Category: Concert Reviews

Posted on by Lauren Katulka

John Farnham & Lionel Richie @ Tempus Two Winery, Hunter Valley – 8 March 2014

For not the first time this year, I’m wondering where the time’s gone. It seems like only yesterday that I was grooving out to John Farnham and Lionel Richie in the Hunter Valley, yet another weekend is already upon us. So it seems like the perfect time to reflect on this killer double bill.

He wasn’t announced on any of the posters, but the evening actually kicked off with an unassuming singer-songwriter by the name of Joe Moore. Some Googling tell me this Brit-turned-Aussie actually made it to the Australia’s Got Talent finals a few years back, but these days he spends most of his time busking in Pitt Street Mall. Tempus Two provided a much bigger stage than the Sydney shopping strip, and probably more than a guy with an acoustic guitar needs. However, somehow he held those of who showed up early transfixed. So many people around me were buzzing about his talent, wondering why they’d never heard of him before. Personally I preferred to sit silently, taking in the romantic, poetic words he sang in stunning voice which had just the right amount of edge. He reminded me a lot of Howie Day, one of my favourite American singer-songwriters, quiet but assured and capable of really soaring when the songs call for it. He performed two short sets as the seats filled up, and while he wasn’t the reason I came to this gig, I was definitely sorry to see him leave the stage. I’ll be keeping an eye out for his gigs in future.

I adored Joe, but the show definitely kicked up a few notches when John Farnham took to the stage. He’s the consummate professional who just seems to get better with age. His voice continues to be one of the best in the business, and even in his advanced years there’s such energy about the way he performs. The band contains so many familiar faces who I remember seeing as a kid on Hey Hey It’s Saturday. By surrounding himself with these people so familiar with the songs, John ensures his show is one of the tightest around. And those songs, my goodness. I’ve never considered myself a big John Farnham fan. I own a greatest hits album, but that’s about it. Yet his music just seems to seep into the consciousness of every Australian. I found myself singing along to each and every tune. Belting out “You’re The Voice” with the Hunter Valley crowd in full voice was one of the most powerful concert experiences of my life. There’s just something about that song that makes you so proud to be an Aussie.

Since I don’t consider myself a massive John Farnham fan, I guess I’ve outed myself as a Lionel Richie devotee. Yet funnily enough, when he stepped on the stage I was feeling a little deflated. He started with “Just For You,” an upbeat number delivered with plenty of gusto that didn’t really match how any of us felt about the 2004 release. Let’s face it, the noughties were hardly Lionel’s best years. Thankfully he slipped back into the classics quickly with “Easy.” Sitting down at the piano Lionel seemed to have a lot more control over his vocals, however they were hardly on a par with Farnsy’s. I’m not sure Lionel was ever the best vocalist, but hearing him perform so soon after John made him seem a little subpar.
Happily it didn’t take too long for me to shake off my feelings of disappoint. Pretty soon the songs started to shine through, as did Lionel’s showmanship. Early on his particular brand of entertainment felt a little try-hard compared to John’s easy connection to his audience, yet after a few tracks I started giving myself over to the experience. By “Brick House” I was having a ball. By “Dancing on the Ceiling” I was in my element. I barely sat down all set as I sang myself hoarse. It took a little while for me to ease into things, but by the end of the night I was gushing.

Three great acts, so much amazing music. Does it get any better than that?

Image source: Stephen Katulka

Posted on by Lauren Katulka

Mitchell Anderson @ Lizotte’s, Kincumber – 8 November 2013

While the rest of the country was fawning all over Harrison Craig, I was falling for one of The Voice’s more seasoned contestants. I was captivated every week by Mitchell Anderson, and when he was given the boot I couldn’t wait to see what he’d do next. Thankfully those plans included a show at my favourite haunt, Lizotte’s Kincumber, last Friday night.

That voice that was so powerful on television gave me goosebumps in an intimate venue like Lizotte’s. The bio on the menu claimed that Mitchell is one of the best white soul singers, but I don’t think we need that qualifier. Few voices anywhere drip soul as much as his.

