Category: Reviews

Posted on by Lauren Katulka

“Get Lost” – Mardi Wilson

Mardi Wilson came on my radar last April, with the release of “Runaway.” I’ve covered numerous singles since then, so I was thrilled to dive deep into her album, Get Lost. What I found was a collection of songs that were personal, yet so relatable from one of the country’s most promising singer-songwriters.

The songs capture moments in time, relationships that might have been fleeting, but they leave an impression nonetheless. We feel the dedication in the opening track “Give You My Time,” the poignant sadness in “Missing Me.” The upbeat groove of “Don’t Stop” helps balance the darkness of “Don’t Stop,” which so eloquently speaks of watching a loved one navigate addiction. In “Blinded By You,” Mardi captures the hazy, heady moments when attraction sparks. We see it develop into something more substantial in “Runaway,” which almost feels like a companion piece for the track that came before. “Nice Ones” is another of those happy-sad tracks, with biting lyrics paired with a rousing clap-along chorus. “Part Time Lover” is equally scathing. Mardi might sound like a sweet folk artist, but her words can wound when she wants them to.

While songs about relationships dominate this album, Mardi’s own voice shines through every track. So it’s only fitting that the final song and title track, “Get Lost” focuses on the self. It’s got a quiet strength, with Mardi’s gorgeous vocals joining acoustic guitar strums and percussion. What a powerful final statement this song provides.

Whether she’s singing about love, lust, or owning her own power, the thread of honesty runs through these songs. That starts with the lyrics, which are brave and raw, but there’s also an earthy, organic quality about these tracks that is so appealing. There doesn’t seem to be a lot of studio trickery here. Instead, you get the sense that the recordings capture jam sessions.

I’ve had Get Lost on repeat since it hit my inbox in mid-April and I think I fall a little more in love with each listen. Mardi’s voice has a warmth that draws you in, but stay with these songs a little longer and you’ll fall in love with the stories she tells and the characters in them. You’ll also find yourself humming those catchy melodies. Get Lost is available now.


Images used with permission from Footstomp Music

Posted on by Lauren Katulka

“The Neverending Glory” – Vaudeville Smash

I must admit, I haven’t known quite what to make of Melbourne’s Vaudeville Smash when their singles hit my inbox. I appreciated their funky grooves and catchy melodies, but their off-the-wall lyrics left me scratching my head. However, after spending time with their new album The Neverending Glory I’m firmly on board the Vaudeville Smash train.

Looking at the album cover tells you a lot about Vaudeville Smash. They’re certainly not a band that takes themselves too seriously. They’re also incredibly nostalgic. When you take their songs in isolation it might seem like they’re poking fun at their influences, but their tongue is always planted firmly in their collective cheek.

The band delights in playing with genre, taking us on a wild journey through their musical influences. The opening track “Clothes Off” is as bold as its title suggests, a delightful disco-pop number that subverts the typically gendered relationship roles. “Sweet Pyromania” is every bit as sexy, with more soulful undertones. It makes you think you know where this album is going, but then Vaudeville Smash hits you with the delightfully unhinged “Banana Man.” With a soul-rock sound reminiscent of Huey Lewis or Bob Seger, it’s as wacky as it sounds.

As the album unfolds, Vaudeville Smash delivers authentic yacht rock, dirty funk, and even Italo disco. “Cuccinated” and “Nonna” celebrate the culture of the nation’s European immigrants. “I Like Video Games” is pure nerd pop. I could wax lyrical about other standouts, but I want you to discover them for yourself.

What I can say is that The Neverending Glory is like nothing that you’ll hear this year. My advice is to hold on tight and enjoy the ride. Vaudeville Smash will play the following shows in the coming weeks:

17 April 2021 – Verrierdale Hall, Verrierdale
30 April 2021 – The Night Cat, Fitzroy
1 May 2021 – The Night Cat, Fitzroy

Images used with permission from Play MPE

Posted on by Lauren Katulka

Hamilton @ Lyric Theatre, Sydney – 10 April 2021

Like so many Australians I spent my 2020 birthday in total lockdown. The cruise I’d booked was cancelled. My best friend who insisted she’d be happy to sit in my place and drink wine couldn’t cross the border. For the first time ever there was no special meal out, just me and my husband. It was sucky, like so much of 2020, but one of the things that made the year brighter was the release of Hamilton on Disney+. As I watched and rewatched, unpacking and analysing it as I hadn’t done with a piece of work since high school English, it became my favourite musical. So when I heard it would make its Australian debut around my 2021 birthday, I knew how I wanted to celebrate my latest turn around the sun.

