Category: Concert Reviews

Posted on by Lauren Katulka

The Script and Wes Carr @ The Enmore, Sydney – 26 September 2009

wescarr

On Saturday my husband and I headed into the city to catch The Script at Newtown’s Enmore Theatre. With reigning Australian Idol champ Wes Carr on supporting duties and a lovely intimate venue, this was one gig we were really looking forward to.

From the first moment the night didn’t disappoint. Clearly solid touring duties since winning the Idol crown haven’t taken their toll on Wes. He was every bit as energetic as I remembered, and he could sustain it for much longer than we saw on the Idol stage. This guy is a firecracker who knows how to rock. The set drew from his original material rather than his Idol covers, and it was all the richer for it. The Way The World Looks has spawned enough singles to keep the crowds happy, a good thing when you’re playing for a largely teenage audience.

They loved Wes, but they went nuts for The Script. I’m not sure I’ve seen anything like this since I followed Human Nature in the late ‘90s. There’s that same boy band hysteria surrounding them, even though their songs have more cred than a Backstreet Boys smash. The Script might be unashamedly pop, but the heart which underpins their songs separates them from the rest. Their debut album is one of those discs I’ve played to death this year.

Experiencing the songs in the live arena took them to the next level. The band had so much energy, and the crowd really responded to that. Or perhaps it was Danny O’Donoghue and his sexy black T-shirt whipping them into a frenzy. Either way, there was a lot of love in the room.

One of the great things about seeing a band promoting their debut album is that you know all the songs. It encourages the kind of sing-alongs we enjoyed in “The Man Who Can’t Be Moved.” I’ve never been a fan of “I’m Yours,” believing it to be a bit of romantic fluff, but stripping it back in the live arena with a lone acoustic guitar brought out its true beauty.

The Script closed the night with a cover of David Bowie’s “Heroes.” Danny sang it out, jumping around and waving an Irish flag with the word Sydney scribbled on it. The band thanked us so much for coming out and assured us that we were the best crowd of the tour. They probably say that every night, but it felt genuine. Clearly we left an impression on The Script, but it may not be as big as the one they left on us.

Image sources: own photo; Total Assault

Posted on by Lauren Katulka

Bimbadgen Blues, Roots, Funk, and Grooves @ Bimbadgen Estate, Hunter Valley – 12/9/09

On Saturday I made my second trip out to Bimbadgen’s annual Blues festival. It was a different experience to the last in more ways than one.

Firstly, the festival had a bit of a makeover this year. It’s now going under the name Bimbadgen Blues, Roots, Funk, and Grooves, but the changes aren’t simply about the name. The focus shifted to younger, more contemporary artists playing music that went beyond the traditional blues. If the crowds were any indication, the organisers are onto a winner with their vibrant new approach. Despite Coaster playing an hour away, the festival attracted plenty of 20-somethings keen to have a good time.

Unlike last year’s festival, the weather was on our side. While I left the festival soggy in 2008, the sun came out for an unseasonably warm day. It was lovely to bask in the summery conditions, but it made the lines at the bar seem all the more unreasonable. I’ve been a regular visitor to Bimbadgen Estate during A Day on The Green concerts and festivals, but I have never seen a line like this. It snaked all the way down the hill. I hoped to see it get shorter as the day wore on, but no such luck. When I eventually gave in and jumped onto the end of the queue, it took me an hour to get to the front. One bar simply wasn’t enough for a crowd of this size on such a hot day. Announcers apologised for the inconvenience, so I can only hope the situation will be remedied next time around.

While alcohol and sunshine are important elements of any winery concert, the real drawcard is the music. My sister and I parked ourselves near the vineyard stage just in time to see Dialectrix. I’m not the greatest fan of hip hop music, but I was still impressed by the freestyling skills. Anyone that can rap about chardonnay and their loyal fans down the front gets my vote.