But there’s more to Mitchell than just a voice. He oozes positivity out of every pore. It’s just so much fun to see him perform. I couldn’t wipe the smile off my face as he treated us to a set that paid tribute to the world’s great soul and blues artists. He treated us to a few originals, but it was those covers that got the place on their feet. Many of them were featured on The Voice, but there were many more than didn’t make it on the show. I loved hearing him take on a few BB King and Joe Cocker numbers. That Voice cover of “Dear Prudence” though is still one of the best things I’ve ever heard.

One of the best things about a show like The Voice is that it gives a guy like Mitchell, and the talented musicians he’s played with for years, exposure. They certainly didn’t play second fiddle to their now famous frontman. Every one of them has the musical chops to play with the best in the Australian business. Together their sound was so tight. What a wonderful thing such experience is.

People like to find fault with shows like The Voice. However, after witnessing a concert like Mitchell’s, I’m really glad it exists to introduce me to artists of his calibre and help him attract the crowds he so richly deserves.

Image source: own photo

Posted on by Lauren Katulka

Tony Hadley @ State Theatre, Sydney – 1 November 2013

Tony Hadley seems to have developed a liking for Australia. He’s visited our shores four times in the last five years, which isn’t bad for someone who hasn’t had a hit for decades. The Spandau Ballet frontman peddles nostalgia, and he does it so well that I haven’t missed one of those recent tours.

I also continue to see Tony because he never rests on his laurels. Sure, he mostly sings the same songs, but it’s always packaged up just slightly differently. There was the tour with Paul Young, with his Spandau Ballet bandmates, with Go West, and now with a symphony. This was the most intriguing for me. I was curious to hear how Spandau’s legendary synth and guitar-driven sound would work with strings and wind instruments.

The result was honestly mixed. If it was simply Tony and the Sydney Symphonia musicians, I think the sound might have been more coherent. However, with those trademark electric guitars and keys still present, sometimes the sound got confused. Sometimes it seemed like the musicians were competing against one another, but in other places the marriage was perfect. It was certainly an interesting experiment, but not one that always worked.

The show was cleverly split up into two halves. The first saw Tony playing a few tracks from his soon to be released solo album as well as the songs that have influenced his career. This was really interesting for a music buff like me. I never imagined I’d get to hear him sing The Eagles’ “New York Minute,” “David Bowie’s “Life on Mars,” or “Jimmy Buffet’s “Time in a Bottle.” The latter was particularly touching, with stripped back instrumentation letting those beautiful lyrics come to the fore.

After intermission it was time for the Spandau Ballet hits that brought us there. These certainly took on a new dimension with the orchestral arrangements. I even found myself enjoying some songs, like “Muscle Bound,” which hadn’t struck a chord with me before. “Through the Barricades” was suitably epic, and the favourites “True” and “Gold” had everyone in the stalls dancing. What a shame the State Theatre’s “no dancing in the dress circle” policy prevented me from joining them!

No matter what he’s singing, Tony is the consummate professional. He’s trimmed down since his last visit to Oz, and I think it’s given him even more energy. His voice also only seems to get stronger as the years march on. He had the audience in the palm of his hand from the first song, and kept them there. He just doesn’t disappoint. That’s why I’m wondering when his next visit to our part of the world will be!

Image source: Stephen Katulka

Posted on by Lauren Katulka

Jazz in the Vines @ Tyrell’s Winery, Pokolbin – 26 October 2013

After spending so many weekends consumed by moving house and the associated fall-out, it was blissful to head to the Hunter Valley on Saturday for the annual Jazz in the Vines show. It doesn’t really matter who’s on the bill; this is one yearly event I make sure that I never miss. And once again, this stellar regional show didn’t disappoint.

Pokolbin was bathed in the eerie haze of bushfires, but thankfully you couldn’t really smell smoke on the Jazz in the Vines site. In fact, I think we enjoyed the best weather we have had in years. Far too often Mother Nature turns on a scorcher, but this year it was a pleasant 27 degrees with a gentle breeze which made even the dancers down the front feel comfortable.

