Category: Concert Reviews

Posted on by Lauren Katulka

Jimmy Barnes @ Civic Theatre, Newcastle – 6 April 2018

Jimmy Barnes was the first musician I ever saw live. I’ve lost count of the number of times I’ve seen him perform since that 1991 show, but I’ve never seen him as I did last Friday night at Newcastle’s Civic Theatre. I thought I had an inkling of what to expect, as we saw him at Lizotte’s just before his Working Class Boy tour kicked off last year. That show incorporated stories and songs, so I expected more of the same. However, this time the musical performances took a backseat to the tales from Jimmy’s second book, Working Class Boy.

This show takes the audience on the journey through Jimmy’s fame, from Cold Chisel’s early days through his solo career, warts and all. There’s no sugar coating here. The highs are high and the lows can be very low. He might have been a hero to so many Australians, but Jimmy doesn’t paint himself that way. He’s not afraid to speak candidly his struggles with addiction, his failures in relationships with industry colleagues, friends, and family, his battles with mental health and self-acceptance.

You can’t tell the stories of Jimmy’s career without music though. A video screen beamed film clips and concert footage, which Jimmy would comment on while many of us sang along. I don’t think he could have gotten away without taking the mic for a few musical performances though. As someone who’s seen Jimmy several times, I relished the opportunity to hear him play material a little unexpected. From a cover of The Turtles’ “Happy Together,” one of the songs the members of Cold Chisel used to sing in the milk van as they made their way to Armidale, to a stripped back version of “Still on Your Side,” a dedication to the people who put up with so much from Jimmy through all these years.

People who expect an equal measure of stories and songs in Working Class Man: An Evening of Stories & Songs might be disappointed. My mum was, as she felt like she’d heard it all before from reading Jimmy’s book. For her the show was tedious, with not enough music for her liking. However, I was thrilled to see something new from Jimmy, something that was so powerful and personal. While Jimmy’s book was brave, there is a certain kind of disconnect that comes from putting something down on paper, while you’re alone, then releasing it into the world. When you’re standing on a stage, looking people in the eye as you talk about taking so many drugs that you’re not sure whether you’ll wake up in the morning or attempting to take your own life, those walls are gone. We rarely see blokey men like Jimmy speaking about the need for therapy and having conversations about mental health and addiction. It’s powerful and, as someone whose family has been touched by suicide, I think it’s necessary.

Leave your preconceptions at the door and embrace what Working Class Man: An Evening of Stories & Songs is; not your average Jimmy Barnes concert but an incredibly moving night from one of Australia’s most important entertainers. The tour will make the following stops around Australia.

13 April 2018 – Empire Theatre, Toowoomba (SOLD OUT)
14 April 2018 – The Star Theatre, Gold Coast (SOLD OUT)
18 April 2018 – Bunbury Regional Entertainment Centre, Bunbury (SOLD OUT)
19 April 2018 – Perth Concert Hall, Perth (SOLD OUT)
21 April 2018 – Keith Michell Theatre, Port Pirie (SOLD OUT)
22 April 2018 – Thebarton Theatre, Adelaide (SOLD OUT)
26 April 2018 – Frankston Arts Centre Theatre, Frankston (SOLD OUT)
27 April 2018 – Costa Hall @ Geelong Performing Arts Centre, Geelong (SOLD OUT)
28 April 2018 – The Palais Theatre, St Kilda (SOLD OUT)
29 April 2018 – Ulumbarra Theatre, Bendigo (SOLD OUT)
2 May 2018 – Centennial Hall @ Sydney Town Hall
3 May 2018 – Centennial Hall @ Sydney Town Hall (SOLD OUT)
7 May 2018 – Isaac Theatre Royal, Christchurch
8 May 2018 – Isaac Theatre Royal, Christchurch (SOLD OUT)
10 May 2018 – Michael Fowler Centre, Wellington
11 May 2018 – Spark Arena, Auckland
12 May 2018 – Claudelands Arena, Hamilton
20 May 2018 – Darwin Entertainment Centre, Darwin
22 May 2018 – Tank Arts Centre, Cairns (SOLD OUT)
23 May 2018 – Tank Arts Centre, Cairns (SOLD OUT)
25 May 2018 – Townsville Entertainment & Convention Centre, Townsville
26 May 2018 – Mackay Entertainment & Convention Centre, Mackay
27 May 2018 – Pilbeam Theatre, Rockhampton
29 May 2018 – Caloundra Events Centre, Caloundra (SOLD OUT)
30 May 2018 – Saraton Theatre, Grafton
1 June 2018 – Joan Sutherland Performing Arts Centre, Penrith
2 June 2018 – Concourse Concert Hall, Chatswood
6 June 2018 – Civic Theatre, Newcastle
9 June 2018 – Palais Theatre, Melbourne
10 June 2018 – Thebarton Theatre, Adelaide

