Category: Reviews

Posted on by Lauren Katulka

“Out of the Oddness” – Tom-Lee Richards

I’ve been intending to review Tom-Lee Richards’ album Out of the Oddness for a few days now. But every time I went to start typing I couldn’t bring myself to do it. This is the kind of music that is just made to be appreciated. It casts a spell which would be broken by the tap-tap-tapping of my fingers on my keyboard. I worried the magic might not be as potent if I started to analyse it, in much the same way that a magician’s tricks lose their wonder once you know how they’re done.

But if I didn’t review it, I told myself, you wouldn’t know how special it is. It’s not a big blockbuster release, so you won’t hear its songs on radio. It would have been buried by all of the other albums on your streaming service. You’d never find it, and that would be a great shame. So after spending days just listening, I reasoned that it really was important I stepped out of that bubble of appreciation and little and put my thoughts down.
From the opening strains of “Beside You,” you know you’re in for something unique. It’s striking in its stripped back soundscape, with just a gentle acoustic guitar and Tom-Lee’s voice easing you in before you’re picked up by the groove of the chorus. From that moment, if you’re lucky, you’ll find yourself like me, carried away by the beautiful music Tom-Lee creates.

He has a gift for creating unique soundscapes which sound so pretty and original. Sonically, this is such a strong album. The instruments come together so beautifully, and Tom’s voice has such a special quality. But there’s more than that at play. The lyrics of these songs are so moving. I felt so caught up in the tracks, whether Tom-Lee is singing of longing in “Beside You” or social isolation in “Madness.” Upbeat fare like “As Far as India” help balance more sombre moments like the title track.

Out of the Oddness is like no album I can remember hearing. It’s truly captivated me. It’s very early in the year to call it, but I wouldn’t be surprised if it ends up being my favourite release for 2018.

Posted on by Lauren Katulka

Live & The Tea Party @ ICC Theatre, Sydney – 1 March 2018

Ordinarily when a band I’ve seen announces follow-up shows shortly after their last lap of the country, I give them a miss. I reason that not much will have changed and that there are always more artists tempting me to spend my money. Yet not even four months after catching them in the Hunter, I saw Live again last week. And I was every bit as psyched.

This was a very different gig from the 2017 Live show though. Rather than a soggy day out in the picturesque Hunter Valley, we filed into the modern ICC Theatre in Sydney. In the Hunter, Thirsty Merc, The Calling, and Lifehouse delivered crowd-pleasing pop-rock, but it seemed slightly out of step with Live’s angsty ‘90s rock. At this year’s tour The Tea Party provided an interesting foil, rocking every bit as hard as the headliners.

The Tea Party are such a revered act, but my exposure to them had been limited to their set at M-One (anyone else remember M-One?), when I think I might have been chatting to friends, and whatever filtered through the walls from my young sister’s bedroom. When they first hit the stage I worried they might have been a little too dark for my tastes. But as the set wore on, I started to appreciate them a little more. These guys are such exemplary musicians and Jeff Martin is one of the most charismatic frontmen you’ll ever see. He has such a cool, brooding quality that’s utterly mesmerising. I was surprised that I recognised “Sister Awake” and “Temptation.” I guess more filtered through those bedroom walls than I realised. Snippets of classic rock songs like “Paint it Black” and “With Or Without You” gave those of us less familiar with their work than those enthusiastically jumping around on the floor something to latch on to. The Tea Party might have passed me by in the ‘90s, but I feel like I got an education on what they’re all about.

While The Tea Party invigorated me with their set so out of my comfort zone, when Live took the stage I felt right at home. The set started explosively with “All Over You,” with the band’s energy matched by all of us excitedly singing along as we punched our fists in the air. And from that moment, Live had us. Just like Jeff Martin did earlier in the night, Ed Kowalczyk captivated me. He is such a powerful performer, whether he’s leading us all in a big rock number or bearing his soul in an intimate ballad.

The set had the perfect balance of hits and album tracks us fans hold close to our heart. And well it should, because it was almost the same set we heard in the Hunter. There were some notable exceptions though. We didn’t hear “Rattlesnake,” part of the encore at Roche Estate. But the set was a little longer, with the addition of “The Distance,” “Iris,” and the fantastic “Shit Towne.”