I wondered though, could the Australian production of Hamilton possibly meet my lofty expectations? I’d fallen in love with the Broadway cast, many of whom took home Tonys for their performances. Matching them was always going to be a tall order, but we should be proud of our talent here at home. Many of the Hamilton principals aren’t well-known … yet. But I believe this cast has many stars of the future. Lin-Manuel Miranda created Hamilton, so while his singing voice was never the strongest I couldn’t imagine anyone else understanding the role of Alexander in quite the same way. But Jason Arrow stepped into those massive shoes as if they were tailormade for him. Chloe Zuel was the perfect Eliza and Lyndon Watts a nuanced Aaron Burr. Matu Ngaropo brought the right amount of gravitas to George Washington and while I love Daveed Diggs, I think Victory Ndukwe did an even better job of separating the personalities of Lafayette and Thomas Jefferson.

If like me you were wondering whether the local cast could possibly keep pace with the rapid-fire rhymes, don’t stress. They’ve got this. Add in those incredible songs, beautiful costumes and staging, and you’ve got all the ingredients for a memorable time at the theatre.

If you’ve seen the Disney+ pro shot, you may wonder whether you need to see Hamilton in person. There’s an electricity about being in “the room where it happens” though. While I fell in love with Hamilton on my couch, I wouldn’t have given up the experience of witnessing it in person for the world. While I appreciate the way that the cameras guided my gaze at home, being able to take in the whole stage at any time and catch the movements that might have been off-frame made me fall in love with this musical even more. Nothing could replace the feeling of sitting with a crowd of theatregoers (100% capacity now, if you please), then standing with them to deliver the standing ovation this production so richly deserved.

As I glanced down my row, I was pleased to see my whole family joining me in that standing O. Even my father who was dreading the performance because he hates “rap crap.” There may be no higher praise than that. Hamilton is at Sydney’s Lyric Theatre until November 14. Tickets are on sale now from Ticketmaster.

Posted on by Lauren Katulka

“Habits of Honesty” – Talitha

Great music has no age limit. Simply looking at the promo pictures of Gold Coast artist Talitha, with her glittery eye makeup and rainbow-coloured hair, told me she wasn’t making music targeted at women in their 40s. And yet I can’t stop listening to her latest EP Habits of Honesty.

Right now my life is in a very different point to Talitha’s. It’s been a long time since I’ve wanted to lash out at former fling as she does in the opening track “Embarrassed to know ya.” Yet the brutal sassiness is so much fun that this number hooked me instantly. While this song reveals Talitha’s darker side the rest of the EP is frothy and fun. “The good ones” is such a beautiful ode to those thick-and-thin friendships. The belief in bonds that stand the test of time continues in “I choose you.” While this sweet love song celebrates the no, it also looks to the future, a time when Talitha and her love won’t be “trainwrecks.” “New Year’s” is the ideal way to end this joyous EP. It paints such a vivid scene of the best kind of party, surrounded by great company, with drinks in hand and a crowded dancefloor. My memories of those kinds of nights are fast fading, but this song brings it all back in glorious technicolour.

I can imagine Habits of Honesty striking a real chord with teens and twentysomethings. This album is clearly written for them, and they’ll lap up those synthy sounds, cool beats, and relatable lyrics. It might not resonate in the same way for the older crowd, but it’s still ridiculously catchy pop music. And you’re never too old for that. Habits of Honesty is the first release in a three-part album written, performed, and co-produced by Talitha. I love how this journey’s started and can’t wait to hear what comes next.

Images used with permission from the A&R Department

Posted on by Lauren Katulka

Tim Freedman @ Laycock Street Theatre, Gosford – 12 March 2021

The Whitlams were one of my concert casualties of last year. While that gig has been postponed to August, Tim Freedman is putting himself in front of smaller crowds with his Hot Autumn Nights shows.

Byron Bay-based singer-songwriter Sam Buckingham warmed up the crowd. Holding the attention of a sold-out theatre there to see someone else with only an acoustic guitar and your voice is no mean feat, but you could have heard a pin drop during her performance. I remember seeing her play at a little bar in inner-city Sydney what has to be at least 15 years ago, and it’s thrilling to see how far she’s come. She’d delight us with a witty, light-hearted number, then go for the emotional jugular with something weightier. She chatted easily with the crowd, clearly delighted to be out in the world amongst music lovers again. Her set was a big reminder that I need to catch up on the music I’ve missed because she’s such a talent.

