Category: Concert Reviews

Posted on by Lauren Katulka

Karise Eden @ Wests Leagues Club, Newcastle – 6 March 2019

Karise Eden enjoyed a meteoric rise to fame when she took home The Voice crown in 2012. She was just 19 then, although I imagine such exposure would be difficult at any age. She released the obligatory winner’s journey album, which went straight to number one, but then she seemed to disappear from the spotlight. There was little fanfare on the release of her first album of originals Things I’ve Done two years later. It peaked at number 65. It’s taken five more years for Karise to release another album. She was in Newcastle last week to promote that release, Born to Fight.

Local singer-songwriter Megan Core warmed up the crowd, gushing to us how she’d admired Karise since she was a teen and was so thrilled to support her. If she had any nerves surrounding the honour, they didn’t show. It’s brave to play so many originals as a newcomer, but Megan seized the opportunity to introduce us to her songs. Personally I loved her folky ditties. With just an acoustic guitar as accompaniment, I found myself really taking in her lyrics. I’ll jump at the chance to see her again. What a talent.

Karise’s set was a similarly low-key affair. Her band was small, just a keyboardist and a guitarist, but she’s not one who needs a lot of support. The stripped back instrumentation put her voice front and centre. And what a voice it is. It’s what got me and so many other Australians excited when Karise was on The Voice. After recent weight loss, Karise thinks its stronger than ever. Having witnessed it myself, I’m not about to argue with her. Countless times I found myself with goosebumps. It’s just that good.

This concert was really a showcase of the work from her new album Born to Fight. I’m such a fan of that release that I was thrilled to hear so many of my favourite new songs. My parents hadn’t heard the new album, but they didn’t feel slighted by her song selections in the least. In fact, Mum has asked me to pick her up a copy next time I’m shopping! When you can not just get people interested in your new material, but make them want to spend money on it, you know you’re on the right track. There was the occasional track from the first album and some choice covers. “Landslide” was just as beautiful as it was on The Voice. She’s long been compared to Amy Winehouse, and her cover of one of the late British singer’s tracks shows she’s every bit as good. Her take on “Hallelujah” was a breathtaking closer.

The songs only tell half the story of any concert experience though. When we first met Karise she seemed uncomfortable with the glare of the spotlight, a nervous teenager. The years have seen Karise blossom into a confident woman. She was relaxed, funny, and open. There was a great natural charm about her that brought the audience on side instantly.

It’s just a shame there wasn’t more of us. My mum remarked that she should have sold out the venue, because she’s every bit as good as singers she’s compared to like Amy Winehouse and Janis Joplin. In fact, mum said she should be playing much bigger venues. I don’t disagree. However, I love an intimate gig. What a thrill to witness a world-class performer in a place so small. If there’s any justice, Australia will remember why they fell in love with Karise and start turning up in their droves to see her. Until then, I’ll enjoy the intimacy that comes with small gigs like this.

There are a couple of dates left on Karise’s Born to Fight tour. If you can, make sure you go see her. She’s incredible.

23 March 2019 – York Theatre @ Seymour Centre, Sydney
24 March 2019 – Canberra Theatre Centre, Canberra
31 March 2019 – The Gov, Adelaide

Image source: Stephen Katulka

Posted on by Lauren Katulka

Elixir @ Laycock Street Theatre, Gosford – 21 February 2019

When was the last time you saw a concert that was truly different? No matter whether you only get to a handful of gigs a year or you’re a regular concert goer, you’re probably struggling to cast your mind back. As music lovers we tend to stick to the same genres, and see shows that follow a fairly predictable trajectory. They’re wonderful, don’t get me wrong. That’s why we keep on coming back. They might even blow us away. They’re just not especially unique.

You get different when you do as I did on Thursday night and accept a couple of tickets for a show you wouldn’t ordinarily buy tickets to. I was a big fan of George, Katie Noonan’s first band and Triple J darlings. Since that time I’ve watched her career with interest and appreciation. It’s always fascinating to see an artist take her career in new and exciting directions. But I hadn’t seen her perform since she was with George. I changed all that when her current three-piece Elixir hit Gosford on Thursday night.