The songs that remained were so stellar and even though I’d seen them live mere months before, they lost none of the power. I was still so moved when the band played tribute to Chris Cornell with Audioslave’s “I Am The Highway.” My very favourite Live song, “Turn My Head” still gave me chills. I was on my feet with “Lakini’s Juice.” And if you’re not overcome by songs like “I Alone,” “Selling The Drama,” and “Lightning Crashes,” you probably weren’t a teen in the ‘90s.

They might have just visited us, but Live gave us the kind of dynamic performance you might expect if they hadn’t played here in years. They seemed on such a high, so appreciative of the crowd and feeding off its energy. We all felt it, and it was glorious.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Adam & Brooke” – Adam Eckersley & Brooke McClymont

All too often duets albums are released by performers who are friends rather than lovers. They have a certain camaraderie, but any love songs they sing don’t quite ring true. So it’s refreshing to hear Adam & Brooke, the new album by real-life lovebirds Adam Eckersley and Brooke McClymont.

I’m far from the biggest country music fan, but this album quickly won me over. I was smitten by the single “Train Wreck” on its release, but as I listened I discovered there are so many great songs on this album. They explore the good times and the hard times, the sexy times and the struggles. It seems this duo can do everything, from playful tracks like “Love on the Loose” to beautiful ballads like “Smooth.” Stripped back tunes like “Not How I Feel” and “Glad” are particularly affecting.

Separately these country artists have fantastic voices, but the chemistry when they harmonise is off the charts. But this album’s beauty is about more than pretty notes. There’s real truth behind the songs, and that’s so compelling. You hear the yearning, the passion, and the love they have for one another coming through in these powerful tracks.

Between them, Adam Eckersley and Brooke McClymont have 12 Golden Guitars, two APRA awards, and two ARIAs. I wouldn’t be surprised if they add to their already bulging trophy cases with this release. It’s just that good.

Adam & Brooke is in stores now. The talented twosome is currently playing shows together around the country. Here are all the remaining dates.

2 March 2018 – Armidale Ex Serviceman’s Club, Armidale
3 March 2018 – Southwest Rocks Country Club, Southwest Rocks
8 March 2018 – Leftys Old Time Music Hall, Brisbane
9 March 2018 – Lone Star Tavern, Gold Coast
10 March 2018 – South Acacia Ridge Sports Club, Brisbane South
16 & 17 March 2018 – The Pelican Playhouse, Grafton
6 April 2018 – Young Services Club, Young
7 April 2018 – Civic Theatre, Wagga Wagga
12 April 2018 – Toff in Town, Melbourne
13 April 2018 – York on Lilydale, Mt Evelyn
14 April 2018 – Gateway Hotel, Geelong
26 April 2018 – Brass Monkey, Cronulla
27 April 2018 – Leadbelly, Newtown
29 April 2018 – Oaks Hotel, Albion Park Rail
11 May 2018 – Brothers Leagues, Cairns
12 May 2018 – Dalrymple Hotel, Townsville
13 May 2018 – Mt Pleasant, Mackay
15 May 2018 – Glenmore Tavern, Rockhampton
16 May 2018 – Hervey Road Tavern, Gladstone
17 May 2018 – Melbourne Hotel, Bundaberg
18 May 2018 – Caloundra RSL, Caloundra
19 May 2018 – Highfields Tavern, Toowoomba
31 May 2018 – Coomealla Club, Dareton
1 June 2018 – Wheatsheaf Hotel, Adelaide
3 June 2018 – Boston Bay Wines, Port Lincoln
6 June 2018 – Ceduna Memorial Hall, Ceduna
10 June 2018 – Mumballup Tavern, Donnybrook
14 June 2018 – Settler’s Tavern, Margaret River
15 June 2018 – Prince of Wales Hotel, Bunbury
16 June 2018 – Odd Fellow, Fremantle
19 June 2018 – Kalgoorlie Hotel, Kalgoorlie
22 June 2018 – Musicians Club, Broken Hill
23 June 2018 – Cobar Bowling & Golf Club, Cobar
29 June 2018 – Woodburn Evans Head RSL, Evans Head
30 June 2018 – Bush to Bay Music Festival, Hervey Bay
7 July 2018 – Dubbo RSL, Dubbo

