Category: Concert Reviews

Posted on by Lauren Katulka

Disney Under the Stars @ Sydney Opera House Forecourt, Sydney – 27 February 2016

Like so many Australians, some of my earliest musical memories came from watching Disney movies. Songs like “We Are Siamese” and “Once Upon a Dream” became early favourites. My parents bought my sister and I the read-a-long books with cassettes, and while the stories were fun, it was always the bonus songs at the end that got us dancing. When music makes such an early impression on you, I don’t think it ever really leaves your heart. So when I heard of the Disney Under the Stars concert, I snapped up tickets.

I expected my husband and I would be one of the few childless couples. However, most of the people in our immediate area were in the same boat, adults unashamed of their passion for Disney. We discussed our favourite movies and characters until Chong Lim and his orchestra took to the stage and treated us to an instrumental medley of some of Disney’s most beloved songs, complete with an animated background of movie moments.

David Campbell, Ricki Lee, Lucy Durack, and Harrison Craig soon joined the musicians for “Part of Your World” from Aladdin. It was a wonderful start to a night that combined nostalgia, magic, and fun, all of the essential Disney elements.
There were so many highlights that took me back to some of my favourite film memories. Ricki Lee might have looked more like Ariel than Lucy Durack, but the blonde stage star carried off the animated mermaid’s signature song “Part of Your World” beautifully. Ricki Lee did her part playing the princess roles too, with superb solo performances of “Colours of the Wind” and “Let it Go.” I’d heard David Campbell sing “I Wanna Be Like You” from The Jungle Book at his shows before, but it lost nothing despite the familiarity. Speaking of David, his performance of one of the songs from The Hunchback of Notre Dame was one of the true showstoppers. I also loved seeing him pal around with Harrison Craig in “You’ve Got a Friend in Me.” A rambunctious group performance of “Supercalifragilisticexpialidocious” had everyone clapping and singing along. The good versus evil dichotomy of Lucy Durack and Ricki Lee’s performance of “Once Upon a Dream” was really inventive, although I can’t help thinking it was a little dark for those little girls dressed as princesses in the crowd.

It’s very hard on a night like this to please everybody. As an older concert goer, I could have done without the three (or was it four?) songs from Frozen played. While I enjoyed “Mother Knows Best” from Tangled and “Touch the Sky” from Brave, I could have easily given them up for a few older Disney tracks. I felt for the woman sitting in front of me who adored Cinderella, yet didn’t get to hear one song from this film. Some of my personal favourites, Dumbo and Robin Hood, were also neglected. But for the younger crowd, there’s never enough Frozen, and those new movies are the one they have fond childhood memories of. While big kids like me could have fun on a night like this, it’s perhaps more important the smallest members of the audience are not left feeling short-changed. Sometimes tells me it’s what Walt would have wanted.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Rob Thomas @ State Theatre, Sydney – 26 February 2016

When I was in my late teens and early 20s, one Matchbox Twenty or Rob Thomas show was never enough. I’d see multiple gigs, never wanting the tour to be over. They were so much fun, but the sets rarely changed from night to night. I’d get excited about the odd cover that was different and insist that was worth the price of admission alone.

So when I bought tickets for Rob Thomas’ State Theatre show, despite having plans to catch him at the Opera House Forecourt, I expected a similar scenario. What I got was two completely shows this tour, both wonderful in their own way. After the party atmosphere of the Opera House show, it was wonderful to have a quieter night and enjoy the intimate and personal vibe of the State Theatre show.

Rob downsized his band to a trio and delivered stripped back versions of songs, ensuring their lyrics came to the fore. It was so exciting to hear a new complexion to upbeat tracks I’d heard a couple of nights before like “This Is How a Heart Breaks” and “Lonely No More.” I also loved the chance to hear the songs that didn’t make Wednesday night’s performance. “Heaven Help Me” from The Great Unknown probably would have been lost in the electric set, but it was perfect for this more intimate evening. “Sunday Morning, New York Blue,” a track lifted not from an album but the Someday EP, was another welcome new addition.

