Category: Concert Reviews

Posted on by Lauren Katulka

David Campbell @ Mingara Recreation Club, Tumbi Umbi – 7 October 2010

Longtime readers of my blog will have heard me wax lyrical about David Campbell before. He’s one of those rare artists that encourages me to get out and see him each and every time he tours. Even rarer, he does so because he always delivers an amazing performance. And it was no different when last night I caught his On Broadway show at Mingara Recreation Club.

After several very successful albums, David has an extensive and eclectic back catalogue to play with. There’s the music from Shout, the swing songs, old 60s rock and roll, and now showtunes in his repertoire. It takes a skillful performer to deliver such variety without alienating his audience, but David had us there with him through it all.

The first portion of the show concentrated on those Broadway numbers, which really came to life on stage. David’s always been such a theatrical performer, who no doubt learned a thing or two during his time in New York, so tunes from Chicago and Boy from Oz were an easy fit. I enjoy the On Broadway album, but was surprised by some of the disc’s more obscure song selections. Given that, I was thrilled that in the live arena he focused on those tunes we all know, encouraging us to sing along and ensuring we all had a fabulous time. “Bring Him Home,” the showstopper from Les Miserables was incredible, and we all had fun when he played with those high-tech recording pedals in Guys and Dolls’ “Horse Right Here.”

He kicked things up a notch in the second half, and it didn’t take long before I joined the women enthusiastically dancing on the sides of the auditorium. Songs like “Yeah Yeah,” “She’s My Baby” and “Suspicious Minds” are just so much fun, and we lapped them up. Not that it was all light-hearted. David brought tears to a few eyes with his incredible renditions of “Mr. Bojangles” and “You’ll Never Walk Alone.”

It takes a truly special performer to breathe new life into songs we’ve all heard many times before. David Campbell is definitely that, a genuine showman who can move his audience to tears and have them in fits of laughter on a whim. Rest assured, I’ll front up for tickets when the next tour rolls around.

Image source: own photo

Posted on by Lauren Katulka

Funk N Grooves @ Pokolbin, 11 September 2010

On Saturday I made a pilgrimage to the Hunter Valley to attend my third Funk N Grooves Festival. It’s a festival that’s been in a state of flux since I first attended, an event which seems like it’s ever changing in attempts to find its feet. And at its new home next to Tyrell’s Winery, I think it’s getting there.

The new venue gave us all plenty of space to spread out with our picnic lunches and fold-up chairs. It also made it much easier to get a drink. You might remember my complaints last year about the incredible queues, but this time around the organisers got it right. With separate lines for wine and beer/spirits, no one was really left waiting too long. The drink was flowing, but the limits on what we could buy and the ever watchful security staff ensured no one got too obnoxious.

The food too was a marked improvement on last year. I devoured my cumin dusted calamari and the gorgeous chunky chips with rosemary salt. If only all festival food could be this good!

But these kinds of shows are all about the music, and this year the event delivered more than ever before. Bands played on two stages for a good nine hours, several hours longer than in previous years. The kind of music the event hosts is also evolving, perhaps with the involvement of new sponsor Triple J. While earlier festivals focused on blues and roots, now we see more rock and hip hop. I suppose this is what the kids want; there were definitely plenty of enthusiastic fans down by the stage, but I preferred the artists we were served in years gone by.

That’s not to say there wasn’t some brilliant music. I couldn’t wait to see Washington, and she didn’t disappoint. The crowd was attentive when she sang her most poignant of ballads, and rapturous when she treated us with a playful cover of The Divinyls “I Touch Myself.” The singles “Rich Kids” and “Sunday Best” also went down a treat.

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Posted on by Lauren Katulka

John Butler Trio @ Newcastle Entertainment Centre – 7 September 2010

Yesterday was a day for real thought as Julia Gillard was officially announced as the prime minister of our first minority government in 70 years. I’m still not entirely sure of the ramifications of that, but I’m interested to see how it pans out. It seemed fitting that such a pivotal day should coincide with me making a trek to the Newcastle Entertainment Centre to catch two of the country’s most political acts, Blue King Brown and John Butler Trio.

