Category: Concert Reviews

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

Posted on by Lauren Katulka

Tori Amos @ City Recital Hall, Sydney – 20 November 2014

I thought I was going to resist the lure of Tori Amos tickets this time. I’d been spending too much on big-ticket concerts, the inevitable Christmas splurge was looming, and the last few of her albums hadn’t struck me the way that her earlier material had. But then a by-request show at the intimate City Recital Hall was announced and all of my calm, rational decision making flew out the window. When I was rewarded with front row seats in the closest box to the stage, it felt like confirmation that I’d made the right call. I wish I had some photos to show you just how close I was to the incomparable Tori, but considering that I listened to the “no cameras” warning on the back of the ticket you’ll just have to take my word for it. But I’m getting ahead of myself.

Before Tori we were treated to the musical stylings of Melbourne singer-songwriter Matt Walters. Now you might remember me gushing about Matt’s music way back in 2009 and 2010. He sort of fell off my radar in recent years, but I was so excited to see him doing his thing in the flesh, all stripped back with just an acoustic guitar and his incredible voice. He effortlessly moved from husky masculine tones to a soaring falsetto, and sang lyrics that I really connected with. I was in raptures, and actually kind of disappointed when he announced his last song. His set must have been six or seven songs long but it felt far too short for me, even though it meant we were that bit closer to Tori.

There’s such a wonderful energy about Tori Amos. I’ve seen her live a few times now and I’m always struck by her presence. Always a woman of few words, preferring to let her music speak, there was a little more banter between her and the crowd than I’ve seen at recent shows. Perhaps it was the intimacy of the venue, which holds only around 1200 people, that helped the walls come down.

The good people of Sydney didn’t disappoint when it came to helping Tori create the perfect set list. I was thrilled to hear “Putting the Damage On,” one of the five songs I submitted through her website, and “Northern Lad” and “Cooling,” the two songs I thought probably should have made my top five after I hit send, on the set list. Hearing those songs that have such a special place in my heart performed in person brought tears to my eyes. She also made me remember how much I loved tracks like “The Power of Orange Knickers” and “Sleeps with Butterflies,” even though I haven’t listened to The Beekeeper in ages.

I’m not sure I’ve ever seen Tori having as much fun on stage as she did last night. Cheeky songs like her cover of Rick Springfield’s “Jesse’s Girl,” “She’s Your Cocaine,” “Raspberry Swirl,” and that breakthrough single “Cornflake Girl” were all delivered with such joy and pure abandonment. She fed off the beautiful people in the crowd who gave her so much love all night. I sometimes found myself watching them, dancing in their seats, rapturous, punching their fists in the air. I sort of wish I was down there with them, even though I had such a great bird’s eye view.

When you’re asked to submit a list of songs you want to hear, it’s hard to walk away without wishing you heard a little more of them. But having said that, I think this was the most well-rounded, exciting, and satisfying Tori Amos show I’ve been to. Too often I’ve felt like I’ve heard more of the new album than I wanted to, at the expense of that rich back catalogue. Last night, not one song from Unrepentant Geraldines made the cut. It was a concert not for promotion, but for connecting with and giving back to the people who’ve been there from the beginning. I feel so privileged to have been a part of it.

Posted on by Lauren Katulka

Thirsty Merc @ Lizotte’s, Kincumber – 16 October 2014

It was bittersweet driving to Lizotte’s last night. As I sat in my car outside the train station, waiting to collect my husband, I heard the news on the radio that “The Cubbyhouse” would close its doors in April. Long-term readers will know how much I adore this venue. A night out at Lizotte’s always feels like a treat. The food is amazing, the wine is good, the service friendly, and the entertainment top notch. I’ve been lucky enough to see artists like Jimmy Barnes, Amos Lee, Daryl Braithwaite, Richard Clapton, and Darren Percival there, in surroundings that are so beautifully intimate. The Newcastle arm will remain, and I’ll look forward to attending shows there, but I will miss this place terribly. How wonderful it was to have a venue which could attract such stellar talent and bring it to music lovers in such relaxed surrounds just 15 minutes from my home.

