Category: Concert Reviews

Posted on by Lauren Katulka

Jimmy Barnes @ Bimbadgen Estate, Wonnarua Country/Pokolbin – 6 December 2025

As it became clear that New South Wales would swelter on Saturday, I began to dread Jimmy Barnes’ Working Class Man 40th Anniversary show in Wonnarua Country/Pokolbin. If I hadn’t spent around $200 on the ticket, I might have cancelled. I became even more nervous as we neared Bimbadgen Estate and saw the car’s temperature gauge click over to 43 degrees. I felt nauseous by the time I found my seat and started to worry that this was all a bad idea. But superb music, and a healthy dose of soda water, has a way of making everything better.

John Rooney was a late addition to the bill. Ordinarily I would have made sure to catch an artist I wasn’t familiar with, but I’m sure in the heat he’d forgive me missing his set. One artist I wouldn’t miss is Kate Ceberano. She’s always excellent, but I’m not sure I’ve ever enjoyed a set as much as this one promoting her new Australian Made live album. I wasn’t familiar with this release, so every classic cover was a surprise. Hits of the past like “Boys in Town” and “Barbados” fit her like a glove, while modern tracks like “Chandelier” and “The Joker and the Thief” were unexpected joys. And she was always going to make the Barnesy-loving crowd happy with a cover of Cold Chisel’s “You Got Nothing I Want.” Kate also treated us to plenty of her own numbers including “Bedroom Eyes” and a reggae-tinged take on “Pash.” While she stole focus with her effortless charisma, I’ve got to give praise to her stellar band including the always fabulous HARTS. What a fantastic surprise to see such a brilliant artist in his own right sharing the stage with our Kate.

Kate’s celebration of Aussie music perfectly led in to Ian Moss’s solo set. Another national treasure and Jimmy’s former bandmate, he was always going to go down a treat with this crowd. It’s been some time since I’ve seen Mossy with a full band, so it was a real thrill to hear songs from his entire career given that electric treatment. From Cold Chisel hits like “Choir Girl” and the epic closer “Bow River” to “Nullarbor Plain” from 2024’s Rivers Run Dry, it was top notch. I also loved seeing Ollie Thorpe, who I last saw as part of The Whitlams’ Black Stump Band, with Mossy. He got his chance to really shine sharing vocal duties on “Georgia on My Mind.”

I was really looking forward to Icehouse after they blew Hall & Oates off the stage in 2012. I’m pleased to report they have very much still got it. The blend of founding member Iva Davies and long-term bandmates Paul Gildea and Paul Wheeler with newer members like saxophonist Hugo Lee and keyboardist Michael Best is inspired. They sound so tight, unmistakeably Icehouse, yet so fresh. I also loved seeing the supremely talented Michael Paynter doing double duty with Icehouse and Barnesy. Icehouse has a catalogue that is so rich, you don’t realise how many hits they had until they’re delivering them. They performed so many of them with the kind of energy that makes you forget many of the band members have done these songs for decades. They still seem to relish sharing their music with us. When a band plays with such precision and enthusiasm, you will always have a good time.

Remember how there was that heatwave that had me feeling nauseous? It persisted right up until Jimmy Barnes was due to take the stage. And then the weather took a serious turn. The winds came. The rains came. Oh how they came. Massive droplets that had us soaked to the skin, because of course we had been so worried about packing frozen water, fans, and damp face washers that we hadn’t thought to grab ponchos. We were told the concert would be “paused” and we should seek shelter. It honestly felt worse than the Sting show which was abruptly axed, so I braced myself for a cancellation. Although there was a voice in my head saying “I did not sweat it out only to go home!” And then thankfully, the rain disappeared, at least temporarily, and the show went on. And how.

