Category: Concert Reviews

Posted on by Lauren Katulka

’80s Mania @ West Leagues, Newcastle – 20 September 2015

I’ve been meaning to write this article for the last few days, but somehow the time slipped away and it was dinner before I knew it. So I’m trying a different strategy today and writing it first. Paid work can wait. On Sunday night I headed to my old stomping ground of Newcastle to catch the ‘80s Mania show.

If you missed the memo, ‘80s Mania has seen Cutting Crew, Paul Young, Nik Kershaw, and Go West winding their around Aussie RSLs and delighting those of us who refuse to let go of one of music’s most entertaining decades. Now when I say we had Cutting Crew and Go West I use the term a little loosely. There were just a couple of members of these British acts, but the main talent was still with us and a super-tight band of young things helped make up the numbers. I’m not sure where they found these guys, but they did a wonderful job of slotting in with whichever act they accompanied at the time.

Cutting Crew kicked off the night with an explosive set. Nick Van Eede is a proper ‘80s star, with vintage moves like the one where you go down to your knees when you’re overcome with emotion and the one where you point out to the audience, convincing the girls that you’re singing right to them. It was as cheesy as it sounded, but it was so easy to get swept up in it. I don’t remember people waxing lyrical about guitarist Gareth Moulton in the ‘80s, but he blew me away. A song called “Till the Money Run$ Out” from a brand new album let us all know that Cutting Crew are more than just a nostalgia act. “(I Just) Died in Your Arms Tonight” was the song we all came to hear, and it delivered. A cover of REM’s “The One I Love” was an unexpected but incredible closer.

Paul Young followed, and after seeing him with Tony Hadley at the same venue a few years ago my expectations were low. I was glad of this, because it saved me being disappointed. Don’t get me wrong. Paul Young has so much charm. His songs, including “Every Time You Go Away” and “Love of the Common People,” were probably the strongest of the night. I knew every one, and sang along enthusiastically, both because I love them and because Paul just can’t cut it vocally any more. His voice lacks the range it used to have, and even the notes he can reach don’t sound nearly as strong as they did decades ago. On a night of such incredible acts, his failings really showed.

For the final portion of the night Nik Kershaw joined forces with Go West. A cover of “Everybody Wants to Rule the World” opened a set which was a real mixed bag. They tended to play a cover together, then one act would go off to rest while the other treated us to their originals, before teaming up for another joint number. I was only born in 1980 so I didn’t know all of the songs, but they were performed so well that it didn’t matter. I’d actually seen Go West a few years back (also with Tony Hadley, because where he goes I follow), and they were every bit as good as I remember. The big hits “We Close Our Eyes” and “King of Wishful Thinking” were so much fun, but anything sounds good when Peter Cox is singing it. Nik Kershaw surprised me in the best possible way. I’d forgotten how much I love “The Riddle,” and “Wouldn’t It Be Good” took me right back to my childhood. “Sex On Fire” was an unlikely closer for these two ‘80s acts, but it was so much fun I don’t think anyone minded that it was a few decades after the shows themes.

According to Facebook, the organisers are already hard at work on ‘80s Mania 2016. After all the fun of this year’s event, I’ll be there with bells on.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Richard Clapton @ Laycock Street Theatre, Wyoming – 13 September 2015

When Lizotte’s at Kincumber closed its doors, I started to worry that the Central Coast might start missing out on shows. The older I get, the lazier I get, and the more it takes to compel me to head to Sydney or Newcastle for a show. However, it seems that the loss of Lizotte’s has been Laycock Street Theatre’s gain. This small theatre in Wyoming has been hosting some of Australia’s best talents over the recent months, yet a lack of promotion means I’m usually the last to know. I actually stumbled across the news that Richard Clapton was heading our way just a couple of weeks ago.

Richard’s always been one of my favourite performers, so I couldn’t resist checking his Lonesome Voyager tour. It was billed as an opportunity to see Richard up close and personal, to hear the songs that made him a legend and the stories behind them. Honestly on that score I was a little disappointed. It seems Richard’s heyday passed in a heady blur, so he’s a little vague on the details of many of the songs’ origins. However, there was probably drugs or alcohol or both involved in their inception. The stories he recounted were cheeky and hilarious, but I didn’t quite get the insight into the music I was looking for.