Image used with permission from Ferris Davies PRM

Posted on by Lauren Katulka

New Power Generation @ Enmore Theatre, Newtown – 28 March 2018

It’s amazing to think it’s been nearly two years since we lost Prince. Perhaps because his music hasn’t really left me. I was blasting Sign O’ The Times in my car only yesterday and I’ve seen several tribute acts over the period. I’m still not ready to say my goodbyes, which is why when New Power Generation announced some Bluesfest sideshows I had no hesitation in snapping up tickets. Friends seemed bemused that I’d spend money on the “backing band,” but with such stellar musicians and Prince’s incredible body of work to look forward to, I knew this gig would be one hell of a party.

It kicked off with Frank Sultana, who I would have loved to see but missed in favour of getting my carb fix across the street. My friend and I had the best of intentions of setting off early, but when she couldn’t make it to my house until two-and-a-quarter hours after our intended departure time, we knew we’d have to make the choice between support act and dinner. While we love music, the stomach always wins.

By the time we took our seats the room was well and truly warmed up and ready to receive music from these talented musicians just one step removed from the legendary Prince. The set was an exciting one, celebrating the music NPG made with Prince while touching on some of the important music he made without them. Guest vocalists Tamir Davis and Mackenzie Green sent an emphatic message to anyone who wondered whether they could handle Prince’s back catalogue. They slayed numbers like “Nothing Compares 2 U,” “Seven,” and “Gold.” There were a few originals thrown in for good measure, which as a die-hard Prince fan I could probably have done without, although they sent a strong message that NPG are more than simply Prince’s backing band. In fact, they’re one of the tightest musical outfits I can remember seeing. Guys like André Cymone, Morris Hayes, Kirk Johnson, and Tony Mosley are next-level talents.

While I had front-row dress circle seats, I found myself splitting my time between them and up the back, so I could dance. Songs like “U Got the Look,” “1999, “I Could Never Take the Place of Your Man,” and “Controversy” aren’t meant to be experienced sitting down. Up the back with others who had also abandoned their seats, there was such a camaraderie, an unspoken understanding that we all felt these songs to the depth of our souls.
“Purple Rain” would have been the natural closer, but it also would have been a bit cliched. And no one wanted to leave the venue after hearing something so heavy. So I was thrilled it was only the penultimate track. Instead we went out dancing to “Alphabet St.” I think that’s just what Prince would have wanted.

Prince might be gone, but thanks to musicians like New Power Generation he is far from forgotten. They are doing a remarkable job of keeping his legacy alive. I am so thrilled I got to spend time in the presence of their musicianship and Prince’s incredible songs, even if it was without the man himself.

Image source: Stephen Katulka

Posted on by Lauren Katulka

John Waite @ Wests Leagues Club, Newcastle – 27 March 2018

After four decades in the business, it’s amazing to think John Waite’s current Australian tour is his first. But it was a tour worth the wait for the faithful who’ve flocked to intimate venues around the country to see this talented British singer-songwriter.

Sarah McLeod was an inspired choice of opener. She’s such a warm, giving performer, with a killer voice that really shines in an acoustic setting. Her last album Rocky’s Diner was one of her finest in my opinion, a masterclass in songwriting with stripped back tracks telling some incredible stories. Songs from that release were showcased along with some surprising covers like “House of the Rising Sun” and a clever mash-up of Mahalia Jackson’s “Lord Don’t Move That Mountain,” George Gershwin’s “Summertime,” and Leadbelly’s “Where Did You Sleep Last Night?” Her version of Max Merritt and the Meteors’ “Slipping Away” had everyone singing along. By the time her set was done, my mum was singing her praises and declaring her one of the best new acts she’d seen. Something tells me she wasn’t the only one in that room “introduced” to her talents.

