Category: Reviews

Posted on by Lauren Katulka

“Professional Misconduct” – The Screaming Jets

It’s taken me a little while to listen to The Screaming Jets’ 10th studio album Professional Misconduct. And a little while after that to put fingers to my keyboard and share my thoughts. It’s taken time, because like so many people from Newcastle I needed a moment to process the unexpected loss of the band’s founding member Paul Woseen. I knew I needed to push through though, because this album is such an important body of work for this band.

As a teenager growing up in Newcastle, The Screaming Jets were so much a part of my journey to adulthood. I must have been 15 or 16 when they played an under-18s gig at the Cambridge. I was hooked. I made my way in to Civic Park in 1997 when they honoured the Newcastle Knights after their grand final win. Then when I turned 18s the gigs became more frequent. Shows at the Newcastle Workies, Toronto Workies … venues with sticky floors, the air thick with cigarette smoke and beer. They were always such physical gigs, with punters jostling to move me on from my front row position, but I always stood firm. I found myself reminiscing about those moments when we lost Paul, and again listening to this album, their first of new material since the release of Chrome in 2016. It’s new music, but it’s the same old Jets, as it should be. Dave Gleeson’s voice up front and center, surrounded by guitars and those driving drums. It’s proper rock music, the way it’s meant to be. Hard-hitting numbers like “Nothing to Lose,” “No Reason,” and “Speed Quack” have become firm favourites. “Lying With Her” is haunting in its stillness. I might have gotten misty listening to “Second Chance” thinking about what might have been.

The Screaming Jets will never be the same, but I’m so glad we have this one last album with Dave and Paul working together. I think Professional Misconduct might be their best work since World Gone Crazy way back in 1997. It’s certainly a fitting tribute for the band’s late bassist, but it’s not the end for the Screaming Jets. They will tour around the country as scheduled, bringing this music to the people. It’s what Paul would have wanted. Enjoy this brilliant new music and plenty of old favourites at the following shows:

3 November 2023 – The Triffid, Meeanjin/Brisbane
4 November 2023 – Beenleigh Tavern, Yugambeh Country/Beenleigh
10 November 2023 – Chelsea Heights, Bunurong Country/Chelsea Heights
11 November 2023 – Prince Bandroom, Bunurong Country/St Kilda
17 November 2023 – Dubbo RSL, Wiradjuri Country/Dubbo
18 November 2023 – Bathurst RSL, Wiradjuri Country/Bathurst
1 December 2023 – The Factory Theatre, Eora/Sydney
2 December 2023 – Anitas Theatre, Woolyungah/Wollongong
5 January 2024 – Summernats 36, Ngambri/Canberra
19 January 2024 – Blank Space, Gooneburra Country/Toowoomba
20 January 2024 – Kingscliff Beach Hotel, Bundjalung Country/Kingscliff
23 January 2024 – Longyard Hotel, Kamilaroi Country/Tamworth
25 January 2024 – Sunken Monkey, Darkinjung Country/Erina
27 January 2024 – Laurieton Ex Services Club, Biripi Country/Laurieton
28 January 2024 – Pacific Palms Recreation Club, Worimi Country/Elizabeth Beach
1 February 2024 – The Albies Bar, Undalup/Busselton
2 February 2024 – Port Beach Brewery, Walyalup/Fremantle
3 February 2024 – Ravenswood Hotel, Bindjareb Country/Ravenswood
9 February 2024 – Hornsby RSL, Darug and GuriNgai Country/Hornsby
10 February 2024 – Club Central, Bendiagal Country/Hurstville
16 February 2024 – Commercial Hotel, Wurundjeri Country/South Morang
17 February 2024 – Village Green, Wurundjeri Country/Mulgrave
23 February 2024 – Toronto Hotel, Awabakal Country/Toronto

Images used with permission from Revolutions per Minute

Posted on by Lauren Katulka

“Horror Movie” – Gia Darcy

Hailing from Darkinjung Country/Central Coast and now based in Eora/Sydney, Gia Darcy is a breath of fresh air on the indie pop landscape. With the release of her EP Horror Movie, she delivers five tracks that showcase her excellent songwriting and angelic voice.

