Category: Reviews

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.

Posted on by Lauren Katulka

Elixir @ Laycock Street Theatre, Gosford – 21 February 2019

When was the last time you saw a concert that was truly different? No matter whether you only get to a handful of gigs a year or you’re a regular concert goer, you’re probably struggling to cast your mind back. As music lovers we tend to stick to the same genres, and see shows that follow a fairly predictable trajectory. They’re wonderful, don’t get me wrong. That’s why we keep on coming back. They might even blow us away. They’re just not especially unique.

You get different when you do as I did on Thursday night and accept a couple of tickets for a show you wouldn’t ordinarily buy tickets to. I was a big fan of George, Katie Noonan’s first band and Triple J darlings. Since that time I’ve watched her career with interest and appreciation. It’s always fascinating to see an artist take her career in new and exciting directions. But I hadn’t seen her perform since she was with George. I changed all that when her current three-piece Elixir hit Gosford on Thursday night.

I knew Elixir were a jazz-folk trio and that they’d recently released an album Gratitude and Grief, created in conjunction with famed poet and cartoonist Michael Leunig. However, those scraps of information couldn’t quite prepare me for a show like this. It was a real showcase for the new album. The trio opened with a couple of tracks from their first album, before launching into material from the new release. For an ordinary show, playing so much from a new album would be a hard sell. But an Elixir concert isn’t like one from your favourite rock or pop act.

Katie thanked us for giving their music “a quiet space,” a comment that really got me thinking about why this concert was so unique for me. I’m not sure I’ve ever seen a show where music had a quiet space. There are always fans singing along with the performers. You sometimes hear the low murmur of the audience members talking amongst themselves and ordering drinks at the bar. It’s not uncommon to hear cheers as the audience recognizes a favourite song or a performer hits a high note. However, this really was a quiet space, with only polite, restrained applause punctuating each song. We listened attentively through each song and Katie’s explanations of the material.

The music was exquisitely beautiful, like free-form poetry without a predictable structure. Katie’s voice is just as sublime as it was when I first saw her perform many years ago. I loved hearing the way it played with the tones of Zac Hurren’s saxophone and Stephen Magnusson’s acoustic guitar. The passion these performers have for Michael Leunig’s poetry is apparent. They’re understandably proud of the music compositions featuring his poetry they created with him. Katie encouraged us to listen to his beautiful words, and even took the time to recite a particular favourite before singing it, just to we could really hone in on those lyrics.
Elixir continued to surprise me with the final two tracks, moving away from their originals for a few choice covers. I’ve never heard “Rainbow Connection” or “Goodbye Yellow Brick Road” sound quite like this before, but they were breathtaking. So original, so poignant, so powerful.

This show was really like nothing I’ve ever seen before, but I loved it. Elixir create a magical, ethereal mood that really takes you to another place. Sharing a quiet space with them is something I’ll never forget.

Elixir continue their Gratitude and Grief tour in Pomona this Friday. Michael Leunig is a special guest at selected shows.

1 March 2019 – Majestic Theatre, Pomona
2 March 2019 – CPAC Theatre, Cairns (with Michael Leunig and String Quartet)
15 March 2019 – Civic Theatre, Newcastle (with Michael Leunig and String Quartet)
16 & 17 March 2019 – Blue Mountains Music Festival, Katoomba (with Michael Leunig)
22 March 2019 – Melbourne Recital Centre, Melbourne (with Michael Leunig and The Impossible Orchestra)
23 March 2019 – Meeniyan Town Hall, Meeniyan
24 March 2019 – Anglesea Memorial Hall, Anglesea
30 March 2019 – Spiegeltent Hobart, Hobart, Australia
31 March 2019 – Spiegeltent Canberra, Canberra,
5 April 2019 – Redland Performing Arts Centre, Cleveland
6 April 2019 – Brunswick Picture House, Brunswick Heads
18 April 2019 – Spiegeltent Gold Coast, Southport
20 April 2019 – Feathertop Winery, Porepunkah
21 April 2019 – Music in the Garden, Albury
27 April 2019 – The Memo, Healesville
28 April 2019 – Bendigo Autumn Music, Bendigo (with Michael Leunig)

Posted on by Lauren Katulka

“Why Don’t You Just” – Bec Stevens

Bec Stevens sounds like the love child of Missy Higgins and Camp Cope. Often her music sits in a gentle folky-rock space, but as her emotions spill over the songs on her sophomore EP Why Don’t You Just get grittier and more powerful. It was a little jarring at first, when the pounding drums kicked into opening track “10-Minute Drive.” But spend some time with Bec Stevens and you’ll start anticipating those powerful crescendos. Suddenly she wasn’t just feeling wistful, she was choking back the tears and I was right there with her.

Loss and heartache take centre stage in this EP. Bec Stevens lays her heart bare in this album, admitting she’s not OK, revealing her jealousy, conceding she’s so tortured she can’t eat. “Time it Takes” and “They Don’t Build Cars Like This Anymore” so eloquently express the feelings that come when you know you should move on, but still feel so wrapped up in the feelings attached to the very thing that brings you pain. “Stitches” is a masterclass in songwriting, a powerful metaphor for the pain that still lingers even while we’re supposed to heal.

