Category: Reviews

Posted on by Lauren Katulka

Allen Stone @ The Metro, Sydney – 17 April 2019

I see so many shows these days that I rarely get the adrenaline rush of anticipation that I did when I was younger. However, this year I felt that familiar buzz as I counted down for one show: Allen Stone. I’m a relative newcomer to his music, discovering him last year when he partnered up with some hopefuls on American Idol. However, in the last year I’ve made up for lost time, making him my number one streamed artist on Spotify according to those end-of-year rankings. While I adore the recordings, I had an inkling that he’d be even better live. It’s hard for an artist to match your expectations when they’re so sky high, but this talented soul artist from Washington nailed it in Sydney last week.

New Zealand’s Louis Baker had a tough job winning me over when I was so keen for the headliner, but he rose to the challenge admirably. What a voice, what a vibe. I was so captivated by his music that I didn’t once wonder how many songs he had left. In fact, as his soulful set drew to a close, I was disappointed. Such was the strength of his originals. While I hung on them, I got just a little nervous when he announced he wanted to play tribute to Prince. That’s hallowed ground, and I’ll judge you harshly if you mess up. Despite my reservations, he wowed me with his performance of “Purple Rain.” It was delicate, restrained, respectful, a masterclass in the “less is more” approach. It was really something special. I entered Louis’ set wishing we were skipping onto the main act, but finished it a real fan. Job done young man.

The crowd were into Louis, but their excitement kicked up a notch when Allen and his band graced the stage. The energy was electric. You could feel the love the audience had for what Allen Stone does, and that set the scene for one of the most fun nights of music I’ve ever had.

Allen certainly doesn’t look like the soul singers of old. A gangly white guy with flowing blond locks, tinted John Lennon-esque glasses, and hipster attire. But he channels the greats of the Stax stable, a little edgier and funkier than the Motown crowd. He feels the music and encourages us to do the same, leading us in hand claps and call and response. He danced with wild abandon to those up-tempo favourites, but showed he’s just as capable of delivering a tender ballad with a solo passage. Without the support of his band mates, you could really appreciate just how stratospheric his voice is.

Allen might be the front man with his name on the posters, but he took great pains to stress how important the band were to the show. That speaks to his endearing, humble character and also just how good those musicians are. Many of these guys have played with Allen for years. They’re tight together, but so talented in their own right. Major props to them.

Allen and band delivered an exceptional set featuring so many of my favourite cuts from his albums and a few choice covers. A little “Killing Me Softly” and “I Can’t Feel My Face” mashed up so well with “Love.” A frenetic take on “Message in a Bottle” was a real delight in the encore. But it was those album tracks that the enthusiastic crowd really lapped up. Those albums didn’t have songs that charted here. In fact, I’ve had to scour the internet to find Australian retailers selling them at all. But this crowd was switched on. They knew this music and clearly relished being in the company of others who understood just how good it was.

Last Wednesday was one of those shows where everything just comes together. I set myself up to be disappointed with lofty expectations, but this gig delivered. I might have been late to the Allen Stone party, but now I’ve attended I’m sure it won’t be my last. It’s only April, but I won’t be surprised if this is my favourite concert of the year.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Million Lives” – Julie Kember

Julie Kember’s album Million Lives resonates with truth. Her voice has a seasoned wisdom in it, a break that betrays some pain, a lightness that shows she’s still full of optimism about what’s to come. She’s more than a singer, she’s a storyteller who wears her heart on her sleeve with this stunning collection of songs.

Julie has taken home country music awards, but elements of rock and blues add flavour for listeners like myself who don’t always warm to the genre. It’s that voice though that really captivated me from the first notes of the opening track “Lived a Million Lives.” Upbeat numbers like “Ain’t No Love Affair,” “Can’t Go Back,” and “Long Way Round take us to an outback honky-tonk bar. But it’s the more reflective moments, tracks like “Order You Now,” “Mary Go Round,” and “Can I Wear Your Dress” that show Julie’s quiet power. She’s so compelling in these moments where the material is just a little rawer and more emotional.

A proud Western Australian, Julie will officially launch Million Lives with a show at The Aardvark in Fremantle on April 25. Million Lives is out now.

Image used with permission from Firestarter Music

Posted on by Lauren Katulka

“The Kite Machine” – The Kite Machine

Proving that the best things take time, The Kite Machine has just released their long-awaited debut album. Their self-titled LP has been three years in the making, but it’s certainly worth the wait.

