Category: Reviews

Posted on by Lauren Katulka

“Through The Walls” – The Vanns

I’ve been procrastinating in writing this review. Not because I don’t want to tell you how good The Vanns’ debut album Through the Walls is, but because it’s not the kind of album that should be dissected and reviewed in a traditional sense. Instead it’s the kind of album that should be experienced, turned up loud and felt.

At its core, Through the Walls is an album about romantic love. It takes us through the highs and the lows, the heady moments and the ones where it aches. The fun and the frustration is all encapsulated in this collection of songs. “Red Eye Flight” is the perfect introduction, a rocking take on a traditional love song. The lyrics are so sweet, but those chunky guitars give it a little edge that prevents it feeling saccharine. That song and the ones to come are all about passion. It can be explosive, bubbling over in moments like the chorus of “Deranged” or more subtle in beautiful ballads like “Chelsea” and “Jasmine.” Anthemic tracks like “Call” and “You And I” encourage you to sing along. I can just imagine how they’d come to life in a sweaty bar with a sticky floor.

The Vanns have been recording music for six years, delivering quality release after quality release. Doing that when you’re releasing singles and EPs is one thing. Sustaining it on an LP is something different, but with this release The Vanns show they’re more than up to the challenge. This country has a tradition of churning out quality rock acts, and The Vanns may just be one of the best.

Through the Walls is out now. The Vanns has one final show left on their Aussie tour. Sydneysiders can catch them at The Metro on December 7.

Image used with permission from Beehive PR

Posted on by Lauren Katulka

Rob Thomas – Sydney and Hunter Valley, 13 and 16 November 2019

Live music always makes my heart beat faster. However, there is one artist on the planet that takes my excitement to the next level: Rob Thomas. Whether he’s fronting Matchbox Twenty or playing solo, he is the performer who has the largest piece of my heart. His Chip Tooth Tour was a long time coming, nearly four years since his last Australian dates, so by the time last week rolled around I was more than ready.

One Rob Thomas show isn’t enough for me. I considered writing two reviews, one for Sydney and another for the Hunter Valley, but frankly the week passed in a whirlwind and now here I am, basking in the afterglow. Sydney was the perfect warm-up. First State Super Theatre strikes the right balance; it’s small enough to feel intimate but not so tiny that it can’t attract big acts for their only gigs in the NSW capital. The Hunter Valley show was part of the Day on the Green series. These events always seem so leisurely and relaxed, with so many good vibes. Sorry Sydney, but it also seemed to have the best crowd. Maybe I was just unlucky with seating in Sydney, but it was so nice to travel up the freeway to be amongst fans who seemed to care more about the music than making trips to the bar!

I’m glad that Daryl Braithwaite was the support act we doubled up on. I’ve made mention in the past of his voice fading, but I think he was in the best form I’ve seen in a while. You can still hear the limitations at time, but it’s a minor quibble from an artist who delivers so much. His set was packed with his Sherbet and solo hits, although an unexpected cover of The Kinks’ “All Day and All Of The Night” was a welcome addition in Sydney. What a shame the Hunter Valley security decided to try to make everyone sit down just before “The Horses.” Thank you, Daryl, for insisting it wouldn’t hurt us to rise to our feet for a couple of minutes! Staying seated for this unofficial anthem just wouldn’t have felt right!

The Hunter Valley’s extended line-up saw Russell Morris and Pete Murray joining us. I raved about Russell when I saw him at the same venue a couple of years ago and he was every bit as appealing this time around. His voice shows no sign of fatigue, impressive at the age of 71. He has so many hits to his name and they came thick and fast, rewarding those of us who arrived early enough to catch his set. He really deserved better than so many vacant seats. He was excellent.

I wish I could get as excited about Pete Murray, but for not the first time I just wasn’t feeling it. Ordinarily I can’t get enough of good-looking men who play guitars, but his songs never seem to get out of second gear for me. He performs them well, sounding virtually identical to the way he does in the studio, but I just can’t muster any kind of enthusiasm for them. Putting Pete after Daryl Braithwaite, who had me and so many of the folks around me, so fired up also seemed a bit cruel.