All those thoughts of how much I’d miss it ran through my head last night as I did my best to soak it all in. I savoured my wine, the crispy tempura prawn entrée, and the always impressive battered flathead and chunky chips. The combination of seafood and pinot grigio put me in a chilled space for the appearance of support act Simon Meli. I didn’t even mind that I was sitting behind a pole which prevented me taking decent photos. I was just excited to see this Voice alum stripped back with just an acoustic guitar, and performing the originals we didn’t get to experience on the show. I’m not sure if he’s improved since his time on the show or whether the TV didn’t do him justice, but his voice blew me away. There’s such a rich, warm quality to it. On The Voice I was impressed by his showmanship, but I didn’t feel he was one of the program’s strongest vocalists. After seeing what he can do just sitting on a stool, playing a guitar, I think perhaps I underestimated him. I loved his originals, but his closing cover of “Ramble On” was the highlight.

Then it was Thirsty Merc’s turn to take the stage. It’s been such a long time since I saw them play, and they took me on a real trip down memory lane with their set. It was so cool hearing how they breathed new life into their material. So often an acoustic show delivers the same songs with quieter instruments, but Thirsty Merc took the opportunity to play around and make those early songs something new. I won’t lie, it wasn’t always successful. I felt the slowed-down version of “My Completeness” was sleepy, with none of the spark of the original. But with great risk comes great reward. “Katie Q” was a bit of a filler track on the band’s first album, but the jazzier live version had me tapping my feet. “Emancipate Myself,” the song that turned me on to the band all those years ago, and “Build a Bridge” were also real highlights.

This show had me feeling nostalgic, but it was about so much more than rehashing the past. Thirsty Merc might be closing the door to the first ten years of their life, but the inventiveness they showed in this set prove there’s still plenty of life in this Aussie band.

Image source: Thirsty Merc Facebook page

Posted on by Lauren Katulka

Queen & Adam Lambert @ AllPhones Arena, Sydney – 26 August 2014

The chatter about Queen and Adam Lambert’s Australian tour started before tickets even went on sale. People were concerned about the former American Idol contestant being unable to step into the legendary Freddie Mercury’s shoes. Some unkind folks even suggested that it was shameless attempt to cash in on his legacy. I remember reading an interview with Adam at the time, and his words stuck with me. He said “If there’s somebody out there that feels really strongly that this isn’t the same Queen then don’t come. But if you don’t come you’re going to miss one hell of a show.”

The folks who filled up AllPhones Arena were certainly ready for the show. There was a buzz in the air, an enthusiasm that doesn’t often come when a band is missing a force like Freddie. But the thing is, while Freddie wasn’t there, Adam Lambert was, and he is exceptional.

That’s something I’ve always known. While I enjoyed his electro-pop singles, he first caught my eye on American Idol, where he showed a real depth and intensity, and a mean set of pipes. They were on full display at this show. Freddie had one of the best voices in the biz, and while Adam’s isn’t quite as rich he certainly hit all the right notes. That is an achievement in itself. His charisma really struck me though. If he felt daunted stepping into Freddie’s shoes, he didn’t show it. He didn’t try to be Freddie, but instead seemed confident in his own ability to entertain a crowd. He was sexy, naughty, and captivating. I was entranced.

Fittingly, Freddie was still a force at this show. It always felt a little off to me when I saw INXS perform over the years and they didn’t mention Michael Hutchence. But Freddie’s spirit was a key part of this concert. A tear came to my eye when he joined Brian May, thanks to the magic of video, in an exquisite stripped back version of “Love of My Life.” He was back again for “Bohemian Rhapsody,” which was always going to be a tough ask without the benefits of studio wizardry. Interlaying live vocals with archived video was so smart.

Not that the concert was perfect. I could have done without some of the more obscure numbers like “Dragon Attack” and “Tie Your Mother Down,” and when the guitars amped up the sound got a bit fuzzy. I wonder whether it might have been crisper if we weren’t in the nosebleed seats, but other rock greater like Roger Waters manage to get the sound right throughout this expansive venue.