I knew Elixir were a jazz-folk trio and that they’d recently released an album Gratitude and Grief, created in conjunction with famed poet and cartoonist Michael Leunig. However, those scraps of information couldn’t quite prepare me for a show like this. It was a real showcase for the new album. The trio opened with a couple of tracks from their first album, before launching into material from the new release. For an ordinary show, playing so much from a new album would be a hard sell. But an Elixir concert isn’t like one from your favourite rock or pop act.

Katie thanked us for giving their music “a quiet space,” a comment that really got me thinking about why this concert was so unique for me. I’m not sure I’ve ever seen a show where music had a quiet space. There are always fans singing along with the performers. You sometimes hear the low murmur of the audience members talking amongst themselves and ordering drinks at the bar. It’s not uncommon to hear cheers as the audience recognizes a favourite song or a performer hits a high note. However, this really was a quiet space, with only polite, restrained applause punctuating each song. We listened attentively through each song and Katie’s explanations of the material.

The music was exquisitely beautiful, like free-form poetry without a predictable structure. Katie’s voice is just as sublime as it was when I first saw her perform many years ago. I loved hearing the way it played with the tones of Zac Hurren’s saxophone and Stephen Magnusson’s acoustic guitar. The passion these performers have for Michael Leunig’s poetry is apparent. They’re understandably proud of the music compositions featuring his poetry they created with him. Katie encouraged us to listen to his beautiful words, and even took the time to recite a particular favourite before singing it, just to we could really hone in on those lyrics.
Elixir continued to surprise me with the final two tracks, moving away from their originals for a few choice covers. I’ve never heard “Rainbow Connection” or “Goodbye Yellow Brick Road” sound quite like this before, but they were breathtaking. So original, so poignant, so powerful.

This show was really like nothing I’ve ever seen before, but I loved it. Elixir create a magical, ethereal mood that really takes you to another place. Sharing a quiet space with them is something I’ll never forget.

Elixir continue their Gratitude and Grief tour in Pomona this Friday. Michael Leunig is a special guest at selected shows.

1 March 2019 – Majestic Theatre, Pomona
2 March 2019 – CPAC Theatre, Cairns (with Michael Leunig and String Quartet)
15 March 2019 – Civic Theatre, Newcastle (with Michael Leunig and String Quartet)
16 & 17 March 2019 – Blue Mountains Music Festival, Katoomba (with Michael Leunig)
22 March 2019 – Melbourne Recital Centre, Melbourne (with Michael Leunig and The Impossible Orchestra)
23 March 2019 – Meeniyan Town Hall, Meeniyan
24 March 2019 – Anglesea Memorial Hall, Anglesea
30 March 2019 – Spiegeltent Hobart, Hobart, Australia
31 March 2019 – Spiegeltent Canberra, Canberra,
5 April 2019 – Redland Performing Arts Centre, Cleveland
6 April 2019 – Brunswick Picture House, Brunswick Heads
18 April 2019 – Spiegeltent Gold Coast, Southport
20 April 2019 – Feathertop Winery, Porepunkah
21 April 2019 – Music in the Garden, Albury
27 April 2019 – The Memo, Healesville
28 April 2019 – Bendigo Autumn Music, Bendigo (with Michael Leunig)

Posted on by Lauren Katulka

Baby Animals @ Ettalong Diggers, Ettalong Beach – 8 February 2019

The quality gigs are coming thick and fast on the Central Coast. It’s rare that I can see two great shows back-to-back without travelling to Sydney or Newcastle, but it’s a sign of the buzz around the Coast at the moment. I only hope the music industry’s enthusiasm for my local area continues.
Ettalong Diggers is booking so many quality acts of late; the Baby Animals are the latest in a long line. The band room in Diggers is fairly unassuming, but it’s the kind of place where a rock band like the Baby Animals feels right at home. I’d previously seen the band play Red Hot Summer. I was impressed, but there was something that felt a little off about catching them in the harsh light of a summer’s day. They seemed more at home here, with enthusiastic punters with beers in hand happily singing along to more than just the hits.

