Category: Reviews

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

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