Firstly, I want to apologise for the quality of my John Waite photo, the best of a bad bunch. It seems my lesson on how to adjust the shutter speed on my camera came a day too late. After 40 years in the business though, I don’t think John would mind images being a little out of focus. He’s not aging badly, but like all of us the years are showing.

This was billed as an acoustic tour, but there were plenty of tracks delivered with a full band. The show started boldly with “Midnight Rendezvous,” from John’s time in The Babys, and “Change.” Two of my favourites, “Every Time I Think Of You” and “When I See You Smile,” came next, making me think John had better pace himself. You don’t want to show all your cards straight up!

I think they got the balance right, although the stripped back numbers were my favourites. They let me hear the lyrics of songs I wasn’t so familiar with, like “Bluebird Café” and “Downtown,” so clearly and give me a greater appreciation of his talents. They also gave John the opportunity to talk to the crowd about his life and experiences. After 40 years in the industry, there are some stories to tell. He also got the chance to tell us what this tour means to him and how much fun he’s having in this country.

I needn’t have worried about John running out of steam, because the back end of the show had us in raptures. “Missing You,” one of my favourite songs of all time,” was utter perfection. A cover of “All Along the Watchtower” let John’s band shine. “Isn’t It Time?” gave John the opportunity to bring back Sarah. Needless to say, we didn’t miss The Babettes who lent their vocals to the original recording. The set left no stone unturned, so I was sure there’s be no encore. Then nervous when I heard the opening strains of “Whole Lotta Love.” John’s voice had been superb all night, but surely he was nuts to take on Robert Plant! He proved me wrong, rocking just as hard with one of the greatest vocal performances I think I’ll ever witness.

It’s always a concern when someone tours here so long after their heyday that they will be past their prime. But age hasn’t wearied John Waite. His voice is so strong and his songs incredible. I went in only knowing a handful but left the venue determined to track down more. Whether you’re a long-time fan or a casual listener like me, the Wooden Heart tour is not to be missed. Tickets are still available for all remaining dates.

3 April 2018 – Astor Theatre, Perth
5 April 2018 – The Gov, Adelaide
6 April 2018 – Evan Theatre, Penrith

Image source: Stephen Katulka

Posted on by Lauren Katulka

Live & The Tea Party @ ICC Theatre, Sydney – 1 March 2018

Ordinarily when a band I’ve seen announces follow-up shows shortly after their last lap of the country, I give them a miss. I reason that not much will have changed and that there are always more artists tempting me to spend my money. Yet not even four months after catching them in the Hunter, I saw Live again last week. And I was every bit as psyched.

This was a very different gig from the 2017 Live show though. Rather than a soggy day out in the picturesque Hunter Valley, we filed into the modern ICC Theatre in Sydney. In the Hunter, Thirsty Merc, The Calling, and Lifehouse delivered crowd-pleasing pop-rock, but it seemed slightly out of step with Live’s angsty ‘90s rock. At this year’s tour The Tea Party provided an interesting foil, rocking every bit as hard as the headliners.

The Tea Party are such a revered act, but my exposure to them had been limited to their set at M-One (anyone else remember M-One?), when I think I might have been chatting to friends, and whatever filtered through the walls from my young sister’s bedroom. When they first hit the stage I worried they might have been a little too dark for my tastes. But as the set wore on, I started to appreciate them a little more. These guys are such exemplary musicians and Jeff Martin is one of the most charismatic frontmen you’ll ever see. He has such a cool, brooding quality that’s utterly mesmerising. I was surprised that I recognised “Sister Awake” and “Temptation.” I guess more filtered through those bedroom walls than I realised. Snippets of classic rock songs like “Paint it Black” and “With Or Without You” gave those of us less familiar with their work than those enthusiastically jumping around on the floor something to latch on to. The Tea Party might have passed me by in the ‘90s, but I feel like I got an education on what they’re all about.