Given all we had endured, Jimmy seemed determined to make it worth our while. He’s always the kind of guy who gives his all, but he seemed to have a little extra in the tank as he treated us to every song from his breakthrough solo album For the Working Class Man. I loved the opportunity to hear many songs that don’t make his typical sets like “Without Your Love” and “Promise Me You’ll Call.” Given the length of the album, I knew there’d be a few more songs besides, but it was a mystery which tracks would make the cut. There were some old favourites like “Too Much Ain’t Enough Love” and “Lay Down Your Guns” as well as more recent cuts which tie so easily back to early material like “Shutting Down Our Town,” inspired by his upbringing in Elizabeth, and “Beyond the River Band,” a tribute to his love with his beloved Jane who lent her backing vocals and bagpipe skills to the night.

The songs are just one part of the Jimmy Barnes experience. We love them, but we also love him. He’s one of us, our working-class man. In a place like Wonnarua Country/Hunter Valley, a significant coal mining area, his humble beginnings resonate. He might be up on that stage, but he talks to us like we’re old friends. He joked about the “fucking hurricane”, noting that he felt like the president as organisers tried to usher him to a car as the heavens opened up. He said he refused, rebelliously declaring “If we die, we all die together!” That’s our Jimmy.

I am such a fan, I will listen to Jimmy perform anything and lap it up. But there’s something special about being amongst a bunch of Australians as Jimmy belts out monster hits like “Working Class Man” and “Khe Sanh.” I felt it even more intensely on Saturday night, perhaps because we had all gone through so much. The heat, the storms, the joy that made it all worth it. The conditions made me dread this concert, but it was such a beautiful celebration of Aussie talent that I am so glad I put my concerns to the side and attended.

Jimmy Barnes and his ultra-talented mates will continue the Working Class Man 40th Anniversary shows in Eora/Sydney this week and through 2026. And it’s likely to be hot. Bring your water, sunscreen, and hats, and just do it. I promise you, you will not be sorry. Tickets are still available for all remaining dates:

10 December 2025 – Opera House Forecourt, Eora/Sydney
17 January 2026 – Regatta Grounds, Nipaluna/Hobart
31 January 2026 – Peter Lehmann Wines, Peramangk, Ngadjuri, and Kaurna Country/Tanunda
7 February 2026 – Sandalford Winery, Noongar Country/Caversham
21 March 2026 – Sandstone Point Hotel, Ningy Ningy Country/Sandstone Point
28 March 2026 – Centennial Vineyards, Gundungurra Country/Bowral
10 April 2026 – Rod Laver Arena, Naarm/Melbourne
17 April 2026 – Wolfbrook Arena, Christchurch
19 April 2026 – Spark Arena, Auckland

Photos credit: Lauren Katulka

Posted on by Lauren Katulka

Lenny Kravitz @ Brisbane Entertainment Centre, Meeanjin/Brisbane – 21 November 2025

As you might have noticed, I see a lot of concerts. I adore them, but typically they come and go and I start looking forward to the next one. They rarely leave the sort of lasting impression that has me buzzing several days later. But most concerts are not like the shows Lenny Kravitz has been putting on around Australia. My thoughts are still a little scattered, and even though I consider myself a bit of a wordsmith I’m not sure I have the vocabulary to tell you just how good the Meeanjin/Brisbane show was. But you know I’m going to try.

Although I see a lot of shows, Friday night was my first time seeing Jet. When they were announced as supporting artists I wasn’t sure they’d be the right fit, but I’ll happily eat my words. Their straight-down-the-line brand of rock music was the ideal complement to Lenny’s own rock edge. I don’t think I realised just how many hits they had until they were strung back-to-back. While their discography is rich, a killer version of AC/DC’s “Long Way to the Top” had us all singing along. I couldn’t help thinking about AC/DC’s decision to remove it from their sets as Brian Johnson knew he could never measure up to Bon Scott’s vocals. If Acca Dacca are ever in the market for a new frontman, Nic Cester has the goods. Although I can’t imagine him ever slotting into someone else’s band when he’s created magic with his brother Chris and longtime pals Cameron Muncey and Mark Wilson. There’s such chemistry when they perform and a passion for their craft which shines through.