All too often it seems that the support act is an afterthought, a new band that needs exposure or musos that are mates with the main act. Rarely do the artists fit together to create an evening that sends such a strong message. Both Blue King Brown and John Butler Trio create music with meaning. And the Newcastle crowd lapped it up.

Blue King Brown were first, led by the mesmerizing Natalie Pa’apa’a. I caught the band a few years ago when they supported Santana, and they’ve come a long way since that time. Long time fans may have been thrilled to hear old favourites, but the new material from their latest album Worldwize: North & South got me going. There seemed to be more emphasis on melody, more focus in the message and the crafting of the songs. Thankfully the set was made up of songs both old and new, which gave us all something to enjoy. While support acts too often suffer from chattering crowds keen for the main act to start, Blue King Brown seemed to captivate the audience. They listened intently to these songs and gave the band the respect they really do deserve.

While Blue King Brown impressed me, I was wowed by the John Butler Trio. I’d never seen the band before, so I was struck by John Butler’s incredible musical skills. The live arena is where they really come alive, and the key to that is the main man himself. It’s where John can play an epic, intricate instrumental guitar piece to a transfixed audience, and switch easily between electric and acoustic guitar, lap steel guitar, banjo, and even drums. His technical talent is incredible, and his energy on stage electric.

That energy is what makes these powerful songs work. Rather than appearing preachy, the potent messages contained in the tunes take us back to the musical revolution of the late 1960s. Hearing John Butler speak about the proposed development of the Kimberley region gave “Revolution” extra power. The band’s gentle acoustic cover of Kev Carmody’s “Thou Shalt Not Steal” was one of the show’s most poignant moments.

But this isn’t the late 1960s, and bands that really have something to say are becoming rarer and rarer. Music has always been a great catalyst for change. As I watched the crowds clap their hands in unison in response to this band that has so much to say, I began to feel hope that real change is possible. And what a powerful thing that is.

Image source: Stephen Katulka

Posted on by Lauren Katulka

The Verses “Seasons” Album Launch @ The Vanguard, Newtown – 12 August, 2010

Last night I found myself rubbing shoulders with other media folks and record industry types at the launch for Seasons, the new album from The Verses. The throng at The Vanguard was buzzing before the band took the stage, and I don’t think it was all about those themed cocktails.

Never one for crowds, my husband and I retreated to a quieter spot in the upper level to settle in for the show. It turned out to be a smart move. As the folks downstairs struggled to look over heads, we could sit in relative comfort and enjoy the fantastic entertainment. Ella and Jess Hooper and their very capable band performed just six songs, but those numbers left a big impression.

The Verses is a joint venture for the Hooper siblings, but when they take the stage it’s easy to see who the star is. Jesse is content to fade into the background, quietly strumming his guitar and allowing Ella to shine in the spotlight. And shine she does, with the kind of charisma found in the very best performers. There was a stage full of musicians, but I couldn’t take my eyes off her.

I’d heard a handful of The Verses songs before, but watching them live brought a brand new dimension to these alt country tracks. I also found new songs to love, particularly Ella’s own favourite “Settle Down.” As this stunning ballad concluded my husband lent over to me and whispered that the band could have a number one on the American country charts with that song. Funnily enough, I’d only just been thinking that it could very well be a hit here.

Whether it is, or the album is, we’ll just have to wait and see. This kind of classic meeting of country, folk, and pop influences is a world away from the music of Katy Perry or Lady Gaga. It hearkens back to the days of Fleetwood Mac and The Eagles, a time when the song mattered more than the celebrity. I’m not sure whether Australians will embrace Seasons, but I really hope they will.

Seasons hits music stores around the country today.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Mumford & Sons @ The Enmore, Sydney – 3 August 2010

I’m dragging my feet a bit today. That’s the problem with a midweek gig when you don’t live in the big smoke. Last night I was lured to the city by Mumford & Sons; I’m paying for my lack of sleep today, but goodness it was worth it.