The dancing girls near the stage got some company when Ash Grunwald appeared. Enthusiastic fans seemed to come from everywhere, desperate to get a little closer to this acclaimed blues and roots artist. This was music which got back to the blues sounds I love: earthy and primal with squealing guitars and dirty melodies. But I was faced with a dilemma. With so many folks dancing near the stage, surely this would be the best time to join that dreaded drinks queue, right? And so I did. It was still long, but not as terrible as I’d seen it before. Sadly I arrived back to my seat just as Ash was wrapping up his set. What I heard sounded fantastic, but I’d have loved to see more of it.

Settled down with my bubbly, I could really focus on Blue King Brown. On seeing them support Santana a few years ago I remember thinking they were technically amazing but lacking something. The tunes seemed repetitive, running into each other with little differentiation. They needed some hooks or melodies to draw us in, something to match the energy. I still felt that, but I couldn’t deny the effect they had on the crowd. Their performance was theatrical and vibrant, and while it wasn’t my favourite of the night it was compelling nonetheless.

After the buzz generated by Ash Grunwald and Blue King Brown, the mellow indie tunes of The Panics seemed like a little bit of a letdown. They were wonderful, but perhaps not the best choice of headliner. At least, that’s what the crowds leaving in droves led me to believe. I couldn’t fault the band, but they just didn’t have the electricity the audience seemed to want. It’s a shame, because they deserved a much better reception than this.

Bimbadgen Blues, Roots, Funk, and Grooves showed a lot of potential in its new guise. Not everything went smoothly, but I’m sure we’ll see those creases ironed out next year as the festival goes from strength to strength.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Ben Folds @ Opera House, Sydney – 31 August 2009

Last night I caught Ben Folds at the first of his three shows at the Sydney Opera House. It’s a strange thing to see this indie rock god perform at this opulent venue, but those contradictions are what make it so appealing.

The night kicked off with Oh Mercy, which was what I pleading for before too long. It’s not that they were bad per se, but they did bore me. My husband described them as diet polystyrene, and he wasn’t far off. The girls sitting near us said they couldn’t disagree more, but for me there was no passion and no hook. I couldn’t find anything to latch onto; both performance and tunes were bland from where we sat.

Oh Mercy could learn a lot from Ben Folds. He’s one man who will never be described as boring. He might spend most of the night sitting behind a piano, but he’s more compelling doing that than so many other artists are dancing around.

It’s funny: I’ve seen Ben Folds twice now and still only own one CD. But he’s one of those artists that you don’t need to know the songs intimately to enjoy. He’s a storyteller, and so you get sucked into that. Judging by the folks singing along around me, he seemed to play plenty of the crowd pleasers, but he also treated us to the equally well-received new material.

For me, those new songs were a highlight. I’d heard of his collaboration with novelist Nick Hornby, and was thrilled to experience some of it before the release. “Levi Johnston Blues,” based on the tale of the unfortunate chap who knocked up Bristol Palin, is destined to become an audience favourite in years to come.

Ben seemed to have a lot of fun, encouraging the audience to sing along in songs like “Zak and Sara” and “Not the Same.” With the audience seated all around the stage, Ben clearly got a kick out of the stereo effect. There was a lot of love in the room, with both Ben and the fans seeming thrilled to share this space. That’s why, even though I keep forgetting to buy the CDs, I never hesitate to snap up concert tickets.

Image source: ZUMA Press

Posted on by Lauren Katulka

The Badloves @ Lizotte’s, Newcastle – 29 August 2009

Long-time readers of my blog will know there are few things I enjoy more than a night out at the Central Coast’s hallowed venue, Lizotte’s. On Saturday I made the pilgrimage to check out its sister venue in Newcastle.

What an impressive spot. Somehow they’ve managed to bring the intimacy of Kincumber’s “cubby house” to a slightly larger space. It gave us a little more room to spread out, making the experience just a little more decadent. The waitstaff still have some work to do to replicate the excellent service we receive on the Coast, but the food was top notch. And the concert, well that was another thrill.

After blasting Polarity for much of last week, I was excited to see The Bloodpoets in the live arena. However my enthusiasm was matched by equal parts trepidation. I wasn’t sure whether my parents and their friends would warm to the heavier elements of this exciting new Aussie act. But I needn’t have worried. The beauty of producing such an eclectic album is that you can tailor your set to your audience. They toned things down a notch from the recording, embracing the poppier numbers rather than the darker rock songs. It worked. Everyone on my table raved about them, which is no mean feat considering the generation gap.

