Category: Reviews

Posted on by Lauren Katulka

Jimmy Barnes @ Lizotte’s, Newcastle – 4 December 2018

I always feel special being one of the 200 guests at a Lizotte’s show. But when the show is a Jimmy Barnes gig that sold out within minutes, as it was on Tuesday night, the word special doesn’t seem to cover it. Jimmy Barnes is a performer who can and does sell out large venues. In just a few short months he’s headlining the Red Hot Summer tour, taking top billing on a line-up featuring such talents as Joan Jett, Richard Clapton, and The Living End. Seeing him in a much smaller space lets Barnesy perform a different kind of show, one that’s more personal and less mainstream. It’s one I feel privileged to have witnessed.

Elly-May Barnes played support act, Jimmy’s youngest daughter and a real talent in her own right. She supported Jimmy the last time I saw him at Lizotte’s two years ago, although at that show she was flanked by Reece Mastin, Sarah McLeod, and Kara Jayne. She was a lot more exposed here, sharing the stage with only a keyboardist and her sister EJ for a few numbers, but I felt she was much stronger than last time. Clad in an LED covered cape and tight-fitting black outfit, she looked every inch the sassy rockstar. Her voice was strong from the start in a set of covers celebrating songs from David Bowie, Neil Young, Dionne Warwick, and more. Her song choice was spot on, her stage presence fierce, and her voice soulful. What a wonderful way to start the night.

Jimmy Barnes was the first musician I ever saw live. I’ve seen him countless times since then. I always enjoy his set, but I’m most excited when he delivers something new. Bigger shows don’t let you do that. Crowds of fans demand to hear the hits, to sing along from the start. Get together a much smaller group, a more select audience, and I find they’re much happier to experience something different. So we heard covers of songs from artists you might not expect Jimmy to cover like Nat King Cole and Mahalia Jackson. There were incredible new songs yet to be released. There was time to tell stories which made our experiences hearing these songs so much richer, because there were no hecklers telling him to get on with it and sing.

Jimmy doesn’t leave audiences without hearing the songs they came to hear though. While this was a set with fewer hits, we still enjoyed chances to sing along with old favourites like “The Weight,” “Khe Sanh,” “Flame Trees,” “Working Class Man,” and “When The War is Over.” His more poignant, understated take on “Working Class Man,” a world away from the pub rock number released, was especially moving.

Jimmy might have been the headliner, but this was really a Barnes family show. Elly-May and EJ both served as backing vocalists alongside their mum Jane. Son-in-law Ben Rodgers had lead guitar duties while son Jackie on drums kept the beat. EJ slayed a solo performance of “Somewhere Over the Rainbow.” Seeing the members of the Barnes clan all up there supporting and admiring one another was beautiful to witness.

Beautiful isn’t a word that typically springs to mind watching a Jimmy Barnes performance. His shows are typically rocking, bold, ballsy affairs. But I feel so thrilled to have seen the softer side of one of Australia’s most enduring and iconic musicians in Newcastle this week.

Image source: Stephen Katulka

Posted on by Lauren Katulka

John Farnham @ Bimbadgen Estate, Pokolbin – 1 December 2018

You know it’s summer in Australia once the mercury soars and you find yourself with a bottle of semillon at a Day on the Green event. I wasted no time getting into the summer spirit, visiting Bimbadgen Estate in the Hunter for its first Day on the Green show of the season on Saturday.

It’s been so long since I’ve been to a Day on the Green that I didn’t anticipate the traffic. My party were enjoying a leisurely lunch in the same suburb and were sure 15 minutes would be enough time to get to the venue. Unfortunately, it was not to be. I was so looking forward to Bachelor Girl’s set too. Sadly though, by the time I got to my seat they were walking off stage. They sounded amazing though. Next time.

Thankfully I was happily in my seat with that important bottle of sem, necessary for combatting that summer heat, by the time Russell Morris graced the stage. He was the only artist on the bill I hadn’t seen before, so I was really excited to see what this Aussie legend could do. What a wonderful performance he gave, full of technical prowess and charisma, with classics, more recent bluesy hits from his latest smash albums, and some choice covers. I’d forgotten how much I love “Wings of an Eagle.” His takes on Dylan’s “It’s All Over Now Baby Blue” and “Hush” were inspired. And of course, “The Real Thing” was a psychedelic delight.