Shows like Red Hot Summer give bands limited time, so the hits always come out early. I thought I might be left waiting at this extended gig, but instead the band wanted to fire us up from the get go. “Rush You” and “One Word” got us all singing along. I must admit, I’m not as familiar with the songs that didn’t make the charts, but it matters not with a woman like Suze deMarchi on stage. She’s such a compelling frontwoman, a force of nature that has the audience in the palm of her hand from the start. The natural chemistry she has with her bandmates is a joy to witness.

This was my third Baby Animals gig but in some ways Friday night’s show felt like an introduction. This was the way I was meant to see the band. Now to explore the back catalogue so I know a few more of those killer cuts for next time! I’ll get my chance when the Baby Animals kick off their greatest hits tour, supported by Killing Heidi, in May.

3 May 2019 – Revesby Workers Club, Revesby
4 May 2019 – Metro Theatre, Sydney
10 May 2019 – Croxton Bandroom, Melbourne
17 & 18 May 2019 – The Gov, Adelaide
24 May 2019 – Astor Theatre, Perth
25 May 2019 – Metropolis, Fremantle
31 May 2019 – Southport RSL, Southport
1 June 2019 – The Tivoli, Brisbane

Image source: Stephen Katulka

Posted on by Lauren Katulka

The Whitlams @ The Art House, Wyong – 7 February 2019

The Art House has been a welcome addition to the Central Coast’s cultural landscape. It’s a modern, intimate theatre overseen by a team booking such fantastic acts. We’re barely a week into February and I’ve already seen a musical, stand up comedy, and now live music there this year. I also have tickets to another three shows. It’s hard to resist when they’re a short, relatively traffic-free drive away. Last night the venue played host to one of Australia’s most enduring bands and one of the most exciting up-and-comers.

William Crighton warmed up the crowds with songs from his critically acclaimed sophomore album Empire and some tracks from the vault. What a unique talent he is. His rich, resonant voice draws you in from the start. His songs are just as compelling, whether he’s singing about young boys exacting revenge on paedophile priests or a sweet moment of peace watching children at play. With just the sound of an acoustic guitar keeping his voice company, and sometimes not even that, it was easy to hone in on the lyrics and hear those stories. His witty, unassuming banter between songs put us all on side. We might have been pumped for The Whitlams, but I don’t think anyone was clock-watching while William was on stage. We were hushed and attentive, until William encouraged us to sing along. We did so with the kind of enthusiasm usually reserved for the headliners.

The energy in the room went to the next level when The Whitlams joined us though. They started with high-energy crowd-pleasers “I Will Not Go Quietly and “Gough.” The exciting thing about seeing The Whitlams though is you’re never quite sure where the show will take you. They have 27 years of high-quality material at their disposal, and no song is off limits. While they tick off the major singles this isn’t a band that wants to stay necessarily with what we expect to hear. And we lap that up, belting out those upbeat numbers, falling quiet lest we miss a moment of the more introspective ones.

The show was peppered with witty banter, with Tim sharing his appreciation of our brand new theatre, his views on Sydney, and what it was really like performing at the Australian of the Year awards. As chief songwriter and vocalist, Tim tends to get more of the attention, but I found myself admiring just how good this band is as a whole. I’ve always loved The Whitlams, but there were so many times as I watched them feeding off one another, so in the moment, creating an incredible sound, that I just thought “Wow, this is special.” By the time they shuffled off after their encore of Dylan’s “Tangled Up in Blue,” my hands were sore from enthusiastic applause.