The quality of Gia’s songwriting was what really drew me in. The title track is such a witty commentary on her horror relationships that unfold so predictably that outsiders can clearly see the dangers she’s oblivious to. “Do I Know” is a sweet country pop song in the vein of early Taylor Swift and local artists like Chelsea Berman and Amber Lawrence. Gia shows her sensitive side with “Say It.” This poignant track is really the heart of the EP, a song that shows a vulnerability that’s so compelling. She might have been entangled in relationships with a few horror movie villains, but by the end of the EP it’s clear that Gia is no victim. “Save Your Breath” and “Toxic” are modern girl power anthems. They leave us with such a strong impression of this artist and her power.

With the release of Horror Movie, Gia Darcy shows she’s a pop chameleon with a real knack for storytelling. Her lyrics are clever yet honest, always from the heart even when her tongue is planted firmly in her cheek. Take a listen and if you’re in Eora/Sydney, make sure you get out and support her when she launches the Horror Movie EP at Oxford Art Factory on November 3.

Images used with permission from Gia Darcy

Posted on by Lauren Katulka

Ben Lee @ Avoca Beach Theatre, Darkinjung Country/Avoca Beach – 5 October 2023

Once upon a time, the people of the Central Coast had to go to Newcastle or Sydney to see major musical acts. Sure, that’s only an hour or so up or down the freeway, but it made midweek gigs with friends challenging. Now it seems we’re spoiled for choice, with venues like Drifter’s Wharf, The Art House Wyong, and Laycock Street Theatre all doing their bit. For mine, Avoca Beach Theatre is leading the charge. In her welcome speech Beth Hunter, who runs the theatre with her husband Norman, told us of the way the theatre’s objective of telling Australian stories has expanded over the years. More than just a movie theatre, it now hosts comedians and live music. Once they aimed to host three live performances a month. Now they aim for three every week. After recent renovations, it’s better than ever. It’s still intimate, holding less than 300 music lovers. It’s retained its heritage charm, but the new chairs are a bit plusher. We’ve even got cup holders.

It’s the sort of place you want to see gigs at. So after years of thinking I wanted to see Ben Lee but never actually buying the tickets, I followed through. It doesn’t hurt that I think Ben’s recent albums are some of his best. The songs from I’M FUN! and Love is the New Rebellion are among my favourites, so maybe it’s not a bad thing that I waited until this stage of his career to see a show. The last couple of years have also brought us DJ DadBod, Ben’s alter-ego and the perfect support act. He delivered a set of fun and quirky mash-ups, singing and dancing along with such joy. It was beautiful to watch.

After a quick break he was back in Ben mode, delivering an eclectic and surprising set with plenty of twists and turns. There were the hits of course, including songs like “Gamble Everything For Love” and “Something Borrowed, Something Blue” that I haven’t thought about for years. A couple who danced to “Love Me Like the World is Ending” at their wedding were celebrating their wedding anniversary at the show. The lyrics resonated so much more knowing what it meant to them. They didn’t take Ben up on his offer of recreating the dance on stage, but I can imagine their happy smiles hearing him sing this song that meant so much to them. I loved the chance to hear newer material that I love like “Crooked Tree” and “Arsehole.” He even gave us a sneaky listen to some beautiful material from an album that will drop next year. After some audience requests, he showed he’s not too proud to go back to the vault, treating a long-time fan to a rendition of “Poison 1080” from the Noise Addict days. That same self-effacing charm saw him launching into songs other artists wrote about him. They weren’t all flattering (Google efforts from The Chaser and The Ataris to hear what I mean), but they were so much fun.

Ben crammed a lot of music into the evening, but he also put so much of himself into the performance. Avoca Beach Theatre is one of those places that brings the audience and performer together in a shared space. There isn’t the traditional divide that exists in larger venues, and Ben seemed to relish that. He noticed when the people clapping along petered out, and heard comments the crowd made. He told us stories of his life and where the songs came from. This is exactly the sort of show I love. If I just want to hear the music, I’ll stay home and listen to a CD. This more personal experience was so much better.