This is one of those albums that took me by surprise. I thought I knew what I was in for when I head the classic pop-rock sound of opening track “The Only One.” It was instantly accessible with chunky guitar riffs and singalong chorus. What fun! “Charlotte” brings a little more funk though, with a dirty bass line, jazzy sections, a wild guitar solo, and a sprinkling of falsetto vocals for good measure. While I enjoyed the easy listenability of “The Only One,” this was the track that made me sit up and take notice.

Once my ears were locked in, they didn’t lose focus. The Kite Machine kept surprising me, proving they’re far more than the radio-friendly band I took them for. Instrumental tracks are so rare on contemporary albums, but I’m glad The Kite Machine aren’t afraid of going their own way. “Larry The Bird” is a killer take which bridges “Charlotte” and the groovy “Top of the Hill” beautifully. “Walls” is a fantastic ballad, a summery chill-out tune that gives us all a moment to catch our breath before The Kite Machine amps up again with “Makeshifter,” “All in My Head,” and “Sinister Sound.” They’re such bold, energetic tracks, with great grooves that keep you on your toes. The Kite Machine reminded me again that they’re capable of taking it easy with “Paper Plains.” It’s even more subdued than “Walls,” the kind of track that sneaks up on you and gets underneath your skin without your realising it. It’s a thing of understated beauty, another moment to catch your breath before The Kite Machine bring it on home with “The Crook and the Skank.”

For fans of the band, The Kite Machine’s self-titled debut is the perfect reward for their patience. But for newcomers to their sound like me, it’s the ideal introduction. Just ten tracks has made me a fan. If you are too, you can catch the band playing a string of East Coast shows in the coming weeks.

26 April 2019 – Geddes Lane Ballroom, Melbourne
27 April 2019 – Mt Beauty Music Fest
16 May 2019 – The Marlborough Hotel, Newtown
17 May 2019 – Howlin Wolf, Wollongong
1 June 2019 – Karova Lounge, Ballarat
7 June 2019 – Halls Gap Hotel, Halls Gap
14 June 2019 – Barwon Club Hotel, South Geelong

Image used with permission from The Right Profile

Posted on by Lauren Katulka

John Mayer @ QUDOS Bank Arena, Sydney – 29 March 2019

Last night my best friend Lisa was telling me it was 16 years, four months, and 29 days since I took her to her first John Mayer show. I flew out to Brisbane because I was so enamoured with this young singer-songwriter that I wanted more than just the Sydney show. She came with me, despite knowing just two songs, because she trusted my music taste. Just quietly, I think she still does. That seems a lifetime ago, but really not much has changed. This time though Lisa flew to Sydney, wanting more than just the Brisbane show this tour. But there we were, cheering just as hard for the clean-cut singer-songwriter who has barely seemed to age since our first shows at The Metro and The Tivoli.

The venues have gotten bigger. I loathe QUDOS, because it usually feels so impersonal. I remember at my first show, John reached over and placed a plectrum directly in my hand, then closed his hand over mine to hold it in place. Now the people in the front row are behind a barrier placed far enough back for photographers to weave in and out. They’re also paying top dollar for standing there. It’s the way the music scene works of course. You get bigger as an artist and the gulf between you and your fans grows. It takes a special musician to bridge that, but somehow John does. He chatted to the room like it was much smaller, just the way he always has. There was no pretense there, whether he was thanking us for taking songs into our hearts or wondering whether he takes his shirt off the right way.

The music fills a space like QUDOS now. The band has gotten bigger, more guitars, back-up singers, a wall of sound, yet John gets the balance right. While the sound is layered, it doesn’t overshadow the songs which at their heart are well-crafted poetry. The lyrics, the simple melodies, they never get lost. Even in the jam portions, it all works like a well-oiled machine. I love the evolution of John’s music, but I was also thrilled to hear him take it back to its roots with an acoustic section after the intermission. What a perfect way to ease us into the second set.

Back in the early days, you could feel confident about the songs you’d hear. Now though John’s back catalogue is so exhaustive you’re never quite sure what you’re going to get. He’s not one of those artists who sticks to the singles, and judging by the rapturous applause for album tracks like “In Repair” and “Changing,” fans are thankful for that. The unpredictably of the sets makes it so much special when you do hear your favourites. I didn’t dare dream I’d hear “Edge of Desire” or “Walt Grace,” let along both in the same set. For this Prince fan, hearing David Ryan Harris sing a little of “The Beautiful Ones” before John launched into “Slow Dancing in a Burning Room” was magic.