Last night the Art House turned on an amazing night of music that had me marvelling, not for the first time, how lucky I am to experience shows like this so close to home.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Red Hot Summer @ Roche Estate, Pokolbin – 2 February 2019

In just a few years Red Hot Summer has become one of the highlights of the annual concert calendar, a series of events that showcase classic Aussie acts and some choice international artists. With a number of bills winding their way around Australia’s capitals and regional centres, there’s really something for everybody. The music is always superb; coupled with the good vibes that always seem to surround the concert series I just can’t resist.

This year was the first I’ve seen Red Hot Summer at a winery though. Roche Estate is the perfect venue, a natural amphitheatre which offered the sell-out crowd plenty of space for spreading out. The outstanding wine also made the performers sound just a little bit sweeter!

Chocolate Starfish kicked things off, curiously enough with a cover of Meatloaf’s “Bat Out of Hell.” It was a left-of-centre choice, but one which resonated with this crowd ready to sing along. They got their chance later too with Chocolate Starfish’s own radio-friendly singles “Four-Letter Word,” “Mountain,” and the epic cover of “You’re So Vain.” These moments got the loudest cheers, but the punters were right there throughout the set thanks to the charisma of lead singer Adam Thompson. He was every inch the rock star, dancing up a storm and commanding our attention. What a way to kick off the show.

I’ve seen Richard Clapton more times than I can count because he never disappoints. With such a short time on stage, he could have simply played the hits. “Best Years of Our Lives” and “Down in the Lucky Country” were notable absences in this set for me. But as a real fan, I didn’t mind too much. I was excited to hear less well-known songs like “Dancing With the Vampires” and “Something About You.” The crowd had enough moments to sing along with tracks like “Glory Road,” “Deep Water,” and “Girls on the Avenue.” Richard was in fine form, but then again, I’ve never seen him have an off day. The consummate professional.

Speaking of professionals, how good is Diesel? I saw him once about 20 years ago and I think I forgot how good he was. There’s no risk of getting a case of amnesia again though. Everything came together in this set. He’s such a talent, flawless voice, blues guitar on point, and an exceptional catalogue of songs. It was exciting to hear the way tracks from his Injectors days have evolved. You can still sing along, but a little more blues-rock edge has freshened them up. I really shouldn’t leave it so long before catching him again.

The Living End took me back to my teenage years. Their energetic set woke up anyone who was caught napping in the sunshine. It was furious, frenetic, and so much fun. Crowds rushed the stage, punching their fists in the air enthusiastically to hits like “Roll On” and “Prisoner of Society.” Some punk bands can seem a little tragic railing against the system in their advancing years, but The Living End somehow managed to avoid that. What a tight sound. What passion. They were one of the acts I hadn’t seen before, and they did not disappoint.

Joan Jett and The Blackhearts might not have been the headliner, but the international rock stalwarts were the drawcard for many punters. The standing zone was packed for the performance that featured all the hits, including many I’d forgotten about, and some unexpected surprises. Covers of the “Laverne and Shirley” theme and “Crimson and Clover” were a delight. Smash singles like “Bad Reputation,” “Cherry Bomb,” and “I Love Rock and Roll” were delivered with so much gusto. There was no sign of the fatigue that can often set in when bands have such a storied history. Clearly they still love playing together and doing it for Australian audiences was a real thrill. Joan Jett was every bit as fierce and fabulous as I’d hoped she’d be.

Jimmy Barnes is another act I’ve seen countless times, but it’s been a little while since I’ve seen him rock out. Acoustic shows are a brilliant treat, but I didn’t realise how much I’d missed seeing him really rocking out. The hits came thick and fast, including tracks I didn’t expect to hear like personal favourites “Stone Cold” and “Ride the Night Away.” More surprises came with “Working Class Hero,” a cover of the John Lennon song, and Chris Cheney joining Jimmy for a raucous rendition of “Rising Sun.” As the set drew to a close and the whole crowd united as one for Aussie anthems like “Working Class Man,” “Khe Sanh,” and “Flame Trees,” it made perfect sense why Jimmy was the headliner. He might not have the international profile of Joan Jett, but the love so many of us have for Mr Barnes trumps that. What a way to close out another stellar Red Hot Summer show.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Phil Collins @ QUDOS Bank Arena, Sydney – 22 January 2019