As Ben delivered the one-two punch of “We’re All In This Together” and “Catch My Disease” I started to think there’d be no encore. Where do you go from there? We could certainly leave happy, but surely it’d feel weird for him to just leave without playing the adult game of peek-a-boo we all know and love! I needn’t have worried. It was time for another mash-up and apologies that he’d forgotten his merch. But not to worry, he had Iced VoVos instead! Watching Ben dance down the aisles with his silver platter of classic Aussie bikkies, then don a tinselled rainbow cape for a final boogie, was the most wholesome and perfect way to end this fabulously off-the-wall night of entertainment. Ben still has a few shows left on his Ben Lee vs the Collapse of the Music Industry tour. If you can get some tickets, make sure you don’t procrastinate as I’ve done for years. Get yourself to one of the following gigs:

6 October 2023 – The Baroque Room, Gundungurra and Darug Country/Katoomba
7 October 2023 – Tallagandra Hill Winery, Candariro/Gundaroo
13 October 2023 – Northcote Social Club, Wurundjeri Country/Northcote
14 October 2023 – Kindred Bandroom, Wurundjeri Woi Wurrung and Bunurong Country/Footscray
16 November 2023 – ALTAR, Nipaluna/Hobart
19 November 2023 – Du Cane, Kanamaluka Country/Launceston

Image source: Stephen Katulka

Posted on by Lauren Katulka

The 25th Annual Putnam County Spelling Bee @ Hayes Theatre, Eora/Sydney

For a long while a friend has told me I needed to go to more independent theatre productions. I’ve always been resistant. After seeing a few fairly amateur local community theatre shows, I decided it wasn’t for me. But then my husband got a job that saw him in Eora/Sydney a couple of days a week, and I started to realise that the only way we would be able to see the shows we’d heard about at the Tony Awards was to explore the independent theatres there. Needless to say, I’m hooked. Last month we caught the Australian debut of Natasha, Pierre, and the Great Comet of 1812 at the Darlinghurst Theatre. It was bold and dynamic, and I definitely would have written about it if we didn’t attend one of the last shows. Last night we headed to the Hayes Theatre to see the 25th Annual Putnum County Spelling Bee, and since there’s a little more than a week left I wasn’t going to miss the chance to tell you all about it.

My husband and I have long had the 25th Annual Putnam County Spelling Bee on our must-see musical theatre list. It won a couple of Tonys back in 2005 along with other honours like Drama Desk and Lucille Lortel awards and it often features on those musical theatre top 10s videos we love watching on YouTube. I knew it’d be a sweet show, but I didn’t quite prepare myself for how much I’d enjoy it. The premise is simple, as the best musical theatre shows often are. A group of six kids, played by adult actors, along with a few brave audience volunteers, come together for the titular spelling bee. Each has their own story, their reasons for wanting to compete, their strengths and insecurities that have led them to this moment. They’re overseen by a sweet moderator and former spelling bee champ Ms Peretti, the vice principal Douglas Panch, who returns to the bee after a five year absence following a mysterious “incident,” and Mitch Mahoney, an ex-con turned comfort counsellor. It’s a quirky collection of characters and one which delivers laughs and feels in equal measure. The base is solid, but a show is only ever as good as its performers.

This company knocked it out of the park. There wasn’t a weak link among the cast. Their voices, acting chops, and even dancing skills were on point. You have such a short time to establish a connection in a production like this, but I found myself so invested in every one of their stories. Even those brave volunteers I mentioned did a fabulous job. When everyone is so strong, it seems rude to single out anyone, but a special shout out has to go Cypriana Singh, who took on the role of Ms. Peretti at the eleventh hour. Big theatre groups have understudies who prepare for a select number of roles, but as the Hayes is small there are just two expected to be across everything. Honestly, if it wasn’t announced she was an understudy at the start of the show, I never would have known. Way to take your moment to shine!

But honestly, every member of this cast did. They were sweet and funny and fun and so incredibly talented. The 25th Annual Putnam County Spelling Bee is one of those special shows that simply leaves you feeling good. And don’t we all need more of that? If you’re in Eora/Sydney, do see it if you can. The 25th Annual Putnam County Spelling Bee finishes at the Hayes Theatre on October 8.

Posted on by Lauren Katulka

“Best Friend” – Clayton Francis

As a big fan of American indie-pop duo LANY, I was instantly drawn to Aussie artist Clayton Francis’ new EP Best Friend. Their music is so similar, with electronic percussion, uplifting synths, sweet vocals, and romantic lyrics that make the world seem better. However, the more I listened, the more I started to appreciate Clayton’s music in its own right.