Image used with permission from Universal Music Australia

Posted on by Lauren Katulka

Red Hot Summer @ Mt Penang Parklands (Central Coast) & Cockatoo Island (Sydney) – 24 & 25 February 2018

In my teenage years, it wasn’t unusual for me to see several shows back-to-back. Now in my late 30s, after two days at the Red Hot Summer shows, I’m feeling every one of my years. I’m tired. My feet hurt. My lower back is achy. I’m thankful that I gave myself a little time to recover before going back to work, because I need it. Was it all worth it though? Absolutely!

I decided to write a combined review of both shows because while the weather varied, this was essentially the same concert. It makes sense really, with each act crafting a set full of the right songs to delight the fans.

But as I mentioned, the weather. It really went from one extreme to the other, and neither was ideal. This is the risk with staging an outdoor concert. The gods might smile down and gift you the perfect sunny day, not too hot or too cold. Or you might get the sort of heatwave conditions I experienced at Mt Penang Parklands on the Central Coast. The kind that make you feel so lightheaded you wonder whether you’ll make it to the first band. Or you might get the kind of gloomy cold day with torrential rain that soaked us to the skin at Cockatoo Island in Sydney. Neither is ideal for a live show, but if you get right the things you can control, the crowds won’t mind too much.

The organisers of Red Hot Summer must be commended for that. The line-up was exceptional, perhaps even better than the one I saw in 2017. There was a diverse array of food vendors serving quality eats fast. There were plenty of toilets. We weren’t left waiting too long between acts; the MC’s giveaways helped keep us all interested until we were ready to rock again.


I also appreciate that Red Hot Summer is more than a nostalgia fest. Every year I look forward to discovering new talent. In 2018, Red Hot Summer delivered with Taylor Sheridan, an up-and-coming singer-songwriter from country Victoria. It’s always easy for an entertainer with pop-rock leanings playing an acoustic guitar to pique my interest. But to hold it takes something special. While his cover of “Billie Jean” was inspired, I was impressed with his excellent originals which rewarded anyone willing to listen to the lyrics. “Beauty of the Plan” and new single “Friends Like Me” were standouts. Finishing with a cover of “April Sun in Cuba” was the perfect way to win over anyone who wasn’t already on his side.


1927 are one of my favourite childhood bands, and as I discovered last year they’ve lost nothing. The band are tight and Eric Weideman’s voice is still so powerful. I wish I was feeling better for the Mt Penang show, as I felt I didn’t get to enjoy their set quite as much as I should have. I made up for lost time in Sydney though, jumping around and pumping my fists in the air during “You’ll Never Know.” “Compulsory Hero” gave me chills both shows. And those massive singles, “That’s When I Think Of You” and “If I Could,” has us all singing along.


The Black Sorrows were one of the standouts of last year’s Good Times tour, and they stamped their authority on the Red Hot Summer stages too. Joe Camilleri might be one of Australia’s most charming front men. I could watch him sing, wail on his saxophone, and dance around with wild abandon all day. Add in the divine voices of Vika and Linda Bull and you’re always going to have a good time. It was another superb set, with hit singles and some lesser known cuts represented. I loved watching the chemistry between Linda and Joe during “Baby It’s a Crime” and seeing Vika totally owning “Never Let Me Go.”


The Baby Animals were the only one of the big acts I’d never seen live before. Now that I have, I wonder why I left things so long. Suze DeMarchi oozes cool, even if she’s battling the heatstroke that plagued so many of us at Mt Penang. She’s definitely one of the most charismatic people I’ve ever seen performing. The way she moves, her commanding voice, her look, it’s all so impressive. The big hits like “Early Warning” and “Painless” sounded every bit as good as they did on the records, but had that extra special something that can only come from a live show. New single “Tonight” proved this is a band still in its prime, not one that needs to simply trade on nostalgia.