Yet even with the flaws, a night with Queen is a whole lot of fun. I was hypnotised by Adam’s performance of “Who Wants to Live Forever.” I wondered how they might pull off one of my favourites, “Under Pressure,” without Freddie or Bowie, but Roger Taylor made an admirable stand-in. Joining the crowd in those iconic handclaps that anchor “Radio Gaga” was so much fun.

For what it’s worth, I never had any doubt that this show was going to be worthwhile. I’ve been an Adam Lambert fan from the get go, and Roger Taylor and Brian May are such stellar musicians. Anyone who boldly declares that Queen was simply a Freddie showcase is missing the point. His death leaves a gaping hole in the band, it’s true, but I feel so glad that the remaining members decided to regroup and continue to share their music with us. To have these songs die along with Freddie, to miss out on that live experience, would have been a great shame.

Image source: own photo

Posted on by Lauren Katulka

Strictly Ballroom The Musical @ Lyric Theatre, Sydney – 1 August 2014

I’m not the type who enerally returns to the movie theatre time and time again to see a film, but as a kid in the 90s I remember doing that with Strictly Ballroom. It was the first time I’d seen a movie more than once on its release, but I ended up going three times: with my school friends, with my parents, and finally with my grandmother. I might have been getting desperate to find someone else who hadn’t seen it at that point. It came at an important part of my life. I was just beginning to get an idea of what love was, and I was a passionate dancer. Perhaps I saw a little of myself in Fran, the not-so-popular girl who could get under the dashing Scott Hastings’ skin. I was also dazzled by the colour and artistry. We hadn’t seen Baz Luhrmann films before, so his vision was something brand new.

For some reason I’d resisted seeing the musical at Star City, or The Star as I believe it’s called now, for a while. Maybe I was content to preserve the memory I have of that film. However, the lure of two-for-one tickets proved too great and I found myself amongst the crowd early this month.

I’m so glad I took a chance on this. In putting the film in stage, Baz has had a chance to play with his first film again. Where songs simply facilitated the dance on the screen, they came to the fore in this new production. New numbers were added and were largely successful, with clever lyrics and arrangements. The set was so clever, effortlessly changing from a dance studio to the back of Fran’s house to the colourful dance competitions. The production steered away from big names, and they performed admirably. Thomas Lacey didn’t have the same raw charisma as Paul Mercurio, but he was likeable enough. When I’d seen the stills of Phoebe Panaretos I thought perhaps she was too beautiful to play Fran, but she was suitably frumped up early which made her transformation even more striking. I was more impressed with the supporting players though. Fernando Riva as Fran’s father had a raspy voice to die for and killer flamenco moves and Rohan Browne as the hilariously sloshed Ken Railings. It didn’t deviate too much from the movie, but there was just enough here to make things feel all brand new.

Strictly Ballroom the Musical wasn’t perfect, but it managed to capture the essence of the film. Above all it was fun, a cacophony of music, tulle, and colour. And there’s nothing wrong with that.

Posted on by Lauren Katulka

Josh Pyke @ Cessnock Performing Arts Centre, Cessnock – 28 June 2014

The first time I saw Josh Pyke live was an outdoor blues festival. The rain started up just before his set, and I remember shivering with a plastic bag over my head as I tried to wipe the water from my glasses and watch him in action. What a difference a few years makes. Last Saturday I was seeing him again, but tucked up warm and dry in the wonderfully intimate Cessnock Performing Arts Centre.

I must admit, before this tour I didn’t realise Cessnock had a performing arts centre. What an underutilised space it is, with excellent acoustics, comfy seats, and wine in the foyer. It was the ideal setting for such a show like this, where well-crafted songs were at the fore.

The first came from Jack Carty, a performer I’ve always loved but until this point had never seen live before. What a talent he is. Most of the audience probably had no clue who he was, but they were hushed. Such is the power of this captivating singer-songwriter. With just an acoustic guitar, an incredible voice, and songs written with such poetic lyrics, he captivated us all. His set seemed to fly by.