While The Tea Party invigorated me with their set so out of my comfort zone, when Live took the stage I felt right at home. The set started explosively with “All Over You,” with the band’s energy matched by all of us excitedly singing along as we punched our fists in the air. And from that moment, Live had us. Just like Jeff Martin did earlier in the night, Ed Kowalczyk captivated me. He is such a powerful performer, whether he’s leading us all in a big rock number or bearing his soul in an intimate ballad.

The set had the perfect balance of hits and album tracks us fans hold close to our heart. And well it should, because it was almost the same set we heard in the Hunter. There were some notable exceptions though. We didn’t hear “Rattlesnake,” part of the encore at Roche Estate. But the set was a little longer, with the addition of “The Distance,” “Iris,” and the fantastic “Shit Towne.”

The songs that remained were so stellar and even though I’d seen them live mere months before, they lost none of the power. I was still so moved when the band played tribute to Chris Cornell with Audioslave’s “I Am The Highway.” My very favourite Live song, “Turn My Head” still gave me chills. I was on my feet with “Lakini’s Juice.” And if you’re not overcome by songs like “I Alone,” “Selling The Drama,” and “Lightning Crashes,” you probably weren’t a teen in the ‘90s.

They might have just visited us, but Live gave us the kind of dynamic performance you might expect if they hadn’t played here in years. They seemed on such a high, so appreciative of the crowd and feeding off its energy. We all felt it, and it was glorious.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Red Hot Summer @ Mt Penang Parklands (Central Coast) & Cockatoo Island (Sydney) – 24 & 25 February 2018

In my teenage years, it wasn’t unusual for me to see several shows back-to-back. Now in my late 30s, after two days at the Red Hot Summer shows, I’m feeling every one of my years. I’m tired. My feet hurt. My lower back is achy. I’m thankful that I gave myself a little time to recover before going back to work, because I need it. Was it all worth it though? Absolutely!

I decided to write a combined review of both shows because while the weather varied, this was essentially the same concert. It makes sense really, with each act crafting a set full of the right songs to delight the fans.

But as I mentioned, the weather. It really went from one extreme to the other, and neither was ideal. This is the risk with staging an outdoor concert. The gods might smile down and gift you the perfect sunny day, not too hot or too cold. Or you might get the sort of heatwave conditions I experienced at Mt Penang Parklands on the Central Coast. The kind that make you feel so lightheaded you wonder whether you’ll make it to the first band. Or you might get the kind of gloomy cold day with torrential rain that soaked us to the skin at Cockatoo Island in Sydney. Neither is ideal for a live show, but if you get right the things you can control, the crowds won’t mind too much.

The organisers of Red Hot Summer must be commended for that. The line-up was exceptional, perhaps even better than the one I saw in 2017. There was a diverse array of food vendors serving quality eats fast. There were plenty of toilets. We weren’t left waiting too long between acts; the MC’s giveaways helped keep us all interested until we were ready to rock again.


I also appreciate that Red Hot Summer is more than a nostalgia fest. Every year I look forward to discovering new talent. In 2018, Red Hot Summer delivered with Taylor Sheridan, an up-and-coming singer-songwriter from country Victoria. It’s always easy for an entertainer with pop-rock leanings playing an acoustic guitar to pique my interest. But to hold it takes something special. While his cover of “Billie Jean” was inspired, I was impressed with his excellent originals which rewarded anyone willing to listen to the lyrics. “Beauty of the Plan” and new single “Friends Like Me” were standouts. Finishing with a cover of “April Sun in Cuba” was the perfect way to win over anyone who wasn’t already on his side.


1927 are one of my favourite childhood bands, and as I discovered last year they’ve lost nothing. The band are tight and Eric Weideman’s voice is still so powerful. I wish I was feeling better for the Mt Penang show, as I felt I didn’t get to enjoy their set quite as much as I should have. I made up for lost time in Sydney though, jumping around and pumping my fists in the air during “You’ll Never Know.” “Compulsory Hero” gave me chills both shows. And those massive singles, “That’s When I Think Of You” and “If I Could,” has us all singing along.


