Category: Reviews

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

Posted on by Lauren Katulka

Red Hot Summer @ Roche Estate, Pokolbin – 2 February 2019

In just a few years Red Hot Summer has become one of the highlights of the annual concert calendar, a series of events that showcase classic Aussie acts and some choice international artists. With a number of bills winding their way around Australia’s capitals and regional centres, there’s really something for everybody. The music is always superb; coupled with the good vibes that always seem to surround the concert series I just can’t resist.

This year was the first I’ve seen Red Hot Summer at a winery though. Roche Estate is the perfect venue, a natural amphitheatre which offered the sell-out crowd plenty of space for spreading out. The outstanding wine also made the performers sound just a little bit sweeter!

Chocolate Starfish kicked things off, curiously enough with a cover of Meatloaf’s “Bat Out of Hell.” It was a left-of-centre choice, but one which resonated with this crowd ready to sing along. They got their chance later too with Chocolate Starfish’s own radio-friendly singles “Four-Letter Word,” “Mountain,” and the epic cover of “You’re So Vain.” These moments got the loudest cheers, but the punters were right there throughout the set thanks to the charisma of lead singer Adam Thompson. He was every inch the rock star, dancing up a storm and commanding our attention. What a way to kick off the show.

I’ve seen Richard Clapton more times than I can count because he never disappoints. With such a short time on stage, he could have simply played the hits. “Best Years of Our Lives” and “Down in the Lucky Country” were notable absences in this set for me. But as a real fan, I didn’t mind too much. I was excited to hear less well-known songs like “Dancing With the Vampires” and “Something About You.” The crowd had enough moments to sing along with tracks like “Glory Road,” “Deep Water,” and “Girls on the Avenue.” Richard was in fine form, but then again, I’ve never seen him have an off day. The consummate professional.

Speaking of professionals, how good is Diesel? I saw him once about 20 years ago and I think I forgot how good he was. There’s no risk of getting a case of amnesia again though. Everything came together in this set. He’s such a talent, flawless voice, blues guitar on point, and an exceptional catalogue of songs. It was exciting to hear the way tracks from his Injectors days have evolved. You can still sing along, but a little more blues-rock edge has freshened them up. I really shouldn’t leave it so long before catching him again.

The Living End took me back to my teenage years. Their energetic set woke up anyone who was caught napping in the sunshine. It was furious, frenetic, and so much fun. Crowds rushed the stage, punching their fists in the air enthusiastically to hits like “Roll On” and “Prisoner of Society.” Some punk bands can seem a little tragic railing against the system in their advancing years, but The Living End somehow managed to avoid that. What a tight sound. What passion. They were one of the acts I hadn’t seen before, and they did not disappoint.

Joan Jett and The Blackhearts might not have been the headliner, but the international rock stalwarts were the drawcard for many punters. The standing zone was packed for the performance that featured all the hits, including many I’d forgotten about, and some unexpected surprises. Covers of the “Laverne and Shirley” theme and “Crimson and Clover” were a delight. Smash singles like “Bad Reputation,” “Cherry Bomb,” and “I Love Rock and Roll” were delivered with so much gusto. There was no sign of the fatigue that can often set in when bands have such a storied history. Clearly they still love playing together and doing it for Australian audiences was a real thrill. Joan Jett was every bit as fierce and fabulous as I’d hoped she’d be.

Jimmy Barnes is another act I’ve seen countless times, but it’s been a little while since I’ve seen him rock out. Acoustic shows are a brilliant treat, but I didn’t realise how much I’d missed seeing him really rocking out. The hits came thick and fast, including tracks I didn’t expect to hear like personal favourites “Stone Cold” and “Ride the Night Away.” More surprises came with “Working Class Hero,” a cover of the John Lennon song, and Chris Cheney joining Jimmy for a raucous rendition of “Rising Sun.” As the set drew to a close and the whole crowd united as one for Aussie anthems like “Working Class Man,” “Khe Sanh,” and “Flame Trees,” it made perfect sense why Jimmy was the headliner. He might not have the international profile of Joan Jett, but the love so many of us have for Mr Barnes trumps that. What a way to close out another stellar Red Hot Summer show.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Hold Yourself Together” – Asha Jefferies

I was initially in two minds when I sat down to write this review. I have waxed lyrical about two singles from Asha Jefferies‘ EP before. “Chaos” and “Everybody Talks” were such standout songs, I wondered what I could possibly say about the EP that I hadn’t already said before. Perhaps I’d better just introduce you to the latest brilliant cut, “If You Were My Hero” and be done with it.