Josh was there to promote his latest album, The Beginning and the End of Everything, an intimate recording which suited this setting perfectly. Apparently last time he had the full band in tow, but this time it was just Josh, an acoustic guitar, and looping machines to add some extra depth. This is an added dimension I’d never seen from Josh, and it was fascinated watching him at work. He treated us to choice cuts from his new album, but carefully balanced them with old favourites. It was wonderful to have Jack back on stage for a fabulously fun rendition of “Make You Happy.” Josh’s beautiful version of “Blackbird” made me wish I’d invested in tickets to that White Album concert.

I’ve seen Josh perform a few times now, and he never fails to disappoint. In fact, I think he might be getting even better.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Melanie Safka @ Lizotte’s Newcastle, 22 June 2014

When I was a kid, we didn’t have massive children’s acts like The Wiggles and Hi-5. Children’s entertainment wasn’t really a thing, so we sought out our own songs that resonated. For me it was “Butterfly Ball” by Roger Glover, “House on Pooh Corner” by Loggins and Messina, and perhaps most importantly, “Alexander Beetle” by Melanie Safka. There were no convenient CDs or digital version in those days either. Playing it was a bit of a production. We’d beg Dad to bring out his copy of Candles in the Rain and he’d remind us that we had to stand still so the stylus didn’t jump. So we’d keep our feet planted while we made those little beetle noises and sang along to the beautiful tale of a runaway bug. As I grew older I discovered more Melanie music, but that song was always one I held a little bit closer to the rest. And it was that song that took me to Lizotte’s, Newcastle, on 22 June.

I’d told myself that “Alexander Beetle” was such a small song really that I wasn’t going to hear it. I was going to be happy with the big hits and whatever else she decided to play. And I probably would have been. There’s a wonderful aura about Melanie. She’s so warm and giving, and her voice has lost little over the years. Her band is stellar, especially her son Beau. His incredible guitar talents might only be matched by how sweet he is looking out for his mother.

I was so happy just soaking it all up in the intimacy of Lizotte’s, and then she asked us what we’d like to hear. “Alexander Beetle!” yelled out a voice from a few tables away, and a few other voices joined the chorus. It seems I wasn’t the only one so touched by that little song. A hand flew to my mouth in surprise, and my heart soared as I realised it was going to happen. I was going to hear that song live that had meant so much to me. Do you know what that feeling’s like? I sang along as I fought back happy tears and decided it didn’t matter what else happened; this was already an incredible show.

I told myself I didn’t care what else happened, but I guess there was a part of me that would have been disappointed had I not heard the hits. They were all there, “Look What They’ve Done to My Song Ma,” the delightful “Brand New Key,” her incredible cover of “Ruby Tuesday,” and the jubilant “Candles in the Rain,” sounding so perfect. I gained a new appreciation for these songs as Melanie told us tales of their history.

Melanie plays those songs because she knows we want to hear them. She’s such a generous, giving performer. But she’s also quick to tell you that she hasn’t been idle over the last few decades. Her set included a smattering of new songs too, with lyrics so thick with wisdom. She lamented the way radio is only interesting in playing young shit, and listening to her new material I had to agree with her. She’s an artist that still has so much to give to anyone willing to listen. Who needs radio though? Hearing her incredible songs, new and old, come alive in such a small venue was so much sweeter.

Image source: own photo

Posted on by Lauren Katulka

Tim Freedman Does Nilsson @ Lizotte’s Newcastle, 6 June 2014

I think it’s a good indication that a concert review is well overdue when you’re preparing to head out to another show and you still haven’t put your thoughts about the last one down. So a day before I venture back to Newcastle, I’m finally sitting down and casting my mind back to July 6 when I saw “Tim Freedman does Nilsson” at Lizotte’s.