What I did relish was the chance to see Richard Clapton and his guitarist pal playing acoustically. I’ve seen Richard perform more times than I can count on my fingers, but this was my first opportunity to hear him without a full band, back-up singers, and the like. With just an acoustic guitar or two depending on the song, beautiful numbers like “Best Years of Our Lives,” “Blue Bay Blues,” and the final encore, “Goodbye Tiger” were shown in all their glory. There were no real surprises in the set. I’ve seen him play virtually the same songs most times I’ve seen him. He’s one of those artists who knows what his fans want and delivers it. However, while I’d heard these songs so many times before, the acoustic treatment helped me appreciate them in a new way.

With the show starting at 7 pm and no support act, we were all done and dusted by a little after 8:30 pm. I must admit, it felt weird to go home and have time to watch The X Factor before bed, but it was also kind of nice. What a thrill to have such a musical legend play so close to home, then send us on our way before we started to get drowsy. Hopefully there are more of these “old people gigs,” as my husband put it, at Laycock to come.

Image source: Richard Clapton’s Facebook page

Posted on by Lauren Katulka

Joshua Radin @ Metro Theatre, Sydney – 10 September 2015

Last Thursday I went to those concerts that put me on a real high. I’ll be honest with you and admit that I’m still on that high so many days later. I don’t think I’ll ever be able to write about this evening impartially, but I might just have calmed down enough to come off as more of a music blogger and less of a teenage girl. I might be in my mid-thirties, but that part of me is always going to come out when I see Joshua Radin, especially when I do it VIP.

When Joshua announced he would offer VIP tickets for his latest Australian tour, the first in more than four years, I jumped at them. I couldn’t wait to meet this singer-songwriter that I’ve admired for his entire career, but I wasn’t quite prepared for how special the experience would be. Around 30 die-hard fans were ushered into the Metro at a little after five to see Joshua standing on stage, playing one of my favourite songs “Closer,” from the first album. Joshua told us that he wanted to treat us to stuff we wouldn’t hear at the main show, which I really appreciated. The six-song soundcheck was more than generous. “Vegetable Car,” my husband’s favourite song which Joshua pulled out on the request of another fan despite being unsure whether he could remember the lyrics, was another highlight. It was also thrilling to hear a couple of brand new, unrecorded songs. I didn’t take any photos; it was one of those times where you just want to soak things in and have them just for you.

We were told we could get three pieces of merchandise signed, which equated to six for me because I brought my husband along. However, Joshua was actually happy to sign whatever we had, so those posters we were handed as we walked in also earned his signature. He took his time chatting to everyone individually, really paying attention to what we were saying and engaging us all. We never felt rushed, and we all felt special. I was so glad to be able to tell him what his album Wax Wings meant to me, and tickled pink when he complimented me on my skirt.

After the meet and greet we were shown a special VIP section of the Metro where we could sit for the evening. The plush seats and excellent view from those seats added further value to those VIP tickets, as did the company. I swear I’ve never been to a show with such wonderful people. We chatted with such interesting folks, not just about Joshua about our careers and families and other music we loved. They definitely made the time between acts feel much shorter.

Tara Favell was the first of those acts, a sweet young country-pop singer with a sparkly guitar. Her original songs reminded me a little of early Taylor Swift, and I felt for her when I spotted people near the front playing on their phones. Note to music lovers: if you want to stand near a stage, maybe give the artists the respect to at least appear to be paying attention. Her cover versions of “Thinking About Loud” and “I’m Yours” engaged the crowd a little more, but sadly their minds seemed to be elsewhere.

David Lazarus had an easier time of things. Frankly he was a gorgeous man, and that always helps at a show when most of the crowd are female. But his stories about the love he has for his sisters had every girl in the place swooning. He had a great rich tone, and serious guitar chops. His closing medley of popular songs old and new had everyone cheering. I became an instant fan, and plan on checking out more of his music.

But Joshua Radin was the man we all came to see. Despite being here to promote his album Onward and Sideways, his set took on a journey through his entire catalogue. In fact if anything it was heaviest on his debut album, after fans at the soundcheck told him they’d love to hear the early material. I sat in raptures, hanging onto his every word as he explained the circumstances behind the songs and listening to them with new understanding. After a backing band that felt too big for his songs last tour, it was refreshing to see him playing with just two other musicians. They gave the music the right amount of intimacy. My favourite Joshua Radin song “You’ve Got Growing Up To Do” was a real highlight, but “Winter,” “Only You,” and the jubilant” Belong” was also really special. Hell, the whole concert was special. His cover of “Don’t Think Twice It’s Alright,” the first song he learned to play on a guitar, capped things off beautifully.