However to do that and neglect the EP review felt like ignoring its beauty. Asha Jefferies’ singles are gorgeous. You can certainly appreciate them out of context. But on the EP Hold Yourself Together they create a more complete, more powerful picture. They’re like pages from a diary, stories of moments that together make up a tumultuous period of time. While the singles struck me, they’re no stronger than any of the songs that haven’t garnered radio play.

Asha Jefferies is such a talent, and her debut EP Hold Yourself Together is the perfect showcase of that talent. Her poetic, vulnerable lyrics and distinctive voice that seems to effortlessly slide up and down the scale have continually impressed me. Her songs have a charming folksiness, a catchy pop sensibility, and a heart that’s undeniably compelling. Discover them. All of them.

Hold Yourself Together is out now. Asha will play the following shows to support its release.

8 February 2019 – Black Bear Lodge, Brisbane
9 February 2019 – Byron Bay Brewery, Byron Bay
13 February 2019 – Golden Age Cinema & Bar, Sydney
15 February 2019 – The Retreat Hotel, Brunswick
16 February 2019 – The Espy, Melbourne
17 February 2019 – The Porch Sessions, Brighton
28 February 2019 – Beaufort St Songwriters Club, Defectors Bar, Mt Lawley
1-4 March 2019 – Nannup Music Festival, Nannup

Image used with permission from Mucho Bravado

Posted on by Lauren Katulka

Phil Collins @ QUDOS Bank Arena, Sydney – 22 January 2019

I get very critical when I hear musicians referred to as legends. Most media outlets seem to love this buzzword, using it to refer to all the hottest acts, but in my mind becoming a legend takes time. It takes a consistent body of work. Most people never get there, regardless of how many songs or albums they release. We have very few musical legends left, but Phil Collins is undoubtedly one of them.

His musical legacy speaks for itself. There’s the impressive body of work with Genesis, a solo career that if anything surpassed that. There’s been number ones, Grammys, American Music Awards, Brit Awards, even an Oscar and some Golden Globes. It’s no coincidence that at 67 he can still sell out our largest music venues.

I’ve seen several artists who start showing their age. Physically, Phil is among them. His dodgy hip and back mean he spends most of his show seated. But where it counts, vocally, age hasn’t touched his performance. His voice rang out clear as a bell, sounding just as strong as it ever did on the recordings.

That voice delivered a set list that might end up being the best I hear all year. I leaned over to my mum after he started with “Against All Odds” and said “Well there’s my favourite. Where does he go from here?” But of course, Phil has so much in his arsenal that he can keep you entertained even when he’s already delivered the song you wanted to hear most. “Another Day in Paradise” came next, “I Missed Again” … hit after hit. He doesn’t need to keep any up his sleeve for the back end of the show because he’s written so many stellar songs. I remembered just how much I love tracks like “Invisible Touch,” “Something Happened on the Way to Hear,” “Easy Lover,” and “Chances Are.” The atmosphere for “In the Air Tonight” was electric. Phil might not be pounding the drum kit any more, but his son Nic was a worthy replacement.

The whole band really deserves a special mention. Many of these musicians have been with Phil for 40 to 50 years. They knew this music intimately, creating one of the tightest sounds I’ve ever heard. While Phil couldn’t get up and dance they filled that gap too, making the show feel like a real party from start to finish.

When Phil and band said their goodbyes I didn’t expect an encore. I’d heard everything I expected to and then some. It also seemed like an awful lot of effort for Phil to hobble off with his cane only to return again. However, he maintained the rock and roll charade, returning for one more song, “Take Me Home.” So stirring, the perfect closer for a real celebration of music.

Phil Collins was one of those bucket list artists for me, someone I knew I’d see if I ever had the chance but wasn’t sure I would. At one point the world thought he’d never tour again after all. When you anticipate seeing someone for so long, it can be difficult for the artist to meet your expectations. But Phil did and more. I feel so privileged to have spent time with one of the world’s true musical legends.

Phil Collins plays Perth’s RAC Arena tonight before heading to Melbourne’s AAMI Park on February 1 and 2.