What a set. What a night. There’s a part of me that gets nostalgic for those small venues and intimate crowds, but gazing around at the masses last night, with their phones ablaze swaying in time to the music was special. What John Mayer does is something bigger now, and that’s more than OK.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“What We’re Fighting For” – Patrick James

Patrick James first came on my radar in 2012. He was supporting one of my favourite American singer-songwriters, Howie Day. Yet despite my excitement for the headliner, he won me over with his acoustic guitar tunes. He’s a very different performer today, one whose sound is more piano pop than guitar-driven folk, but I think he’s making some of the best music of his career.

I was instantly smitten with “Up” the lead single from his recently released EP What We’re Fighting For, praising its polished sound and mature lyrics. What I didn’t realise at the time is that it’s one piece of a puzzle. The term concept album, or even concept EP, has fallen out of favour in recent years, but I’m struggling for another way to describe this album. “Up” gave me a snippet of the dynamic of a relationship. The EP creates a more complete picture, exploring the hardships of life and love, but also that idea that both are worth fighting for. Giving up might seem easier at times, but Patrick and his partner aren’t prepared to surrender to the challenges.

I love every song on this EP. Singling them out doesn’t seem right though, because they really work best as part of a more complete recording. Each one is intimate and personal. The heart that roots each and every song makes What We’re Fighting For so compelling.

What We’re Fighting For is out now. Patrick will showcase its tracks with shows in the East Coast capitals next month.

6 April 2019 – The Lansdowne, Sydney
12 April 2019 – Workers Club, Melbourne
18 April 2019 – Black Bear Lodge, Brisbane

Image used with permission from GYRO PR

Posted on by Lauren Katulka

Tim Minchin @ State Theatre, Sydney – 27 March 2019

The rise of technology has largely changed the concert-going experience. I often see people snapping photos on their phones or recording entire songs to watch later. In some cases I even observe people checking Facebook or messaging friends during lull moments. We’re so tied to the technology that taking a couple of hours out from it seems unthinkable. So it was refreshing to attend a show on Wednesday night where we told to put the phones on airplane mode, that we should take time out from the virtue signalling, that the sports scores wouldn’t change because we weren’t monitoring them. Thank you, Tim Minchin for creating an environment where we were all in the moment.

Of course, that means no photos, except for the one above I snapped while others were finding their seats. So you’ll just have to imagine his glorious ginger mane, his lean frame clad in black jeans and graphic T-shirt, those sparkling blue eyes framed in guyliner. You’ll have to imagine how furiously he banged on the piano. How he struggled to keep still when he was chatting to us, so he spent the time pacing the stage or performing lunges.

My husband and I have always enjoyed seeing Tim perform on comedy galas and the like, but this was our first introduction to his shows. Given the enthusiastic responses to different songs, I think we might have been in the minority. I kind of liked that though. There’s nothing quite like hearing punchlines for the first time. The laughs came thick and fast, but there was also time for Tim to sound off on the workings of modern society, how we treat one another, and the church. He touched on the George Pell ruling, although he wouldn’t play “that song,” feeling it has served its purpose. Although as any Tim Minchin fan knows, there are plenty of other songs with religious commentary that can still stand in. There were those moments that set my mind whirring, and others where Tim was declaring his love of cheese in a funk-soaked musical number.

While his was the name on the posters, this was no one-man show. He assembled a fantastic band, including Jak Housden (The Whitlams, The Badloves) and one of the tightest brass trios I’ve heard in a while. Even RocKwiz’s Dougal was on hand. I suppose he needs a gig since its axing! It all amounted to a whole lot of fun, laced with some serious social and political commentary. As the poster says, Tim Minchin is “Back,” and given the world’s current climate, just in time too.

Image source: own photo

Posted on by Lauren Katulka

The Eagles @ Qudos Bank Arena, Sydney – 13 March 2019

Life has been moving at such a frantic pace that I know if I don’t take a little time out of my Sunday to get down my thoughts of The Eagles show a couple of weeks ago, I’m never going to get there. That’d be a shame, because while it’s only March, I’m pretty sure it’ll be the best show I see all year.