I get very critical when I hear musicians referred to as legends. Most media outlets seem to love this buzzword, using it to refer to all the hottest acts, but in my mind becoming a legend takes time. It takes a consistent body of work. Most people never get there, regardless of how many songs or albums they release. We have very few musical legends left, but Phil Collins is undoubtedly one of them.

His musical legacy speaks for itself. There’s the impressive body of work with Genesis, a solo career that if anything surpassed that. There’s been number ones, Grammys, American Music Awards, Brit Awards, even an Oscar and some Golden Globes. It’s no coincidence that at 67 he can still sell out our largest music venues.

I’ve seen several artists who start showing their age. Physically, Phil is among them. His dodgy hip and back mean he spends most of his show seated. But where it counts, vocally, age hasn’t touched his performance. His voice rang out clear as a bell, sounding just as strong as it ever did on the recordings.

That voice delivered a set list that might end up being the best I hear all year. I leaned over to my mum after he started with “Against All Odds” and said “Well there’s my favourite. Where does he go from here?” But of course, Phil has so much in his arsenal that he can keep you entertained even when he’s already delivered the song you wanted to hear most. “Another Day in Paradise” came next, “I Missed Again” … hit after hit. He doesn’t need to keep any up his sleeve for the back end of the show because he’s written so many stellar songs. I remembered just how much I love tracks like “Invisible Touch,” “Something Happened on the Way to Hear,” “Easy Lover,” and “Chances Are.” The atmosphere for “In the Air Tonight” was electric. Phil might not be pounding the drum kit any more, but his son Nic was a worthy replacement.

The whole band really deserves a special mention. Many of these musicians have been with Phil for 40 to 50 years. They knew this music intimately, creating one of the tightest sounds I’ve ever heard. While Phil couldn’t get up and dance they filled that gap too, making the show feel like a real party from start to finish.

When Phil and band said their goodbyes I didn’t expect an encore. I’d heard everything I expected to and then some. It also seemed like an awful lot of effort for Phil to hobble off with his cane only to return again. However, he maintained the rock and roll charade, returning for one more song, “Take Me Home.” So stirring, the perfect closer for a real celebration of music.

Phil Collins was one of those bucket list artists for me, someone I knew I’d see if I ever had the chance but wasn’t sure I would. At one point the world thought he’d never tour again after all. When you anticipate seeing someone for so long, it can be difficult for the artist to meet your expectations. But Phil did and more. I feel so privileged to have spent time with one of the world’s true musical legends.

Phil Collins plays Perth’s RAC Arena tonight before heading to Melbourne’s AAMI Park on February 1 and 2.

Image source: Stephen Katulka

Posted on by Lauren Katulka

In the Heights @ The Art House, Wyong – 11 January 2019

Living on the Central Coast, seeing a great musical typically means taking the train to Sydney. We’ve got our community theatre groups, and the occasional small play from a larger company stops by, but when you want to see the big guns from Broadway the options are typically lacking. However, an unexpected partnership between Sydney Opera House and The Art House in Wyong saw the Tony Award-winning Lin musical In the Heights playing a tiny venue in my local area before it travelled to the big stage.

I must admit, I didn’t know a lot about In the Heights before I shuffled into The Art House. I knew it had taken home a swag of Tonys and Lin-Manual Miranda wrote it. Frankly, these were the only selling points I needed. There’s something nice about approaching a production without any expectations. It’s been some time since I’ve done that. I knew much about the lives of Carole King and Bobby Darin before catching Beautiful and Dream Lover. I was familiar with some of the music from Book of Mormon. I knew the characters from Wicked and the basic premise. Here I was flying blind, and it was glorious. However, since I wasn’t so familiar I had to fight a little harder to catch the lyrics in the fast-paced songs. The Art House really needed to fine-tune the sound, as sometimes the music seemed to dominate the vocals.