I left the Metro bouncing off the walls and I still feel those same butterflies as I write about that night. Joshua assured us he’ll return sooner next time, and I can only hope he keeps his word. Because personally, I’m ready to see the show again.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Les Miserables @ Capitol Theatre, 23 August 2015

Most of my concert reviews are about the performances of singers or bands. But after heading to Sydney to catch a performance of Les Miserables last weekend, I figured it was only right that I made time for a different kind of music review.

Ordinarily when I see a show I’m keen as mustard and my husband’s the slightly reluctant companion. It’s not that he doesn’t like music, but he’d generally rather have a night in with the stereo than see an artist in the flesh. However, when we learned Les Mis was coming to town, it was him who dragged me along. I’d seen the movie, again at his insistence, but it’s never been a musical that’s particularly resonated with me. But I couldn’t fail to be impressed with this latest production.

Where the most recent film adaptation was filled with big stars, the current Australian production has people who largely unknown outside the theatre world. The only name I recognised was the splendid Trevor Ashley playing Thénardier, and it took me some time to make the connection as I’m so used to seeing him in drag! Personally I think the lack of big names is a good thing for a couple of reasons. Firstly, it stops you getting pulled out of the story. These people can truly inhabit these characters because you’re never thinking about them being anywhere else. Also, clearly the creators were casting for talent over big names. I’m sure the creators of the Hollywood film could have found a stronger Javert, for example, but he likely wouldn’t have had the profile of Russell Crowe to get bums on seats.

The cast of this musical are stellar. I was floored by Simon Gleeson as Jean Valjean, who in my opinion might have done better than Hugh Jackman’s Oscar winning performance. Hayden Tee as Javert was every bit his equal. Kerrie Anne Greenland’s turn as Eponine was a much smaller role, but her performance of “On My Own” brought tears to my eyes. I can’t be sure which of the little boys played Gavroche when I saw it, but he was born to play that role. What a natural! It’s such a shame this production decided to omit “Little People”! It would had added even more poignancy to his untimely death.

The incredible cast were supported by a really beautiful set with excellent lighting effects that really brought the play to life. I wondered whether it would lose something for me being on the stage, without Hollywood special effects and that big budget, but it was so cleverly done. Javert’s death in particular was incredibly realistic.

I might not be as big a Les Mis fan as my husband, but I challenge anyone to be unmoved when the chorus of voices join in songs like “One More Day” and “Can You Hear the People Sing?” The current production of Les Miserables is a master stroke, and I’m so glad I was dragged along. If you’re living in Sydney and you’ve been considering going, don’t hesitate. You won’t be disappointed.

Posted on by Lauren Katulka

Jack Carty & Jordan Millar @ Venue 505, Sydney – 8 August 2015

The closure of Lizotte’s at Kincumber hit me hard. That venue spoiled me, got me used to seeing intimate shows and enjoying great food and wines while artists played. So I was thrilled to discover a similar vibe at Venue 505 in Surry Hills on Saturday night.

It wasn’t quite up to the standard of my beloved Lizotte’s, but this small room with comfy couches and tables for dining has real promise. It’s more about bar food than three-course menus, and my steak was rarer than I asked for. But the wine list was inspired and reasonably priced, especially by Sydney standards. You can’t book tables either, although arriving at 6 when doors opened there was no chance of missing out on a great spot.

As I get older it takes something special to lure me into the city. But I couldn’t resist the promise of Jack Carty and Jordan Millar playing “intimate and by request.” Jordan Millar’s album Cold Lights on Curious Minds was one of my favourite albums of 2013, and I loved Jack Carty’s set warming up for Josh Pyke last year. Having said that, I wouldn’t consider myself particularly familiar with their music. I’ve loved what I heard, but I certainly wasn’t hankering to hear particular tunes like the folks eager to write their favourite songs down and put them in the request box by the stage.

The thing is though, at a gig like this you don’t need to know the songs. It’s not like going to see some band they play on classic rock stations where everyone sings along. Especially in an intimate setting like Venue 505, these songs should be listened to, their lyrics heard. Jordan Miller was up first. I haven’t listened to his album in a while, but his set was a powerful reminder that I need to dig it out. There were a few songs I remembered from that recording, like “Rain on the Ground” and some new favourites to discover like “Advice from Beyonce.”