I wish I could show you pictures of all the fun we had, but sadly my camera decided to give up the ghost the moment I tried to take a snap. Instead you’ll just have to take my word for it. The Admirals Own Big Band and Bob Barnard satisfied the taste of traditional jazz enthusiasts with old standards and instrumental gems. These mellow offerings gave us all a chance to chill out a little with the superb food on offer. What other festival do you know treats you to dishes like rock oysters and soft shell crab sliders? Talk about decadence!

With bellies full it was time for Jan Preston to bust out a little boogie woogie. It was just what the crowds ordered, and they were on their feet quickly. The makeshift grassy dance floor near the dual stages became even more crowded once modern funksters The Bamboos appeared. This soulful young outfit brought a youthful energy to a festival often dominated by more established acts. They did it without alienating the older audience members, which takes some skill. My parents, at 60 and 58, marvelled at Kylie Auldist’s pipes and the outfit’s tight brassy sound.

Then it was time for some of those more established acts I’ve alluded to. Festival favourite James Morrison showed why the organisers keep asking him back. I’ve seen him play so many times at the festival, but fatigue never seems to set in. Perhaps that’s due to his decision to work with various guest vocalists. This time around we were treated to the vocal stylings of Roxane LeBrasse, who I’d assumed had fallen off the face of the earth following Australian Idol. I loved her on the reality show, but was wowed by her vocals on Saturday. She’s matured and developed an incredible stage presence. Hearing her take on soul classics like “Chain of Fools,” and come out sounding every bit as good as Aretha Franklin, was something special.

James Morrison had us dancing, and Marcia Hines knew no one was quite ready to stop. There’s a reason why Miss Marcia continues to be such a musical force. Her voice has lost nothing over the years, and she’s a consummate professional on stage. She had me captivated from start to finish.

I wish I could say the same for the closing act, Canadian band The Shuffle Demons. My dad told me early in the first song that it would have to get better for us to stick around. It didn’t, so we hightailed it out of there two songs in. They might have looked like a party act with their silly headpieces and brass instruments, but they didn’t sound like one. There were no hooks or melodies, nothing for me to connect with at all. I just didn’t get it. Looking at the punters also packing up their stuff as we made for the exit, it seems I’m not alone.

After a day of great music, even the aural assault of The Shuffle Demons couldn’t dampen my enthusiasm for Jazz in the Vines. The day wasn’t perfect, but it was close enough to it to ensure I’ll be back again next year.

Posted on by Lauren Katulka

Idina Menzel @ Opera House, Sydney – 26 June 2013

I feel like I’ve barely had time to breathe this week. There are worse things that being social, but as I age travelling up the highway and back again more than once in a week really takes its toll. Still, when you’re seeing wonderful things it’s worth all the effort. And Idina Menzel’s concert at the Opera House on Wednesday night was certainly a wonderful thing.

I became enamoured with Idina when I discovered Rent in the late ’90s. Wicked came later, and then Glee, with their roles that showcased Idina’s charisma and incredible vocal prowess. So when I heard she was visiting Australia this month, I jumped at the chance to be in the audience. My expectations were high, but she didn’t disappoint.

In fact, this was one of those shows that was even better than I’d hoped for. What a personality Idina has. She was genuinely humble and so incredible open. She was free with stories of her professional and personal life, even when those memories were painful like the loss of composer and mentor Marvin Hamlisch and Rent creator Jonathan Larson.

The music took the night to another level though. It was eclectic mix touching on jazz standards, musical theatre numbers, and even pop songs. It’s rare to find a set with songs from Lady Gaga, Cole Porter, Joni Mitchell, and Peter Gabriel, but I relished it. It all worked so well. Her tender rendition of “Both Sides Now” was spellbinding, her take on Barbra Streisand’s “Don’t Rain on My Parade” invigorating, her performance of Wicked signature song “Defying Gravity” every bit as impressive without green makeup and levitation.

