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

I’m dragging my feet a bit today. That’s the problem with a midweek gig when you don’t live in the big smoke. Last night I was lured to the city by Mumford & Sons; I’m paying for my lack of sleep today, but goodness it was worth it.

Before I get on to the good bits, I just want to say a few words about the flaws of this mid-week concert experience. Two support acts playing relatively lengthy sets at a mid week gig really seems a bit excessive. While the ticket told us that the show started at 7:30 pm, the main act didn’t grace the stage until 9:45 pm. Sure we were entertained in the meantime, but the crowd was clearly restless before Mumford and Sons arrived. Perhaps they were thinking about being up early for work the next morning. Promoters need to realise that when a band is playing just two headline shows in the country, punters will travel. My sister and a friend came from Newcastle to attend, my husband and I from the Central Coast. I’m sure there were also fans from Wollongong, Canberra, and other far flung corners of the state. Like us, I’ll bet they sympathise with our arrival home at 2 am, my sister’s at 3. I’ll bet we’re all a bit weary today for the experience.

If I were planning the night, I’d have cut Matt Corby. I was really looking forward to his set, having been impressed by his originality on Australian Idol, but I struggled with his performance last night. He showed himself to be an excellent guitar player, with a beautiful voice. But his music also seemed quite aimless at times; filled with wailing and devoid of melodic hooks. His use of looping technology also left me a bit cold; I’ve seen artists like Howie Day use this equipment to dazzling effect and compared to that he was a rank amateur. He might be a good songwriter, but the amount of reverb in the mics left every word unintelligible. To top it all off, he gave the crowd nothing. A few mumbled words at the end of the penultimate song just don’t cut it.

I was more enthusiastic about London based indie posters Fanfarlo. I’d never heard of the band before, but I’ll definitely be exploring more of their stuff after this gig. They reenergized my spirit with their stirring, Celtic influenced modern folk songs and eclectic instruments. Any band featuring a mandolin, glockenspiel, trumpet, and clarinet already has me on side. They didn’t let the hard task of being the second support faze them. They performed with such gusto, and I applaud them for it.

I must admit, my enthusiasm waned a bit as the minutes looking at a bare stage ticked by. But I became revved up again as Mumford & Sons greeted us with the pitch perfect harmonies of “Sigh No More.” The sublime performance brought tears to my sister’s eyes, a sign of the emotion they’d stir in the next hour or so.

I might have been ready for bed once they arrived, but Mumford & Sons were definitely worth that wait. There’s was a rare show; with perfect sound, superb harmonies, spot-on instrumentation, good humor, and one of the most passionate audiences I’ve had the pleasure of being a part of. All of the right elements were there. The album tracks went down a treat, but the new material was received just as enthusiastically. That might be a sign of how good these unknown songs were, but it’s also a credit to the receptive crowd. “Roll Away Your Stone” was rollicking good fun, with a melee of musical friends joining the band on stage for a dance. “Little Lion Man,” which appeared much earlier than I expected, saw the crowd erupt. “The Cave” was bittersweet for me; I knew this was the final song, and while I was having such a good time I wasn’t quite ready for it to be all over.

I left The Enmore in a rush of adrenalin that helped make that long train ride back to the Central Coast a little more bearable. What a wonderful show Mumford & Sons treated us with, but boy am I paying for it now.

Image source: own photos

When I spoke to Midnight Youth’s Jeremy Redmore last month he assured me his band would “tour the shit out of this country.” The Kiwi lads are starting to make good on that promise with dates announced in Sydney and Melbourne.

Fresh from their gigs supporting Birds of Tokyo, the band will play tracks from their number one NZ album The Brave Don’t Run. You can see them at the following venues.

23 June 2010 – Beach Road Hotel, Bondi (with Meow Kapow – Free entry)
25 June 2010 – The Ivanhoe Hotel, Manly (with Dark Bells – Free entry)
17 July 2010 – The Fitzroy Hotel, Windsor (Free Entry)
22 July 2010 – The Sandringham Hotel, Newtown (with Tales in Space and Nick Van Breda)
29 July 2010 – Revolver, Prahran
30 July 2010 – Karova Lounge, Ballarat
31 July 2010 – The National Hotel, Geelong
1 August  2010 – Last Band Standing Competition @ The Elephant and Wheelbarrow, St Kilda VIC

MGMT promise to be very busy on their upcoming tour. The New Yorkers will perform six pop-up concerts in secret locations around the country.

Once fans register at this website they’ll receive clues about the band’s surprise concert locations. The first ten people who arrive at the venue will be part of a special MGMT event.

If that all sounds a bit like pot luck, don’t worry. The band will also perform one very special show at Sydney’s Metro Theatre on April 6. The band will play old favourites and new cuts from their sophomore effort Congratulations, which hits stores on April 9.

This show is bound to be popular, so fans will only be able to buy two tickets each to give everyone a chance. They’ll be on sale from 9 am on Thursday March 11, but don’t delay. I’m expecting this one to sell out in no time.

Image source: DaigoOliva @ Flickr