All of the Jack Carty songs I heard were new to me, but that was exciting. Really a show like this is the perfect introduction to musicians, because you’re going to hear a set that’s made up of the songs that fans love. I adored the solo sets both artists delivered, but true magic was made when Jordan joined Jack for the final tracks of the night. How wonderful to experience two such talented singer-songwriters, stripped back with just acoustic guitars, singing such beautiful songs.

And how wonderful to do it at such a great venue. It takes a lot to lure me to Sydney these days, but this show was well worth braving the cold of winter.

Image source: own photo

Posted on by Lauren Katulka

Mark Seymour @ Lizotte’s Kincumber, 18 April 2015

This review is well overdue. I’ve been hit with my fair share of illness over the last few weeks, so getting myself to a computer, let alone forming coherent thoughts about gigs past, was an ask. However, I’m drugged up enough on a chemical cocktail to keep the symptoms of my middle ear infection at bay so it’s time to put fingers to keyboard.

I really wish I wasn’t sick on April 18. I was so psyched for my final gig at Lizotte’s Kincumber, but with a nasty cold taking over my body getting myself there was a slog. Thank god for kind trivia buddies who assumed the driving duties.

It might have been the illness that left me a little underwhelmed by support act Glenn Watson. He was a cutie and he had a guitar, which were two ticks against his name, but something about his music just didn’t rev me. There was the occasional track that I enjoyed, but his set didn’t quite get out of second gear for me, or for the crowd who kept their conversations buzzing throughout his performance. Perhaps if he played more of the covers he promised (at the end we just heard a little of Coldplay’s “Fix You” during one of his originals) maybe he would have brought us back.

I was a bit worried that even Mark Seymour couldn’t rouse me out of my illness funk, but I needn’t have been concerned. That man has such gravitas. He really was the perfect artist to see for my last show at the Cubby House. He played acoustic with a buddy whose name escapes me, which is a shame because their harmonies were sublime. The set was punctuated with Hunters & Collectors classics, but there were plenty of solo songs that I was less familiar with. Lizotte’s is the sort of place to hear that type of music. It’s a small venue, a quiet venue, the kind of place that draws you in and encourages you to listen to the lyrics. God they were good. I appreciated that just as much as singing along to the biggies like “Throw Your Arms Around Me” and “Holy Grail.”

I really wish I could have been in better spirits for my last Lizotte’s show. I am going to miss that venue like no other. Thank god Lizotte’s Newcastle is a relatively short drive down the freeway, because New South Wales needs places like this where you can really hear artists and enjoy some of the best food and wine around. Lizotte’s Kincumber might be gone, but Coasties must remember that Lizotte’s in Newcastle lives on.

Image source: Stephen Katulka

Posted on by Lauren Katulka

The Eagles @ Qantas Credit Union Arena, Sydney – 2 March 2015

As The Eagles get ready to kick off their New Zealand shows, I figured it was high time that I found a moment to look back at their Sydney gig last Monday. Before I started to write I thought I should look back on the review I wrote of their 2010 gig. I remarked on some of the same things I found myself marvelling at four years later: the effortless harmonies, the timeless quality of the songs, and the way that age has not wearied these talented musicians.

You might expect that without a new studio album release since 2007, the show would be pretty much the same as it was years ago. However, the History of the Eagles moniker gave it a new complexion which I really loved. I’ve always believed that the real beauty of a live show is the opportunity to learn more about the songs and to hear the stories of the artist. If I just wanted to hear the songs, I’d stay home and listen to a CD. While some hecklers didn’t seem to warm to The Eagles’ ruminations, I lapped up every minute of the coolest history lesson of my life. The show started out with just Glenn Frey and Don Henley, the way the band began, playing “Saturday Night” on acoustic guitars. This was just one of the lesser known tracks that made sense in this concert format.

Before long Glenn and Don were joined by founding member Bernie Leadon (who wasn’t present last tour), Timothy B. Schmidt, and Joe Walsh. The simple acoustic numbers gradually gave way to stirring electric full band performances, and songs from the vault gave way to radio staples. I was raised on The Eagles, so I knew most of the songs and was thrilled to hear the ones I never expected. “Doolin’-Dalton” and the reprise of “Desperado” were great surprises, although that’s to take nothing away from the songs I’d suspected would make the list. The Eagles have so many songs that you can never take anything for granted after all. “Already Gone” had me punching my fists in the air, Timothy B. Schmidt’s vocals in “I Can’t Tell You Why” blew me away all over again, and “Life in the Fast Lane” really rocked.