He might have been sandwiched in the middle of the bill, but Richard Marx was my headliner. His set was all too brief, but that meant there was no time for fillers. The hits came thick and fast. Most drew from Richard’s early days with a “fluffy mullet.” I adored these chart toppers like “Endless Summer Nights” and “Should’ve Known Better.” But I was also thrilled to hear “Angelia,” a favourite song that didn’t crack the top 30, and “Long Hot Summer,” a song perfect for this weather he penned for Keith Urban. Those tracks I didn’t expect to hear helped make amends to the fans like me who would have loved to hear him play longer. By the time he played his torch ballad and HotelsCombined anthem “Right Here Waiting,” he had the whole crowd singing along. I’m not sure whether the sound mix was a little off early or whether I simply got used to the problem though. It’s a shame that this factor beyond his control marred an otherwise stellar performance.

You know you’re in good hands when two of Australia’s most beloved artists, Daryl Braithwaite and John Farnham, close out a show. Dazza’s voice took a little time to warm up, struggling to hit the higher notes in opener “Higher Than Hope,” but we sang loud enough to cover his failings until he hit his stride. His greatest hits set, drawing from the days of Sherbet and his solo career, was perfect for an event like this. No sooner had I sat down for a rest I was back up on my feet dancing to another favourite. None is greater than “The Horses” though, the kind of track that today encourages millennials to don horse heads and thrust hobby horses to the sky as they sing out that chorus. I was in fine voice alongside them.

John Farnham remains the consummate Australian performer. He’s a man whose voice needs no warm-up, whose songs are embraced by Australians of all ages. Like so many Aussies I’ve seen John several times over the years. Recently the sets were sounding a little samey, so I was thrilled to hear a few tracks from the classic album Whispering Jack he rarely plays. I’d forgotten how much I love “One Step Away.” The beautiful ballad “Touch of Paradise” was a real highlight, along with the rocking crowd pleaser “Take the Pressure Down.” But I’m not sure anything beats being in a crowd of Aussies joining voices with Farnsy belting out “You’re The Voice.” What a special moment.

With a stellar line-up of Aussie talent and a special import, A Day on the Green has kicked off its 2018/2019 season with a bang. Bring on the rest of the events!

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Self Sabotage” EP – Graace

Graace blew me away with her single “Last Night” a couple of months ago. Now I’ve listened to her debut EP Self Sabotage, I’m completely besotted. It contains six special songs that you won’t quickly forget.

“Kissing Boys” has such a tender introduction, but by the time chorus kicks in it’s breezy and boppy, with saturated synths and a great groove. But tap into the lyrics and you’ll hear lyrics of real pain, a story of momentary distractions masking heartache. It’s this heartache that dominates this EP. Painful breakups have fuelled so much great music over the years. Like the very best artists that came before her, Graace has a knack for getting her pain down. You hear it through the insightful, reflective lyrics and her beautiful, pure vocals. It’s been some time since I’ve had my heart broken, but songs like “SOS” and “Me Without You” took me right back there. By the time I came to the exquisite closing track “Spoken Word,” a devastating piece of poetry I could feel tears welling in my eyes.

Artists aspire to make music that moves us. However, most of it washes over us, failing to really make a lasting impact. Graace never puts a foot wrong here. It’s a brave collection of songs that reveals her heart, and in doing so touches the listeners’.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“No Wonder The World is Exhausted” – Ben Leece

No Wonder The World is Exhausted is one of those special albums that feels good the moment you slip it on. Newcastle singer-songwriter Ben Leece’s voice is rich and self-assured, reminding me a little of Springsteen or John Mellencamp. It’s masculine, a little gritty, the kind of voice that lets you know you’re in good hands. Add in superb instrumentation, the cry of a slide guitar, the wail of an electric, the strum of an acoustic guitar, all carefully layered, and you’re in for a real treat.

I found myself getting swept up in the romance of opening track “Rebel Alone.” “Highway Not the Dream” reminds me of what we might hear in a modern-day honky-tonk bar. There’s that classic influence, but with contemporary sounds too. Ben is so good at building on classic sounds. His tracks have their roots in country, but he plays a little with the genre, adding some sexy bluesiness, a little rock edge. It’s modern and fresh, and honestly irresistible. The rousing “A Hole” doesn’t stir you I’d check for a pulse. Beautiful ballads like “Villains,” “Smoke Signals,” and the poignant closing track “Stuck to My Guns” help balance the album’s upbeat numbers, making that “Rebel Alone” the title track introduced us to seem a little more vulnerable.