While we were appreciative of Sam, there was a buzz of excitement when Tim took the stage. We were thrilled to see him and it seems the feeling was mutual. I’ve seen him play live so many times over the years, both with the Whitlams and on his own, but I can’t recall him being in such a chatty, upbeat mood. He stopped to pause and talk between most songs, regaling us of tales of their origins. Not even the steady stream of people exiting and entering the venue for the bars and toilets seemed to faze him, as he joked that while he’d lose them for a while they always seemed to come back.

In some ways, a Tim Freedman show isn’t too dissimilar from a Whitlams show. The hits and fan favourites from the band’s back catalogue still make up the bulk of the set. Nothing was neglected, from the songs that climbed the charts like “No Aphrodisiac” and “Blow Up the Pokies” to earlier singles like “Gough” and “I Make Hamburgers,” released before the band really gained mainstream attention. A selection of choice covers peppered the set. I saw Tim paying homage to Harry Nilsson years ago, so I was thrilled to hear him deliver the poignant “Mr Richland’s Favorite Song.” He nearly forgot to deliver the Randy Newman cover the show’s ads promised, but “Short People” was a fun addition to the encore. Nilsson and Newman covers were natural choices for a piano-playing singer-songwriter, but his take on Joni Mitchell’s “Both Sides Now” was more unexpected. I’m so glad I could witness it.

I don’t have photos from the night to share; Laycock Street Theatre forbids photography. I don’t mind that rule too much though. It forces you to stop looking for that perfect shot and simply appreciate what’s happening in front of you. After the year we’ve all had, so starved of live music, sharing in those moments with Tim, Sam, and the appreciative Central Coast audience was so welcome. Tim will take his Hot Autumn Nights tour to the following venues in the coming weeks:

18 March 2021 – Theatre Royal, Castlemaine
19 March 2021 – Burrinja Cultural Centre, Upwey
20 March 2021 – Corner Hotel, Melbourne
21 March 2021 – Corner Hotel, Melbourne
24 March 2021 – Lizotte’s, Newcastle
25 March 2021 – Soundlounge, Gold Coast
26 March 2021 – The Triffid, Brisbane
27 March 2021 – The Triffid, Brisbane
30 March 2021 – Rockford Winery, Tanunda
31 March 2021 – The Gov, Adelaide
1 April 2021 – The Gov, Adelaide

Posted on by Lauren Katulka

“into the great unknown” – Pierce Brothers

I’ve followed the career of Pierce Brothers since Jack and Patrick Pierce hit the scene in 2014. The brothers take a slow and steady approach to creating music; it took four years for them to release their debut album Atlas Shoulders, and they’ve only just released the follow-up, into the great unknown. That thoughtful, considered approach is an anomaly in an industry where it seems everyone is looking out for the next big thing. But as a music fan, I appreciate the time the duo takes. It ensures when those albums do drop, they’re special from start to finish.

You won’t find any filler tracks here. So many albums seem to exist simply as a way to bundle singles together, but that’s not the case here. The singles “dentist,” “brother,” and “kanko” sound fabulous of course, but there’s much more to dive into. Releasing several tracks prior to the album’s release ensures this music feels familiar from the first listen, but I didn’t find myself waiting for those songs. I was having too much fun discovering the rest of these tunes.

Pierce Brothers recorded this album in regional Victoria, between the state’s two lockdown periods. Travel was clearly on their mind; songs such as “white caps,” “la montagne,” and “lights of London take us on a journey. We might not visit Europe or the UK or marvel at snow-capped mountains in a foreign land any time soon, but through this music we can experience some of the romance and sense of adventure international travel provides. Most of the material is joyous, the kind of fun folky stuff that inspires you to clap along and stomp your feet. But the brothers show us a darker underbelly through tracks including the instrumental “reflecteur,” “trouble,” and the cutting “trouble.”

into the great unknown is a natural evolution for Pierce Brothers. It showcases a bigger sound, with female backing vocalists and string arrangements complementing their sublime sibling harmonies and acoustic guitar melodies. However, the duo hasn’t strayed too far from what drew me to their music back in 2014. This album is entirely self-funded and released 100% independently, ensuring the duo’s collective voice remains strong. into the great unknown took some time, but it proves the old adage that good things come to those who wait.

into the great unknown is out now. Catch Pierce Brothers at their upcoming shows:

20 March 2021 – The Old Coal Mine “The Shed,” Wonthaggi (SOLD OUT)
21 March 2021 – Halls Gap Hotel, Halls Gap
27 March 2021 – Chapel Off Chapel, Prahran
1-4 April 2021 – Bluesfest, Byron Bay
9 April 2021 – Volta Arts & Culture, Ballarat
10 April 2021 – Pier Bandroom, Frankston
17 April 2021 – Birregurra Mechanics Hall, Birregurra
22 April 2021 – Barwon Club, South Geelong
23 April 2021 – Hotel Esplanade, St Kilda
30 April 2021 – Corner Hotel, Richmond
2 May 2021 – Live @ Lamberts, Seabreeze Hotel, Mackay
7 May 2021 – Sooki Lounge, Belgrave
21 May 2021 – Sandy Point Music Club, Sandy Point
22 May 2021 – Westernport Hotel, San Remo

Images used with permission from On the Map PR

Posted on by Lauren Katulka

Chess @ Civic Theatre, Newcastle – 27 February 2021

Last weekend marked one year since my pre-pandemic concerts. I stayed over in Sydney and caught Conchita Wurst and Jonathan Van Ness’s shows without a care in the world. Coronavirus must have been bubbling overseas, but we were oblivious to it as we filed into packed inner-city venues. Last weekend marked the first time I really felt like the world was returning to that level of normal, for most people anyway. If not for the QR codes checking in to the Civic Theatre and an announcement that masks were recommended, we might have forgotten the pandemic existed. Outside my party, I didn’t spot anyone heeding the Civic’s suggestions, even while crowding into the theatre. While the Art House left vacant rows down the front when I saw Rent, it seemed like a full house. Certainly, people weren’t afraid to whoop and cheer loudly when the curtain went up for this production of Chess.

I went into Chess blindly, tagging along with my eager parents simply because I didn’t want to be left out. However, I was quickly swept up in this story of international chess rivals and the woman they both loved. Silvie Paladino was a revelation for me. I knew she had vocal chops through her annual performances at carols, but I wasn’t prepared for her charisma and command of the role. I didn’t know much about David Harris, who local talent who splits his time between Sydney and New York, but he can see why he’s in demand on Broadway. What a voice. Australian Idol alum Marty Worrall definitely held his own playing opposite the people with their faces on the poster. He’s so captivating and cool, the perfect Freddie Trumper.

This was the biggest production I’ve seen since the pandemic hit. While Rent’s major characters are supported by a relatively small ensemble, Chess’s cast was backed by a massive choir. An orchestra on stage was inspired. I’ve never seen that before, but I’d love to see more of it. What the band does is so crucial to a musical, the players deserve better than being hidden away. But it did make for a lot of bodies on stage, another hint that Australia is feeling more relaxed.

This production was originally scheduled for late March 2020, so it was a long time coming. I won’t say Chess was my favourite musical, but for a couple of hours, it let me forget what the world had gone through in the last 12 months. International travel is off the table until who knows when, but this production transported me to Italy, to the Soviet Union … we even got a night in Bangkok. It was colourful, romantic, and above all entertaining.

Posted on by Lauren Katulka

“Here, Now” – Jessie Monk

When I heard Jessie Monk’s single “Lonesome Winter Blues” last month, I couldn’t wait to hear more of her material. Now that her EP Here, Now is out in the world, I can finally get my fix. My expectations were high, but this beautiful five-track release has certainly satisfied them.

We open with “Maybe in Another Life,” a song that really showcases how well Jessie can tell a story through song. You can feel the longing as you listen to this beautiful song about two people who never act on their attraction because he’s attached. “Dark Café” paints another vivid picture, this time of the life of a waitress with big dreams. It’s a cliché on paper — we’ve all heard the tale before — but the specific details Jessie includes makes this familiar story feel brand new. Listening to “Lonesome Winter Blues” again, I’m reminded just how much it impressed me the first time around. It really is such a beautiful song, the perfect showcase of just what Jessie is all about.

The EP moves into a quieter, more reflective space with “Turns Out I’m Someone Else.” It’s one of the most subtle tracks on the EP, but tap into the lyrics and you’ll really appreciate its beauty. The title track “Here, Now” is another gentle number. Jessie’s vocals are flawless throughout this EP, but I was particularly struck by her performance on this song. It’s so beautiful, like a siren’s song drawing listeners in and encouraging them to really pay attention to every word of this EP closer. The words, which emphasise the importance of living in the moment, really resonate in these uncertain times.

I made the comparison before, but I couldn’t help thinking about how Jessie Monk might be Australia’s answer to Joni Mitchell. Just like Joni, her voice seems effortless, moving from lush lows to her higher register with seeming ease. No matter where she takes it, it’s always pure and beautiful. Like Joni too, Jessie is such a gifted songwriter. Her lyrics are like poetry, with such perfect details that bring her characters to life for us. If Jessie Monk isn’t already on your radar, make Here, Now the release that changes all that.