Before I get on to the good bits, I just want to say a few words about the flaws of this mid-week concert experience. Two support acts playing relatively lengthy sets at a mid week gig really seems a bit excessive. While the ticket told us that the show started at 7:30 pm, the main act didn’t grace the stage until 9:45 pm. Sure we were entertained in the meantime, but the crowd was clearly restless before Mumford and Sons arrived. Perhaps they were thinking about being up early for work the next morning. Promoters need to realise that when a band is playing just two headline shows in the country, punters will travel. My sister and a friend came from Newcastle to attend, my husband and I from the Central Coast. I’m sure there were also fans from Wollongong, Canberra, and other far flung corners of the state. Like us, I’ll bet they sympathise with our arrival home at 2 am, my sister’s at 3. I’ll bet we’re all a bit weary today for the experience.

If I were planning the night, I’d have cut Matt Corby. I was really looking forward to his set, having been impressed by his originality on Australian Idol, but I struggled with his performance last night. He showed himself to be an excellent guitar player, with a beautiful voice. But his music also seemed quite aimless at times; filled with wailing and devoid of melodic hooks. His use of looping technology also left me a bit cold; I’ve seen artists like Howie Day use this equipment to dazzling effect and compared to that he was a rank amateur. He might be a good songwriter, but the amount of reverb in the mics left every word unintelligible. To top it all off, he gave the crowd nothing. A few mumbled words at the end of the penultimate song just don’t cut it.

I was more enthusiastic about London based indie posters Fanfarlo. I’d never heard of the band before, but I’ll definitely be exploring more of their stuff after this gig. They reenergized my spirit with their stirring, Celtic influenced modern folk songs and eclectic instruments. Any band featuring a mandolin, glockenspiel, trumpet, and clarinet already has me on side. They didn’t let the hard task of being the second support faze them. They performed with such gusto, and I applaud them for it.

I must admit, my enthusiasm waned a bit as the minutes looking at a bare stage ticked by. But I became revved up again as Mumford & Sons greeted us with the pitch perfect harmonies of “Sigh No More.” The sublime performance brought tears to my sister’s eyes, a sign of the emotion they’d stir in the next hour or so.

I might have been ready for bed once they arrived, but Mumford & Sons were definitely worth that wait. There’s was a rare show; with perfect sound, superb harmonies, spot-on instrumentation, good humor, and one of the most passionate audiences I’ve had the pleasure of being a part of. All of the right elements were there. The album tracks went down a treat, but the new material was received just as enthusiastically. That might be a sign of how good these unknown songs were, but it’s also a credit to the receptive crowd. “Roll Away Your Stone” was rollicking good fun, with a melee of musical friends joining the band on stage for a dance. “Little Lion Man,” which appeared much earlier than I expected, saw the crowd erupt. “The Cave” was bittersweet for me; I knew this was the final song, and while I was having such a good time I wasn’t quite ready for it to be all over.

I left The Enmore in a rush of adrenalin that helped make that long train ride back to the Central Coast a little more bearable. What a wonderful show Mumford & Sons treated us with, but boy am I paying for it now.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Rick Price @ Lizotte’s, Newcastle – 10 July 2010

As winter weather sets in, it gets to be a bit quiet on the gig front. What better way to ease myself back into the live music scene than a night out at Lizotte’s. I’ve made no secret of my love of this live music experience. Whether at the Central Coast or Newcastle venues, you can always count on delicious food, warm, friendly service, and of course, excellent music.

My Saturday kicked off with Matt Zarb, a singer-songwriter with magical guitar fingers. I had mixed feelings about his set though. While he was a wiz on the acoustic guitar and mandolin, his songwriting felt a little basic and his vocals couldn’t match his musical prowess. His music too was very derivative, with songs virtually imitating “Amazing Grace” and Mark Knopfler’s “Going Home.” There’s nothing wrong with being a cover artist, but if you are you should probably be honest about it rather than pretending to be delivering original material. He had such an infectious personality though; I sat captivated as he recounted stories of the romance between his grandparents and his time abroad. It’s also impossible not to be impressed by a man with a harmonica slung around his neck and a tambourine strapped to his foot.

But the main attraction was Rick Price, making his return to Lizotte’s after time spent in the US of A. It’s always a shame to lose local talent to the bright lights of the States, but it seems the time away has done Rick some good. He always sounds amazing, but there was a little something extra in his performance this time. He shared more of himself that he typically does; the stories I’ve heard accompanying particular tracks were expanded upon. He seemed genuinely thankful to be home, and to be in front of such an appreciative audience.