Whether I couldn’t wait for the support act to vacate the stage (sorry Pete) or I embraced their set (love your work Dazza!), I was primed for Rob Thomas. Opening with a new album track like “I Love It” was a risky move, but it was really the perfect introduction to Rob’s set; upbeat, engaging, and sexy as hell. It might have been called the Chip Tooth Tour, but Rob knows how to strike the right balance for serious fans and casual listeners. I would have liked to hear more from the new album, Chip Tooth Smile, but the four or five songs he played from it made space in the set for more songs from the back catalogue. The solo hits and Matchbox cuts came thick and fast, along with a smattering of lesser known songs for the diehards like me. I was thrilled to hear “Sunday Morning New York Blue,” an EP track, and fan favourite “Pieces” make the cut in the Hunter, while “Heaven Help Me” was an unexpected delight in Sydney. “Fire on the Mountain isn’t one of my favourite album tracks, but it really gets a new power on the stage. Adding Indigenous dancers to the mix in Sydney brought some extra gravitas.

Speaking of surprises, they don’t get much bigger than Andrew Farriss from INXS gracing the stage for a cover of “Never Tear Us Apart” in the Hunter. The chemistry between the longtime friends and the quality of this Aussie classic made it a real moment to remember. If you can’t get Santana out here for “Smooth,” then 10-year-old guitar prodigy Taj Farrant makes an impressive substitute.


It seems to me like Rob is aging in reverse. I think it’s the only reasonable explanation for his boundless energy. He put on a rock star performance, without the bells and whistles of so many modern rock shows. Without projections or pyrotechnics, the focus was squarely on the music and the way Rob delivered it. Most of his band has been with him since his first solo tour, and it shows. However, as much as I appreciate the big full-band numbers, it was the quieter, more reflective times in the set that really got me. I don’t mind saying that I found myself wiping away tears in acoustic performances of “Ever the Same” in Sydney and “Bent” in the Hunter. With an acoustic guitar and Rob’s voice, supported by a choir of enthusiastic fans, those songs were as raw as the emotions they stirred in me.

When you anticipate a tour as much as I did this one, it can sometimes be hard for the performer to meet your expectation. But I know Rob never lets me down. Like a fine wine, he only seems to get better with age. The dust may still be settling on my recent shows, but I’m already hanging out for the next tour. Rob Thomas plays Margaret Court Arena in Melbourne tonight before concluding the Chip Tooth Tour at Perth’s Kings Park on November 23.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Paul McDermott & Gatesy Go Solo – Laycock Street Theatre, Gosford – 12 November 2019

Paul McDermott and Stephen “Gatesy” Gates are Aussie comedy royalty. I’ve admired both their careers for so long. As a teenager I listened through headphones to Doug Anthony All-Stars music that I’d taped onto cassettes borrowed from friends. They were deliberately mislabelled because my parents forbade me from hearing such smut. Tripod were one of the first Aussie bands I introduced by comedy-loving American husband to. I have such fond memories of their respective musical outputs, so when I heard they were teaming up for a Laycock Street Theatre in Gosford, I snapped up tickets.

Normally when I buy tickets for a show, I have some idea what I’m going to get, but I was flying blind on this one. I expected laughs, and I got them. Music with blissful harmonies of course, check. But as for the material, I wasn’t quite sure. As it turns out, these shows are fresh as a daisy with brand new collaborative material. That might disappoint some fans of DAAS or Tripod, but I think the shows are better for it. I have such fond memories of hearing the songs from these acts in the original trios. I don’t need to hear them taken out of that environment. Some of that comedy material has also dated too. It’s much more fun today to hear songs about hot button issues like white male privilege and our current leader’s failings, for example.