Daryl Braithwaite is such hot property right now. I’m not quite sure when it happened, but somewhere along the way he became really cool again. Millennials fell in love with “The Horses,” and there were plenty of them at the show, waving inflatable hobby horses and wearing rubber horse heads as they clapped along. But Daryl is much more than “The Horses.” While that song was the natural closer, it came after Dazza reminded us of his stellar career with Sherbet and solo smashes. Songs like “Summer Love” and “One Summer” are made for festivals like this.


The roar that came from the crowd suggested it wasn’t just the women with custom-made John Farnham shirts hanging out for Farnsy. There’s a certain air of excitement when he takes the stage, an indescribable feeling that magic will happen. Ably supported by his band of recognisable faces, musicians and vocalists who have been with him for decades, John belted out hit after hit. His was the sort of set you can sing along to, no matter whether you’ve ever bought a Farnsy album. These songs are in our DNA, from tender ballads like “Burn For You” to the show stoppers like “The Voice.” In between John chatted happily to the crowd, cracking jokes easily, then speaking with sincerity of the gratitude he has for those of us who stood in the heat or rain to hear his music. When the sets of most artists didn’t change, John made each show unique for his fans. The Central Coast was treated to “Don’t You Know It’s Magic” and the much maligned “Sadie the Cleaning Lady.” For Sydney it could be nothing other than “Raindrops Keep Falling on My Head.” They did, but with John to keep us company it was easier to grin and bear it.

The two Red Hot Summer shows in New South Wales didn’t happen under ideal circumstances, but by getting the essentials right the organisers ensured the crowds had the best time they could have hoped for. Bring on 2019, hopefully with better weather than this year brought!

Image source: Stephen Katulka

Posted on by Lauren Katulka

Evanescence with Sydney Symphony Orchestra @ Sydney Opera House, Sydney – 14 February 2018

Evanescence last visited Australian shores in 2012, not long before they announced a hiatus. When some bands take a break from the music scene, they fade from people’s minds. But not Evanescence. The energy in the Sydney Opera House’s Concert Hall last night suggests everyone was simply waiting for their return.

It was the last of two sold-out Opera House shows performed as part of Evanescence’s Synthesis Live With Orchestras tour. These concerts bring to life the orchestral arrangements of classic Evanescence songs showcased on their most recent Synthesis album. Each Australian show sees the iconic ‘90s band paired with one of our own symphony orchestras. I might be biased, but I can’t imagine another state’s ensemble doing as well as the Sydney Symphony Orchestra.

The SSO took the stage first, paying homage to the pieces of music that inspired Evanescence frontwoman Amy Lee. It was a diverse set, featuring everything from Bach’s “Cello Suite N. 1, The Prelude” to AC/DC’s “Back in Black.” An instrumental set with so many classical pieces was a risk for this audience of mostly members of Generations X and Y, but they sat mesmerised. I was transfixed by the SSO’s charismatic cellist, who stood proudly at the front of the stage, playing with such passion that he snapped many of his bow strings.

While the crowd was appreciative of the SSO’s opener, it was clear everyone was here to see the headliners. The applause was enthusiastic when the band members joined the orchestra on stage, then rapturous when Amy Lee arrived, looking dazzling in a bold red dress. Often there’s an initial high when a band appears, then the audience settles. I rarely see shows like this when the crowd stays so up, rising to their feet time and time again throughout the set.

So did Evanescence live up to the adoration? Yes they did. It seems the time away from the spotlight might have done the band good, because they seem so energized. The band is tight and Amy Lee, breathtaking. I haven’t often witnessed such a powerful voice, haunting, able to go seemingly anywhere, strong yet vulnerable. She performs with such passion, still visibly so moved by the songs she wrote decades ago. She spent time at the piano, but also emerged from her self-confessed “comfort zone” to get closer to the people, something I really appreciated. I’ve spent good money on concert tickets in the past, only to have my view of the artist obscured by the piano. While I loved listening to her play, I was so glad to watch her in the front.