But for a girl whose love for Rob’s music began with Matchbox Twenty, the number of tracks that came from his band was really exciting. Ordinarily Rob plays just a couple of Matchbox songs, preferring to stick to the solo material. However, the stars aligned on Friday night and we heard everything from hits like “Bright Lights,” “Disease,” and “Bent” to the moody “You Won’t Be Mine,” an album track from Mad Season.

Anyone who’s read this blog for a while knows I love an acoustic show. Jumping around and dancing to a band turned up to 11 is a blast, but it rarely moves me as much as sitting down listening to songs stripped back to their core. Add in personal stories about the origin of those songs and I’m sold. I’ve seen Rob Thomas perform many times, and I’m sure I’ll see him many more, but Friday night’s acoustic show is the one that will stand out from the rest. It was perfection.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Rob Thomas @ Sydney Opera House Forecourt, Sydney – 24 February 2016

It’s been six long years since Rob Thomas graced us with a solo tour. That time around he was promoting his sophomore solo album Cradlesong and the heavens opened up, making Hope Estate a soggy muddy mess. Yesterday couldn’t have been more different, a steamy summer’s day that made me worry about getting burned even with a wide-brimmed hat and healthy helping of 50+ sunscreen. Those weather extremes aren’t ideal for an outdoor show, but when I know Rob Thomas will soon be in front of me I’m always willing to grin and bear it.

But first I had to make it through Pete Murray. I don’t know what it is about Pete Murray. He’s a good-looking guy who sings folky acoustic guitar driven music. On paper, he’s exactly what I like. However, I’ve just never been able to engage with him. Probably those moments anticipating a performance from my very favourite singer in the world weren’t the ones I’d suddenly develop an appreciation for Pete. I will say that he performed very well. He joked about the men a little less reluctant to embrace his set, and encouraged them to sing along as well. He sounded just as he does on the radio and he has a really tight band. His lead guitarist was particularly impressive. He played all the hits, although hearing them one after another only reinforced my idea that his music is a little samey. I couldn’t fault what he did. It just still wasn’t for me.

Rob Thomas on the other hand …

I wondered whether in a week that was sadly shrouded in controversy I could expect the same energy and fun from Rob, but as he burst out with “Give Me the Meltdown,” a high-energy number from Cradlesong. It left no doubt that we were all there to have a good time, and that’s just what we did. In fact, I think I might have had the most fun I’ve ever had at a Rob Thomas show, and believe me there have been a few. Rob kept the energy up with “Fallin’ to Pieces,” “Lonely No More,” and “Her Diamonds.” I marvelled at the song choices, a wonderful mix of the numbers everyone knew and the tracks near and dear to the heart of the fans who buy the albums.

A stripped back, raw performance of “Ever the Same” had me choked up. It was as near to perfection as I think I’ve ever heard. “Pieces,” another ballad and one of the rare songs from the new album The Great Unknown to make the set, was so powerful. His lively cover of “Let’s Dance” was a fitting tribute to Bowie. “Streetcorner Symphony,” with its lyrics of being there for one another, sisters and brothers of every different colour, was the most delightful way of putting all of the media muckraking to rest.

Rob’s banter with the crowd might have got him in trouble last week, but he wasn’t about to stop giving of himself that way. I love that. For me it’s the stories that make a concert. Moments like hearing about the admiration he has for his wife’s strength, and how that inspired him to write the album’s title track, “The Great Unknown.” Moments like listening to him speak about living in the moment and appreciating the beauty in it, even if it’s something as seemingly insignificant as standing around while your dog defecates, made a song like “Little Wonders” resonate a little more deeply.

There’s a line in that song that says “I cannot forget the way I feel right now.” Standing there, watching my very favourite singer, a person who has such a special place in my heart, I thought about just how I felt, how wonderful that very moment was.