Rick was spruiking his new acoustic greatest hits album Revisited, but he still found time to treat us to a handful of new songs. These were well received, especially the sexy “It Started With a Kiss.” He might be a grandfather now, but that man still has the power to make the girls in the audience swoon!

Revisited is an album that’s been too long in the making. In the past few years I can’t recall ever seeing Rick without his acoustic guitar in hand. That gentle treatment breathes new energy into the songs that are more than a decade old, and makes us appreciate the raw emotion behind them.

When I fell for Rick as a 13-year-old I was wowed by his long flowing hair and sweet love songs. Years later he’s proved himself to be much more than a pretty boy; he’s grown into one of the greatest singer-songwriters in this country. If you’ve never seen him live, or you’re keen for another fix, you can catch him at the following shows.


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Image source: Stephen Katulka

Posted on by Lauren Katulka

John Mayer @ Sydney Entertainment Centre, 8 May 2010

These days John Mayer is more famous for making headlines than playing guitar. It’s a sad state of affairs, but one he seems to be taking on the chin these days. On Saturday night he reminded us of the skills that made him famous when he played the Sydney Entertainment Centre.

I considered writing that Orianthi warmed up the stage, but then I realised that didn’t really tell the story of her opening set. There’s no denying this young Aussie’s talent. She’s impressing all the right people with her incredible skills with an axe. But as a front woman, I’m just not sure she cuts it. There was something very rehearsed and polished about her set, almost like rock and roll by numbers. Even her seemingly off the cuff remarks to the audience between songs sounded as if they were read from a script. Walking off stage at the end of her final number, without even giving the crowd a backwards glance, was the straw the broke the camel’s back for me. It might have been a rock and roll move, but she’s just not big enough to pull such a stunt.

In contrast, John Mayer was warm and gracious as he took to the stage. He gave us a set with equal measures of hits and new material from his Battle Studies album. Both modes of songs seemed to go down a treat; this was an audience of fans who own everything that man does and lap it up accordingly. This showed when John pulled out “In Your Atmosphere” a live favourite that has never made an appearance on a studio album. You wouldn’t have known it though as the crowd sang along enthusiastically to every word.

After seeing Spandau Ballet play the same venue weeks ago, it struck me that this was a very low-key performance. There were no big screens, no costume changes save him taking off his shirt, and no light-show trickery. But that’s exactly what I loved; without all the distractions we focused on the heart of the music. Just as he was at last year’s showcase, John seemed so appreciative of this, thanking us repeatedly for making him feel so at home.

I’m thrilled John Mayer feels so comfortable playing for us in Sydney, as it means we can look forward to many nights of live music just like this. And as anyone who was there can attest, this is a very good thing.

Image source: Lauren Katulka

Posted on by Lauren Katulka

Tears for Fears and Spandau Ballet @ Sydney Entertainment Centre, 23 April 2010

On Friday night I stepped back to the 80s for the Tears for Fears/Spandau Ballet show at Sydney’s Entertainment Centre. Thankfully despite the years that had passed since these monster acts last graced our shores, nothing much has changed. From the enthusiastic crowd reactions to the high quality of the bands, it was as if we’d all never left the decade that fashion forgot.

Jack Jones opened the show with a low-key, yet utterly compelling set. It’s no secret that I love acoustic music, and hearing the songs he made famous with Southern Sons in this raw way was just beautiful. With his long scraggy mo and similarly unkempt hair Jack is a far cry from the man I swooned over all those years ago, but his voice has lost nothing over the years. It’s still as pure and strong as it ever was, and hits like “Hold Me In Your Arms” and “You Were There” really showed off his pipes. It’s a shame there were so many empty seats. 7 pm is an early start time for a weekday show, but I have a feeling the people who missed him might kick themselves.