No Wonder The World is Exhausted is so accessible, but that’s not a bad thing. While it might not challenge the ear, don’t underestimate what it takes to create songs that instantly forge a connection with listeners. I loved this album from the start, but with each subsequent listen I’m falling a little deeper.

No Wonder The World is Exhausted is out now.

Image used with permission from Jo Corbett Publicity

Posted on by Lauren Katulka

Thirsty Merc @ Lizotte’s, Newcastle – 16 November 2018

I first saw Thirsty Merc way back in 2004, when they supported Maroon 5 at the Gaelic Club. Incidentally Maroon 5 were bland, failing to excite me the way their debut album Songs About Jane did. I became an instant Thirsty Merc fan though. I’ve seen them countless times over the last 14 years, but I think last Friday’s show at Lizotte’s might just be the best.

Owen Campbell warmed up the stage, delivering a stellar set of swampy blues. Brian Lizotte had given him a big wrap before he stepped out, and he certainly lived up to that hype. Originals made up the bulk of his set, but they were so good that it didn’t matter that we couldn’t sing along. While the originals slayed, a cover of Van Morrison’s “Crazy Love” was a real highlight for those of us in the know. As I listened to Owen play I noticed there was none of the murmur that normally hums in a room while support acts play. I think most of us were as transfixed as I was on his set. Either that or they were just too busy filling their face with some of Lizotte’s legendary food.

I might not have used my voice much during Owen Campbell’s set, but I made up for it during Thirsty Merc’s. What a treat it was for long-time fans like me. “Undivided Love,” a personal favourite my husband and I can’t remember hearing live, came out early. Another favourite we never expect to hear, “Build A Bridge” was delivered with such passion. A crowd request for “Tommy and Krista” was another highlight. A slowed-down version of “My Completeness” revealed the tenderness of the lyrics. Not that there wasn’t anything for casual radio fans though. Thirsty Merc delivered hits like “In the Summertime” and “20 Good Reasons” with just as much gusto as the more obscure numbers.

I joked to my husband as we left that it’s almost as if the band had intel on exactly what he’d want to hear. A killer set takes you a long way towards a great show. But there was something more at play. Rai told us how much he loves Lizotte’s, so maybe the joy that comes from playing a favourite venue played a part. Perhaps the lads are simply enjoying playing a bit more now they’re not touring as relentlessly as they used to. Whatever the case, I’m so glad I caught the show. If you haven’t seen Thirsty Merc before or it’s been a while between shows, check them out on their Summer 2018 tour. Right now it seems they’re better than ever.

23 November 2018 – SS&A Club, Albury
24 November 2018 – Mulwala Ski Club, Mulwala
25 November 2018 – One Electric Day Festival, Werribee
30 November 2018 – O’Donoghues, Emu Plains
1 December 2018 – Bathurst RSL, Bathurst
7 December 2018 – Moruya Waterfront Hotel Motel, Moruya
14 December 2018 – Days of Summer, Chelsea Heights (with Daryl Braithwaite)
15 December 2018 – The Palms @ Crown Melbourne
Southbank (with Daryl Braithwaite)
28 December 2018 – Laurieton United Services Club, Laurieton
29 December 2018 – Moonee Beach Tavern, Moonee Beach
30 December 2018 – Coolangatta Hotel, Coolangatta
31 December 2018 – The Ville Resort-Casino, Townsville

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Baby It’s Christmas” – David Campbell

I read somewhere recently that once Halloween is over, it’s time to embrace the festive season. I haven’t trimmed my tree yet, but I’m almost done with Christmas shopping (yes, I’m one of those stupid organised people) and I’ve been happily blasting David Campbell’s new holiday album, Baby It’s Christmas since its release a couple of weeks ago.

I honestly wonder why it’s taken so long for DC to release a Christmas album. His performances at the Melbourne Carols by Candlelight are among the show’s highlights each year. And I’ve always seen him as our answer to Michael Buble, an artist who regularly tops the Aussie charts each year with his own Christmas release. He’s got a similar old-school sensibility, with bucket loads of charisma and a smooth, effortless voice.