I just wish my photos did them justice. On arriving in Meeanjin/Brisbane I received an email stating personal cameras wouldn’t be permitted, although phone cameras would be fine. What a frustrating policy that really disadvantages anyone who isn’t close to the stage. The photos my pal Lisa has snapped are a lot better than the ones my Samsung takes, but nowhere near as good as I could have captured with my camera. On the plus side, it did ensure that I really took this show in and lived in the moment.

While I enjoyed Jet, Lenny took this show to a whole other level. One that I honestly wasn’t prepared for. He sent such a strong message with his opener “Bring It On,” from the album It Is Time For a Love Revolution. We weren’t just preparing for the love revolution; it was here with Lenny our leader. I didn’t think it was possible for someone to have so much swagger. In his purple snakeskin pants, denim jacket, and signature dreadlocks, he was every inch the rock star and far cooler than any 61-year-old has the right to be. He was also backed by one of the strongest bands I’ve ever heard. Longtime collaborators like guitarist Craig Ross have come together seamlessly with newer talents like bassist Wolf and drummer Jas Kayser.

Lenny delivered a set for all kinds of fans, the faithful who had waited patiently for his return and the casual listeners who appreciated the radio tunes. I was on my biggest Lenny kick in the early 2000s, so I was thrilled to hear underrated gems of the period like “Dig In” and “Stillness of Heart.” Although this tour was technically meant to promote Lenny’s new album, Blue Electric Light, he was humble enough to ask whether he could play some of the new material. I’d enjoyed the album, but it hadn’t stuck with me like many of his earlier releases. However, watching Lenny perform tracks like “TK421” and “Paralyzed” has given me a new appreciation for them.

Honestly though, Lenny could have sung the phone book and I would have been happy. His voice is so strong. He handled everything, from the hushed words of “Believe” to the falsetto notes of “It Ain’t Over ‘Til It’s Over,” with so much ease. He’s got serious musical chops, whether he’s on his signature electric guitar, bass, or keys. And then there’s that swagger. I have never witnessed such a sexy performance. His power is undeniable. I am so glad I saw Lenny with my best gal pal instead of my husband, because I knew she was getting just as much out of this performance as I was. He had us squirming in our seats, and loving every single second, when we weren’t on our feet.

I experienced plenty of lust, but also plenty of love. Lenny’s songs celebrate it while encouraging that love revolution. With Lenny out front leading us all in song, you start to believe it’s possible. That spirit of love culminated in the epic encore song, “Let Love Rule.” It’s ironic that it was in this magic moment that a “fan” decided to rip dreadlocks from Lenny’s head. Seriously girl, what were you thinking?! That behaviour is deplorable. It also shows Lenny’s consummate professionalism that I didn’t even realise it happened until I watched his reels the next day. What I saw in that moment was a man who wanted to connect with his audience taking a lap around the perimeter of the auditorium so he could get as close to as many people as possible. He took his time, saying hello, shaking hands, and encouraging us all to sing those three important words: Let Love Rule. It was beautiful, a lasting memory that capped off one of the greatest concerts I have ever attended.

Lenny assured us he’ll be back soon. I already can’t wait. Before that though, he’s got just three shows remaining on this Aussie tour. Trust me, you will want to catch him if you can.

25 November 2025 – John Cain Area, Naarm/Melbourne
28 November 2025 – Mildura Sporting Precinct, Latji Latji and Paakantyi Country/Mildura
29 November 2025 – bp Adelaide Grand Final, Tarntanya/Adelaide

Photos credit: Lisa Mayer

Posted on by Lauren Katulka

Duelling Pianos @ Drifter’s Wharf, Darkinjung Country/Gosford

My husband and I discovered what piano bars could be when we were cruising with P&O several years ago. These weren’t the loungey piano bars you see in hotel lobbies; they were rowdy venues where the entertainers played party anthems that had crowds on their feet. Honestly, we’ve been chasing that high ever since. I’ve lost count of the number of times we’ve visited piano bars on cruise ships and on land and walked out disappointed. So our expectations were fairly low when we decided to catch the Duelling Pianos show at Drifter’s Wharf. The tickets were cheap, so we reasoned we could leave early if we wanted. However, this was the piano bar experience we’ve been looking for.