This might be a fairly new musical collaboration for Paul and Gatesy, but their 18-year friendship has created a rapport that’s delightful to watch. They bickered and bantered, creating moments every bit as hilarious as the songs. Laycock Street Theatre is divided into two halves, perfectly setting up a Paul’s side versus Gatesy’s side dynamic. I’m not sure we ever determined whose side was better, but it was so much fun to play along.

It wasn’t all laughs though. Tragedy is always the flipside of comedy, something I was reminded of in the final numbers of the show. While the “The Marvellous Mr Me” was a side-splitting response to a particularly scathing phone call Paul received, the next song was a much more sombre take on the same criticism. I found myself dabbing at tears as Paul and Gatesy sang a beautiful number about a mutual friend who lost her life too soon. These poignant moments were unexpected, but that added to their potency.

With the fire threat looming, only a small crowd turned out for the show. What was already so intimate became moreso when Paul and Gatesy told us to head out to the foyer for the encore. Paul took his place atop tables and they played a few more numbers, unaided by microphones or amps. Paul insisted he doesn’t like to get too close to the people, but after witnessing this delight of a show, I’m not sure I believe him one bit.

Paul McDermott & Gatesy Go Solo will play the following venues next!

15 November 2019 – Orange Civic Theatre, Orange
22 November 2019 – Ballarat Civic Hall, Ballarat
23 & 24 November 2019 – Caravan Music Club, Bentleigh
24 November 2019 – Queenscliff Music Festival, Queenscliff
5 November 2019 – Canberra Theatre Centre, Canberra
6 November 2019 – Riverlinks Westside, Shepparton

Image source: own photo

Posted on by Lauren Katulka

One Electric Day @ Cockatoo Island, Sydney – 9 November 2019

After six successful Victorian events, One Electric Day decided to share the love and go national. Sydney responded, snapping up so many tickets organisers moved the show to the picturesque Cockatoo Island. While arriving for that early morning ferry meant this Central Coast girl set off around 8am, the beautiful trip down the harbour helped me get into the spirit. What a magic spot Cockatoo Island is. It didn’t hurt that we were blessed with the kind of weather I rarely experience during outdoor concerts, with beautiful blue skies and mild temperatures. Absolutely perfect.

After playing MC, Taylor Sheridan strapped on his acoustic guitar for the first set of the day. I’ve seen talented singer-songwriter play at several Red Hot Summer shows and he always impresses. He played some stellar originals and just enough covers to keep the punters on side, although that was a real challenge when his set was broken into two parts. I’m not sure who thought it would be a good idea for him to play two sets, but as his second act wore on I could sense most of us were ready for the bigger names. It’s a shame, because he really is a talent.

No doubt some of my restlessness can be attributed to my excitement about seeing Southern Sons. I was just 14 when the Melbourne outfit disbanded, too young to go to the shows. Hearing they would play together again was all the incentive I needed to snap up tickets. After waiting a quarter of a century for this set, you can bet my expectations were high. Southern Sons did not let me down though. I knew Jack Jones was still in fine form, after catching him solo a few months back, but the chemistry he has with his band mates really elevated this set to the next level. What a treat to hear not just the singles but album cuts as well. Watching the gratitude on Jack’s face as he led us in a singalong of “Hold Me in Your Arms” was a highlight amongst a really special set. Can I put in an early request for a tour? The Southern Sons story doesn’t feel done.

Vanessa Amorosi also took me back to my youth, opening up with an abridged version of “Absolutely Everybody” before bringing us all the attitude of “Have a Look.” She doesn’t look or move like she’s aged a day. I marvelled at the way she could jump down off the speakers, mix with the crowd, then jump back up to continue her set. I tried to get up on my kitchen bench to clean my aircon recently and failed miserably. But I digress. Needless to say, Vanessa puts us all to shame. She might look like she’s still in her teens and she certainly doesn’t mind bringing us the hits, but her set wasn’t just about that early nostalgia. As I watched her perform, I realised just how many smashing singles she’s had over the years. She introduced us to a handful of new tracks from her recently released album Back to Love as well, proving that her best music may be yet to come.