I’m not as familiar with Evanescence’s back catalogue as my husband. In many cases, I was hearing the songs for the first time. However, unlike so many gigs where I’ve been in a similar situation, I didn’t feel like a fish out of water. The music was beautiful, rich and powerful. I lost count of the number of times I leaned over to my husband and whispered how much I enjoyed a particular song. The singles were beautifully executed, especially “My Immortal” which seemed to bring many of us, including Amy, undone with emotion. But it was all so good that I didn’t find myself hanging out for the more familiar music. I just wanted to experience it all.

It would be easy for a band who’ve achieved as much as Evanescence to take it all for granted. But that’s not their style. I think we all melted a little as Amy spoke in such glowing terms of her appreciation for the audience and her excitement about playing the Opera House.

After nearly 12 years of marriage, Valentine’s Days tend to blend into one another. One thing is for certain, thanks to Evanescence, the Valentine’s Day of 2018 is one I won’t quickly forget.

Evanescence’s Australian tour concludes at Melbourne’s Rod Laver Arena on February 16.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Roger Waters @ Qudos Bank Arena, Sydney – 2 February 2018

I was strangely reminded of those wacky experimental nights on MasterChef as we waited for Roger Waters to take the stage. The more impatient punters might say that he was 20-odd minutes late, but I knew the show had already started. The image of a woman sitting on a beach staring out at the waves, her back to us, was projected on a screen in front, as we heard the sounds of the ocean and seagulls all around us, projected out of speakers that filled the room. Just like visiting a Heston Blumenthal restaurant isn’t just about the meal, this was to be a night that wasn’t just about music but a sense of theatre. It set the scene, priming us for what was to come. And then when “Speak To Me” ran into “Breathe,” just as it does on Dark Side of the Moon, we were more than ready for it.

This was a Roger Water show, but it was one which really celebrated that epic breakthrough Pink Floyd album. I was thrilled for that; after he brought us The Wall a few years ago enjoying a set which drew so much from that other big album was so special. The Wall got a look in, with tracks like “Another Brick in the Wall Parts 2 and 3,” and “Mother,” as did other iconic songs like “Wish You Were Here” and but it was really Dark Side of the Moon’s night. I was glad for that, because while I appreciated Roger’s new material on an artistic level it didn’t move me to the same degree. I’m thrilled musicians like him continue to fight the good fight and rail against the machine, especially in this modern political climate, but there was something so special about that music he made with Pink Floyd.

As I said though, this was a show that was about much more than music. It was a sensory spectacular. I’m in two minds about that, honestly. It was incredible to watch the colourful lasers, the light projections, the rising smoke stacks, and the flying pig. But at the same time, Roger said little beyond telling us there’d be a short intermission and introducing his band. I remember seeing him live about 15 years ago and listening to him share a little more about the songs and himself. We still had a flying pig, but there was a bit more balance between the personal and the theatrical. I miss that.

Speaking of the band, I’d be remiss if I didn’t give them props. It might have taken two guitarists to replicate what Dave Gilmour does, but they were excellent. The female vocalists were outstanding. What incredible voices they have. The gentleman who shared vocal duties was also wonderful.

Roger Waters’ Us + Them show took us on a real journey. Before I knew it the final triumphant strains of “Comfortably Numb” had faded away and we were back on that beach with the woman, now joined by her child, as the house lights came up. This show gave us a trip down memory lane, but also felt so dynamic and modern and relevant. For a man of 74 to continue challenging his audience and being truly creative, rather than resting on his laurels, is impressive. It might not have always been to my tastes, but true art rarely is.

Roger Waters’ Us + Them tour plays Melbourne’s Rod Laver Arena on February 10, 11, and 13, Adelaide Entertainment Centre on February 16, and Perth Arena on February 20.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Boyz II Men & TLC @ The Star, Sydney – 31 January 2018

It seems to be the time for nostalgia tours. I’m personally relishing the chance to see so many of my favourite acts of the ‘90s doing their thing. Hot on the heels of Alanis Morissette’s outstanding show, I found myself heading to Sydney once again to catch Boyz II Men and TLC, or at least what remained of these ‘90s acts, at The Star.