You know the best thing about it all though? For the last few tours I’ve scaled back my concert activities. When I was in my late teens and early 20s, I’d always see two or three shows on Rob’s solo or Matchbox Twenty tours. Then I got older and married and reasoned I needed to be responsible, that I had other priorities in my life. I was still committed to this notion until Rob announced a State Theatre show. The allure of seeing my favourite singer in such a small venue was so strong that I snapped up tickets.

So as I watched the show last night, there was none of that sadness I usually get, because this tour’s not over for me. Tomorrow night I get to do it all again, with Rob playing a more intimate, stripped back set, so he informed us. I am so thrilled that this concert high gets to last a little longer. Rob’s going to have to pull out something special to top last night’s gig, but I’m sure he’s up to the task.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Prince @ State Theatre, Sydney – 21 February 2016

I feel like I’ve been floating on a bit of a cloud since Sunday night. Not even a workload so heavy that I haven’t been able to write up a review until now has been able to penetrate my post-concert haze. That is the feeling you get when you leave one of the very best concerts you’ve ever seen. That’s how I feel after witnessing the first State Theatre show of Prince’s Piano and a Microphone tour.

In true rock star style, Prince had us waiting half an hour after the time the show was scheduled to start before gracing us with his presence. Despite sitting alone, a result of the very strict two-limit ticket that forced my party of three to split up, I didn’t feel lonely. I was surrounded by amazing people whose enthusiasm for the Purple One matched my own. As we recounted tales of tours past and watched the officious security guards enforcing the “no photos” rule, the time flew. Certainly all was forgiven by the time the words, “Dearly beloved, we are gathered here today to celebrate this thing we call life” echoed from the speakers. Prince stood dramatically in silhouette at the back of the stage, pausing for applause before taking his place at the piano and launching into “Let’s Go Crazy,” a rollicking good time which set the tone for the evening.

This was exactly the intimate show I was hoping for. With just his voice, a kaleidoscopic projection screen, and a piano with synchronised synth strings triggered by the keys to give some songs a little more depth, Prince put on a show that reinforced what a special artist he is. The set list spanned the breadth of his discography, from early 80s songs like “Controversy” to “RockNRoll LoveAffair” and “Black Muse,” two songs from his new album HitNRun Phase Two. Covers of “Stand!” from Sly and the Family Stone and “A Case of You” from Joni Mitchell paid tribute to his influences.

Prince has always been an enigmatic figure, but I felt the walls came down on this tour. His version of “Love Thy Will Be Done,” which he wrote for Martika, was truly breathtaking. “I Love U In Me” was just as sexy as we all hoped it would be. We squealed with delight as Prince invited a dancing female fan up on stage to groove by his piano during “Raspberry Beret.” He again called for dancing reinforcements during “Kiss,” when he spotted a young boy boogying with some of the fastest feet I’ve ever seen. I was sure he might trip over as he danced frenetically to the obvious amusement of the Purple One. He invited us to sing the backup parts for “Cream,” and admonished us playfully when we would sing off key or encroach on his parts, insisting we’d need to start that bit again.

After seeing Prince perform with a full band in 2012, it was so exciting to see him bring a different complexion to these songs. There was a wistfulness about “I Could Never Take the Place Of Your Man” that I’d never heard before. “How Come U Don’t Call Me Anymore” had a soul that had me stamping my feet in appreciation. I’ve always considering Prince one of the most underappreciated guitarists of our time, but he’s also breathtaking on the piano. I marvelled as “The Question of U” morphed into Beethoven’s “Fur Elise.” On his third and final encore, Prince treated us to “Purple Rain,” the perfect song to close out an incredible night.

I have never spent $400 on a concert ticket before and I listened to plenty of people who said I was mad to do it this time. But this show was worth every single cent. I expected something magical for the price, and Prince delivered in spades. I feel so blessed to have been in the audience of this very special show, one of the very best I have ever seen and am likely to see.