I’ve got to admit, by the time Jon Stevens was ready to grace the stage, I felt spent. The early morning and time on my feet caught up with me and I retired to my chair. I might have left the party early though, because Jon Stevens’ set was the highlight for many. Delivering Noiseworks and INXS hits was always going to go down a treat with this crowd, who were soon spilling out over the standing room zone. He’s such a rock star too, with all the moves to keep an audience in the palm of his hand. A surprise appearance from former bandmate Steve Balbi was the icing on the top of a tasty musical cake.

Every time I see James Reyne perform I remember just how much I love him. His songs are absolutely flawless. He’s a really cool dude that does his thing with such professionalism and heart, without any real fuss or fanfare. He always treats us to a greatest hits set, yet it never feels forced or formulaic. It’s easy to forget he’s sung these songs countless times because he puts so much of himself in them. And what songs they are too. “Reckless,” “Errol,” “Hammerhead,” “Beautiful People,” “Slave,” I could go on. Every one an absolute winner.

Speaking of greatest hits, John Farnham closed the show the only way he can. With those songs and that voice that are exactly what people come to see. The love for one of Australia’s most iconic singers is palpable, and he gives it right back to the audience. The hits come thick and fast, keeping the energy at 11. He doesn’t even seem to mind playing “Sadie” these days. Personally I’d love to see him shake up the sets because after a few shows in recent years I’m starting to anticipate what he’ll do when and how. Still, predictability isn’t the worst thing in the world when what you do gets so much love. Nothing beats that singalong to “You’re The Voice” either!

Shuffling back onto the ferries to start the long journey back to the coast I felt exhausted; I’d been on the go for more than 14 hours at that point and knew I was still around three from getting to my front door. However, I also felt buoyed by the local talents I’d witnessed that day. I might have been there for one of the earliest bands, but there were no weak links. You’re coming back next year One Electric Day, right?

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Roar Like The Ocean” – Esimorp

Being a music blogger than bring a kind of exquisite torture sometimes. When I hear music I love, I want to share it with the world. Sometimes I can do that straight away, but on other occasions I have to sit on it, zipping my lips and biting my tongue until it’s time to chat about it publicly. Esimorp reached out to me in August with their debut album Roar Like The Ocean. I can scarcely remember what else I was doing in August, but I know I played that album a lot. I shared the stellar single “The Minutes” with you, but I couldn’t really tell you just how good the rest of the songs were, until now.

Roar Like The Ocean draws you in from the opening guitar strains of “As Long as the World Spins.” The track starts small and atmospheric before building to the kind of stadium rock that characterises this album. Just like attending one of the best rock gigs, listening to Roar Like The Ocean is a thrilling experience from start to finish. It’s one of those rare albums where I don’t feel tempted to skip over songs, even after multiple listens. There are no filler tracks, but I do have a soft spot for “Paris,” which swept me up in its relentless driving rhythm. The romance and optimism of “Nothing More” also makes me smile widely. It’s so impressive the way Esimorp can switch gears from a sweet song like that to something more atmospheric and brooding like the latest single “Ghost Town.” Many of their tracks could inspire a whole stadium to get on their feet, but they show they also understand the power of the understated through a track like “My Wreckage.” Roar Like The Ocean has so many twists and turns, but it never veers so far left that it loses the listener. Instead I found myself hanging on white-knuckled and enjoying the ride, so engaged and excited by everything that came next.

I’ve gone back to this album so many times over the last few months. Every time I did, I found myself thinking of acts like Coldplay and U2. Many of Esimorp’s songs have a similar confidence and anthemic nature about them, but while those big bands have gotten a little bland over the years, Esimorp has all the excitement and enthusiasm that comes with being relative newcomers. You can hear the passion for these lyrics and love for their craft in what they do, and that makes their music so easy to connect to.