Next it was a trip back to my childhood with The Badloves. Their album Get on Board was one of the first I bought. I was just 13, and I thought Michael Spiby was the sexiest man alive. I remember being devastated when they split, as I wasn’t old enough to see them play the pub circuit. It’s rare to wait more than a decade to see a band, and my expectations were sky high. But the band met them. They’re still so tight, oozing bluesy cool. And yes, Michael Spiby still makes my heart skip a beat.

The set was largely a trip down memory lane, with a peppering of new numbers easily blending with the old. I sang my heart out to those beloved hits, “I Remember,” “Lost,” “Green Limousine,” and a rollicking version of “The Weight.” “Caroline” was notably absent, but they played so much it was hard to fault them for that. It took me a ridiculous amount of time to catch my first Badloves show. I promise not to leave it so long next time!

Image source: own photo

Posted on by Lauren Katulka

Eddie Kowalczyk @ The Enmore, 19 August 2009

I was just 14 years old when Live released Throwing Copper. I was just beginning to become an angsty and obnoxious teen, and the raw energy of songs like “I Alone,” ‘Selling the Drama,” and the monster hit “Lightening Crashes” struck a raw nerve. That sort of musical mark leaves an impression that never goes away. Last night I took a trip back to that period of my life, and saw Ed (or Eddie as he’s calling himself these days) Kowalczyk do his acoustic thing at the Enmore.

But before Ed there was Leena, an earnest and authentic Aussie singer-songwriter. There was nothing outstanding about her, no flash or frills. But her performance showed that you don’t need any of that when you’ve got good songs. She performed them in acoustic mode, in keeping with the evening’s theme. Stripped back to simply a guitar or keyboard, we could focus on her words and beautiful voice. While many chattered noisily at the bar, the seated audience were captivated. Oh how I appreciate a crowd content to listen.

Just like Leena, Ed reinforced that idea that you don’t need a big band, multimedia screens, or flying pigs if you’ve got the goods. In fact, his show may have been richer for the lack of bells and whistles. I’d seen Live play twice in my life, but never quite like this. Perhaps it was the intimate surrounds of the Enmore, a world away from the entertainment centres. Perhaps it was the stripped back acoustic style. Perhaps Ed’s just in a really good place these days. But it has never been quite this good.

Ed seemed at peace and genuinely happy to spend his evening with us. He seemed very open, spontaneous, laughing and joking with the audience members and encouraging us to sing, dance, become part of it all. There’s something special about rising to your feet, united with everyone else in the room “standing up for love.”

The set was a delight. After seven albums, I didn’t expect to hear all my favourites from Throwing Copper, or “Turn My Head” from Secret Samadhi, or both “The Beauty of Grey” and “Pain Lies on the Riverside” from Mental Jewelry. I was thrilled to hear anything from Mental Jewelry, that sleeper first album, at all. “Supernatural,” the Ed Chesnutt cover from the 1995 MTV Unplugged set, was another great surprise.

After three encores Ed closed the night with another cover, Bob Dylan’s “Blowin’ in the Wind.” It was a fitting end to an evening which really felt like a coming together. Live may be on hiatus, but Ed’s keeping these songs alive in the best possible way. He tells us he’ll be back. His return can’t come soon enough.

Image source: own photo

Posted on by Lauren Katulka

Counting Crows and The Who @ Hope Estate, Hunter Valley – 28 March 2009

Another weekend, another winery show. This time I was off to a relatively new Hunter Valley venue, Hope Estate.

Aussie rockers Dallas Crane kicked off the afternoon with a set that offered energy, but little variety. I must admit, I’m just not a Dallas Crane fan. Dave Larkin’s gravelly voice began to grate on me after not too long, and the tunes started to sound all the same. I guess they do what they do well, but it just seems like they do the same thing.

