this 80s icon. She bounced around the stage, dancing with wild abandon, a compelling figure with a shock of peroxide hair clad in black leather. From the first few songs we realised this show would be packed with songs from her Memphis Blues CD. I’m often put out when it seems an artist only wants to spruik their new material, but here it made perfect sense. I’ve never seen a supporting band as good as Cyndi’s. These guys are blues masters every one of them, and I wanted to hear the tunes that would show off that talent. Special mention must go to Charlie Musselwhite who blew my mind on harmonica.

Cyndi still played those songs we were desperate to hear though. It couldn’t be a Cyndi Lauper concert without a cheeky singalong in “She Bop,” a raucous extended version of “Girls Just Wanna Have Fun,” or poignant moments with “All Through the Night,” “Time After Time” and “True Colors.”

The mix of classic blues and retro pop was unusual, but that’s just what Cyndi’s always been. She’s a true musical artist who’s always rebelliously marched to the beat of her own drum. And in Sydney she performed her pants off, dancing about and jumping off the stage several times to be a bit closer to her adoring fans. How she could sing so flawlessly while delivering such an energetic show I’ll never know, but she did that too. She might be an 80s icon, but with this Memphis Blues album Cyndi’s shown her star certainly isn’t fading. It was incredible to bask in a little of that light for a while. Thank you Cyndi Lauper for one of the most enjoyable concerts I’ve ever witnessed.

Image source: own photos