The EP’s final two numbers provide a change of pace to the loud rock numbers that came before. “Girl” and “Fuck This Up” see Bec Stevens’ music stripped back to basics, with little more than an acoustic guitar keeping her voice company. The gentler music draws us in. The songs might not be as loud as the ones that came before, but they’re no less impactful. These songs are like the calm after the storm, a resolution and moving on, although through “Fuck This Up” we hear the cycle beginning again. A new opportunity, new insecurities and fears, all laid bare as Bec pleads for this to be different this time.

Why Don’t You Just is the kind of angry, powerful music that can only come after great loss. It’s real, raw, and so easy to connect to, whether your own loss is fresh or your scars have healed, but remain visible. It also reveals Bec Stevens as one of the most authentic and compelling singer-songwriters in this country. Wrap your ears around this one. It’s out today.

Posted on by Lauren Katulka

Baby Animals @ Ettalong Diggers, Ettalong Beach – 8 February 2019

The quality gigs are coming thick and fast on the Central Coast. It’s rare that I can see two great shows back-to-back without travelling to Sydney or Newcastle, but it’s a sign of the buzz around the Coast at the moment. I only hope the music industry’s enthusiasm for my local area continues.
Ettalong Diggers is booking so many quality acts of late; the Baby Animals are the latest in a long line. The band room in Diggers is fairly unassuming, but it’s the kind of place where a rock band like the Baby Animals feels right at home. I’d previously seen the band play Red Hot Summer. I was impressed, but there was something that felt a little off about catching them in the harsh light of a summer’s day. They seemed more at home here, with enthusiastic punters with beers in hand happily singing along to more than just the hits.

Shows like Red Hot Summer give bands limited time, so the hits always come out early. I thought I might be left waiting at this extended gig, but instead the band wanted to fire us up from the get go. “Rush You” and “One Word” got us all singing along. I must admit, I’m not as familiar with the songs that didn’t make the charts, but it matters not with a woman like Suze deMarchi on stage. She’s such a compelling frontwoman, a force of nature that has the audience in the palm of her hand from the start. The natural chemistry she has with her bandmates is a joy to witness.

This was my third Baby Animals gig but in some ways Friday night’s show felt like an introduction. This was the way I was meant to see the band. Now to explore the back catalogue so I know a few more of those killer cuts for next time! I’ll get my chance when the Baby Animals kick off their greatest hits tour, supported by Killing Heidi, in May.

3 May 2019 – Revesby Workers Club, Revesby
4 May 2019 – Metro Theatre, Sydney
10 May 2019 – Croxton Bandroom, Melbourne
17 & 18 May 2019 – The Gov, Adelaide
24 May 2019 – Astor Theatre, Perth
25 May 2019 – Metropolis, Fremantle
31 May 2019 – Southport RSL, Southport
1 June 2019 – The Tivoli, Brisbane

Image source: Stephen Katulka

Posted on by Lauren Katulka

The Whitlams @ The Art House, Wyong – 7 February 2019

The Art House has been a welcome addition to the Central Coast’s cultural landscape. It’s a modern, intimate theatre overseen by a team booking such fantastic acts. We’re barely a week into February and I’ve already seen a musical, stand up comedy, and now live music there this year. I also have tickets to another three shows. It’s hard to resist when they’re a short, relatively traffic-free drive away. Last night the venue played host to one of Australia’s most enduring bands and one of the most exciting up-and-comers.

William Crighton warmed up the crowds with songs from his critically acclaimed sophomore album Empire and some tracks from the vault. What a unique talent he is. His rich, resonant voice draws you in from the start. His songs are just as compelling, whether he’s singing about young boys exacting revenge on paedophile priests or a sweet moment of peace watching children at play. With just the sound of an acoustic guitar keeping his voice company, and sometimes not even that, it was easy to hone in on the lyrics and hear those stories. His witty, unassuming banter between songs put us all on side. We might have been pumped for The Whitlams, but I don’t think anyone was clock-watching while William was on stage. We were hushed and attentive, until William encouraged us to sing along. We did so with the kind of enthusiasm usually reserved for the headliners.

The energy in the room went to the next level when The Whitlams joined us though. They started with high-energy crowd-pleasers “I Will Not Go Quietly and “Gough.” The exciting thing about seeing The Whitlams though is you’re never quite sure where the show will take you. They have 27 years of high-quality material at their disposal, and no song is off limits. While they tick off the major singles this isn’t a band that wants to stay necessarily with what we expect to hear. And we lap that up, belting out those upbeat numbers, falling quiet lest we miss a moment of the more introspective ones.

The show was peppered with witty banter, with Tim sharing his appreciation of our brand new theatre, his views on Sydney, and what it was really like performing at the Australian of the Year awards. As chief songwriter and vocalist, Tim tends to get more of the attention, but I found myself admiring just how good this band is as a whole. I’ve always loved The Whitlams, but there were so many times as I watched them feeding off one another, so in the moment, creating an incredible sound, that I just thought “Wow, this is special.” By the time they shuffled off after their encore of Dylan’s “Tangled Up in Blue,” my hands were sore from enthusiastic applause.

Last night the Art House turned on an amazing night of music that had me marvelling, not for the first time, how lucky I am to experience shows like this so close to home.

Image source: Stephen Katulka