I was a lot more enthusiastic about the Counting Crows, but anyone who knows me wouldn’t be surprised by that. I’ve been a massive fan since the start, and since they’ve only toured Australia once before I was more than ready for a return set. As a fan it didn’t disappoint me, but I can see how many wouldn’t share my view.

The choice of Counting Crows as support act for The Who was a curious one. They’re just so different, and I could tell as I looked around the venue that the difference wasn’t one the bulk of the audience appreciated. I think the Counting Crows could too. And so it seemed that they played to those of us who cared, and disregarded those who didn’t. So there was no “Big Yellow Taxi,” no “Mr Jones,” but such fantastic music for those of us who knew the back catalogue.

I lapped up “Mrs Potters Lullaby,” the sprawling epic so long I never imagined it would make the set list. I was so thrilled to hear “Goodnight Elisabeth” and “Round Here.” I cherished the rambling free form jams and Adam Duritz’s utter abandonment. There is a man that leaves his heart on the stage, performing with such passion and commitment. I can only hope the Counting Crows make a return visit soon, because they deserve to perform for a crowd who really wants to hear them.

As the Counting Crows left the stage I commented to my husband that I couldn’t imagine how I could muster the same enthusiasm for The Who. Sadly I was right. Don’t get me wrong: I love The Who. But last time I saw them live, I remember seeing a lot of flaws. In fact, if the Counting Crows weren’t on the bill, I probably wouldn’t have bothered with a second outing.

But they were, and there I was, seeing a band that was good but just not quite as good as they used to be. Roger Daltrey still swings his microphone cord around like a demon, but his voice shows the ravages of time. Pete Townshend still rocks hard and shows plenty of personality, but there’s something missing. The band doesn’t sound as tight as they should be: I guess that’s what happens when you lose your drummer and bassist. Zac Starkey and Pino Palladino are both fine musicians, but there’s something missing.

While the sound wasn’t quite up to par, the hits everyone came to hear were there. The newer songs they played didn’t quite measure up, but mercifully they were few and far between. For the most part the crowd had all the nostalgic tracks they could hope for. And in many of those songs I could forget about the flaws and just enjoy the show. “I Can’t Explain” and “Anyway, Anyhow, Anywhere” came early, starting us all off on the right note. “You Better You Bet” has always been one of my favourites, and it didn’t disappoint here. And I loved hearing “Pinball Wizard” and “See Me, Feel Me” from Tommy.

The Who are getting on a bit, but by delivering the hits that made them famous they’re still put an enjoyable show. But for me the real stars of the night were the younger guys, the Counting Crows.

Image source: own photo

Posted on by Lauren Katulka

Jackson Browne @ Tempus Two Winery, Hunter Valley – 28 February 2009

On Saturday I was back in the Hunter Valley. The vineyard was different – Tempus Two Winery this time – but I was still ready to enjoy an evening of fantastic music. With a line-up including Tim Freedman, Richard Clapton, Toni Childs, and Jackson Browne, the quality of the show was never in doubt.

I was disappointed that Whitlam’s frontman Tim Freedman only had a half-hour set, but managed to cram so much into 30 minutes. For fans like me numbers like “Kate Kelly” and “You Sound Like Louis Burdett” were welcome surprises, while my parents were content to sing along to “Blow Up The Pokies” and “No Aphrodisiac.” We were also thrilled to see Tim had his happy face on. We’ve been to shows where he seemed to be in a filthy mood, so to see him joking easily with the crowd put a smile on everyone’s face.

Next up was Richard Clapton. There’s a reason why Richard is one of my favourite Australian performers. He never does a bad show. Always the consummate professional, he performs his butt off, delivering classic hit after classic hit. It didn’t take my mother and I long before our itchy feet got the better of us and we had to leave our seats to dance. Predictably there was a crowd of like-minded folks to the side of our seats also revelling in Richard’s brilliance.

Armed with more wine we settled ourselves back in our seats for Toni Childs. Toni was the unknown quantity for me on the tour, the only artist I’d never seen before. While I may not have been so familiar with her music, I was enthralled. She has such a voice, so rich and effortless. While her tunes were largely unfamiliar to this audience, they were instantly accessible. Old favourites “Many Rivers to Cross” and “Stop Your Fussin’” brought the house down.