Image source: own photo

Posted on by Lauren Katulka

Reece Mastin @ Ettalong Diggers, Ettalong Beach – 10 January 2016

When Lizotte’s Kincumber closed its doors last year, I worried that it may spell the end of great live music on the Central Coast. Thankfully a couple of other venues have taken up the mantle. One of them is Ettalong Diggers, an RSL club conveniently located just down the road from me. Sure, the deep-friend lamb cutlets and chips weren’t a patch on anything Lizotte’s ever served, and the raffle for Dyson fans that accompanied it didn’t great quite the same ambience as the chilled-sounds piped through the Lizotte’s PA. But any venue that can attract big name acts like Reece Mastin has my vote.

I’ve been keen to see Reece live since he released Change Colours, one of my favourite albums of 2015. The allure of his acoustic Down to Earth shows proved difficult to resist, especially when located so close to home.

Reece was ably supported by Alys Ffion, a gorgeous young thing my husband described as a cross between Taylor Swift and Lisa Loeb. I can definitely see where he’s coming from. Her songwriting has that diary-confessional feel of early T-Swift material, but her voice has a little more earthiness and quirk, just like Lisa Loeb. It takes a lot for a solo support act to command a room with just an acoustic guitar by her side, but the crowd seemed to be hanging on her every word. I know we were. She treated us to a generous set of original songs, yet it was so good that it felt over far too soon. Thankfully she was back after the break, providing backup vocals and guitar parts during Reece’s set.

While I couldn’t take my eyes off Alys during her earlier performance, the charismatic Mr Mastin stole focus during his set. He has such a strong voice that reminds me a little of Jimmy Barnes; clearly the time they spent recording this album has been a good influence. There’s also something special about watching an artist who believes so strongly in the music they’re making. He gave it his all, and that passion he has shone through. He was so giving both in his performance and the moments between songs, when he shared tales of time in the studio and the stories behind the songs.

It was telling that despite releasing four top 20 singles from his first two albums, Reece played just two songs from these early days, “Shut Up and Kiss Me” and “Rock Star.” Instead he focused on the new album Change Colours, which suited me just fine. His performances of “For You,” “Stand Up Be Proud,” “Heartache Blues, and the raucous closer “You Gotta Go” were especially strong. Reece also hinted at what’s to come. I wish I recalled the name of a new song he played; it was stunning. He also covered “Muddy Water,” telling us that the music of the original artist Paul Rodgers and his band Free reflects the kind of music he wants to make. As a fan of Free (the only one in the audience apparently!), I was so excited to hear the cover and what an influence this sort of music is for him.

Reece Mastin might have started his career as a fairly lightweight pop act, but his music today has so much more weight. This Ettalong Beach show might have been my first Reece Mastin show, but given what I saw on Sunday night it certainly won’t be my last.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Peter Cetera @ State Theatre, Sydney – 11 December 2015

It’s a big call to name someone “the voice of a generation.” It’s the sort of thing you typically read on marketing posters, knowing it’s about selling tickets more than the truth. But if there is an artist that’s earned that mantle, I think it’s Peter Cetera. My dad, the source of almost all of my early music knowledge, didn’t own one of his albums, yet the distinctive sound of his voice is one that’s synonymous with my childhood. I was reminded of that as the Sydney Symphony Orchestra took the seated crowd at the State Theatre on Friday night through a medley of his hits before the man himself came out. Whether with Chicago or out on his own, Peter Cetera truly was a musical force in the ‘80s. He still occupies a very special place in my heart today.

When Peter stepped out, my excitement was at fever pitch, even though I didn’t know the song “Restless Heart” that he started with. It gave me a little time to calm down before he brought out the big gun, “Glory of Love.” I could scarcely believe three songs in I was going to hear that song, the song that my husband and I danced our “first dance” to at our wedding, but there it was. When your discography is as loaded as Peter Cetera’s, you don’t need to wait for an encore to play the hits. And they kept on coming, all with the expert backing of the Sydney Symphony making these special songs even richer.