Images used with permission from the A&R Department

Posted on by Lauren Katulka

“Rent” @ The Art House, Wyong – 7 February 2021

Living through a pandemic, I’ve learned that we can’t take things for granted. I recently read an article about Hamilton coming to Australia, with members of the original creative team sharing their joy that somewhere across the ocean people would get to the theatre and see their show. Not long afterwards I found myself at The Art House seeing one of my favourite musicals, Rent, fresh from its stint at the Sydney Opera House. Things were different, with QR code check-ins and masks (not compulsory, but smart and necessary for keeping my anxiety at bay). And there was no way we were allowed to moo (if you know, you know). But at the end of the day, I got to see artists bringing an iconic piece of musical theatre to life in front of my eyes, something that in much of the world still seems so far away.

This was the fourth different production of Rent I’ve witnessed and perhaps the most dramatically different. Art is a living breathing thing, it should keep evolving. While not all of the variations paid off, I appreciated that the Rent I saw in 2021 was very different from the one I witnessed in 1998. An elevated platform on the stage brought us the main action while supplementary action appeared just off to the side. Just like in real life, watching something occurring just off to the side added context: Maureen dancing intimately with male and female partners while Mark and Joanne delivered Tango Maureen” was especially effective. Using the pronoun “they” for Angel also made sense in the current climate; while Angel’s gender identity was never explicitly explained I think original creator Jonathan Larson would have been on board with its wokeness. Unfortunately, the pronoun wasn’t used consistently though, so it didn’t have quite the impact it might have. Most people wouldn’t have noticed a little lyric change in “We’ll See” but, for my husband and me, it seemed jarring and unnecessary. I really appreciated the extended jam and dancing before “Seasons of Love,” which made Act Two’s opening number seem more organic. While the song’s lyrics always resonate, its staging is all too often a little stilted.

The characters from Rent seem like old friends to me, so it’s interesting watching others slip into the roles. While the community theatre production I saw a couple of years ago had some standout performers, this production’s cast was consistently outstanding. I’ve never seen a more effective Angel than Seann Miley Moore. His performance blew me away. Tim Omaji was also so impressive as Benny. I really appreciated this production expanded the role a little and let Tim show off his dancing chops. Monique Salle was delightfully unhinged and endearing as Maureen. But there were a few missteps for me too. While Mat Verevis was commanding as Mark, he seemed too confident and cool for this character. He’s supposed to be an anxious nerd, not the handsome guy with flowing locks. The chemistry between Seann Miley Moore and Callum Francis was perhaps the most compelling I’ve seen between an Angel and Collins. However, Collins has always been a tenor. The songs didn’t quite sit right in a higher register, and I missed the contrast between their tones.

Despite some missteps, Rent is a little like pizza; it’s always good. And right now, at a time when so much of the world feels fractured, it was the perfect show. As the lyrics of “What You Own” say, this play is really about “Connection in an isolated age.” As this pandemic continues to play out, feeling that connection with artists and an audience felt pretty special.

Image source: own photo

Posted on by Lauren Katulka

“Hit or Miss” – Alexander Biggs

Looking back through my blog, I’ve admired Alexander Biggs’ music since 2016. As an independent artist, writing, self-recording, and producing his own music, there’s never a lot of fanfare about his releases. They’re quiet songs that cast a spell, providing a few moments of calm in the chaos of the real world. They always leave me wanting a little something more, so I’m thrilled that finally, Alexander has released his first album, Hit or Miss.

If you’re already familiar with Alexander’s music, you know what to expect, and I doubt you’ll be disappointed. If this is your first introduction, it might take you a little time to embrace his songs. They’re much more subtle than music that earns radio airplay or goes viral on social media. But give it time, and I swear it’ll get underneath your skin. You’ll learn to appreciate the gentle strains of acoustic guitar or piano, Alexander’s hushed tones, and the poetic vignettes his words create. The songs feel like diary entries capturing moments in time that fade away all too quickly. There’s romance without schmaltz, bittersweet pain, and emotions kept on the surface. I was familiar with many of these songs, but they’re so much more potent here, with the other tracks providing context and clarity.

I started listening to Hit or Miss this morning. Every time the final notes of the title track faded away, I found myself pressing play again. It’s one of those albums that gets richer and more endearing with every listen. It’s special. You’ll find it on your favourite streaming platforms, but if like me you prefer tangible music, grab a copy of the limited-edition vinyl while you can.

Image used with permission from Maths & Magic