Jackson Browne’s set is an interesting one for me to comment on. He’s such an accomplished performer, in fine voice with an easy character that’s so endearing. But for me the first half of his show felt labored. The set was made up of new songs from Time The Conqueror and slightly obscure older material, and it made the audience restless. While he performed these songs flawlessly, it seemed like we were all waiting for something to latch onto. I have no problem with artists showcasing their new songs, but I think you need to throw the crowd a bone every now and then.

That bone came about halfway through his set with the familiar rollicking piano intro of “Doctor my Eyes.” We all sang loudly, enthusiastically, rising to our feet with joy, so grateful to hear something we knew. That was the turning point for me. Yes there were songs I didn’t know, and yes there were songs I wish had found their way into their set. But it was all so easily forgiven.

I don’t normally condone people yelling out for songs, but I couldn’t fault the persistent gent who wanted to hear “Rosie.” And when Jackson obliged not long after “Doctor my Eyes,” you could have heard a pin drop. I do love an artist who listens to their fans and changes up their set to accommodate a special request.

“The Pretender” was breathtakingly awesome. “Running on Empty” had us all on our feet, singing with joy again. “The Load-Out” and its seamless segue into “Stay” was the perfect encore, even if it did seem to signal an end that came too soon.

I may have felt disgruntled at first, but Jackson won me over so that by the end of the night, like so many others I was begging him to stay. It may not have been a flawless set, but I know I’ll queue up for tickets next time Jackson is in town.

Image source: own photo

Posted on by Lauren Katulka

Simply Red @ Bimbadgen Estate, Hunter Valley – 21 February 2009

When I was a young teenager I saw Simply Red play at the Newcastle Entertainment Center. I admit that I wasn’t a big fan of the band, but I enjoyed “Fairground” which was all over radio at the time, and I didn’t want to be left at home while my parents saw the show. I may not have adored the band before the show, but when I left I was converted.

I admit it; as I looked back years later I wondered whether I was just excited by such a large-scale show. I had only seen one or two concerts before, so seeing any band was a big deal. Were they really as good as I remembered?

After catching Simply Red again at Bimbadgen Estate on Saturday, my answer is an unreserved yes. But of course any Day on the Green show is about more than the main act so allow me to backtrack a little.

It was a soggy day in the Hunter Valley on Saturday. We were all thankful when Dragon took to the stage, providing some respite from the relentless downpour. Mark Williams did his best to fill the very big shoes left by Marc Hunter, but he didn’t quite cut it. The vocals didn’t have quite enough punch, but the crowd helped to fill in the gaps. Hit after hit after hit came. “Rain” was a real highlight considering we were all soaked through to our underwear!

Kate Ceberano has always struck me with her warmth and sunny disposition, so it seemed fitting that the clouds parted for her performance. She treated us to a covers-heavy set, drawing from her recent albums Nine Lime Avenue and So Much Beauty. But fans of her original recordings weren’t disappointed either, with “Brave,” “Pash,” and a reggae-flavoured “Bedroom Eyes” finding their way into the set. I think we all had as much fun dancing along to those songs as the permanently smiley songstress did performing them.

Just when we thought we might have seen the last of the rain it began to bucket down again. I was beginning to really resent being cold and wet until Simply Red appeared. They are just that good.

Mick Hucknall is the quintessential frontman. He knows how to work a stage, and his voice isn’t showing any signs of old age. In this age of technical wizardry it’s so rare to see a band that can reproduce that studio quality in their live performance, but Simply Red can. His vocals are effortless, flawless.

His sexy dance moves and charisma may ensure all eyes are on Mick, but every member of the Simply Red band has a role to play. They are such superb musicians, bringing these iconic songs to life with guitars, saxophone, and keys.

This concert was a celebration of 25 years of fabulous music, and celebrate we did. I only wish I hadn’t found myself stuck amongst drunken yobbos. Have fun by all means, but no one needs to drink so much they’re falling over and becoming obnoxious. They may not remember this concert for years to come, but I certainly will.