The Black Sorrows were one of the standouts of last year’s Good Times tour, and they stamped their authority on the Red Hot Summer stages too. Joe Camilleri might be one of Australia’s most charming front men. I could watch him sing, wail on his saxophone, and dance around with wild abandon all day. Add in the divine voices of Vika and Linda Bull and you’re always going to have a good time. It was another superb set, with hit singles and some lesser known cuts represented. I loved watching the chemistry between Linda and Joe during “Baby It’s a Crime” and seeing Vika totally owning “Never Let Me Go.”


The Baby Animals were the only one of the big acts I’d never seen live before. Now that I have, I wonder why I left things so long. Suze DeMarchi oozes cool, even if she’s battling the heatstroke that plagued so many of us at Mt Penang. She’s definitely one of the most charismatic people I’ve ever seen performing. The way she moves, her commanding voice, her look, it’s all so impressive. The big hits like “Early Warning” and “Painless” sounded every bit as good as they did on the records, but had that extra special something that can only come from a live show. New single “Tonight” proved this is a band still in its prime, not one that needs to simply trade on nostalgia.


Daryl Braithwaite is such hot property right now. I’m not quite sure when it happened, but somewhere along the way he became really cool again. Millennials fell in love with “The Horses,” and there were plenty of them at the show, waving inflatable hobby horses and wearing rubber horse heads as they clapped along. But Daryl is much more than “The Horses.” While that song was the natural closer, it came after Dazza reminded us of his stellar career with Sherbet and solo smashes. Songs like “Summer Love” and “One Summer” are made for festivals like this.


The roar that came from the crowd suggested it wasn’t just the women with custom-made John Farnham shirts hanging out for Farnsy. There’s a certain air of excitement when he takes the stage, an indescribable feeling that magic will happen. Ably supported by his band of recognisable faces, musicians and vocalists who have been with him for decades, John belted out hit after hit. His was the sort of set you can sing along to, no matter whether you’ve ever bought a Farnsy album. These songs are in our DNA, from tender ballads like “Burn For You” to the show stoppers like “The Voice.” In between John chatted happily to the crowd, cracking jokes easily, then speaking with sincerity of the gratitude he has for those of us who stood in the heat or rain to hear his music. When the sets of most artists didn’t change, John made each show unique for his fans. The Central Coast was treated to “Don’t You Know It’s Magic” and the much maligned “Sadie the Cleaning Lady.” For Sydney it could be nothing other than “Raindrops Keep Falling on My Head.” They did, but with John to keep us company it was easier to grin and bear it.

The two Red Hot Summer shows in New South Wales didn’t happen under ideal circumstances, but by getting the essentials right the organisers ensured the crowds had the best time they could have hoped for. Bring on 2019, hopefully with better weather than this year brought!

Image source: Stephen Katulka

Posted on by Lauren Katulka

Evanescence with Sydney Symphony Orchestra @ Sydney Opera House, Sydney – 14 February 2018

Evanescence last visited Australian shores in 2012, not long before they announced a hiatus. When some bands take a break from the music scene, they fade from people’s minds. But not Evanescence. The energy in the Sydney Opera House’s Concert Hall last night suggests everyone was simply waiting for their return.

It was the last of two sold-out Opera House shows performed as part of Evanescence’s Synthesis Live With Orchestras tour. These concerts bring to life the orchestral arrangements of classic Evanescence songs showcased on their most recent Synthesis album. Each Australian show sees the iconic ‘90s band paired with one of our own symphony orchestras. I might be biased, but I can’t imagine another state’s ensemble doing as well as the Sydney Symphony Orchestra.

The SSO took the stage first, paying homage to the pieces of music that inspired Evanescence frontwoman Amy Lee. It was a diverse set, featuring everything from Bach’s “Cello Suite N. 1, The Prelude” to AC/DC’s “Back in Black.” An instrumental set with so many classical pieces was a risk for this audience of mostly members of Generations X and Y, but they sat mesmerised. I was transfixed by the SSO’s charismatic cellist, who stood proudly at the front of the stage, playing with such passion that he snapped many of his bow strings.