I did miss the solo Henley and Frey songs we were treated to last time, but when a band of 60-year-olds play until 11:30 it’s hard to be too critical. The decision to keep Joe Walsh’s solo shining moment, “Rocky Mountain Way,” in the second encore was enough to make amends. I couldn’t help but rise to my feet in appreciation when they closed with “Desperado.”

I loved the Eagles last time, but in sharing their history the Eagles created a show that was even more appealing this time around. I have no idea how long guys in their mid-60s can keep on doing this, but I’ll keep on fronting up so long as they do!

Image source: Wikimedia

Posted on by Lauren Katulka

Uncle Jed @ Lizotte’s, Kincumber – 15 February 2015

As I sat in Lizotte’s Kincumber on Sunday night, I couldn’t help but do it with a twinge of sadness. It was the second-last show I had booked before the venue’s closing. I thought about that as I ordered the tempura prawns and herby battered fish and chips, two of my favourite items from Lizotte’s ever-changing menu. I poured over the wine list and figured it was time to try the Lizotte’s label sav blanc, knowing that I’d soon to have to drive to Newcastle for a glass. I thought about it as I watched the bands play intimate music so close to me, so easy to hear in this crowd of music lovers. The Central Coast is very lucky to have this venue which always makes a concert just that little bit better.

After all, I have only a vague recollection of Michael Duchesne’s time on The Voice, yet as he graced the Lizotte’s stage I was captivated from the first note. I think a venue like Lizotte’s encourages you to listen to lyrics and subtle nuances. Small songs work well here as opposed to network TV, and that’s where Michael excels. I could have listened to his voice all night, its warm richness and its raspy breaks. His originals were so impressive and his covers of songs by Bread and the Doobie Brothers were inspired. Needless to say, I left with his EP.

I was there to see another TV show success, Uncle Jed. I’ve actually never watched a full episode of Australia’s Got Talent, but they captivated me on the ads so I’d religiously get on YouTube and see what they were doing. They were one of those bands that I always meant to see, but hearing they were wrapping up Uncle Jed to launch another musical project gave me the impetus I needed. Again, Uncle Jed is a band that really deserves a space like Lizotte’s. Their songs are intimate and personal. They draw you in with lyrics that perfectly match their sublime harmonies. I knew I’d enjoy the songs they did on AGT like “Brother” and “Give Me Love,” but covers I hadn’t heard like “Latch” and “Everybody Here Wants You” were revelations. New songs from their next band Luna Grand ensure that this isn’t the last we’ll see of this talented act.

I wondered as I left where bands like this will play on the Coast when Lizotte’s Kincumber closes its doors. It’d be a shame to put them into pubs with inattentive patrons and poker machines. Perhaps bands will just start bypassing my local area and only playing Newcastle and Sydney. Whatever happens, I’m just glad I could see artists of this calibre playing at Lizotte’s Kincumber one last time.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Anthony Callea @ Taronga Zoo, Sydney – 14 February 2015

I’ve always thought Anthony Callea was talented, but it took him covering the music of George Michael to turn me from casual admirer to a concert goer. The scheduling of his Twilight at Taronga concert on Valentine’s Day also didn’t hurt. The zoo’s one of my favourite places in the whole world, so the idea of spending the most romantic day of the year there, capped off by a concert was irresistible.

Sadly the weather gods didn’t realise just what a perfect evening it was supposed to be. My husband and I were soggy in ponchos, umbrellas overhead as we waited on the zoo’s concert lawns. Support act Caterina Torres provided a pleasant enough distraction from the gloomy weather. She’s got a lovely voice, but this Voice graduate never really wowed me. Her originals showed some real promise, and I appreciated her decision to play with only the accompaniment of a bandmate on acoustic guitar. However, her predictable covers of top 40 hits were a bit bland. I suppose you’ve got to appeal to the masses at this sort of show, but it all never got to the next gear for me.