Image source: own photo

Posted on by Lauren Katulka

Glen Hansard, Marketa Irglova, and The Frames @ Sydney Opera House, 28 January 2009

Once upon a time Glen Hansard was the lead singer of Irish group The Frames. They had some moderate success, but he dreamed of more. On a trip to Sydney with his bandmates he stood in the Botanic Gardens, looked across at the Opera House, and said to himself “I want to play there.”

A lot has happened since Glen decided he wanted to perform at our iconic venue. He made a little indie love story called Once. This tiny movie remarkably won best song at the Academy Awards in 2007. And last night, Glen Hansard played the Opera House.

The fairytale of Glen’s journey to Sydney’s hallowed halls is much like the fairytale I saw play out on stage last night. He performed his beautiful songs with The Frames and his movie love interest and now real life girlfriend, Marketa Irglova. Just like their cinematic characters, Glen was charming and funny if a little awkward. Marketa was sweet and quietly spoken, with a wicked sense of humour. Their affection for one another was obvious, and I was thrilled to bask in it.

There’s a reason why such a small film like Once caught the attention of the prestigious Academy. Its soundtrack is amazing. The songs come from a pure place, emotional without being flowery. Songs like the award winning “Falling Slowly” are delicate and romantic, longing, while others like “Leave” and “Say It to Me Now” are so raw they bleed. Some benefited from the lush treatment of the full band, while others were exquisite in their pared back arrangements.

Frames fans were not left disappointed, with the band treating us to many of their songs too. I admit I jumped onto the Glen Hansard bandwagon a little late so I wasn’t familiar with their earlier material, but it didn’t matter. Glen has a way about him that draws you in with poetic words and honesty.

Sitting in the audience, you can tell that we all knew we were witnessing something special. Whenever the band stood to leave the stage we’d all rise to our feet, letting them know how appreciative we were, secretly hoping they’d return once more. They did return, for a massive three encores. I think the band played until their hands were sore, and our clapping palms were too.

I walked out of the Opera House last night knowing I had experienced a truly great concert. To Glen, Marketa, and The Frames I say thank you.

Image source: own photo

Posted on by Lauren Katulka

Howie Day @ Annandale Hotel, Sydney – 28 November 2008

On Friday I made the trip to the Annandale Hotel in Sydney to check out one of my favourite acts in the world, Howie Day.

That my country still hasn’t quite latched onto the music of this talented American is both a blessing and a curse. I’d love to see him in a venue that isn’t quite so cramped, and minus the sticky floors. But I can’t complain too much about the $22 cover charge!

An indulgent Italian meal in Leichardt kept me away from the first support act Fairy Light, but I arrived just in time for Sophie Koh. I’d heard good things about this Melbourne singer-songwriter and she didn’t disappoint. She reminded me a lot of Bic Runga, with a sweet voice and compelling folk melodies. That sounds like the formula of so many girls with guitars, but Sophie’s poetic lyrics and intricate music ensure she stays always just that little bit left of centre. Most of us didn’t know her songs, but she kept us enthralled so that by the time she played Radiohead’s “Creep” we were all happy to sing along.

It was nearly 11 by the time Howie took the stage. I must be getting old, because I was fading. I’m used to concerts that finish at 11, not start. But Howie roused me with a set that was perhaps even better than the last time he graced our shores. He seemed more relaxed this time around, willing to joke around with the audience. We were all with him, laughing as he showed us how he could speak backwards and make uncanny bird noises.

Howie often performs with a full band, but he doesn’t need one. Just as his personality is big enough to fill a stage, so is his sound. He exploits technology, creating loops which allow him to play lead guitar, bass guitar, and percussion all at the same time. It’s clever but never gimmicky, just another colour in Howie Day’s box of crayons.

Once his set was done I just about fell over with exhaustion, knowing I still had to make it home to the Central Coast before I could drop. When I returned to Central station at a little after midnight to find the next train wouldn’t leave until 1:45 am, I nearly cried. But would I do it all again to see a show like Howie’s? In a heartbeat!

Image source: own photo