Unlike LANY’s singer-songwriter Paul Klein, Clayton is happily married to his high school sweetheart. When he sings songs like the title track “Best Friend” and “As Long as You Love Me,” you know they come from a place of true, deep love. When he sings that he’d lay down his life for his partner in “You’ll be the Death of Me,” you believe him. This music isn’t fan service. He’s not trying to make the audience swoon, although they just might. He’s simply showing us his heart, and that’s a beautiful thing. Of course, being married to your high school sweetheart has its downside. You won’t find this music taking any dark turns. “Find My Way”, a song about the pursuit of a career which can take him away from his relationship, is as close to a story of struggle as this EP gets. But that doesn’t matter too much to me. There are plenty of places to hear songs about heartbreak and betrayal. There’s certainly a place for music that simply makes you feel as good as this collection of songs does.

The music from Clayton’s EP might sound like lost tracks from a LANY recording, but as a fan of that music I don’t care too much. It’s good when they make it, and it’s every bit as good as good here. What may give him a slight edge though is his maturity. And of course, we always have a soft spot for our own. If you love the indie pop music LANY are making, make sure you listen to Clayton Francis. He might just be your new favourite artist.

Images used with permission from Kick Push PR

Posted on by Lauren Katulka

“Down in Hollywood” – Dana Gehrman

I must admit, I approached Dana Gehrman’s new album Down in Hollywood with a little trepidation. I wasn’t very familiar with this Meeanjin/Brisbane-based blues-rock artist, and I’m ashamed to admit I’m not across the music from Little Feat, whose songs she covers on this release. I thought I’d feel like a fish out of water listening, but I have a policy of playing everything that lands in my inbox. I’m so glad I did. While I expected to feel out of my element, Down in Hollywood is one of the most accessible and enjoyable albums I’ve heard in some time.

This album has a beautiful nostalgia about it, even if you don’t know the source material. And Dana’s voice is so warm and welcoming, the marriage is heavenly. She wraps her vocals around these songs with gusto. All too often there’s a disconnect when people sing covers, because they didn’t write the material, but you can hear how much these songs matter to Dana.

“I grew up with Little Feat, emanating from vintage Tannoy speakers in cabinets larger than life. These songs are so engrained in me; when we play them, they feel as much a part of me as my own songs,” Dana added. “I don’t believe you could ever make their songs better; these are just my humble interpretations of songs I truly love.”

After listening to Down in Hollywood, I’m inspired to listen to Little Feat’s originals, but not just yet. For now, I’m happy to sit with Dana’s fabulous interpretations and celebrate them as standalone works before I make inevitable comparisons. Dana will launch Down in Hollywood with these shows along the East Coast next month:

1 October 2023 – Caloundra Music Festival, Kabi Kabi and Jinibara Country/Caloundra
5 October 2023 – The Beach Hotel, Cavanbah/Byron Bay
6 October 2023 – The Citadel, Kalibai Country/Murwillumbah
7 October 2023 – Tom Atkin Hall, Yugambeh Country/Gold Coast
13 October 2023 – St Bernard Hotel, Yugambeh Country/Mt Tamborine
14 October 2023 – Felons Barrel Hall, Meeanjin/Brisbane

Image used with permission from Jo Corbett Publicity

Posted on by Lauren Katulka

“Independent Discover Volume 2” – Sounds on the Couch

The early days of the COVID-19 pandemic both isolated us, as we were stuck in our homes, and brought us closer together as a global community. We were all in the same boat, desperate for some connection, and relationships were formed and nurtured across the miles. Sounds on the Couch was just one of the exciting initiatives to come out of that time. Naarm/Melbourne-based singer-songwriter Karen Harding launched Sounds on the Couch in April 2020 to support and promote independent and emerging artists at home and around the world. Unlike so many pandemic initiatives, it’s still going strong. Sounds on the Couch recently launched its latest digital compilation, Independent Discovery Volume 2.

Independent Discovery Volume 2 celebrates and showcases the diverse range of talent uncovered by Sounds on the Couch. This album takes you on a rollercoaster ride, from the flirty country-pop of Sophia Petro’s “Rose Glow” to the hard rock of Flint.’s “Stop.” Along the way we’re treated to acoustic folk, new wave, blues, and everything in between. Most artists hail from Australia, but musicians from Belgium, the United States, and Germany are also represented. It’s so exciting listening to all these new voices coming together on this album.

