Category: Reviews

Posted on by Lauren Katulka

“In Bloom” – Maggie Slater

Sometimes an album connects with you from the first note, firing off the neurons in your brain that make you immediately fall fast. Others take a little longer. When I hit play on In Bloom, the debut EP from Maggie Slater, I thought it was lovely stuff. Nice and folky, the sort of pleasant music that would provide a good background for my morning work. But I didn’t get those neurons firing. Not right away.

Then I heard “Ballerina,” a poignant song about not feeling good enough in a relationship, about being lifted up by others and discovering your self-worth. It changed everything. I got it, and suddenly Maggie Slater’s music moved from the background into focus.

“Ballerina” is a standout song, but the whole of EP is really something special. It paints a moving portrait of a woman coming to terms with herself and her relationships with other people. It’s unflinchingly intimate, with lyrics that often feel like diary confessions, from the playful “Time Warp” and “Dog” to heavier moments in “Ballerina” and “I Want You.” “Grow” is the perfect closer, a track which encapsulates the EP’s theme of evolving and being “in bloom.”

Maggie Slater’s music suggests that so many of us, she’s still figuring it out. However, that’s precisely why it resonated so deeply with me. It’s very easy to appreciate her music on a surface level; she sings like a bird and her folk-pop-rock sound is very accessible. However, she’s also proved herself to be a master storyteller with a knack for crafting lyrics that really speak to the heart. In Bloom is a beautiful debut from this exciting singer-songwriter from Far North Queensland.

In Bloom is available on all your favourite digital platforms now. Catch her at the Neck of the Woods Music Festival in Townsville on June 29 and 30.

Image used with permission from Hot Off the Press

Posted on by Lauren Katulka

Megan Hilty @ Opera House, Sydney – 17 June 2019

I looked back at my first review of a Megan Hilty concert before writing this one. It’s been roughly three years to the day since she first wowed me with her show. Little has changed in terms of what Megan does, but this time around she’s doing it on a much grander scale.

Like the first tour, Megan’s set drew heavily from Broadway standards and the music of her own hit shows, Wicked on Broadway and Smash on the small screen. Like that first tour, “Heart of the Matter,” her Don Henley cover, seemed a little out of place. Yet again though, I could forgive that because it’s such a beautiful song. She even finished on the same song for the same reason. She’s played “Rainbow Connection” for her daughter at the close of each show since she was in the womb. It’s such a lovely tradition that I didn’t mind the degree of predictability the second time around.

The scale of this production really made this show something special though. Staging anything at the Sydney Opera House brings a certain level of gravitas. The 40-piece orchestra made songs like “Let Me Be Your Star” from Smash and Gershwin’s “Someone to Watch Over Me” really soar. Her beautiful sparkly dress, which would have been right at home on any red carpet, was so fitting for a show like this.

Now after three years and with so many shows in between, my memory of that first Sydney gig is a little foggy. So I can’t remember if she was so animated, so charismatic, the first time around. If she was, Megan, I apologise. But this time I was so struck by her charm. Whether she was joking about her time at university dying to land those lead parts or gushing about her love for our country, she was so warm and genuine. A beautiful voice is one thing, and she has that in spades, but charm like hers can elevate any concert experience.

The final element of any concert is the audience. Sydney, you outdid yourself. Megan was greeted with such rapturous applause she begged us to not make her cry. Not yet, not at the beginning. We sat respectfully for the songs, hanging on their every note, then erupted with appreciation when every one was done. I felt true electricity and appreciation in the room, and I’m sure she did too.

Monday was one of those concerts where everything came together so beautifully. Megan said she was anticipating this show for such a long time, so I hoped it lived up to her expectations. It certainly did for me.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Jack Jones @ Lizotte’s, Newcastle – 9 June 2019

Jack Jones insists he isn’t a nostalgic person. But on the 30-year anniversary of the reformation of his breakthrough band Southern Sons, he admits he’s looking back on their body of work with fondness. That affection he has for his early work and so much great music of the past made Sunday’s show at Lizotte’s a celebration of what could only be called nostalgia.

Decades have passed since the Southern Sons hey-day, yet the rapturous reception to the opening strains of “Always and Ever” are a testament to the place those songs still have in the hearts of the packed-out Newcastle venue. Stripped back and acoustic, Jack’s incredible voice really came to the fore. He’s lost nothing over the years. It wasn’t just the big hits that earned applause though. Album tracks like “Something More” and “Wildest Love” were received just as rapturously. I marvelled at the way the human mind works. These songs aren’t on Spotify and my cassettes have long since given up the ghost, so at least 20 years must have passed since I heard these songs. Yet I still found myself singing along to every word without missing a beat. I guess the music you listen to in your formative years really doesn’t leave you.

Jack punctuated the songs with tales of his own formative years in music and caught us up on his what he’s been doing since the band parted ways. He joked that there’s never a quick story where he’s concerned, and I sensed some of the crowd getting restless as he reminisced, but I hung on his every word. I’ve always felt like if you simply want to hear the music, you could stay home with a CD. Lizotte’s has always given audiences a little more than that, and I relished the opportunity to learn more than those Smash Hits magazines of my youth ever taught me.

While Southern Sons’ music was the focus, Jack also took time to celebrate the classics. “Norwegian Wood” and “Blackbird” were a nod to his recent Beatles tribute shows. Covers of over iconic songs including “Stairway to Heaven,” “Dear Prudence,” and “Satisfied Mind” were less predictable and greatly received.