And that is where my criticism begins and ends. Because aside from that little niggle, this production was flawless. I was mesmerised by it, quickly taking the characters to heart and marvelling at the actors’ dance skills and vocal prowess. This is an exceptional cast, one where even the members of the chorus can floor you. I would like to make special mention of Luisa Scrofani as Nina, Stevie Lopez as Usnavi, and Alexander Palacio as Kevin though. These three performers were particularly dazzling, playing their parts so well that I can’t imagine any of the Broadway pros could top them.

I was on the edge of my seat for the entire production. The bright lights at intermission were an unwelcome interruption. I couldn’t wait to immerse myself in the Washington Heights neighbourhood again. By the time the musical reached its heartbreaking climax, I was wiping back tears. I laughed, I cried, and most importantly I felt. This production of In the Heights was truly one of the greatest things I’ve witnessed on stage. It plays Sydney Opera House on January 16 to 20. Sydneysiders, get yourself a ticket. I guarantee you won’t regret it.

Posted on by Lauren Katulka

The Screaming Jets @ The Factory Theatre, Marrickville – 14 December 2018

December always seems to fly by in the blink of an eye. It’s a seemingly endless stream of deadlines, family obligations, and parties that can all leave you feeling fatigued. Somewhere in all of that I found a little time for me, for indulging in my passion for music. I’m glad I bought tickets for The Screaming Jets at The Factory in Marrickville some time ago. Locking the show in made sure exhaustion and terrible weather couldn’t talk me out of attending.

The rain did see me arriving a little later than I’d like. Palace of the King were already in full swing when I walked through the doors, but it didn’t take me long to become enthralled by their set. They were the young guns on this bill, established just six years ago rather than in the ‘80s. However, their psychedelic rock sound was a hit with the older crowd. These lads from Sydney can really play. I hope I get to spend more time with them at another show.

The Poor burst onto the stage next, taking me right back to my teenage years. I remember buying their album Who Cares? on cassette while I was shopping with my grandma. I was just 14, so I remember frantically trying to peel off that explicit lyrics sticker before she spied it. That cassette didn’t leave my stereo for months. I worried every time my parents walked in that they might cotton on to those choice words. I was too young to catch The Poor play live in their hey day, but watching frontman Skenie bounce around, it was like no time had passed. They delivered a high-octane set punctuated by tracks from that album I adored all those years ago. It was bold and ballsy, and I lapped it up. The banter between songs was every bit as colourful as my inner teen hoped for.

As a girl from Newcastle, I’ve seen The Screaming Jets countless times. This band is part of my DNA, one of the first acts I remember seeing as I started to see shows without my parents. But this set might have been one of my favourites simply because it was so fresh.

The Jets are no stranger to touring a new album. But ordinarily they try not to push the new material too hard. They don’t want to alienate the punters who are there to see them play the hits. The beautiful thing about releasing an album like Gotcha Covered though is the level of familiarity the audience already has with the songs. It’s genius really. The Jets could play a bunch of new material, delivering a set that felt totally fresh, while keeping everybody on side. They seized the opportunity with both hands, treating us to classic rock bangers like “Rain,” “Razor’s Edge,” “Wedding Ring,” and the Radiator’s cheeky hit “Gimme Head,” a suggestion from “the wheel.”

The wheel was another inspired idea, a chocolate wheel that The Jets trotted out with glee throughout the set. Frontman Dave Gleeson picked excited punters to come up and spin the wheel, which displayed the titles of tracks from the new album. We got another great track, the spinners got T-shirts, and we all had a lot of fun. Win, win, win.