Because it’s so eclectic, it might not all be to your taste. It definitely wasn’t mine. But that’s not a bad thing. Art is polarising. It’s not meant for everyone. But like me, I also hope you’ll find a few new favourites among these songs. Consider Independent Discovery Volume 2 a springboard for learning about excellent independent artists that may have otherwise gone under your radar.

Image used with permission from Rise Indie

Posted on by Lauren Katulka

Darren Criss @ City Recital Hall, Eora/Sydney – 11 September 2023

Darren Criss is undeniably one of Glee’s true success stories. While some cast members have been taken too soon, had their legacies marred by scandals, or faded into obscurity, his star has continued to rise after Ryan Murphy’s teen musical juggernaut. He’s starred on Broadway, performed for President Barack Obama on his second inauguration, and earned an Emmy and a Golden Globe for his role in The Assassination of Gianni Versace. He’s released a couple of EPs of original material and a Christmas album to little fanfare, but you wouldn’t know it if you were anywhere near the City Recital Theatre on Monday night. The sold-out crowd gave him a rock star welcome, the kind reserved for chart-toppers. He repaid their kindness with one of the most entertaining nights of music I’ve experienced in a while.

I must admit, I wasn’t quite sure what to expect from this show, but it certainly wasn’t Darren busting out a cover of Jet’s “Are You Gonna Be My Girl?”, then backing it up with The Pointer Sisters’ “I’m So Excited” to whip this already excited crowd into a frenzy. The high-energy numbers worked their magic, letting us all know we were in for a party.

The set was an eclectic one celebrating Darren’s career. But that career has been nothing if not eclectic. His original music never stays in the same space for too long. I must admit, I didn’t do my homework and immerse myself in it fully before the gig, but I’m making up for lost time now because I was so impressed. There was a little jazz, some acoustic folk, a dash of new wave, and some straight-up rock.

I discovered Darren through Glee, so I was thrilled to hear he still loves singing the songs from that program that really broke through. He gave songs like “Teenage Dream” and “Somewhere Only We Know” every bit as much enthusiasm as he did his originals, and we lapped it up. I was especially excited to hear him perform “Cough Syrup,” perhaps my favourite cover from his time on “Glee.” It was every bit as good as I hoped for.

My husband became a Darren Criss fan much earlier than me, when he stumbled on A Very Harry Potter Musical on YouTube. He fanboyed hard seeing StarKid alum Joey Richter and Lauren Lopez on back-up vocals, but things went to the next level when they brought us songs from that musical like “Granger Danger” and “Harry Freakin’ Potter”. He said to me later that to be in a space with so many people that share this very obscure musical passion was an experience like no other.

And then there were the real surprises. You could have knocked me down with a feather when I heard the unmistakeable opening notes of “Straight Lines” by our own Silverchair. His slowed-down version of Carole King’s “One Fine Day” was exquisite. And just when I thought I couldn’t love the show more, he played one of my very favourite songs, Ben Folds’ “The Luckiest.” Looking at the set lists, the first Sydney show was the only night this made an appearance. What a lucky audience we were.

I also feel lucky to have experienced Darren perform a show like this, in a theatre as small as the City Recital Hall. While he aspires to play the Opera House next time, he clearly relished the opportunity to connect with the audience that such an intimate room provides. It allowed him to compliment the snappy dresser a few rows from the front and chat to Jay, who was dragged along to the show by his enthusiastic girlfriend. Darren created one of the most inclusive spaces I’ve ever been in, where young and old and all colours of the rainbow flag are welcome. As I looked at the people around me as we made our way out of the theatre, I felt confident every one of them had as much fun as I did. And every one of them is likely to return when Darren inevitably plays the Opera House next time around.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Happy Ever After” – MID CITY

MID CITY might be the next big Aussie success story. The Naarm/Melbourne outfit has been releasing music together since 2018, but they’ve taken their time in releasing an album. The wait was worth it. Happy Ever After is one of the best albums I’ve heard all year.