I was just 10 when Southern Sons released their debut album, so I was too young to join in when they played the pubs and clubs in the ‘90s. This show gave me a chance to experience the music I loved, and then some, as I couldn’t before. Thankfully, I’m not done. When Southern Sons announced their reformation for the upcoming One Electric Day shows, I snapped up tickets for Sydney in the presale. Seeing Jack at Lizotte’s on Sunday put on such an amazing show has made me only more excited for the band’s return.

Image source: own photo

Posted on by Lauren Katulka

“Lonely Leaves” – PLTS

I love writing a music blog, but sometimes it’s a struggle. Sometimes you just want to listen to the album that’s currently revving you rather than sorting through the press releases and delving into the unknown. And sometimes you find a recording like Lonely Leaves, a release that’s so good that it makes you forget all about that thing you thought you wanted to listen to for the umpteenth time.

I’ve played Lonely Leaves for the last couple of days straight without putting my fingers to the keyboard. Why? Because once I did I’d have to move on, start sorting through the press releases and delving into the unknown again. Now this is the album that’s currently revving me.

Byron Bay band PLTS call Lonely Leaves an EP, but at seven tracks it feels more like a mini album. The songs explore feelings of nostalgia. Heartbreak and longing bookends the EP with “Without You” and the title track. But PLTS also know how to lift you up. “Young Ones” is an anthemic stadium rock banger about our youth. “A Play About the Ocean” soars. The frenetic energy in “August” perfectly captures a moment in time. The sombre “Silhouettes” is even more poignant coming after such an explosive track.

I’m waxing lyrical over these songs because there are no fillers. I’m hitting repeat constantly because there are no fillers. This is incredible stuff, accessible from the first listen but just a little more special with every subsequent play.

Lonely Leaves is out now. After recently supporting Dear Seattle, PLTS will headline their first shows in a year with a performance at Brisbane’s Black Bear Lodge on June 1 and another gig at Sydney’s OAF Gallery Bar on June 13.

Image used with permission from Macro Music

Posted on by Lauren Katulka

“Back in the Swing” – David Campbell

It’s no coincidence that David Campbell’s new album Back in the Swing dropped just before Mother’s Day. It’s just the sort of thing mums and grandmas across the country would love, the old standards delivered faithfully by one of Australia’s favourite breakfast TV personalities. This album is all that, but so much more.

Mother’s Day releases often feel coldly calculated. Put together a collection of songs Mum would love, get some inoffensive act to sing them, and wait for the cash to roll in. They’re pleasing enough to listen to, but they typically lack the heart and soul David puts into this and every one of his recordings. There’s an irresistible energy about his cover of “Buona Sera” and a flirty playfulness in his take on “Come Fly With Me.” “I Can’t Help Myself (Sugar Pie Honey Bunch)” isn’t a natural choice for an album of standards, but his jazzy version makes so much sense. I’m not sure anyone has recorded a more powerful rendition of “For Once in My Life.” But me, his cover of “In the Wee Small Hours of the Morning,” recorded with Aussie rock legend Ian Moss, is the standout. Their voices compliment one another beautifully and they feed off one another so well.

Mother’s Day might be over for the year, but Back in the Swing is actually climbing the charts again. It currently sits at number 10, three weeks after its release. Those strong continued sales are a testament to this album’s enduring appeal. It’s not just one for the mums, although I’m sure they’ll love it too.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

Ray LaMontagne @ State Theatre – 24 April 2019

I first saw Ray LaMontagne live in 2005. Around a year had passed after the release of his breakthrough debut album Trouble, and the Gaelic Club was packed to the rafters with people keen to hear this American troubadour in person. His set was understated, something I expected knowing how painfully shy he was. But beautiful, so beautiful that I didn’t miss the banter musicians ordinarily deliver because I felt he spoke to us through his music.

It took him 14 years to make the return journey to us. He’s released so many albums since then. The venues have been upgraded. The State Theatre is a much more refined joint. If he had a support act back then I can’t remember them, but I have a feeling Tori Forsyth will be etched into my mind. She has one of those voices that just grabs you and doesn’t let go. I wasn’t familiar with her material but I was instantly captivated, so glad I’d followed a friend’s advice and arrived early enough for her performance. She’s a performer not too dissimilar to Ray really, with a voice wise beyond her years, an old soul and style to her Americana tunes that makes them accessible on the first listen. The obvious appreciation she had for our beautiful theatre earned her a few brownie points too.

Ray wasn’t alone with his acoustic guitar this time. Wilco’s bassist John Stirratt joined him, bringing another dimension to the music. Like a modern-day Simon and Garfunkel they gently strummed and harmonised, creating some of the most beautiful folk music you’re likely to hear. I must admit, I lost touch with Ray’s new recordings somewhere along the way, but it was a real treat to hear so many new songs with such a respectful crowd. However, the songs from Trouble were real highlights for me. I even had to brush away a tear during “Burn.” He’s probably lost count of the number of times he’s sung it since 2004, but all the pain that fuelled its creation still felt so raw. And the title track, the jubilant chorus, was so stirring.

Someone who was unfamiliar with Ray might have felt disappointed by his quiet demeanour. He managed little more than a mumbled “Thank you Sydney” between songs. But knowing how shy he is, I can forgive a lack of showmanship. I was even surprised when returned to the stage for a lengthy encore. Even if performing is a little difficult for him, clearly he wanted to show us how much he appreciated our support.

Seeing Ray live wasn’t like your typical concert experience. It was without witty banter, without theatrics we were left to focus on arguably what matters most: the music. And it was flawless.

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