Image source: Stephen Katulka

Posted on by Lauren Katulka

In the Heights @ The Art House, Wyong – 11 January 2019

Living on the Central Coast, seeing a great musical typically means taking the train to Sydney. We’ve got our community theatre groups, and the occasional small play from a larger company stops by, but when you want to see the big guns from Broadway the options are typically lacking. However, an unexpected partnership between Sydney Opera House and The Art House in Wyong saw the Tony Award-winning Lin musical In the Heights playing a tiny venue in my local area before it travelled to the big stage.

I must admit, I didn’t know a lot about In the Heights before I shuffled into The Art House. I knew it had taken home a swag of Tonys and Lin-Manual Miranda wrote it. Frankly, these were the only selling points I needed. There’s something nice about approaching a production without any expectations. It’s been some time since I’ve done that. I knew much about the lives of Carole King and Bobby Darin before catching Beautiful and Dream Lover. I was familiar with some of the music from Book of Mormon. I knew the characters from Wicked and the basic premise. Here I was flying blind, and it was glorious. However, since I wasn’t so familiar I had to fight a little harder to catch the lyrics in the fast-paced songs. The Art House really needed to fine-tune the sound, as sometimes the music seemed to dominate the vocals.

And that is where my criticism begins and ends. Because aside from that little niggle, this production was flawless. I was mesmerised by it, quickly taking the characters to heart and marvelling at the actors’ dance skills and vocal prowess. This is an exceptional cast, one where even the members of the chorus can floor you. I would like to make special mention of Luisa Scrofani as Nina, Stevie Lopez as Usnavi, and Alexander Palacio as Kevin though. These three performers were particularly dazzling, playing their parts so well that I can’t imagine any of the Broadway pros could top them.

I was on the edge of my seat for the entire production. The bright lights at intermission were an unwelcome interruption. I couldn’t wait to immerse myself in the Washington Heights neighbourhood again. By the time the musical reached its heartbreaking climax, I was wiping back tears. I laughed, I cried, and most importantly I felt. This production of In the Heights was truly one of the greatest things I’ve witnessed on stage. It plays Sydney Opera House on January 16 to 20. Sydneysiders, get yourself a ticket. I guarantee you won’t regret it.

Posted on by Lauren Katulka

“Sanctuary” – Magpie Diaries

A sanctuary is a place to hide, a refuge from the negative forces in our lives. Great music can be that special place for so many of us, so it’s fitting that Sanctuary is the title of the latest album from Magpie Diaries. It’s great music, the kind that’s instantly comforting with its familiar Americana sound.

While this album is instantly accessible it’s not without surprises. The opening track “Beat Myself Up” is a heartbreakingly honest ballad but Magpie Diaries doesn’t keep us in that place too long; the follow-up number “When Love Comes” is a playful jam. Tracks like “Beautiful Beetroot” and “Irresistible Pie” are delivered with enough conviction that they never feel like novelties. Another tasty song, “Strawberries & Cream” is a real romantic charmer. “If You’re Hurting” feels like it could have been played in an authentic Western saloon. What a change of pace this retro track is to the energetic “Honey” that came before it. Magpie Dreams save the best for the last though; “Don’t Give Up Now” is an arresting plea.

Matt “Magpie” Johnston has such a distinctive voice and he’s ably supported by his musicians. I love the honky-tonk piano, the cry of a slide guitar … there’s such a nostalgia about these sounds. Magpie Diaries delivers organic, blues-folk music done right. Spend some time with their new album Sanctuary today.

Magpie Diaries will play shows around the country celebrating Sanctuary’s release. Catch them at the following venues.

29 December 2018 – 1 January 2019 – Woodford Folk Festival, Woodford
3 January 2019 – Nimbin Bush Theatre, Nimbin (1-4pm)
3 January 2019 – Byron Bay Brewery, Byron Bay
4 January 2019 – Federal Hotel, Bellingen
5 January 2019 – Flow Bar, Old Bar
11 January 2019 – Brass Monkey, Cronulla
12 January 2019 – Sly Fox, Enmore
13 January 2019 – Hardys Bay Club, Hardy’s Bay
18 January 2019 – Muswellbrook Hotel, Muswellbrook
19-20 January 2019 – Tamworth Hotel, Tamworth
20 January 2019 – Junkyard, Maitland
24 January 2019 – Servo Food Truck, Port Kembla
25 January 2019 – Tomerong Hall, Jarvis Bay
31 January 2019 – Stag and Hunter, Newcastle
6 February 2019 – Transit Bar, Canberra
7 February 2019 – The Old Bar, Fitzroy
8 February 2019 – The Eastern, Ballarat
9 February 2019 – Barwon Hotel, Geelong
10 February 2019 – Northcote Social Club, Melbourne
15 February 2019 – Dashville, Lower Belford
2-3 March 2019 – Nannup Festival, Nannup