Roar Like The Ocean finally drops on November 15. Find it on all your favorite digital platforms and stream the hell out of it. Actually, go nuts and buy yourself a copy. Esimorp are based in Hong Kong, but with an Aussie in their band hopefully we see them on our shores sooner rather than later.

Image used with permission from Esimorp

Posted on by Lauren Katulka

Anthony Callea @ The Art House, Wyong – 11 October 2019

I still have moments where I feel like pinching myself when I see shows at the Art House. I’ve travelled to Sydney several times to catch Anthony Callea, so it was a real treat to have him make the journey to the Central Coast this time around.

The show lived up its Unplugged and Unfiltered. Perhaps it was a little too unfiltered for the ears of my 12-year-old niece, although if you’d ask her those racy anecdotes made the night more fun. The stories came thick and fast, as did the songs stripped back and laid bare. Anthony’s voice is always in fine form, but without a full band to hide any flaws it was even more impressive. If you don’t get goose bumps listening to him deliver “The Prayer” I’d check for a pulse. He may have outdiva-ed Whitney with his mash-up of “I Wanna Dance With Somebody” and “How Will I Know?” It was also a real thrill for the long-time fans to hear earlier material like “Rain” and “Addicted to You” in the set. I also loved seeing him so connected to his new single “What’s Wrong With Me?”

Anthony seemed to be having a ball on stage, appreciating the unfiltered format perhaps a little too much. The anecdotes may have dragged a little for punters there simply for the music, but I felt the laughs beautifully balanced the very emotional songs that made up the bulk of Anthony’s set. Perhaps the Art House should have posted a sign about sexual references and coarse language at the theatre doors, as they did for Hair though!

Even though those stories made my mum serving grandma duties blush, it all added up to such a fun night, a fitting introduction to the world of live music for my young niece. Even if she has learned a few things we didn’t expect!

Image source: own photo

Posted on by Lauren Katulka

David Campbell @ State Theatre, 4 October 2019

In the early 2010s, I’d see David Campbell several times a year. He’d regularly pack out RSLs on the back of his swinging cover albums, and I’d come back for more every tour. Then he got those pesky gigs on morning TV and radio and shows became few and far between. Looking back through my records, I hadn’t seen David perform since he was part of George Michael Praying for Time in 2017. My drought between solo shows stretched back to 2012. So, when he announced a limited number of shows supporting his Back in the Swing album, I snapped up tickets.

Things have certainly changed since the time I started seeing DC. He’s got little ones, and talk of them and his wife tends to dominate between-song banter. He’s so much busier. He sells out theatres now, and I can’t imagine him going back to an RSL any time soon. But in some ways, nothing has changed at all. I appreciate his steady gigs, but on stage is where he feels most at home. He’s mesmerising to watch, such a giving performer who always seems so in the moment.

This show really felt like a catch-up. If you hadn’t seen Dream Lover, or like me you just wanted to relive his starring turn in that musical, there was an extended section of Bobby Darin tunes. Ordinarily playing several songs from a new album is a risk, but when you’re returning to swing standards, arguably David’s most popular covers, it just makes sense. I loved hearing those new songs from his latest record: “Buona Sera,” “Make Love,” and “New York State of Mind” were highlights. Although I couldn’t help but feel a wee bit disappointed that Ian Moss didn’t surprise us and duet on my favourite song from the album, “In the Wee Small Hours of the Morning.” And you know DC can’t ever play a show without giving us a little Johnny O’Keefe.

But it was the songs that I didn’t expect to hear, that I was truly surprised by, that made the biggest impression on me. After seeing an artist so many times you assume everything but the new album tracks will feel familiar, but DC likes to throw in a few curveballs. I’d heard him play a few Louis Prima tracks in the past, but an extended passage of songs from my husband’s favourite swing artist had us in raptures. I was right there with David, wiping away a few tears when he sang Charles Aznavour’s “She” for his daughter Betty.