It’d be remiss of me to suggest this was the perfect concert. At 71 years of age, Peter’s voice is starting to show some limitations. He can still hit the high notes he’s famous for, but he can’t sustain them as he once could. When he’s in his comfort zone, he sounds just as good as he ever did though. He also cleverly surrounds himself with talented young musicians who can now do what he once did. Whether he’s singing a duet like “After All” with his gorgeous young backup singer Tania Hancheroff or sharing vocals on a song like “Hard Habit to Break” with his guitarist Chris Rodriguez, he knows when he needs reinforcements to make the songs sound as they should.

Peter Cetera’s passion also impressed me. He’s probably sung these songs more times than he can remember, yet he seems to genuinely enjoy sharing them with an audience. He sang with such enthusiasm, truly giving us everything he had. He also took the time to share fascinating facts about the songs and himself with us. Did you know “Glory of Love” was originally written for Rocky 4? Or that he wrote “You’re the Inspiration” for Kenny Rogers, who lost a serious hit when he passed on the track? Neither did I, and as a music trivia buff I loved discovering this stuff.

With a back catalogue as rich as Peter Cetera’s, it may seem impossible to hear every song you want, but I did. Even songs that I hadn’t remembered he did, like “After All” with Cher, and “No Explanation” from Pretty Woman. As he took his final bow after two encores, I clapped until my hands were sore.

Image source: Wikimedia Commons

Posted on by Lauren Katulka

Sam Smith @ Qantas Credit Union Arena, Sydney – 4 December 2015

Like so many of the faithful fans who filed into Qantas Credit Union Arena on Friday night, it felt like this Sam Smith show had been a long time coming. He’d cancelled the last shows after he needed throat surgery, so expectations were high that when the dates finally came, they’d be something special. He did not disappoint.

I must admit, I was less enthusiastic about support act Emma Louise. I’ve heard several of her singles over the years, and they just didn’t grab me. I’m not sure what it is. Her voice is stunning, and she puts on a decent show, but I think the songs just miss the hooks I need to draw me in. Having said that though, I might have been in the minority. I’m not sure whether the general admission holders on the floor were just happy to have someone up on stage, or whether it was Emma Louise herself, but I can’t recall a lot of crowds responding so rapturously to the support act.

While I couldn’t quite get behind Emma Louise, Sam Smith had me from the get go with “Life Support.” His voice, stunning on the recordings, is every bit as strong in the flesh. But it’s his charisma that I wasn’t as aware of. He really has an energy that radiates. So often when you buy the cheap seats you lose that energy, but he captivated us all with that certain something. He’s also a really giving performer. I love an artist who wants to really share some of themselves with an audience, who tells stories about the songs and the circumstances that formed them.

With just one album, the award-winning In the Lonely Hour, under his belt, fans were treated to almost everything they wanted to hear. I must admit to feeling a twinge of disappointment that one of my personal favourites, “Good Thing,” didn’t make the set list, but it’s impossible to feel too put out when it’s the only song that wasn’t featured. A man’s got to get the red pen out somewhere, and I appreciated that he rewarded the dedication of the really serious fans with the Disclosure track “Together” and a track from the pre-album EP of the same name, “Nirvana.”

Sam Smith is a proper soul singer, so it felt so right to see him busting out a few covers, like the excellent medley of Amy Winehouse’s “Tears Dry on Their Own,” dedicated to the late soul singer, “Ain’t No Mountain High Enough,” and “Le Freak.” “Not in That Way” provided a natural segue for a little “Can’t Help Falling in Love,” and taking “Money on My Mind” into CeCe Peniston’s “Finally” was the perfect way to close the first act of the show. The encore of “Latch,” “Make it to Me,” and finally the breakthrough hit “Stay With Me” had everyone in raptures. Those covers weren’t just a way of padding out a set. They helped balance it, adding some brightness that helped even out the darkness of the album tracks and more closely reflected Sam’s current mood.

I couldn’t help but think of George Michael as I watched Sam Smith perform, looking so dapper in his suit, charming the audience, and singing like a dream. Singers of that ilk don’t come along every day, and I feel very lucky to have seen him now, before he’s selling out stadiums. With talent like his, that time isn’t too far off.