My dad passed his love of The Eagles down to me. It’s as much a part of me as my grey eyes that are a spitting image of his own and the way our noses get stuffy when we drink too much red wine. Every time they tour, I’m right there by his side, singing along to the songs that have such a special place in our hearts.

This was a different tour though, one tinged with sadness. We lost Glenn Frey a couple of years ago now. I cried then, and I felt the tears welling up at certain points during this show. When his image was beamed onto the back of the stage in tribute. When the band played “Already Gone,” a song usually so joyous that didn’t quite have the same spark. When the band introduced Vince Gill and Deacon Frey, Glenn’s son. They took over Glenn’s vocals admirably, but it says something that it takes two men to even attempt to replace my favourite Eagles member.

Acknowledging Glenn and his passing was important, but not as important as the music and the brotherhood on stage. While there’s a little hole in the band now, and arguably a bigger one than that experienced when Bernie Leadon, Randy Meisner, or Don Felder left the band, there’s still a great camaraderie between these guys. The new recruits felt every bit a part of the show as the old guard. In time I imagine we might struggle to imagine the Eagles without them, just as I do “new kid” Timothy B. Schmidt.

Music is such a powerful healer. While my thoughts turned to Glenn from time to time, most of the show I spend singing along to those hits. “One of These Nights,” “I Can’t Tell You Why,” “Lyin Eyes,” a killer version of “Heartache Tonight.” I was in raptures. The harmonies, always an Eagles signature, were flawless. It was fitting to hear Vince Gill’s “Don’t Let Our Love Start Slipping Away” alongside solo hits from Don Henley and Joe Walsh, a true acknowledgement that he’s one of the guys now.

Speaking of Joe Walsh, can I just take a moment to mention just how fantastic he is? My dad has often joked that Joe’s legendary partying has killed just about every brain cell except for those that play guitar. He does that perhaps better than any musician I’ve ever seen, and I’ve seen many of the greats. He’s also hilarious. His solo tracks “Life’s Been Good” and “Rocky Mountain Way,” so special that it made the first encore, were among the gig’s highlights, no mean feat in a show with so many smash songs.

When Glenn passed away, my family and I counted our blessings that we’d been lucky enough to see The Eagles as many times as we have. We didn’t think there’d be another tour. We said our goodbyes then, made peace with it. This time Don said these shows are probably the last we’ll get. If this is goodbye, what a farewell. Again we count our blessings, thankful we got the opportunity to see this outstanding band one last time.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Karise Eden @ Wests Leagues Club, Newcastle – 6 March 2019

Karise Eden enjoyed a meteoric rise to fame when she took home The Voice crown in 2012. She was just 19 then, although I imagine such exposure would be difficult at any age. She released the obligatory winner’s journey album, which went straight to number one, but then she seemed to disappear from the spotlight. There was little fanfare on the release of her first album of originals Things I’ve Done two years later. It peaked at number 65. It’s taken five more years for Karise to release another album. She was in Newcastle last week to promote that release, Born to Fight.

Local singer-songwriter Megan Core warmed up the crowd, gushing to us how she’d admired Karise since she was a teen and was so thrilled to support her. If she had any nerves surrounding the honour, they didn’t show. It’s brave to play so many originals as a newcomer, but Megan seized the opportunity to introduce us to her songs. Personally I loved her folky ditties. With just an acoustic guitar as accompaniment, I found myself really taking in her lyrics. I’ll jump at the chance to see her again. What a talent.

Karise’s set was a similarly low-key affair. Her band was small, just a keyboardist and a guitarist, but she’s not one who needs a lot of support. The stripped back instrumentation put her voice front and centre. And what a voice it is. It’s what got me and so many other Australians excited when Karise was on The Voice. After recent weight loss, Karise thinks its stronger than ever. Having witnessed it myself, I’m not about to argue with her. Countless times I found myself with goosebumps. It’s just that good.

This concert was really a showcase of the work from her new album Born to Fight. I’m such a fan of that release that I was thrilled to hear so many of my favourite new songs. My parents hadn’t heard the new album, but they didn’t feel slighted by her song selections in the least. In fact, Mum has asked me to pick her up a copy next time I’m shopping! When you can not just get people interested in your new material, but make them want to spend money on it, you know you’re on the right track. There was the occasional track from the first album and some choice covers. “Landslide” was just as beautiful as it was on The Voice. She’s long been compared to Amy Winehouse, and her cover of one of the late British singer’s tracks shows she’s every bit as good. Her take on “Hallelujah” was a breathtaking closer.