I’d already raved about the title track, which opens the album with a flourish. It’s the perfect introduction to this energetic rock act, but they’ve got a lot more in their arsenal. The tracks that follow hit just as hard, with powerful lyrics that pack an emotional punch that’s every bit the equal to those big guitar riffs and driving drums. MID CITY doesn’t take its foot off the throttle until the fourth track in, and even then we’re only shifting down a gear or two. This is an album that gets you moving, whether you’re punching your fist in the air or letting the sound take over your whole body. Not that MID CITY is all one note. While they love a big rock anthem, big ballads like “Someone Like You” and “Lover Again” will have you reaching for the cigarette lighter.

“Touring in Europe really informed what we wanted; playing some great festival stages and watching people react – or not – to the things we thought were important in creating the perfect hard-hitting banger,” the band explained. “What was surprising though, was the quieter side we found on some songs. We always wanted the album to be a little journey, not just a 170 bpm sweat fest, but we didn’t realise how satisfying it would be to create some songs with different tempos and feels. We’re really proud of the balance we found between bangers and more heartfelt quieter moments. Perhaps we’re maturing? I hope not.”

I found myself thinking of several big stadium acts as I listened to Happy Ever After. The Killers. Arctic Monkeys. Our own Gang of Youths and the Temper Trap. There’s a little of these bands in MID CITY, but there’s also a unique flavour that sets them apart. Just like those acts, I can picture MID CITY packing out stadiums all around the world. It’s already starting, with MID CITY playing dates in Europe and the United Kingdom next month. Expect those venues to be upgraded next time they travel. Until then, enjoy seeing the at the small spots while you can.

3 October 2023 – Galao, Stuttgart
4 October 2023 – Helios 37, Cologne
5 October 2023 – Pop Bar, Haldern
6 October 2023 – Molotow, Hamburg
8 October 2023 – Badehaus, Berlin
10 October 2023 – Nachtleben, Frankfurt
17 October 2023 – The Victoria Dalston, London
18 October 2023 – 33 Oldham Street, Manchester

Images used with permission from beehive; main image credit: Richard Clifford

Posted on by Lauren Katulka

“Wicked” @ Lyric Theatre, Eora/Sydney

I haven’t seen Wicked since it played at the Capitol Theatre in 2009. I remember enjoying it without falling totally in love with it. My husband was enamoured though, and my parents wished they’d seen it, so I found myself at the Lyric on the weekend ready to experience it all again. I wasn’t especially excited, but I reasoned enough time had passed that I was bound to have a good time.

I wondered how the latest cast could possibly match the talents of Jemma Rix and Lucy Durack, who perfectly inhabited the lead roles, or even stellar supporting players like Rob Mills and Bert Newton. I needn’t have worried about it though. This country has a habit of producing such incredible performers. I’d always thought Lucy Durack was the perfect Glinda, but Courtney Monsma is at the very least her equal. She made the role her own, playing up the character’s brattiness and bringing true heart when required. My husband always judges a Glinda by their performance of “Thank Goodness.” At its conclusion, he leaned over to me and told me she’d nailed it. Elphaba is such a demanding role, but I think Sheridan Adams was solid in it. I could hear a little strain as she tackled those stratospheric notes, but I wouldn’t be surprised if they become more effortless as the season progresses. Liam Head charmed as Fiyero, as any good Fiyero should do, and Todd McKenney made the most of every moment as The Wizard.

As the story played out, I found myself enjoying it more than I thought I might. Anticipating the twists and turns, the way the pieces would fall into place, was comforting. Rather than holding my breath as I did the first time around, I could take pleasure in what was around the corner. My familiarity with the songs saw me looking forward to my favourites, which were always performed so perfectly. My husband plays the soundtrack so often I’d forgotten how much richer these songs are with the rich visuals of the stage.

The Australian musical theatre scene has typically played it safe over recent years. With the notable exception of Hamilton, most major productions have been jukebox musicals, adaptations of Disney films, or shows that regularly grace our stages (I’m looking at you Hairspray). I’m relying on community theatre groups to bring me something new, but with 14 years passing since Wicked’s last showing this almost feels fresh. If you’ve never seen Wicked before, don’t sleep on this one. And if you have like me, this production certainly makes it worth a second look.

Wicked is at the Lyric Theatre in Eora/Sydney until December 30. Tickets are available through Ticketmaster.