Image used with permission from Jo Corbett Publicity

Posted on by Lauren Katulka

The Screaming Jets @ The Factory Theatre, Marrickville – 14 December 2018

December always seems to fly by in the blink of an eye. It’s a seemingly endless stream of deadlines, family obligations, and parties that can all leave you feeling fatigued. Somewhere in all of that I found a little time for me, for indulging in my passion for music. I’m glad I bought tickets for The Screaming Jets at The Factory in Marrickville some time ago. Locking the show in made sure exhaustion and terrible weather couldn’t talk me out of attending.

The rain did see me arriving a little later than I’d like. Palace of the King were already in full swing when I walked through the doors, but it didn’t take me long to become enthralled by their set. They were the young guns on this bill, established just six years ago rather than in the ‘80s. However, their psychedelic rock sound was a hit with the older crowd. These lads from Sydney can really play. I hope I get to spend more time with them at another show.

The Poor burst onto the stage next, taking me right back to my teenage years. I remember buying their album Who Cares? on cassette while I was shopping with my grandma. I was just 14, so I remember frantically trying to peel off that explicit lyrics sticker before she spied it. That cassette didn’t leave my stereo for months. I worried every time my parents walked in that they might cotton on to those choice words. I was too young to catch The Poor play live in their hey day, but watching frontman Skenie bounce around, it was like no time had passed. They delivered a high-octane set punctuated by tracks from that album I adored all those years ago. It was bold and ballsy, and I lapped it up. The banter between songs was every bit as colourful as my inner teen hoped for.

As a girl from Newcastle, I’ve seen The Screaming Jets countless times. This band is part of my DNA, one of the first acts I remember seeing as I started to see shows without my parents. But this set might have been one of my favourites simply because it was so fresh.

The Jets are no stranger to touring a new album. But ordinarily they try not to push the new material too hard. They don’t want to alienate the punters who are there to see them play the hits. The beautiful thing about releasing an album like Gotcha Covered though is the level of familiarity the audience already has with the songs. It’s genius really. The Jets could play a bunch of new material, delivering a set that felt totally fresh, while keeping everybody on side. They seized the opportunity with both hands, treating us to classic rock bangers like “Rain,” “Razor’s Edge,” “Wedding Ring,” and the Radiator’s cheeky hit “Gimme Head,” a suggestion from “the wheel.”

The wheel was another inspired idea, a chocolate wheel that The Jets trotted out with glee throughout the set. Frontman Dave Gleeson picked excited punters to come up and spin the wheel, which displayed the titles of tracks from the new album. We got another great track, the spinners got T-shirts, and we all had a lot of fun. Win, win, win.

Dave told us that new music was on its way, but the lads simply released their latest album so they’d have an excuse to tour again. The joy they get from playing live is evident. This band is so tight; despite many line-up changes since their 1989 inception Dave and fellow founding member bass guitarist Paul Woseen keep things ticking along. They’re a generous band too, one that gives the punters exactly what they came for, a big rock show peppered with hits. Age shall not weary them. I was feeling ready to call it a night after “Shiver” came out in the encore, but the Jets had other ideas, treating the enthusiastic crowd to some Johnny Cash even though it was nearing 1 am.

Most tours are winding down for the year, but The Screaming Jets aren’t nearly done yet. Their Gotcha Covered tour will hit the following venues throughout the festive season.

21 December 2018 – The Governor Hindmarsh, Hindmarsh
22 December 2018 – Corner Hotel, Richmond
28 December 2018 – Kingscliff Beach Hotel, Kingscliff
29 December 2018 – Aussie World, Palmview
4 January 2019 – Wyong Leagues Club, Kanwal
5th January 2019 – Laurieton United Services Club, Laurieton
11 January 2019 – Matthew Flinders Hotel, Chadstone
12 January 2019 – York On Lilydale, Mount Evelyn
17 January 2019 – Shoal Bay Country Club, Shoal Bay
18 January 2019 – The Bridge Hotel, Rozelle
19 January 2019 – Pittwater RSL Club, Mona Vale
25 January 2019 – The Basement, Canberra