The songs only tell half the story of any concert experience though. When we first met Karise she seemed uncomfortable with the glare of the spotlight, a nervous teenager. The years have seen Karise blossom into a confident woman. She was relaxed, funny, and open. There was a great natural charm about her that brought the audience on side instantly.

It’s just a shame there wasn’t more of us. My mum remarked that she should have sold out the venue, because she’s every bit as good as singers she’s compared to like Amy Winehouse and Janis Joplin. In fact, mum said she should be playing much bigger venues. I don’t disagree. However, I love an intimate gig. What a thrill to witness a world-class performer in a place so small. If there’s any justice, Australia will remember why they fell in love with Karise and start turning up in their droves to see her. Until then, I’ll enjoy the intimacy that comes with small gigs like this.

There are a couple of dates left on Karise’s Born to Fight tour. If you can, make sure you go see her. She’s incredible.

23 March 2019 – York Theatre @ Seymour Centre, Sydney
24 March 2019 – Canberra Theatre Centre, Canberra
31 March 2019 – The Gov, Adelaide

Image source: Stephen Katulka

Posted on by Lauren Katulka

“The 2070s” – GEM

My dad used to say to me that you know you’re getting old when the songs you grew up with get the electronic treatment. Something tells me he’d hate The2070s, the new album from Australian DJ and producer GEM. But he’s not the target demographic. While this album might make my father cringe, its songs might be just what young people need to discover these classic tunes.

I’m not as precious about classic tunes the way my dad is. I think it’s exciting to hear where music can go. New interpretations can make a track feel fresh and encourage you to appreciate it in a new way. These songs are often radically different from the originals, and the risks don’t always work. I felt like the emotion of “Wild World” and “Fly Like an Eagle” got a little lost in the treatment. But there’s enough here that does impress to make it worth a listen. Elaskia’s tender take on Al Green’s “Let’s Stay Together” is beautiful. Jesse Oneill’s cover of The Eagles’ “New Kid in Town” is also a stunner. I can imagine GEM’s shimmery reinterpretation of The Rolling Stones’ “Miss You” packing out dancefloors. The poptastic cover of “Burning Love” with Victoria on vocals is pure joy.

I also appreciate that GEM is introducing us to new voices here. She’s worked with vocalists who grew up in her community in country New South Wales. GEM’s own input is also important. At a time when 98 percent of music producers are male, it’s wonderful to see a talented female making her mark.

Open your ears and mind to The 2070s. It builds on a base of quality music and takes it in a fresh new direction. It’s out now.

Posted on by Lauren Katulka

“Trick of the Light” – That Gold Street Sound

Trick of the Light, the debut album from Melbourne soul outfit That Gold Street Sound, has been six years in the making. It was time put to good use though, because this is one of the slickest soul albums I’ve heard in some time. There’s an impressive polish to the recording, yet the songs have lost none of the spontaneity and energy that makes this band one of the most exciting acts on the local music scene.

The album is book-ended by “The Struggle.” The first take has a feelgood retro groove. It’s the perfect introduction to the upbeat, classic soul sounds that dominant this album. “The Thrill,” with its bouncy bass line and cool interplay between the horns and electric guitar, makes me want to find the nearest dancefloor. Moving straight into the sassy “Last Man,” we barely have time to catch our breath. Even when vocalist Shaanika Marguccio sings about her isolation and longing for a relationship in “Only Lonely” or being let down time and time again in “Make It Right,” those big brassy horns create a party atmosphere.

Trick of the Light does show a few different complexions though. There’s a cool bluesiness to the title track and its follow up, “Home by Nine.” “Rain” is a beautiful ballad that wouldn’t sound out of place in the discography of Etta James or Gladys Knight. And then there’s that closing number, the piano version of “The Struggle.” It’s so stripped back it takes a moment to gel it’s the same song as the album opener. While I loved the vibrancy of the original version, this one moves me so much it might just be my favourite cut on this album. However, with so many stellar songs, I’m not quite sure. Perhaps I’ll just have to give the album another listen to be certain.

Trick of the Light is out now.