Baby It’s Christmas is a wonderful collection of seasonal favourites delivered flawlessly. Cheery opening track “Holly Jolly Christmas” sets the scene, putting a smile on your face before the swinging title track, “Baby It’s Christmas,” penned by our own Rick Price, kicks in. Originals are always a bit risky on a Christmas album, but this one already feels like a classic. Anyone who loved David’s Swing Sessions albums will appreciate the inclusion of classic material in a similar vein like Dean Martin’s “I’ve Got My Love to Keep Me Warm” and Harry Connick Jnr’s “When My Heart Finds Christmas.” Most of the album keeps things light, with upbeat favourites like “Jingle Bells,” “Rockin’ Around the Christmas Tree,” and “It’s The Most Wonderful Time of the Year.” But purists will appreciate the inclusion of some traditional carols. Tracks like his gospel-inspired “Silent Night” and “O Come All Ye Faithful” let DC really showcase his vocal prowess.

I think Michael Buble’s Christmas album is getting a little tired after seven years. I think it’s about time his annual silly season stint at number one came to an end. Baby It’s Christmas is a worthy successor. It’s in stores and your favourite digital outlets now.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“Canyon Songs” – Slow Fades

Slow Fades showcase a classic sound and songwriting skills with their new EP Canyon Songs.

This six-track EP is a new release out of Melbourne, but it wouldn’t surprise me if it was penned in Laurel Canyon in the 1970s. Did the guys from Slow Fades manage to time travel and rub shoulders with talents like Carole King, Neil Young, and the Eagles? I can’t confirm or deny it. References to Aussie icons like eucalyptus root this music here at home, but the classic blend of piano, drums, and jangly guitar gives these songs a great Americana feel.

Vocalist and key songwriter Ben Birchall has an easy vocal style which reminds me a little of Tom Petty or Bob Dylan. The lyrics too have a similar poetic appeal to those created by these artists. These “Canyon Songs” are full of those lines that you chew on, turning them over and marvelling at them before something equally as impressive catches your ear.

Six tracks doesn’t give us a lot of time to get to know Slow Fades, but this EP really serves as a great introduction. It’s got upbeat crowd pleasers like opening track “Leave the Canyon” and more subdued, introspective numbers like “Vikings.” “Fall, Fall, Fall” oozes regrets, while “My Damn Life” celebrates existence. It’s all about balance.

Canyon Songs feels a bit of a throwback, but that’s far from a bad thing. It’s available today. Slow Fades will play a hometown launch show at the Thornbury Theatre on November 25.

Image used with permission from RiSH Publicity

Posted on by Lauren Katulka

Nathan Cavaleri @ The Rhythm Hut, Gosford – 4 November 2018

When Lizotte’s closed the doors of the “cubbyhouse” in Kincumber around three and a half years ago, I worried the Central Coast might start missing out on shows. I don’t mind driving up and down the Pacific Highway if I need to, but there’s something so lovely about seeing gigs close to home. Rather than missing out though, other venues have stepped up to fill the void. Laycock Street Theatre is securing more musicians, and Wyong’s built The Art House. These venues are wonderful, but they don’t quite have that welcoming, comforting quality a night out at Lizotte’s had. So last night I was thrilled to discover a venue that does: The Rhythm Hut.

I’ve been intending to visit this Gosford arts space for some time, but the stars never quite aligned. When I was offered a pair of tickets for the Nathan Cavaleri show last night, I couldn’t refuse. The Rhythm Hut isn’t like most music venues. You feel like you’re heading towards someone’s house for a backyard barbeque rather than performance space as you walk down the steps to its outdoor patio area bordered by succulents. Inside there are mismatched couches at the back and along the sides and pillows and beanbags around the front near the stage. One half of the bar is for drinks, like the local Six Strings beers and decent wine served in real glasses, while the other serves hearty dishes and desserts. Last night it was vegetarian or chicken paella and brownies, but I hear the menu changes depending on what the volunteers make.

That’s right: volunteers. The Rhythm Hut is a non-profit performance space. When it’s not hosting local and international musicians, there are open mic nights and drumming workshops. Everyone seems to know everyone, and even if you’re a newcomer you’ll feel you’re going home part of the community. The hosts encourage the audience to make new friends between acts. So it seemed totally natural that I got chatting to the gentleman next to me and his adorable long-haired chihuahua. He wasn’t even the only dog enjoying the music.