While the crowd was appreciative of the SSO’s opener, it was clear everyone was here to see the headliners. The applause was enthusiastic when the band members joined the orchestra on stage, then rapturous when Amy Lee arrived, looking dazzling in a bold red dress. Often there’s an initial high when a band appears, then the audience settles. I rarely see shows like this when the crowd stays so up, rising to their feet time and time again throughout the set.

So did Evanescence live up to the adoration? Yes they did. It seems the time away from the spotlight might have done the band good, because they seem so energized. The band is tight and Amy Lee, breathtaking. I haven’t often witnessed such a powerful voice, haunting, able to go seemingly anywhere, strong yet vulnerable. She performs with such passion, still visibly so moved by the songs she wrote decades ago. She spent time at the piano, but also emerged from her self-confessed “comfort zone” to get closer to the people, something I really appreciated. I’ve spent good money on concert tickets in the past, only to have my view of the artist obscured by the piano. While I loved listening to her play, I was so glad to watch her in the front.

I’m not as familiar with Evanescence’s back catalogue as my husband. In many cases, I was hearing the songs for the first time. However, unlike so many gigs where I’ve been in a similar situation, I didn’t feel like a fish out of water. The music was beautiful, rich and powerful. I lost count of the number of times I leaned over to my husband and whispered how much I enjoyed a particular song. The singles were beautifully executed, especially “My Immortal” which seemed to bring many of us, including Amy, undone with emotion. But it was all so good that I didn’t find myself hanging out for the more familiar music. I just wanted to experience it all.

It would be easy for a band who’ve achieved as much as Evanescence to take it all for granted. But that’s not their style. I think we all melted a little as Amy spoke in such glowing terms of her appreciation for the audience and her excitement about playing the Opera House.

After nearly 12 years of marriage, Valentine’s Days tend to blend into one another. One thing is for certain, thanks to Evanescence, the Valentine’s Day of 2018 is one I won’t quickly forget.

Evanescence’s Australian tour concludes at Melbourne’s Rod Laver Arena on February 16.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Roger Waters @ Qudos Bank Arena, Sydney – 2 February 2018

I was strangely reminded of those wacky experimental nights on MasterChef as we waited for Roger Waters to take the stage. The more impatient punters might say that he was 20-odd minutes late, but I knew the show had already started. The image of a woman sitting on a beach staring out at the waves, her back to us, was projected on a screen in front, as we heard the sounds of the ocean and seagulls all around us, projected out of speakers that filled the room. Just like visiting a Heston Blumenthal restaurant isn’t just about the meal, this was to be a night that wasn’t just about music but a sense of theatre. It set the scene, priming us for what was to come. And then when “Speak To Me” ran into “Breathe,” just as it does on Dark Side of the Moon, we were more than ready for it.

This was a Roger Water show, but it was one which really celebrated that epic breakthrough Pink Floyd album. I was thrilled for that; after he brought us The Wall a few years ago enjoying a set which drew so much from that other big album was so special. The Wall got a look in, with tracks like “Another Brick in the Wall Parts 2 and 3,” and “Mother,” as did other iconic songs like “Wish You Were Here” and but it was really Dark Side of the Moon’s night. I was glad for that, because while I appreciated Roger’s new material on an artistic level it didn’t move me to the same degree. I’m thrilled musicians like him continue to fight the good fight and rail against the machine, especially in this modern political climate, but there was something so special about that music he made with Pink Floyd.

As I said though, this was a show that was about much more than music. It was a sensory spectacular. I’m in two minds about that, honestly. It was incredible to watch the colourful lasers, the light projections, the rising smoke stacks, and the flying pig. But at the same time, Roger said little beyond telling us there’d be a short intermission and introducing his band. I remember seeing him live about 15 years ago and listening to him share a little more about the songs and himself. We still had a flying pig, but there was a bit more balance between the personal and the theatrical. I miss that.

Speaking of the band, I’d be remiss if I didn’t give them props. It might have taken two guitarists to replicate what Dave Gilmour does, but they were excellent. The female vocalists were outstanding. What incredible voices they have. The gentleman who shared vocal duties was also wonderful.