Watching David Campbell live again reminded me why I didn’t let a tour go by back in the day. I understand he’s a busy man these days, but I really hope he finds more time to get back on stage. It’s where he shines brightest.

Posted on by Lauren Katulka

Hair @ The Art House, Wyong – 22 September 2019

I’ve seen many musical productions in my time, but I can’t remember ever being greeted by a sign warning me of what was to come. There’d be sexual references, drug references, racial slurs, and strobe lighting effects. Oh yeah, and full frontal nudity. In all honesty, that was one of the few things I knew about Hair before arriving at The Art House in Wyong last week. However, I soon discovered that while the pink bits are what Hair is best known for, it’s far from the most important thing about this musical.

If the warning sign out the front wasn’t reminder enough that this musical might take us out of our comfort zone, the sight of Hugh Sheridan’s Berger crawling over the audience in little more than a loin cloth just a few minutes in did it. Seeing Hair certainly isn’t like your average night of musical theatre. It’s bold and funny. There’s a real youthful energy about it, despite its ‘60s setting. In fact, perhaps the young characters have a greater energy than the current crop because they’re connecting with one another rather than their smartphones!

Hair does an incredible job of capturing a moment of time. The characters live life, embrace experience, laugh, and love, but the spectre of the Vietnam War looms large. It catches you at moments, when the laughs give way to pathos. I have been lucky enough to live my life fairly removed from war. I remember the Gulf War in my youth, but watching it on TV didn’t feel too dissimilar to watching a Hollywood action film. It’s palpable here, like another character just waiting to tap the characters we quickly grow to love on the shoulder. They can shake it off for a time and sing another song or smoke another joint, but we know it’ll catch up to them.

Speaking of the songs, it’d be remiss of me not to mention this cast. There are the big names like Hugh Sheridan, Paulini, and Prinnie Stevens, with voices as striking and personalities as sparkling as you would expect of people with their profiles. But there were no weak links here. Matthew Manahan as Claude, Stefanie Cacamo as Crissy, and Callan Purcell as Woof were especially strong.

As the lights faded to black I found myself thinking that Hair was one of the most powerful pieces of theatre I’ve seen. A week later I’m still turning it over in my mind. It’s not like anything I’ve seen before, but that’s one of the things that makes it so special. Let the sunshine in.

This production is travelling all around the country. You can still see it at the following venues.

28 September 2019 – Illawarra Performing Arts Centre, Wollongong (1.30pm & 7.30pm)
29 September 2019 – Illawarra Performing Arts Centre, Wollongong (5pm)
3 October 2019 – Sydney Opera House, Sydney (8pm)
4 October 2019 – Sydney Opera House, Sydney (8pm)
5 October 2019 – Sydney Opera House, Sydney (2pm & 8pm)
6 October 2019 – Sydney Opera House, Sydney (2pm & 7pm)
11 October 2019 – Home of the Arts, Surfers Paradise (7pm)
12 October 2019 – Home of the Arts, Surfers Paradise (7pm)

Posted on by Lauren Katulka

“Free Time” – Ruel

They say you have a whole lifetime to create your first release. The second is much harder, because it typically comes with the pressure of time. Leave it too long and no one will remember you. Rush it though, and the quality may suffer. If Ruel experienced any angst in creating his sophomore EP Free Time, it doesn’t show. At 16 years old, he’s releasing music with more confidence and swagger than many musicians twice his age.

Three of the seven tracks from Free Time were released as singles, so I wondered whether I’d have much to say by the time the EP dropped. But there’s plenty more to fall in love with here. Speaking of love, it’s the dominant theme here, but it’s explored with a maturity beyond Ruel’s tender years. That makes his music so relatable, whether you’re discovering love for the first time as Ruel might be or you’ve got a wealth of experience behind you.