It was almost as if the weather gods understood that Anthony Callea was the main event and that we should be focusing on him rather than the rain when he took the stage. We were treated with clear skies for his set chockfull of George Michael hits. I had a ball when I went and saw George a few years back, and I wondered whether Anthony could do the songs justice. I knew he had the voice for them, but I had a question mark over the charisma. However, he charmed the pants off me. His connection to these songs is evident, so you feel them just as deeply as you did when George sang them originally.

I felt a serious bout of déjà vu swooning over yet another gay man singing sexy songs like “Father Figure” and “Fastlove.” His version of “Kissing a Fool” could have stood to have been slowed down a little to capture the jazzy lounge feel of the original, but with just an hour and a quarter on the clock I guess sacrifices need to be made. Backing vocalist Susie Ahern was more than capable of taking over Mary J. Blige’s vocals for “As,” but again I was a little less enthusiastic about Caterina’s role in “I Knew You Were Waiting For Me.” Aretha Franklin’s soul shoes are big, but this version wasn’t a patch on the one Anthony laid down with Casey Donovan on the album.

Given the time restraints on a zoo concert, I wasn’t sure that we’d get an encore. But what an encore. The moment I heard the first strains of Wham!’s “I’m Your Man” I knew I couldn’t just settle for the chair dancing I’d been doing all night. I left my bag and husband behind and sprang down the front, joining the throng of people soaking up one last song. To experience one of my favourite George Michael songs so unexpectedly as it didn’t make Anthony’s recent album was such a fitting way to end one of the most fun, fabulous concert experiences I’ve had in some time.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Pepa Knight @ Baker St., Gosford – 28 November 2014

As a Coastie it’s easy to get a bit Lizotte’s-focused. This venue has been pampering its guests with incredible food and exceptional entertainment for years. However, with the news of its impending closure it’s worth noticing that there are other venues around that mean you needn’t make the trip up or down the freeway to catch live music. Baker St. is just 10 minutes from my house, yet I didn’t know it existed until last week when I scored some tickets to see former Jinja Safari frontman and fellow Coastie Pepa Knight.

Not that Baker St. is a substitute for Lizotte’s. It caters for a much younger demographic, which is something I struggled with a little bit. I’m too old for places that don’t serve wine in the same room the band’s playing. I’m too old for places that require you to choose between having a great view of the band or sitting down. And I’m definitely too old for places where the main act doesn’t take the stage until after 10:30. But Baker St. isn’t attempting to appeal to people like me. Being there reminds me of the nights I used to spend at SJ’s in Newcastle or the Annandale in Sydney, when I was a young thing with boundless energy who didn’t need anything but a great band on stage and a drink in my hand.

Not that all the bands were great. Stream Lea kicked things off with what they describe on their Facebook page as “electronic, ambient, fun” music. I guess it was the first two, but my husband and I were having no fun. The young crowd seemed to get it, but my husband and I struggled with the music which seemed to lack melody and intelligible lyrics. Elwood Myre were a lot more to my tastes, an acoustic duo with alt-country leanings. Any act with a mandolin can easily win me over, even if they seemed a little too influenced by Dylan. They definitely have talent, so I’m sure with time they’ll find their own voice and seem like less of a cover band. Owen Rabbit came next. I wrote about his track “Police Car” back in July, and was really intrigued by his set. I can’t say that every number was to my tastes, but many of his electronic soundscapes were just so beautiful. It was different and original, and that earns serious points for me.

After all this music I was well and truly flagging by the time that Pepa Knight, or Central Coast Jesus as my husband likes to call him, took to the stage. It makes me feel very old when I realise I’d have already been in bed by the time an artist appears. I was determined to at least make it through a few songs, and the rush of energy that his set provided allowed me to do that. He has such a great calming presence, like a guru or yogi. The combination of his sitar and the trippy psychedelic light show, which would have been further enhanced if I’d invested in the 3D glasses, was mesmerising. Pepa and his band create something so beautiful, jubilant, and tribal that you can’t help but be swept up by it. I’m not sure the venue did him any favours though. He has such a big presence, he seemed a little out of place in this warehouse-like space. The people catching him at Mountain Sounds are in for a real treat; out communing with nature is where this music would really be at its best.

Needless to say, I didn’t make it through the set and I was dozing in the car as my very understanding husband drove me home. As I approach my mid-30s gigs like this aren’t quite for me, but I’m glad I got out of my comfort zone to see someone as talented as Pepa perform, even if for just a little while.

Image source: own photo