Roger Waters’ Us + Them show took us on a real journey. Before I knew it the final triumphant strains of “Comfortably Numb” had faded away and we were back on that beach with the woman, now joined by her child, as the house lights came up. This show gave us a trip down memory lane, but also felt so dynamic and modern and relevant. For a man of 74 to continue challenging his audience and being truly creative, rather than resting on his laurels, is impressive. It might not have always been to my tastes, but true art rarely is.

Roger Waters’ Us + Them tour plays Melbourne’s Rod Laver Arena on February 10, 11, and 13, Adelaide Entertainment Centre on February 16, and Perth Arena on February 20.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Boyz II Men & TLC @ The Star, Sydney – 31 January 2018

It seems to be the time for nostalgia tours. I’m personally relishing the chance to see so many of my favourite acts of the ‘90s doing their thing. Hot on the heels of Alanis Morissette’s outstanding show, I found myself heading to Sydney once again to catch Boyz II Men and TLC, or at least what remained of these ‘90s acts, at The Star.

Yo! Mafia seemed a strange choice for an opener on paper. I couldn’t imagine a DJ would be the right choice for a concert with allocated seating. So much so that I regretfully didn’t rush my dinner to see the start of her act. But she’s some DJ. Supreme transitions and such cleverness in weaving together the ‘90s music and TV show snippets we all loved. The big screen added some visual appeal to her set which proved to be just the right entrée for our night.

Boyz II Men and TLC were such acclaimed ‘90s acts that they shared headlining rights on this bill, switching up the order each night to keep us guessing. The lads from Philly were on first, much to the excitement of my Philadelphia-born and raised husband. These guys were heroes for him growing up, and it’s been a while since I saw him so animated at a show. They’re a three-piece now, but aside from missing those iconic sexy speaking parts in a few songs they’ve really lost nothing. Except, as Wanye joked, his hair. But their boy band moves are right on point, and those voices utterly sublime. Individually, Wanye, Nate, and Shawn have some of the best soul voices in the business. Put them together though, and those harmonies are off the charts.

Watching their set, I was reminded just how dominant Boyz II Men were in the ‘90s. We sang along with hit after hit, although none garnered the rapturous reactions of “I’ll Make Love To You” and “End of the Road.” There were a few surprises too, from the rare inclusion of one of my favourites, “Doin’ Just Fine” to a string of notable covers. I never imagined we’d see Shawn and Nate playing guitars, or that I’d hear the vocal trio busting out tracks like “Are You Gonna Go My Way” and “Come Together.” Moments like these are why live gigs are so exciting. Speaking of covers, I was a little disappointed to hear nothing from Boyz II Men’s latest album Under the Streetlight, the 2017 release which sees them paying tribute to early soul music. However, it’s hard to find too much fault in a set with so much heart.

Boyz II Men were the drawcard on the bill for me, so in a way it was a little bit of an anticlimax to see them first. But TLC certainly gave us a spectacular, with dancers and projections on the big screen. The remaining members, T-Boz and Chili, are also still at the top of their game. While their vocals have never been as stratospheric as Boyz II Men’s, they sounded tight. They’re also still a creative force; recent releases “Way Back” and “Haters” went down just as easily as any of the earlier material the crowd lapped up. I was moved to my feet along with everyone else when they busted out big guns like “Waterfalls” and “No Scrubs.” I might not have been in raptures over TLC, the way I was with Boyz II Men, but they certainly impressed me.

The ‘90s might be long gone, but it’s exciting that through gigs like this we can all go back for just a little while.

Boyz II Men and TLC play Rochford Wines in the Yarra Valley tonight.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Alanis Morissette @ ICC Theatre, Sydney – 24 January 2018

A couple of weeks have passed now and I’ve actually caught a couple of shows since, but I’m still feeling buoyed by the buzz that comes when you see one of those once-in-a-lifetime gigs. You know the ones, where you have such a heightened sense of anticipation, yet somehow the artist matches it and gives you everything you could have dreamed of. That’s how I feel about Alanis Morissette’s show at Sydney’s ICC Theatre last month.