Yo! Mafia seemed a strange choice for an opener on paper. I couldn’t imagine a DJ would be the right choice for a concert with allocated seating. So much so that I regretfully didn’t rush my dinner to see the start of her act. But she’s some DJ. Supreme transitions and such cleverness in weaving together the ‘90s music and TV show snippets we all loved. The big screen added some visual appeal to her set which proved to be just the right entrée for our night.

Boyz II Men and TLC were such acclaimed ‘90s acts that they shared headlining rights on this bill, switching up the order each night to keep us guessing. The lads from Philly were on first, much to the excitement of my Philadelphia-born and raised husband. These guys were heroes for him growing up, and it’s been a while since I saw him so animated at a show. They’re a three-piece now, but aside from missing those iconic sexy speaking parts in a few songs they’ve really lost nothing. Except, as Wanye joked, his hair. But their boy band moves are right on point, and those voices utterly sublime. Individually, Wanye, Nate, and Shawn have some of the best soul voices in the business. Put them together though, and those harmonies are off the charts.

Watching their set, I was reminded just how dominant Boyz II Men were in the ‘90s. We sang along with hit after hit, although none garnered the rapturous reactions of “I’ll Make Love To You” and “End of the Road.” There were a few surprises too, from the rare inclusion of one of my favourites, “Doin’ Just Fine” to a string of notable covers. I never imagined we’d see Shawn and Nate playing guitars, or that I’d hear the vocal trio busting out tracks like “Are You Gonna Go My Way” and “Come Together.” Moments like these are why live gigs are so exciting. Speaking of covers, I was a little disappointed to hear nothing from Boyz II Men’s latest album Under the Streetlight, the 2017 release which sees them paying tribute to early soul music. However, it’s hard to find too much fault in a set with so much heart.

Boyz II Men were the drawcard on the bill for me, so in a way it was a little bit of an anticlimax to see them first. But TLC certainly gave us a spectacular, with dancers and projections on the big screen. The remaining members, T-Boz and Chili, are also still at the top of their game. While their vocals have never been as stratospheric as Boyz II Men’s, they sounded tight. They’re also still a creative force; recent releases “Way Back” and “Haters” went down just as easily as any of the earlier material the crowd lapped up. I was moved to my feet along with everyone else when they busted out big guns like “Waterfalls” and “No Scrubs.” I might not have been in raptures over TLC, the way I was with Boyz II Men, but they certainly impressed me.

The ‘90s might be long gone, but it’s exciting that through gigs like this we can all go back for just a little while.

Boyz II Men and TLC play Rochford Wines in the Yarra Valley tonight.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Alanis Morissette @ ICC Theatre, Sydney – 24 January 2018

A couple of weeks have passed now and I’ve actually caught a couple of shows since, but I’m still feeling buoyed by the buzz that comes when you see one of those once-in-a-lifetime gigs. You know the ones, where you have such a heightened sense of anticipation, yet somehow the artist matches it and gives you everything you could have dreamed of. That’s how I feel about Alanis Morissette’s show at Sydney’s ICC Theatre last month.

Alanis is one of those special musicians I thought I’d never see. I was a teenager when she broke onto the music scene and her angsty, powerful songs struck such a chord with my moody self. I soaked up every album, coming to see her as a kind of wise sister who could help support me through all of those angsty things teens go through. I remember when she toured. I was making just a little bit of money working in retail and I wasn’t allowed to make the journey from Newcastle to Sydney anyway, so I had to let it go. Then she went off and got married and had babies, and I resigned myself to this feeling that I’d missed the boat.

I see so many concerts that most times I don’t get the butterflies. But they were certainly fluttering as I made my way to Sydney for this gig. While I was excited to see Alanis, I was also thrilled to catch Angie McMahon, who wowed me with her song “Slow Mover” a few months back. What a talent she is. The conditions were less than ideal, with people streaming into the venue and chattering amongst themselves. It’s hard to win people over with just an acoustic guitar and original songs. But I loved tuning in to her music. She’s a real talent.