The Duelling Pianos concept originated in New Orleans. While it’s common in the US, it’s something we sadly don’t see enough of in Australia. As the doors opened, we were greeted by two pianos facing one another, each one set up with a request pad and pencils so we could start shaping the set. Mitchell Dormer, who you may remember from the most recent season of The Voice Australia, eased us into the night with Billy Joel’s “Vienna.” But after that it was banger after banger. With his buddy Bodhi Acton on the other piano, they raised the roof on this intimate venue. While usual piano bar suspects like “Sweet Caroline” and “Piano Man” got their time, they sat alongside pub classics like “Mr Brightside” and “Am I Ever Gonna See Your Face Again.” And we all got in touch with our feminine side when they busted out “Man! I Feel Like a Woman!” for the closer.

Longtime readers might notice that I am very reluctant to stand for a gig. I wouldn’t even do it for Rob Thomas a couple of weeks ago. I fully expected that even if the music was good, fatigue might set in and cause me to cut my night short. But honestly, I could have enjoyed a couple more hours of Duelling Pianos. Mitchell and Bodhi are insanely talented musicians with a seemingly encyclopaedic knowledge of music. While I didn’t get my Harvey Danger and Montell Jordan requests, I can’t think of a better way to spend my Saturday night.

Mitch and Bodhi regularly play at The Northern Hotel in Cavanbah/Byron Bay. You can also catch them at the Tivoli in Meeanjin/Brisbane on December 13.

Photo credit: Lauren Katulka

Posted on 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 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 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 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

Posted on by Lauren Katulka

Billy Ocean @ ICC Theatre, Eora/Sydney – 23 September 2025

When I saw Billy Ocean for the first time in 2023, I wrote “Now I’ve discovered how good he is live, I can only hope that he’s got a few more tours left in him.” I raved so enthusiastically about that concert my mum said she’d love to see him next time he was in town. So on Tuesday, we headed to Eora/Sydney for a girls’ night out.

As with the last tour, Billy partnered with an emerging artist with an impressive collection of originals. Western Australian artist Jason Ayres came armed with plenty of charm and an easy blend of rock, folk, pop, country, and blues. His bio cites John Mayer, Ryan Adams, and Keith Urban as influences, which makes total sense when you see Jason live. He’s got a similar earnestness about him. While he’s quick with a smile for the crowd, you know he’s serious about his craft. His originals are very good, but he also sweetened the deal with stellar covers of Cher’s “Bang Bang” and Chris Isaak’s “Baby Did a Bad Bad Thing.” I wasn’t sure how his set of largely originals would go down with the crowd here for a nostalgic show, but I needn’t have been concerned. By the final song, they were enthusiastically clapping along to the beat, totally unprompted. You can’t ask for more than that.

I must admit, I felt a little sense of déjà vu seeing Billy. He opened with the same three songs as the last tour: “One World,” “Love Really Hurts Without You,” and “Nights (Feel Like Getting Down).” While the set has changed a little – “There’ll Be Sad Songs (To Make You Cry)” was a notable omission this time around and “Stay the Night” and “Daylight” are new inclusions – essentially what you get when you see Billy is the greatest hits show every time. And honestly, you can’t be mad at that.

Billy’s songs are fantastic and he performs them with such joy that it’s a pleasure to bask in his aura. I’m not sure I’ve seen many artists who take such clear delight singing songs they wrote decades ago. He tours relentlessly, he’s performed them countless times, yet his genuine smile never wavers. He’s authentically grateful to the crowd who lets him do this and he wants to give back, whether it’s with those still impressive vocals or a little shimmy and shake as he dances across the stage with more confidence than most 75-year-olds would. And they love him back, rushing the stage near the end to dance along to hits like “When the Going Gets Tough, the Tough Gets Going” and “Caribbean Queen.” Being amongst such a rapturous crowd enjoying songs like that is just such good pure fun.