Alanis is one of those special musicians I thought I’d never see. I was a teenager when she broke onto the music scene and her angsty, powerful songs struck such a chord with my moody self. I soaked up every album, coming to see her as a kind of wise sister who could help support me through all of those angsty things teens go through. I remember when she toured. I was making just a little bit of money working in retail and I wasn’t allowed to make the journey from Newcastle to Sydney anyway, so I had to let it go. Then she went off and got married and had babies, and I resigned myself to this feeling that I’d missed the boat.

I see so many concerts that most times I don’t get the butterflies. But they were certainly fluttering as I made my way to Sydney for this gig. While I was excited to see Alanis, I was also thrilled to catch Angie McMahon, who wowed me with her song “Slow Mover” a few months back. What a talent she is. The conditions were less than ideal, with people streaming into the venue and chattering amongst themselves. It’s hard to win people over with just an acoustic guitar and original songs. But I loved tuning in to her music. She’s a real talent.

While people chattered through Angie’s set, you could feel the reverence when Alanis took the stage. The applause was rapturous, quickly giving way to a hush. Every one of us just wanted to hang onto her every lyric, a task made so much easier with a stripped back acoustic set. Recognising she hasn’t seen us in an awfully long time, Alanis set about giving us a set that celebrated her career. Hit after hit came, all the songs we wanted to sing along to. For me the highlights came when she performed songs I didn’t quite expect like “Wake Up” and “Mary Jane.” Watching her perform “Everything,” a song that perhaps sums up myself and my relationship with my husband better than any other, saw me wiping back tears.

Alanis has such a beautiful aura about her. She’s gracious and humble, at ease with the crowd, incredibly funny and sweet, and so willing to share herself with her audience. Simply being in her presence for the night was so special.

It’s impossible for a performer as iconic as Alanis to do everything you want to hear. We all have songs that are special to us, the hidden tracks and album songs that never charted that we hold close to our heart. Some might say her set was safe, and in some ways perhaps it was, but I can’t fault Alanis for sticking to the songs we bought in droves. It’s the best way to make sure people go away happy. I for one left ICC Theatre grinning from ear to ear, content that this bucket list gig was everything I hoped for.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Beautiful @ Lyric Theatre, Sydney – 10 December 2017

I was seeing musicals before I ever saw a concert. The music of Carole King has been a constant comfort in my life. So when I heard of the musical Beautiful’s creation, I was so hopeful it would eventually land on Australian shores. My parents saw it on Broadway and raved about it, and that only heightened my anticipation. But could it possibly live up to all that hype. For me it’s an emphatic yes.

The performance of Esther Hannaford as Carole is the lynchpin of this performance and she excels. Carole has such a unique way about her and Esther captures her voice and mannerisms without ever becoming a caricature. She’s supported beautifully by other key players: Josh Piterman as the troubled, complex love of her life Gerry Goffin, Amy Lehpamer as her vivacious and loyal friend and fellow songwriter of note Cynthia Weil, and Mat Verevis as Cynthia’s own songwriting partner and beau Barry Mann. While this isn’t Weil and Mann’s musical, as a fan of their music I was excited to learn a little more about the lives of the creators. The chorus of minor players was also exceptional. They brought us The Drifters, The Shirelles, Little Eva, and the songwriters of Don Kirshner’s Dimension Records in a such superb voice and retro fashion.

The music of the era, especially the songs of Carole King, both on her own and with Gerry Goffin, are key to Beautiful’s success. But the story is no afterthought. It’s told with heartbreak and humour drawing the viewer in and helping them understand more about these songs that are such a part of the upbringing of many of us. The players weren’t there just because they could sing and dance well, but also because they could bring the right emotional note to that story. It was a curious decision to refer to a “Nick” who encouraged Carole as she broke away from Gerry and resolved to start a new musical journey in California, when it so easily could have been James Taylor. But this was really my only quibble as I watched Carole transition from teenage Carole Klein to the Grammy-Award winning Carole King playing Carnegie Hall.

Beautiful is at Sydney’s Lyric Theatre until February 4. It will then travel to Melbourne, Adelaide, and Brisbane.