But personally none of them compared to the joy I felt at witnessing her singing my favourite song from my favourite musical, “Take Me or Leave Me”. As it’s a duet I never expected it to make the set, but I didn’t count on her secret weapon: a ridiculously talented Sydney audience. Normally when singers invite random strangers to the microphone the results are cringeworthy. There’s something special about a musical theatre audience though. All the guest vocalists were stellar. If Idina didn’t look so impressed I’d assume they were plants. Witnessing all these great voices coming together was a true highlight.

I’d be remiss not to mention the Sydney Symphony Orchestra too, who helped elevate Idina’s act as only a full orchestra can. What a combination.

I’m still raving about this show to anyone who’ll listen days later. It was incredible, utter magic. And for nights like that, I’ll happily accept a little post-concert fatigue!

The Sydney Opera House is pretty strict about its no-photos policy, so with that in mind I figured I’d share you one of the clips from the tour video. It’s not Sydney, but it shows how special it is when Idina works with an orchestra. Enjoy!

Posted on by Lauren Katulka

Jesus Christ Superstar @ Entertainment Centre, Sydney – 8 June 2013

It’s been more than twenty years since a major stage production of Jesus Christ Superstar graced Australian theatres. That makes me feel old, and also believe that the revamp was long overdue. So I couldn’t want to see where the creators would take the Andrew Lloyd Webber musical this month. I’d heard whispers of course, as word trickled through from London. I knew it was edgier, more modern, but I wasn’t prepared for how dramatically different this version was from the one I enjoyed in my youth. Such a shakeup can be dangerous, but in the case of JC Superstar it was inspired.

Rather than placing an orchestra in the pits, organisers put rock musicians to the side of the tiered stage, so close to the action. Those historical costumes were largely gone, replaced with street clothes that wouldn’t have appeared out of place in RENT. Videos beamed onto the back screen alluding to YouTube, game shows, tabloid news.

But at the centre of it all, we had a stellar cast and incredible songs. Those are the key elements that can’t be messed with. They grounded the production and ensured the largely older audience stayed connected despite the contemporary changes. Tim Minchin was predictably Judas. He showed he’s got much more than comedy chops, attacking the complex role of Judas with relish. Ben Forster is a real find. My mum, a three-time JC veteran, said his version of “Gethsemane” was the best she’s witnessed. That song is such a pivotal moment in the musical, and it was played out exquisitely. How exciting to see a Spice Girl furthering her craft rather than cashing in with roles on mediocre reality TV. Mel C held her own against some theatre veterans. I was also impressed with Andrew O’Keefe, who played to his strengths with his glitzy “Lord or Fraud” game show take on “King Herod’s Song.”

The first half was satisfying but the final act was gutwrenching. The production didn’t back away from the horror of the story, and even added some nasty bits for good measure. It wasn’t pretty, but it was inspired.

What a shame more young people didn’t make it to this production. As I looked out at the predominantly grey-haired audience I couldn’t help thinking of how much Gen Y would have enjoyed this thoroughly modern take on classic musical theatre.

Posted on by Lauren Katulka

Richard Clapton @ Lizotte’s, Newcastle – 2 June 2013

There are certain performers that keep you coming back year after year. They always sing the songs you want to hear, sound sublime while doing it, and give so much of themselves to their fans. For my family, Richard Clapton is one such performer.

I first saw Richard Clapton performing a free show with Mental as Anything at the Sydney’s Powerhouse Museum decades ago. I didn’t really know I was a Richard Clapton fan back then. The show was something my parents took me to at an age when I didn’t control such things. But I was definitely a fan by the time I left. I was stunned by how many of his songs I knew, and how effortlessly he performed them.

So many years have passed, and I have lost count of the number of times I’ve seen Richard since. We’ve all grown, but the consistency of his concerts remains. So when my parents won a free dinner and show at Lizotte’s Newcastle, we knew we’d have to see Richard again.