Image source: own photo

Posted on by Lauren Katulka

Cats @ Capitol Theatre, Sydney – 21 November 2015

Years before I saw my first rock concert, I got my first taste of live music at the theatre with Andrew Lloyd Webber’s smash hit musical Cats. Decades later I was thrilled to experience it all again.
Although I must admit I had my reservations. Or my reservation: Delta Goodrem. I’m such a fan of the Australian singer, and I think she’s a wonderful singer. But on paper she seemed woefully miscast as the aging, once beautiful cat Grizabella.

I forgot about those misgivings as the orchestra and colorful lights filled the theatre. As the cats leapt about the stage in the opening number, I was taken back to my youth. However, sadly my wonder with the musical didn’t last too long.

We all have a favourite cat, and for me it’s Rum Tum Tugger. However, where in the 80s he was a super cool rockstar of a cat, in the new production he’s a braided rapping thug wearing gold chains and bad pants. Rather than oozing the charisma I associated with the character, he seemed like he was trying hard to impress. I guess the creators of the new production tried to update things for a modern audience, but they missed the mark completely for me and my family.

While I’m griping, I didn’t feel there was the same attention to detail as there was in the earlier production. Back then, I felt the characters really were catlike in their movements and expressions. However, in the new production it was all too easy to remember these actors were simply posing as cats. I’d assume my advanced years were to blame for this perception – everything is more wondrous through the eyes of a child after all – but my mum felt the same way.

Despite my misgivings, Delta was one of the real highlights of our afternoon at Cats. I expected her to sing well, but I didn’t expect her performance to resonate with me on such an emotional level. I was choked up by her performance of “Memory,” and a few members of my family actually shed a few tears. For a person making their theatrical debut to move an audience so well is to be commended.

Gus the Theatre Cat also moved me, and Skimbleshanks the Railway Cat was so much fun. Mr Mistoffelees, another childhood favourite, had even more magic than he did back in the 80s. The special effects really took this part of the show to the next level, and his dancing rose to match it. But again, I really could have done without Rum Tum Tugger rapping over the song towards the end.

Perhaps it’s unfair to compare a modern production with one I saw back in the 80s, when everything about the theatre was so new and wondrous to me. However, those comparisons are unavoidable. I didn’t love this new version of Cats as I did the one I saw all the years ago, but I was moved by it and I left the theatre with a big smile on my face. That got even wider when I heard my seven-year-old niece talk so excitedly about it, her first theatre production. Really, you can’t ask for more than that.

Posted on by Lauren Katulka

Screaming Jets @ The Entrance Leagues Club, Bateau Bay – 7 November 2015

As a girl growing up in Newcastle, the Screaming Jets are an integral part of my music DNA. An underage show at the Cambridge was one of my earliest concert experiences without my parents, and like so many Novacastrians, I’ll never forget the show after the ticker-tape parade celebrating the Knights’ first grand final victory. I must have seen more than 20 Screaming Jets shows at pubs and clubs in my late teens and early 20s, so I was pretty excited to break the drought with a show at The Entrance Leagues on Saturday night.

Despite living on the Coast for the last decade, I’d never actually been to The Entrance Leagues for a gig. The venue was one of those ones that took me back to the early 90s though. There were no frills about it, and the wind was blowing just the right way from the beer garden to add the smoky ambience ‘90s shows always had. We had to stand, something I haven’t done at a gig in years, but I couldn’t imagine watching a show like this sitting down.

Local band The Radics kicked off the night with a fun set that set the evening’s tone. I heard a lot of ‘90s influences in their music, a little Matchbox Twenty, a little Third Eye Blind, a little Goo Goo Dolls. Their brand of pleasing pop-rock with a little bit of edge went down a treat with me, largely due to the charisma of frontman Blake Wares. An energetic cover of INXS’ “New Sensation” and an epic take on “Another Brick in the Wall (Part 2)” won over the crowd.

After The Radics it was time for Massive to take the stage. These guys seemed like they’d stepped right out of the 80s, with big hair and big, ballsy rock music. It was turned up to 11 from start to finish, and the crowd responded enthusiastically. Personally I thought they were a little too much, but my husband rushed to merch stand to pick up their CD after the set. I will concede that they were the perfect warm-up for the Jets though.