You might assume that Ruel released his strongest songs as singles, leaving lesser tracks behind. But every song on this EP has such quality. There’s real variety too, from the joyous soul-pop stylings of “Painkiller” to the poignant piano ballad “Hard Sometimes.” No matter the tone, Ruel’s distinctive, emotive voice is front and centre. It’s easy to get lost in it, but make sure you tune into the lyrics, which Ruel says are his most personal to date.

Free Time is a stunning EP which celebrates the evolution of this promising Australian talent, and hints at even better things to come. Ruel has a few more headlining shows at home and in New Zealand before heading to the United States and Europe. Somewhere in there he also finds time to come back home and support Shawn Mendes! Here are all the dates you need!

22 September 2019 – Thebarton Theatre, Adelaide
24 September 2019 – Festival Hall, Melbourne
28 September 2019 – Shed 10, Auckland
1 October 2019 – Odeon, Hobart
4 October 2019 – Hordern Pavilion, Sydney
5-6 October 2019 – Yours & Owls Festival, Wollongong
8 October 2019 – Great American Music Hall, San Francisco
10 October 2019 – Columbia City Theater, Seattle
12 October 2019 – Holocene, Portland
14 October 2019 – The Biltmore Ballroom, Vancouver
19 October 2019 – Subterranean, Chicago
21 October 2019 – Velvet Underground, Toronto
22 October 2019 – The Foundry at the Fillmore, Philadelphia
25 October 2019 – Songbyrd Vinyl Lounge, Washington, DC
28 October 2019 – The Bowery Ballroom, New York
29 October 2019 – The Loft, Atlanta
31 October 2019 – The Studio at Warehouse Live, Houston
1 November 2019 – Cambridge Room @ House of Blues, Dallas
3 November 2019 – Fonda Theatre, Hollywood
6 November 2019 – Brisbane Entertainment Centre, Brisbane (supporting Shawn Mendes)
9 November 2019 – Spark Arena, Auckland (supporting Shawn Mendes)
14 November 2019 – Vulkan, Oslo
15 November 2019 – Vasateatern, Stockholm
17 November 2019 – DR Koncerthuset @ Studie 2, Copenhagen
19 November 2019 – Huxleys Neue Welt, Berlin
21 November 2019 – La Gaîté Lyrique, Paris
23 November 2019 – Manchester Academy 2, Manchester
25 November 2019 – Electric Brixton, London
26 November 2019 – O2 Institute 2, Birmingham
27 November 2019 – Saint Luke’s Glagsow, Glasgow
30 November 2019 – The Academy, Dublin
2 December 2019 – Die Kantine, Cologne, Germany
4 December 2019 – Melkweg Max, Amsterdam, Netherlands

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“Building Blocks” – THIA.

THIA. lays her heart bare with her new EP Building Blocks. This collection explores heartbreak and loss, the moving on and the difficulties that come with doing so. The opening track, “Intro,” introduces us to her angelic voice, but there’s so much more to this talented singer-songwriter.

“Breathe” is a heartbreaking look at the aftermath of a relationship, those moments when you feel like you have lost not just the object of your affection but every single part of yourself. Its lyrics are devastatingly raw and so compelling. “Holding Your Hand” explores similar territory but with a different attitude. Rather than the desperation and devastation, there’s a steely resolve here. THIA. understands her worth and refuses to accept less than she deserves. There’s a cool confidence here, despite the chaos. “Higher Ground” is a natural progression and the most joyful track on the EP. There’s an acknowledgement of loss but also acceptance and an optimism that something better is just around the corner. I love its vibrant trumpets and cool groove.

The EP closes with the stunning “Stuck,” an eloquent exploration of that limbo so many of us find ourselves in when a relationship is failing, yet we’re not quite ready to say goodbye. Here THIA. gives her most emotional and vulnerable performance on the EP. It’s utterly affecting, and leaves a lasting impression long after the final guitar chord.

Building Blocks is available on all major streaming services now. THIA. will play The Workers Club in Melbourne on October 3.