While people chattered through Angie’s set, you could feel the reverence when Alanis took the stage. The applause was rapturous, quickly giving way to a hush. Every one of us just wanted to hang onto her every lyric, a task made so much easier with a stripped back acoustic set. Recognising she hasn’t seen us in an awfully long time, Alanis set about giving us a set that celebrated her career. Hit after hit came, all the songs we wanted to sing along to. For me the highlights came when she performed songs I didn’t quite expect like “Wake Up” and “Mary Jane.” Watching her perform “Everything,” a song that perhaps sums up myself and my relationship with my husband better than any other, saw me wiping back tears.

Alanis has such a beautiful aura about her. She’s gracious and humble, at ease with the crowd, incredibly funny and sweet, and so willing to share herself with her audience. Simply being in her presence for the night was so special.

It’s impossible for a performer as iconic as Alanis to do everything you want to hear. We all have songs that are special to us, the hidden tracks and album songs that never charted that we hold close to our heart. Some might say her set was safe, and in some ways perhaps it was, but I can’t fault Alanis for sticking to the songs we bought in droves. It’s the best way to make sure people go away happy. I for one left ICC Theatre grinning from ear to ear, content that this bucket list gig was everything I hoped for.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Let’s Talk Monday” – Ayla

Australia seems full of strong female voices at the moment, from the commercial acts like Jessica Mauboy and Dami Im to more alternative artists like Montaigne and Camp Cope. Ayla is another name we can add to the list. She’d impressed me with her singles, but I feel I’ve got a deeper appreciation of her music on listening to her new EP Let’s Talk Monday.

The first track, “Shallow End,” drew me in immediately. It’s such a strong start, with soaring vocals and driving drums. “Like the Other Kids” speaks to anyone who’s felt they didn’t fit in. The next track “Cry Honey Cry” is smouldering and oh so cool.

After some big, bold numbers, the delicate “Used Furniture” helps give Let’s Talk Monday some balance. This delicate portrait of a relationship may be my favourite song on the album. It’s just exquisite. “Porcelain Doll” is a powerful song about the struggle of moving on. The lyrics are so on point here. “Too Cool for June” is such a beautiful way to end the EP, a bittersweet tale of resignation of lost love, wistful but wise.

There’s a quiet power about what Ayla does. Her tone is so rich, pure and haunting. I could listen to her sing the phone book, but the personal, intimate songs on this EP are much better than that. She bares her soul through this collection of songs, and that makes her work so compelling.

Let’s Talk Monday is out now. Ayla is currently launching it with shows around the country. You can see her at Melbourne’s Penny Black on January 19 or Sydney’s OAF Gallery Bar on January 20.


Image used with permission from Mucho Bravado

Posted on by Lauren Katulka

“Accomplice One” – Tommy Emmanuel

Tommy Emmanuel has been regarded as one of our greatest guitarists for as long as I can remember. Any album he releases is worth listening to because he’s just that good. So how do you improve on that? When you’ve set the bar so high, how do you release a body of work that can stand above the rest? You get together some of your talented musician friends and jam on some of the world’s best songs. Turn on the recording equipment and the rest will take care of itself. That’s exactly what happens with Accomplice One, the latest release from our local guitar hero.

Tommy Emmanuel has assembled a who’s who of talent here, from relative newcomers like Jason Isbell to true legends like Ricky Skaggs and Mark Knopfler. It’s hard to pick stand-outs among the collection of country and folk tunes here. Each song feels special, like real magic has been captured like we’ll never hear again. There is such energy to these songs, the kind of spontaneity that comes from like musical minds come together. Tommy was never known as a singer, although he lends his voice to many of the numbers. I won’t say his vocals will ever set the world on fire, but they get the job done. Other tracks are instrumental, allowing the always exceptional talents of Tommy and his famous friends to take the spotlight. I do have a soft spot for the laidback “(Sittin’ On) Dock of the Bay,” one of several numbers recorded with J.D. Simo and the unique take on Madonna’s “Borderline” with Amanda Shires. “The Duke’s Message,” with vocals from Suzy Bogguss, is such a beautiful way to wrap up this recording.

Accomplice One isn’t just an album for Tommy Emmanuel fans or country music fans. It’s essential listening for all music fans. Accomplice One hits stores and digital outlets on January 19.

Image used with permission from Sony Music Australia