Ordinarily, unless the venue forbids cameras, I take a photo to share with you. However, I decided not to this time around. What you would see is Tim Freedman, lead singer of The Whitlams and sometimes solo artist. A camera couldn’t capture the way that Tim channelled Harry Nilsson for this very special show. And so it felt more fitting, more in keeping with what Tim was trying to achieve, to post an image of that singer-songwriter instead.

What I didn’t realise when I stepped into Lizotte’s that night was that Tim Freedman wasn’t simply doing the songs of Nilsson. He was properly doing Nilsson, complete with a Brooklyn accent and the nervous presence of a man who was never comfortable up on the stage. He humbly told tales of his famous friends and life, and I found myself hanging on his every word. I consider myself pretty knowledgeable about music history, but I found myself learning plenty about his relationships with John Lennon, Mama Cass, and Keith Moon. Clearly Tim’s done his research.

And clearly he’s got a deep bond with Nilsson. He gave stunning performances of the hits and the lesser known tracks, even ones I didn’t realise Nilsson wrote like The Monkees’ “Cuddly Toy.” His voice was never quite going to hit the same heights, but a smart arrangement of “Without You” didn’t make me want more. It had the right emotional core, unlike that terrible Mariah Carey interpretation. “Everybody’s Talking” was another real highlight.

Tim could have left after performing Nilsson’s material and everyone would have been happy, but he took a brief intermission before returning with highlights from his own catalogue. My dad commented that listening to these songs again made him realise just how much Tim’s songwriting has been influenced by Nilsson’s music.  Tim spoke about how he was still perfecting his Nilsson show in preparation for the Adelaide Cabaret Festival. If he can get it better, Adelaide’s in for a real treat, because I thought it was already a stunning homage to one of the world’s greatest songwriters.

Image source: Wikimedia

Posted on by Lauren Katulka

John Mayer @ Allphones Arena, Sydney – 24 April 2014

Until I was standing with the crowd at Allphones Arena last week, I don’t think I realised how much I’d missed John Mayer. He’s released a couple of incredible albums since he last visited his shores, and they tided me over until his next appearance. But being there, soaking up his every chord, stamping my feet as the music coursed through me, it occurred to me just how much I’ve missed him. Looking over at my friend Lisa, who’s travelled from Brisbane for the gig, I could tell she felt the same way.

Watching him up on stage, it seemed that he missed us too. Most artists that don’t visit Australia curse the journey and feel it’s much easier to stay away. Not John though. Problems with his vocal chords robbed him of his voice and left him no option but to stay at home and recover. It could have easily spelled the end of his musical career, but instead it helped him create the beautiful introspective Born and Raised and Paradise Valley. So he recuperated, and we waited, and he came back to us stronger than ever.

He thanked the enthusiastic crowd so sincerely, but we were the ones that should have been thanking him. It’s rare to see an artist playing with so much joy. Clearly he was craving that time on the stage. It was such a gift to witness this man with such enthusiasm for his craft. Casual fans might have lamented the omission of a few singles (“Daughters” and “Bigger Than My Body” spring to mind), but I think he did his best to appease those folks with “No Such Thing,” Your Body is a Wonderland” (a song that rarely makes the set), and “Waiting on the World to Change.”

He might have enjoyed success on the pop charts, but I don’t see John as a singles guy. He was most at his element on songs which allowed him to stretch out a little more, to play with the arrangement and flex his enviable guitar skills. The free-form nature of songs like “Edge of Desire,” “I Don’t Trust Myself (With Loving You)” and the final song of the night, “Gravity,” really allow his talents to shine. His surprising, tender cover of Beyonce’s “XO” further highlighted his skills, and the inclusion of my favourite song from Born and Raised, “Walt Grace’s Submarine Test, January 1967” had me in raptures. The internet tells me he’d played it just seven times before, so seeing John performing it so simply with a steel guitar in Sydney was just heaven.

It had been far too long since my last John Mayer concert, but it was well and truly worth the wait. He’s in such fine form right now, I can only hope he doesn’t leave us hanging too long before announcing a return visit.

Image source: Stephen Katulka