While Billy Ocean didn’t reinvent the wheel with this concert, he didn’t need to. He gives the people what they want, singalong hits delivered exceptionally well with a healthy dose of charm and joy. You can’t ask for more than that.

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

George Clinton with Parliament Funkadelic @ Enmore Theatre, Eora/Sydney – 21 September 2024

The word legend is bandied about far too freely in the music industry for my tastes. Very few deserve the title, but the crowd at the Enmore Theatre last night knew the man they came to see was one of those rare talents. You could feel the energy crackling through the air, that certain something that told us we were in the presence of greatness. That man, the myth, and the legend was the one and only George Clinton.

While the tickets told us the show started at 8, Kiwi band Drax Project were already lighting up the stage as we found our seats. I became an instant fan, impressed by their easy blend of soul, funk, and pop and youthful energy. Shaan Singh’s vocals gave me chills and his saxophone skills were the cherry on top. Watching him vibe with his bandmates was such a thrill. Apparently George Clinton and his crew have been so impressed by Drax Project’s sets that they’ve given them a little more time each night. The extended set gave them the opportunity to road test new material, which the crowds lapped up. I can’t remember the last time I heard an audience cheer when a band announced they’d play fresh originals. Being amongst such receptive music lovers hearing such incredible music was a joy.

After such an explosive opener, my expectations were sky high but if anyone could meet them it’s a legend like George Clinton, the Grandmaster of Funk. From the moment he took the stage with Parliament Funkadelic, the show was a total vibe. George was there in glitzy regalia, encouraging us all to put our hands in the air. His granddaughter Patavian Lewis was blowing bubbles and dancing up a storm in heels I could never contemplate walking in. The horns were tight, the vocalists were incredible, and I was living!

Sustaining that energy isn’t easy, but George and his crew somehow managed to keep the crowd in that rapturous space throughout their funktastic set. Big hits like “Flashlight” and “Atomic Dog,” fittingly saved for the final medley, were highlights, along with a delightfully unexpected cover of House of Pain’s “Jump Around,” but as with Drax Project the crowd lapped up everything this colourful crew delivered.

I didn’t get to see George in his prime, but no doubt he’s slowing down a little these days. There was a chair conveniently placed on the stage for him to rest whenever he needed. He’d take a moment to gather his breath before moving back to the front of the stage and continuing to give it his all. His vocals are limited these days, but he surrounds himself with exceptional singing talents, taking on the role of the captain overseeing a super-talented ship. On a personal note I was thrilled to see Uche, who I cheered on during American Idol in 2019, is now a part of Parliament Funkadelic. His exceptional vocals and dance moves, which the judges sometimes criticised for being too much, are perfect for a show like this. But every member of Parliament Funkadelic was exceptional.

Last night’s George Clinton show was like nothing I’ve ever experienced. It was a total vibe. I feel privileged to have spent a few hours basking in the aura of George Clinton and the incredible musicians he gathered for us on this Aussie tour.

Photo credit: Lauren Katulka

Posted on by Lauren Katulka

Mayday Parade, Jack’s Mannequin, & The Home Team @ Hordern Pavilion, Eora/Sydney – 13 September 2025

When people heard that I was heading to the Mayday Parade, Jack’s Mannequin, and Home Team show the day after returning from Japan they said I was crazy. But I’ve always believed you can sleep when you’re dead. And considering I love Jack’s Mannequin so much that I’m heading to the United States to see them on the Holiday from Real cruise in February, there was no way on earth I’d miss seeing them so close to home!