This unique space really was the perfect venue for this show. Support act Dylan Wright might have gotten swallowed up in a larger venue, but here you could have heard a pin drop as he delivered his spine-tingling folky tunes. His original songs were outstanding, but I couldn’t help smiling at his slowed-down take on Rick James’ “Super Freak.” I was excited to see Nathan, but I must admit I was a little disappointed when his set ended. I snapped up his EP so I can listen more. I’m an instant fan.

Nathan Cavaleri has been out of the spotlight in recent years, but when I was growing up he was a household name, the cute kid who had leukemia and a natural gift for the guitar. It’s a gift that has taken him all over the world and seen him share bills with BB King, Elton John, Robert Plant, and Jimmy Page, to name but a few. As you can imagine, now all grown-up Nathan has some stories to tell. While there were the superstar anecdotes, he wasn’t afraid to reveal more personal tales of his battles with anxiety, depression, and self-doubt.

The stories helped punctuate a set that was truly something special. With good mate Kenny by his side, Nathan left no doubt that the guitar skills he showcased as a kid on numerous TV shows haven’t gone anywhere. In fact, he might play even better now, combining his natural flair with a dirtier blues sensibility. Originals sat comfortable among tributes to his influences, including Ben Harper, Fleetwood Mac, and of course, the great BB King. They were played with such joy and the whole crowd responded, whether they were nodding their heads from their seats or dancing with wild abandon around the sides of the venue.

Last night Nathan Cavaleri put on one of those performances that just feels good for the soul. I can’t imagine a better venue for this show or to wrap up his “Demons” tour. It felt like a house party, one of those nights where someone has a guitar and starts to jam spontaneously. Except as we all know, Nathan is much handier with an axe than your average party guest.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Griefers” – As a Rival

Diamonds are created under pressure. It’s true in the world of science, but it’s often the case in the music industry too. A lesser band might have crumbled when challenged to complete 50 demos in a two-month period. But Melbourne punk rock act As a Rival thrived under the pressure, creating a rich collection of songs that honed their craft and helped them evolve their sound. Only the 12 best made it to their new album Griefers.

Having so many superb songs to select from ensures this album is one of absolute quality. No tracks feel like fillers. Every one is a stand out, from the bold opening track “Broken Compass” to the politically-charged closing number “Divide Us.” The anthemic single “What We Got” remains one of my favourite tracks, but it faces stiff competition from “Atom Bomb” and “Head in the Clouds.” Ask me next week after a few more listens and I might tell you I’m into something else, such is the quality of these tracks. Each one smacks you in the face with its frenetic drumming and big chunky guitar chords. They’re so insightfully written, with lyrics brought to life by the powerful vocals of frontman Pete Cerni.

Griefers is an album you just can’t ignore. It barely takes its foot off the pedal, whisking you along on a wild ride that you’ll want to take again and again. Forget about what you’ve heard about that Difficult Second Album Syndrome. As a Rival make it look easy here.

Griefers is available from your favourite digital retailers today.

Image used with permission from Collision Course

Posted on by Lauren Katulka

“To Love You” – Glades

It seems like forever ago that Sydney band Glades burst onto the scene with their track “Drive.” Now two years later they’re showcasing their addictive electronic pop sound on their debut album To Love You.

“Nervous Energy” is the perfect introduction to this collection of songs, with lush electronic layering, powerful and emotional vocals, and a clap-along beat. Glades are so skilled at creating upbeat alt-pop ditties that put a smile on your face, whether they’re spreading positivity in a song like “Do Right” or dissing someone in “Not About You.” Tracks like “80 Miles” and “Neon Buzz” are real charmers, with the rebellious, romantic spirit that will take even the oldest listeners back to those heady days of first love.

Electronic sounds dominate To Love You, but as the songs become more intimate and subdued, so does Glades sound. The final two tracks, “Better Love” and “Through to You” are stripped back and organic, with pianos and gentle acoustic guitars replacing the special effects. They’re powerful reminders that Glades don’t need heavy production to make an impact.

To Love You has been a long time coming, but its release today has been worth waiting for. It’s perfect pop for the new millennium, with a fresh sound anchored by real heart. Glades will play the following shows to celebrate its release.

24 November 2018 – Corner Hotel, Melbourne
30 November 2018 – Jack Rabbit Slims, Perth
1 December 2018 – Jive, Adelaide
6 December 2018 – Metro Theatre, Sydney
7 December 2018 – Woolly Mammoth, Brisbane

Image used with permission from Warner Music Australia