What a shame we had to suffer through Hats Bennett before we did. I rarely make comments so harsh, but there really wasn’t a lot to like about Hats. His hat was cool, and he was a really solid guitarist. It’s just a shame that he didn’t stop there. His songwriting was really underdeveloped (a song about introducing a new cat to another? Really?) and his voice had serious limitations. I don’t need a perfect voice, but if yours isn’t strong you probably shouldn’t aim for a falsetto. It seems I wasn’t the only one, as the crowd’s reactions ranged from bored to bemused.

All was forgiven once Richard stepped on stage though. What a talent he is. It might seem clichéd to insist that he only gets better with age, but the addition of Jak Housden to his band ensures his music is certainly sounding better than ever. Hit after hit washed over us, punctuated by Richard’s witty banter and insights into that brilliant back catalogue. Richard doesn’t seem to mind staying with those time-honoured songs. He knows why people see him play, and he’s only too happy to oblige. He treated us to just one song from his new album Harlequin Nights, ensuring he didn’t push the patience of a crowd that clearly wanted to just sing along.

An encore seemed like a mere formality. We all knew he’d never leave us before singing “The Best Years of Our Lives” and “Girls on the Avenue.” Even when his trademark sunglasses snapped in two before that last track, he knew he had to soldier on. He did only half joke that he’d do away with anyone who snapped a photograph though, and when someone cheekily did with a smartphone, I thought he might follow through on that threat! But it was all in good fun, and the perfect end to another great night with Aussie rock royalty.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Molly Ringwald @ Pier 2/3, Walsh Bay – 26 May 2013

Every generation has a woman that makes a difference. She’s the kind of woman who inspires us. She’s the one that girls want to be, and guys want to be with. And for my generation, that woman was Molly Ringwald.

I remember being in awe of Molly as I grew up. I admired her strength as I watched her on screen railing against stereotypes and social classes. I desperately wanted to kiss Andrew McCarthy and Judd Nelson too. All those feelings I had about Molly never went away, so there was no question in my mind that I had to be there when she closed the Sydney Writers Festival with her jazz music.

Honestly, I went to bask in her presence, not to appreciate her music. She could have said she’d be there to read the phone book and I would have bought a ticket. For the first few songs I couldn’t think of anything else other than the fact that this woman who means so much to me was right there, breathing the same air as me, under the same roof as me.

But as the evening wore on, I found that I appreciated so much more than that. Admittedly, Molly isn’t technically the world’s best singer. Her voice is a little thin, and you can hear her struggling to reach the high notes. But her voice has so much character, and the charisma she oozed on the silver screen translates well to the musical arena.

I also appreciated that she really knows music. Her songs were so carefully chosen, jazz classics that aren’t overdone by the countless artists that delve into the Great American Songbook. The influence of her father, a jazz musician in his own right, was apparent. Her knack for telling a story was showcased beautifully in “I Get Along Without You Very Well (Except Sometimes)” and “Ballad of the Sad Young Men”.

She also gave so much of herself, chatting in between every song about the music, her family, and her life. By the time she closed her regular set with “Don’t You (Forget About Me)”, a tribute to the late great John Hughes, we were all on her side. There was no doubt we’d ask for an encore. She might be best known as an actress, but as a jazz musician Molly Ringwald certainly holds her own.

Image source: own photo

Posted on by Lauren Katulka

Darren Percival @ Lizotte’s, Kincumber – 26 April 2013

I’ve been reading a lot of criticism about The Voice lately. I’ve heard that the program exploits its artists, that it doesn’t recognise the talent of established musicians, that industry professionals shouldn’t appear in the first place, that it’s gimmicky and fake and not the place Australians should turn to when discovering local music. I don’t deny the talent of many Aussie musos slogging away in the pubs and clubs. I accept this program isn’t an arena that many musicians would feel comfortable competing in. But when I question the value of a program like The Voice, I just have to look at Darren Percival.