Running on pure adrenaline, I was psyched for this incredible triple bill. I wasn’t really familiar with The Home Team, but they quickly won me over with their energy and genre-bending sound. They’ve definitely got pop-punk at their core, but they know how to rock hard and bring some dance-funk into the mix. It’s such an unusual blend, but I was definitely here for it. Brian Butcher is one of the most charismatic frontmen I’ve ever seen. I could barely take my eyes off him, which is saying something considering the moves that guitarist John Baran and bassist Ryne Olson delivered. All without missing a note! Formed in 2013, The Home Team are one of the newer acts on the pop-punk scene. Brian seemed in awe of the moment, marvelling that their music has taken them to Australia and noting that their gigs back home are much smaller. They’ve definitely got the goods to play those big stages though. Their 10-song set was more generous than most afforded to opening acts, but I was entranced from start to finish. I’d see them again in a heartbeat.

Seeing how much time The Home Team had only made me more psyched for Jack’s Mannequin. It’s always a gamble to attend a show when you love the support act more than the headliner. You can easily be shortchanged. But I was treated to an hour of fantastic music from this band that means so much to me. I wasn’t there when Jack’s Mannequin had their time in the sun. Andrew McMahon’s music was a pandemic discovery for me, one that brought a rainbow of colour during a really dark time. So this was my first opportunity to see him in full-band mode and I relished it.

It was a totally different show than the stripped-back Andrew McMahon in the Wilderness one I saw in February 2023. While Andrew excels behind a piano, I loved watching him prowl around the stage and move into the audience to feed off their energy (no photographic evidence because he moves fast!). Seeing his connection with his bandmates filled my heart. The set list was also fire, featuring personal favourites including “Bruised,” “Dark Blue,” and one of the songs that hit me hardest during the pandemic, “Swim.” I know I’m biased when it comes to this band, but my friend Lisa, who is far less familiar with their music, leaned over to me during the set and said, “They’re fantastic!” Yes, they are. If it were possible, I’m even more excited about my US trip after Saturday’s set.

Understanding my love for Jack’s Mannequin and the travel fatigue I was fighting, Lisa asked me whether I wanted to stay for Mayday Parade. But I never considered leaving. Not for a second. While most of the crowd here no doubt discovered these bands in their adolescence, I’ve been on a bit of a pop-punk/emo kick in recent years that’s seen me diving into a lot of the fabulous music that wasn’t quite mainstream in this country including this band’s back catalogue. It’s a bold move for any act celebrating their 20-year anniversary to open up with a 2025 single, but the rapturous response to “By The Way” showed this crowd was up for anything. And that’s what they gave us, a set that took twists and turns as it celebrated all that makes Mayday Parade such a fantastic act. I was thrilled to hear my personal favourite “Jersey” come out early. As it wasn’t released as a single, I didn’t expect them to play it, but I lost my mind when they did. Along with the deep cuts, Mayday Parade also made sure to celebrate favourites like “Oh Well, Oh Well” and “Anywhere But Here.”

High-energy moments were contrasted with stunning emo ballads like “Miserable at Best” and “Terrible Things.” While they sounded beautiful, I wish they didn’t see lead singer Derek Sanders move to the back corner of the stage to play piano. He was totally obscured by the speakers from my seats on the left. And while I know it’s not very punk to sit at a rock show, I can’t recall another show where the lead singer spent any considerable time hidden away near the back of the stage.

When we did see Derek, he was incredible. I loved watching him jump around with such feeling, vocals never faltering despite his high-octane performance. He also seemed overcome with the emotion of the occasion, noting that Australian cities are among the band’s top markets for new material. I felt privileged to be amongst this crowd who continue to support this band. “Jamie All Over” was the predictable closer, but even though I knew it was coming I had such fun rocking out to it.

I came out of Saturday’s concert without the small shred of voice that I had been hanging on to. It still has not returned. I crashed out in record time once my head hit the hotel pillow. When people said I was insane to even contemplate going to the gig so soon after my overseas adventures, they were probably right. But I would do it all again, because it was incredible. Mayday Parade, Jack’s Mannequin, and The Home Team have just two shows left in Australia. If you’re on the fence, trust me: buy the tickets.

17 September 2025 – Hindley Street Music Hall, Tarntanya/Adelaide (ALL AGES)
19 September 2025 – Metro City, Boorloo/Perth (18+)

Photo credit: Lauren Katulka