Tears for Fears followed Jack with an energetic, hit-packed set. Within the first four songs we’d already heard “Mad World,” “Everybody Wants to Rule the World,” and “Sowing The Seeds of Love,” so I was beginning to wonder what else was left! But they played much longer, and while I wasn’t as familiar with most of the latter half of the set it was all brilliant stuff. Their modern take on “Woman in Chains,” complete with a freakishly feminine sounding male back-up singer in Oleta Adams’ place, was particularly incredible, as was the big closer, “Shout.” I wasn’t a massive Tears for Fears fan in the 80s, but these guys have converted me. The voices of Roland Orzabel and Curt Smith have lost nothing over the years, and they’re performing with as much energy and musical prowess as I’d expect from performers many years their junior.

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Posted on by Lauren Katulka

The Swell Season @ Opera House, Sydney – 5 April 2010

After catching The Swell Season’s incredible set at the Opera House last year, I was keen for a second helping. They’ve added a few songs to the set since then, but really nothing much has changed.

Byron Bay Bluesfest 2010 - Day 2

We were warmed up by Leroy Lee, a promising singer-songwriter who seemed very much in awe of his surroundings. He told us he’d played to larger crowds in the last three shows than he had in three years, and those nerves showed a little. But the songs ranged from quietly pleasant to amazing. There are so many singer-songwriters delivering folk music on an acoustic guitar, but his plucky female double bassist brought something new. I’m not sure I’d catch Leroy’s set again, particularly as it put my husband to sleep, but I really liked what I heard.

While the crowd listened attentively to Leroy Lee, it erupted for The Swell Season. Glen Hansard, Marketa Irglova, and The Frames are a very special act indeed. While they won the Academy Award for best song from a movie a few years back, they’re not the darlings of commercial radio or the indie press. To love them is to be in on a little secret, to be part of a club brought together for listening to music as it should be played.

The set drew heavily from the soundtrack of that movie, Once, and their latest album Strict Joy. As a collective the music swelled, as it were, a rich tapestry of acoustic guitar, piano, electric mandolin, fiddle, and more. While the sound wasn’t as lush when the band members took to the stage individually it was often more compelling. Glen Hansard attacked the guitar, his voice ravaged with emotion as he sang two of my personal favorites, “Say It To Me Now” and “Leave.” Marketa Irglova’s introspective version of “I Don’t Know How to Love Him” almost brought me undone. This was music that really meant something.

Not that the band doesn’t know how to have fun. Even Czech Marketa seems to have inherited the Irish cheek of her bandmates. She shared the way the boys in her home country hit girls with sticks around the leg as a strange Easter custom, while Glen told us of the time he bought a funeral plot as a grand gesture for a teenage love interest. The quirky tales and wide smiles helped to balance the music that oft times is so raw it’s unbearable.

Another special moment came when the band brought part Aboriginal, part Cherokee singer LJ Hill to the stage. They’d stumbled across his set during Bluesfest and awestruck by his soulful music, urged him to join them for a song. Hearing his very distinctly Australian lyrics juxtaposed with The Swell Season’s lush instrumentation was something I won’t forget.

This was a concert experience as it should be, a coming together of audience and band to create something organic and beautiful. In true Irish tradition, the band left us with the time honoured folk tune “Parting Glass,” encouraging us to sing the refrain “Good night and joy be with you all.” To The Swell Season we raised our proverbial glass, bidding them farewell until they make their return.

Posted on by Lauren Katulka

James Taylor & Carole King @ Hope Estate, Hunter Valley – 3 April 2010

There are certain concerts you know will be great before you even take your seats. The pairing of Carole King and James Taylor, two of the greatest singer-songwriters in musical history, could never deliver anything but sublime entertainment. My expectations were high, but these two very special musicians didn’t disappoint.

Lior warmed up the crowd with his mellow acoustic folk-pop. He was a great match for the largely middle-aged crowd. I educated the older folks in my party about this “young whippersnapper” as we sipped verdehlo and enjoyed his cruisy tunes. I was already a fan, and I have a feeling he may have found some new ones after his subdued set.

But Carole and James were the main attraction. We clapped rapturously as the pair walked out on stage, arm in arm. The chemistry between these two performers is obvious. Their shared history meant they could easily play on one another’s songs for the shows entirety. We were treated to alternate songs from their back catalogue, hit after hit after hit. After so many decades in the business it’s clear that some songs couldn’t make the set list, but I wasn’t left wanting for anything after almost three hours of music.
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