Dave told us that new music was on its way, but the lads simply released their latest album so they’d have an excuse to tour again. The joy they get from playing live is evident. This band is so tight; despite many line-up changes since their 1989 inception Dave and fellow founding member bass guitarist Paul Woseen keep things ticking along. They’re a generous band too, one that gives the punters exactly what they came for, a big rock show peppered with hits. Age shall not weary them. I was feeling ready to call it a night after “Shiver” came out in the encore, but the Jets had other ideas, treating the enthusiastic crowd to some Johnny Cash even though it was nearing 1 am.

Most tours are winding down for the year, but The Screaming Jets aren’t nearly done yet. Their Gotcha Covered tour will hit the following venues throughout the festive season.

21 December 2018 – The Governor Hindmarsh, Hindmarsh
22 December 2018 – Corner Hotel, Richmond
28 December 2018 – Kingscliff Beach Hotel, Kingscliff
29 December 2018 – Aussie World, Palmview
4 January 2019 – Wyong Leagues Club, Kanwal
5th January 2019 – Laurieton United Services Club, Laurieton
11 January 2019 – Matthew Flinders Hotel, Chadstone
12 January 2019 – York On Lilydale, Mount Evelyn
17 January 2019 – Shoal Bay Country Club, Shoal Bay
18 January 2019 – The Bridge Hotel, Rozelle
19 January 2019 – Pittwater RSL Club, Mona Vale
25 January 2019 – The Basement, Canberra

Posted on by Lauren Katulka

Jimmy Barnes @ Lizotte’s, Newcastle – 4 December 2018

I always feel special being one of the 200 guests at a Lizotte’s show. But when the show is a Jimmy Barnes gig that sold out within minutes, as it was on Tuesday night, the word special doesn’t seem to cover it. Jimmy Barnes is a performer who can and does sell out large venues. In just a few short months he’s headlining the Red Hot Summer tour, taking top billing on a line-up featuring such talents as Joan Jett, Richard Clapton, and The Living End. Seeing him in a much smaller space lets Barnesy perform a different kind of show, one that’s more personal and less mainstream. It’s one I feel privileged to have witnessed.

Elly-May Barnes played support act, Jimmy’s youngest daughter and a real talent in her own right. She supported Jimmy the last time I saw him at Lizotte’s two years ago, although at that show she was flanked by Reece Mastin, Sarah McLeod, and Kara Jayne. She was a lot more exposed here, sharing the stage with only a keyboardist and her sister EJ for a few numbers, but I felt she was much stronger than last time. Clad in an LED covered cape and tight-fitting black outfit, she looked every inch the sassy rockstar. Her voice was strong from the start in a set of covers celebrating songs from David Bowie, Neil Young, Dionne Warwick, and more. Her song choice was spot on, her stage presence fierce, and her voice soulful. What a wonderful way to start the night.

Jimmy Barnes was the first musician I ever saw live. I’ve seen him countless times since then. I always enjoy his set, but I’m most excited when he delivers something new. Bigger shows don’t let you do that. Crowds of fans demand to hear the hits, to sing along from the start. Get together a much smaller group, a more select audience, and I find they’re much happier to experience something different. So we heard covers of songs from artists you might not expect Jimmy to cover like Nat King Cole and Mahalia Jackson. There were incredible new songs yet to be released. There was time to tell stories which made our experiences hearing these songs so much richer, because there were no hecklers telling him to get on with it and sing.

Jimmy doesn’t leave audiences without hearing the songs they came to hear though. While this was a set with fewer hits, we still enjoyed chances to sing along with old favourites like “The Weight,” “Khe Sanh,” “Flame Trees,” “Working Class Man,” and “When The War is Over.” His more poignant, understated take on “Working Class Man,” a world away from the pub rock number released, was especially moving.

Jimmy might have been the headliner, but this was really a Barnes family show. Elly-May and EJ both served as backing vocalists alongside their mum Jane. Son-in-law Ben Rodgers had lead guitar duties while son Jackie on drums kept the beat. EJ slayed a solo performance of “Somewhere Over the Rainbow.” Seeing the members of the Barnes clan all up there supporting and admiring one another was beautiful to witness.