With the audience feeling amped up, the Screaming Jets were always going to have an easy job. This crowd was ready to rock, and this classic Aussie act obliged. Before I get into the nitty gritty, I’d be remiss if I didn’t comment on the poor sound quality on the night. I’d been slightly put off during the support acts, but figured it might right itself when the main act rolled around. A band like the Screaming Jets really needs good sound. There’s a place for fuzz and distortion in the rock and roll world, but take it too far and it becomes painful to hear. It was a good thing I knew all the words to many of these songs, because otherwise I would have had no idea what Dave Gleeson was singing.

The Jets delivered though, despite bearing little resemblance to the band I saw decades ago. Dave Gleeson out front and bassist Paul Woseen were the only ones I remembered. However, the new guns have been schooled in these songs and, sound issues aside, the band rocked just as hard as they did all those years ago. Dave Gleeson is still one of the most exciting performers I’ve ever seen on a stage. While I enjoyed him fronting The Angels, hearing him sing these songs feels right. Age has not wearied any of these guys, and hearing them play songs like “Healing Hand,” “C’mon,” and the always explosive “Better” took me back to my youth.

Things weren’t quite the same as they were in the ‘90s though. Trying to look around people’s smartphones as they snapped photos of the show got old really fast. Back in the day we were far too caught up in the music to do that. Back in the day, I was also proud of typically being the only girl in the centre of a very raucous front row. The crowd were still enthusiastic, but they didn’t go nearly as hard as they did all those years ago. I’ve mellowed with them though. I never would have dreamed of being a few feet back from the stage in the 90s. And when my husband alerted me to the time, during the encore, I never would have agreed that it was getting late and left just before the end. Perhaps if the sound quality was better I would have put up more of a fight, but I was happy to hear some of “Rocking in the Free World” in the foyer while my husband collected his umbrella. I insisted I’d keep my husband company on the way home, but I think I was snoozing before we made it out of the car park.

I certainly don’t have the staying power that I once did, but thankfully the Screaming Jets do. I shouldn’t leave it so long before I catch them again, but I’ll be praying for a better sound tech next time we cross paths.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Jazz in the Vines @ Tyrell’s Vineyard, Pokolbin – 31 October 2015

With a new concert looming tomorrow, I figured it was about time that I sat down to write about this year’s Jazz in the Vines. After missing last year’s event because my usual Jazz companions (the parents) were gallivanting around the world, I was determined to not miss this year’s. Not even the grey skies and threat of rain could dampen my enthusiasm.

With my parents doing more world travelling, I lost my regular ride. Thankfully Rover’s Coaches were there to oblige. I can’t recommend them enough. We travelled to the vineyards in such comfort that my husband slept the majority of the way.

The Wobbly Boot Jazz Band provided the perfect soundtrack for us to track down my high school friend and acquaint ourselves with the venue. These guys are Jazz stalwarts, always consistent in the old-school jazz they deliver. They’re a reminder of where the festival began, before it started genre hopping.

One thing I noticed as I browsed the stalls was the lack of wine options. I’m not sure if this was new this year or the last, but last time I attended Jazz in the Vines we had major winemakers like Peterson’s Champagne House and Tamburlaine Organic Wines represented. I can’t blame Tyrell’s for wanting the monopoly, given that Jazz is held on its land, but it was a little disappointing to have our options narrowed. I will concede though that the Tyrell’s wine was delicious. I don’t normally drink their stuff, but I sampled the semillon, the bubbles, and a white blend called Part & Parcel and they were all heavenly. The lines also didn’t seem to get as long as I thought they might, although if Jazz was held on a beautiful sunny say I can see that becoming an issue.

As we settled in for the day organisers informed us that sadly next year’s would be the last ever Jazz in the Vines. It promises to go out with a bang, but I really wish it didn’t have to go out at all. It’s the only festival I bother with these days. There’s always something wonderful on the bill, and the relaxed atmosphere just can’t be beat. I’m really going to miss it.