Darren was one of those musicians I knew before he stood in front of those four chairs last year. I’d seen him sporadically live before then, singing backup vocals for James Morrison, and Jimmy and Mahalia Barnes. It took that program to take Darren to the front of the stage. And that’s just where I like him.

There’s something about the promise of a Darren Percival performance at Lizotte’s Kincumber that is irresistible to me. I’ve now seen him three times at the venue since he won The Voice, and every show’s been special. Darren seems so comfortable here, in this small space where punters can pass him handwritten notes acknowledging their parents’ wedding anniversary and milestone birthdays. He seems to thrive on the intimacy that comes when he can step down off the stage and walk amongst us, sitting down beside one adoring fan, taking the hand of another. There’s none of that inevitable distance that comes from a larger venue, and we all lap it up.

Much like the last time I saw Darren, the set contained highlights from Darren’s time on The Voice, the Ray Charles covers featured on his latest album, and a few other favourites. The blend doesn’t change too much, but there are always a few surprises. Who on earth would have expected a cover on Eddy Grant’s “Electric Avenue”? That alone might have been worth the price of admission, but I also hung on every word of his incredible version of “Georgia on My Mind”, and his solo take on “Without You”, the song he sang with mentor Keith Urban while on “that reality show”. His rousing rendition of “Hit the Road Jack”, with back-up singing from the captivated audience, was also spectacular.

You can say what you want about The Voice, but I’m thrilled it exists if only to see artists like Darren headlining concerts like the one I witnessed. I wonder which of the new breed I’ll be raving about in this way next year?

Image source: own photo

Posted on by Lauren Katulka

Counting Crows @ Opera House, Sydney – April 9 2013

Goodness, has it really been that long? I apologise, I really do. Life’s been a bit hectic with birthday celebrations (yes plural – I managed to stretch mine out over four days, which is no mean feat) and concerts. I could wax lyrical about the former, but since this is a music blog turning my attention to the latter is probably for the best.

The day before the big birthday bash I made a pilgrimage to the Opera House to see one of my favourite bands of all time, the Counting Crows. I’ve loved them since I hit my teenage years and the lads released August and Everything After. So much has happened since then, but I found myself becoming that enthusiastic thirteen-year-old again as I entered the venue.

I’m kicking myself that my dinner dragged on and I missed the start of Jackson McLaren’s set. Vocally he reminded me a lot of one of my favourite singers Howie Day, but his tight alt-country rock band gave his music a different dynamic. Not enough acts play with a fiddle either; I take my virtual hat off to their violinist who added a real richness to the sound. I definitely want to hear more from Jackson and his crew. I’m a fan.

I could have listened to Jackson all night if I weren’t so psyched to see the Counting Crows. They set the scene with the opening number, one of those first singles “Round Here”. It’s a song that’s morphed into something very different over the years, as many of the Counting Crows songs have. The band likes to play free and easy with the melodies and lyrics, which can be alienating. I know I’ve criticised some acts for this before. But I felt that the changes were sincere and heartfelt. It wasn’t about being bored with the songs or trying to be clever. It’s just how they come out right now.

The Counting Crows aren’t a band that ever delivers a predictable set. There are no certainties, and that makes every favorite song you hear that much more exciting. To hear my two absolute favourites was something I hadn’t dared dreamed of. Yet sure enough, “Mrs Potter’s Lullaby” made an early appearance, and “Anna Begins” came out in the encore. “Colourblind” was also breathtaking, with a single spotlight on singer Adam Duritz ensuring we stayed transfixed. As if that was ever in doubt. “Rain King” had me pumping my fists in exultation.

If I was to make any criticism it’s that I wish Adam talked to us a little more. We had a word here or there, but there were none of the long explanations of songs or tales of travel that I adore. However it’s a bit hard to criticise someone for not sharing enough of themselves when they do it so completely with their music.

They say that you can never really go back and perhaps that’s true, but when you can spend a night with a favourite band it feels like for just a few hours, you can.

Image source: Jimmy Harris @ Flickr