Beautiful isn’t a word that typically springs to mind watching a Jimmy Barnes performance. His shows are typically rocking, bold, ballsy affairs. But I feel so thrilled to have seen the softer side of one of Australia’s most enduring and iconic musicians in Newcastle this week.

Image source: Stephen Katulka

Posted on by Lauren Katulka

John Farnham @ Bimbadgen Estate, Pokolbin – 1 December 2018

You know it’s summer in Australia once the mercury soars and you find yourself with a bottle of semillon at a Day on the Green event. I wasted no time getting into the summer spirit, visiting Bimbadgen Estate in the Hunter for its first Day on the Green show of the season on Saturday.

It’s been so long since I’ve been to a Day on the Green that I didn’t anticipate the traffic. My party were enjoying a leisurely lunch in the same suburb and were sure 15 minutes would be enough time to get to the venue. Unfortunately, it was not to be. I was so looking forward to Bachelor Girl’s set too. Sadly though, by the time I got to my seat they were walking off stage. They sounded amazing though. Next time.

Thankfully I was happily in my seat with that important bottle of sem, necessary for combatting that summer heat, by the time Russell Morris graced the stage. He was the only artist on the bill I hadn’t seen before, so I was really excited to see what this Aussie legend could do. What a wonderful performance he gave, full of technical prowess and charisma, with classics, more recent bluesy hits from his latest smash albums, and some choice covers. I’d forgotten how much I love “Wings of an Eagle.” His takes on Dylan’s “It’s All Over Now Baby Blue” and “Hush” were inspired. And of course, “The Real Thing” was a psychedelic delight.

He might have been sandwiched in the middle of the bill, but Richard Marx was my headliner. His set was all too brief, but that meant there was no time for fillers. The hits came thick and fast. Most drew from Richard’s early days with a “fluffy mullet.” I adored these chart toppers like “Endless Summer Nights” and “Should’ve Known Better.” But I was also thrilled to hear “Angelia,” a favourite song that didn’t crack the top 30, and “Long Hot Summer,” a song perfect for this weather he penned for Keith Urban. Those tracks I didn’t expect to hear helped make amends to the fans like me who would have loved to hear him play longer. By the time he played his torch ballad and HotelsCombined anthem “Right Here Waiting,” he had the whole crowd singing along. I’m not sure whether the sound mix was a little off early or whether I simply got used to the problem though. It’s a shame that this factor beyond his control marred an otherwise stellar performance.

You know you’re in good hands when two of Australia’s most beloved artists, Daryl Braithwaite and John Farnham, close out a show. Dazza’s voice took a little time to warm up, struggling to hit the higher notes in opener “Higher Than Hope,” but we sang loud enough to cover his failings until he hit his stride. His greatest hits set, drawing from the days of Sherbet and his solo career, was perfect for an event like this. No sooner had I sat down for a rest I was back up on my feet dancing to another favourite. None is greater than “The Horses” though, the kind of track that today encourages millennials to don horse heads and thrust hobby horses to the sky as they sing out that chorus. I was in fine voice alongside them.

John Farnham remains the consummate Australian performer. He’s a man whose voice needs no warm-up, whose songs are embraced by Australians of all ages. Like so many Aussies I’ve seen John several times over the years. Recently the sets were sounding a little samey, so I was thrilled to hear a few tracks from the classic album Whispering Jack he rarely plays. I’d forgotten how much I love “One Step Away.” The beautiful ballad “Touch of Paradise” was a real highlight, along with the rocking crowd pleaser “Take the Pressure Down.” But I’m not sure anything beats being in a crowd of Aussies joining voices with Farnsy belting out “You’re The Voice.” What a special moment.

With a stellar line-up of Aussie talent and a special import, A Day on the Green has kicked off its 2018/2019 season with a bang. Bring on the rest of the events!

Image source: Stephen Katulka