So there was a tinge of sadness as we settled in to watch the Royal Australian Navy Band. These guys are always so tight, performing a set mostly made up of standards with military precision. Unexpected covers of “Supercalifragilisticexpialidocious” and “I Want to Be Like You” from The Jungle Book added real colour to their performance.

Bruce Mathiske is such an accomplished guitarist that it’s impossible not to be impressed by what he does. When he brought George Golla on to the stage with him, we knew we were in the presence of greatness. However, three acts in I was kind of waiting for a break from the mellow. Or perhaps the rain that had started to come down was souring my mood. Either way, things were lovely but I was waiting for them to kick up a notch.

It seems I was waiting for Steve Clisby. Funnily enough, I was one of the only Aussies who wasn’t besotted with him on The Voice. I thought he played a little too safe, and I could see some limitations to his vocals. But when I saw him live, I wasn’t worried about any of that stuff. There’s this easy way about his performance style that wins a crowd over from the get go. Perhaps it also helped that here he was singing the songs he wanted to sing, rather than those given to him by the network. Although he did acknowledge his Voice past with his now famous cover of “Walking in Memphis.” I didn’t expect to enjoy Steve Clisby as much as I did, but after some fairly sleepy acts I was really impressed.

It wouldn’t feel like Jazz in the Vines without James Morrison, and once again he didn’t disappoint us. This time around he seemed to take a back seat though, giving his young singers an opportunity to shine. There weren’t the big trumpet solos I was used to. He even spent a little time on keys. Rather than attempting to be the star, he sang the praises of his vocalists. I was thrilled to see former Australian Idol contestant Roxane LeBrasse back with him, as she was a few years ago. The Voice alum Glenn Cunningham was there too, proving he’s well and truly moved on from being Delta Goodrem’s back-up singer. He was so much stronger than I remember him on the show, whether because he’s got more experience as a frontman under his belt or he’s now singing songs that he believes in a little more. I hadn’t heard of Evelyn Duprai but she was also phenomenal. I’ve seen James Morrison in the spotlight, so I really enjoyed watching him as part of one of the best soul ensembles I’ve seen.

Ross Wilson was the act I really wanted to see, and he put on the performance of the day. He drew from his entire back catalogue, helping the crowd forget about that relentless rain with classics like “Come Said the Boy,” “Come Back Again,” and my personal favourite “Cool World.” He has such charisma to match those amazing songs. By the time he brought out “Eagle Rock,” the whole crowd was singing along enthusiastically.

Honestly, it’s a shame that Ross Wilson didn’t end the show. We heard some time earlier that Angry Anderson, who was scheduled to front closing act John Morrison’s Heavy Metal Jazz Orchestra, had come off his bike and wouldn’t make it to the show. Sadly without Angry, this act seemed really just like your average jazz band. That’s fine at the start of the day, but a little lacklustre at the end when we’re all ready to party. I really hoped there’d be some edge, some jazzy covers of heavy metal hits perhaps, but I was bored. If I were the organisers, I would have rejigged the bill so this technically fantastic but ultimately uninspiring act wasn’t our final taste of Jazz in the Vines 2015.

As we packed up and headed for the gates I was stopped with my mostly full bottle of wine and told to surrender it. Given how frustrated I was, I figured I’d sound off about that here too. In hindsight I probably should have hidden it away in my bag and tried to sneak through, but I hadn’t really thought it would be an issue. I think this sort of policy simply encourages people to down the bottles of wine they have to ensure their money isn’t wasted. I was getting on a bus, but I could have just as easily been getting behind the wheel. Surely it’s more responsible to let people take their wine with them to consume it later, rather than guzzling it at the gate. I know rules are rules, but I’m not sure this policy is the best thought out.

This year’s Jazz in the Vines wasn’t perfect, but even a less than perfect day at Jazz is better than a day at most festivals. I’ll be back in 2016 with bells on, keen to help this beloved Hunter event go out with a bang.