Category: Reviews

Posted on by Lauren Katulka

“This Home is Mine” – Stumps

I must admit, I didn’t get Stumps’ new EP This Home is Mine right away. It felt like this Sydney band was trying too hard to be The Smiths. But I have a rule that I won’t turn off any recording before it gets to the end. I know bands have spent time slaving away in the studio laying down their tracks, so they deserve to be heard out.

It all clicked for me somewhere around the third track, “Matthew McConaughey.” I found myself having fun, tapping my feet along in time with the chorus, which clicks this song into gear. From that moment I was firmly on board.

After listening to this EP once, I felt compelled to go back to the start and try again. Second time around, those early tracks made so much more sense to me. Each song from This Home is Mine is like a sucker punch. Not one clocks in at over four minutes – most tracks are around the three-minute mark – so there’s no time for the band to muck around. They go hard, dropping F-bombs and embracing big chords and thumping drums.

Stumps won’t be everyone’s cup of tea, but This Home is Mine is bloody good fun. It’s bold and raucous, unashamedly unapologetic. Crank it up and give it a chance. If you’re like me, you’ll be glad you did.

I have an inkling this music is going to sound even better in a packed pub with a beer in hand. If you do too, make sure you don’t miss Stumps’ upcoming shows.

14 April 2018 – Waywards, Sydney (supporting Maddy Jane)
20 April 2018 – Gasometer, Melbourne (supporting Maddy Jane)
2 May 2018 – Black Bear Lodge, Brisbane (FREE)
4 May 2018 – Waywards, Sydney
5 May 2018 – Yah Yah’s, Melbourne (FREE)

Image used with permission from Beehive PR

Posted on by Lauren Katulka

“Resurrection” – Daniel Lee Kendall

After a four-year absence from the music scene, Daniel Lee Kendall is back with Resurrection, a new EP which may be his strongest collection of songs yet.

It opens with “No Longer Time to Pretend,” a groovy indie pop pleaser which sends a strong message about living your truth. “The Girl With the Stripe In Her Eye” swept me up in a wave of good vibes. It reminded me of a Paul Simon song, with its clever rhythms and intricate musicality.

“Sweet Sweet Reality” might touch on a relationship that didn’t work out, but it’s happily cathartic rather than mournful, about moving forward rather than dreaming. “Time” discusses similar themes in an equally upbeat fashion. There will be tears, and you can certainly experience them, but don’t lose sight of all the good things life offers too.

There’s a beautiful vulnerability in “Take a Chance on Me,” perhaps my favourite track on the EP. It has such heart. “A La Pyrenees” is a surprising closer. Stripped back with only an acoustic guitar, it stands out among the richly layered tracks on this EP. And did I mention it’s all in French? I caught only a few familiar words I remembered from high school, but it’s a powerful reminder that music is a universal language. It’s beautiful.

Resurrection marks a welcome return to the music industry for Daniel Lee Kendall. Like a fine wine, he’s one of those artists that seems to get better with age. It’s ear-pleasing from the first listen, a real delight.

Posted on by Lauren Katulka

“Suitcase of Stories” – Mastin

The artist formerly known as Reece Mastin has worked hard to make the transition from teen idol to serious adult musician for some time now. The release of Change Colours in 2015 was a key part of that evolution, but it seems to be complete with Suitcase of Stories, released under the new moniker Mastin.

Suitcase of Stories takes off like a shot with the rollicking “The One That Never Gets Away.” It’s got a classic country-blues feel and a dark sexiness about it that I love. There’s a similar brooding sexuality in “The Problem.” It’s a great blues ballad which explores the kind of messy love that makes for the best kind of songs.

“Tell Me All About It” may be the emotional heart of this EP. It’s dark and brooding, with searing lyrics and perhaps the greatest vocal performance of Mastin’s career. It packs such an emotional punch, I got chills.

The single “Not the Man For You” brings the mood back up. It’s a cheeky blues-rock anthem, the kind of track we couldn’t have imagined Mastin releasing in his pop idol days.

The title track is a real showstopper. On an album driven by big rock sounds, this stripped back ballad really stands out. Once again, Mastin wears his heart on his sleeve, with powerfully passionate vocals and honest lyrics.

Suitcase of Stories is an outstanding collection of songs that leaves no doubt that Mastin is an artist to be taken seriously. Forget everything you thought you knew about it him and listen with an open mind. I have no doubt you’ll be impressed.

Mastin kicks off his album tour this month. The Sydney date formerly announced is now cancelled with the closure of The Basement, but hopefully that can be rescheduled soon. Fans in other parts of the country can see him at the following venues.

13 April 2018 – Saloon Bar, Launceston
14 April 2018 – Waratah Hotel, Hobart
20 April 2018 – Shoalhaven Bowls Club, Shoalhaven
21 April 2018 – Waves, Wollongong
29 April 2018 – Fowlers, Adelaide
3 May 2018 – Lismore Workers Club, Lismore
4 May 2018 – Surfers Paradise Live, Gold Coast (FREE)
5 May 2018 – The Brightside, Brisbane
6 May 2018 – Sold Bar, Maroochydore
10 May 2018 – Transit Bar, Canberra
19 May 2018 – Winton Supercars, Winton
25 May 2018 – Grand Hotel, Mornington
27 May 2018 – Max Watts, Melbourne
15 June 2018 – The Grand Central Hotel Midland, Perth
16 June 2018 – The Charles Hotel, Perth
12 July 2018 – The Loft, Warrnambool
13 July 2018 – The Workers Club, Geelong
14 July 2018 – SS&A Club, Albury (FREE)

Posted on by Lauren Katulka

New Power Generation @ Enmore Theatre, Newtown – 28 March 2018

It’s amazing to think it’s been nearly two years since we lost Prince. Perhaps because his music hasn’t really left me. I was blasting Sign O’ The Times in my car only yesterday and I’ve seen several tribute acts over the period. I’m still not ready to say my goodbyes, which is why when New Power Generation announced some Bluesfest sideshows I had no hesitation in snapping up tickets. Friends seemed bemused that I’d spend money on the “backing band,” but with such stellar musicians and Prince’s incredible body of work to look forward to, I knew this gig would be one hell of a party.

It kicked off with Frank Sultana, who I would have loved to see but missed in favour of getting my carb fix across the street. My friend and I had the best of intentions of setting off early, but when she couldn’t make it to my house until two-and-a-quarter hours after our intended departure time, we knew we’d have to make the choice between support act and dinner. While we love music, the stomach always wins.

By the time we took our seats the room was well and truly warmed up and ready to receive music from these talented musicians just one step removed from the legendary Prince. The set was an exciting one, celebrating the music NPG made with Prince while touching on some of the important music he made without them. Guest vocalists Tamir Davis and Mackenzie Green sent an emphatic message to anyone who wondered whether they could handle Prince’s back catalogue. They slayed numbers like “Nothing Compares 2 U,” “Seven,” and “Gold.” There were a few originals thrown in for good measure, which as a die-hard Prince fan I could probably have done without, although they sent a strong message that NPG are more than simply Prince’s backing band. In fact, they’re one of the tightest musical outfits I can remember seeing. Guys like André Cymone, Morris Hayes, Kirk Johnson, and Tony Mosley are next-level talents.

While I had front-row dress circle seats, I found myself splitting my time between them and up the back, so I could dance. Songs like “U Got the Look,” “1999, “I Could Never Take the Place of Your Man,” and “Controversy” aren’t meant to be experienced sitting down. Up the back with others who had also abandoned their seats, there was such a camaraderie, an unspoken understanding that we all felt these songs to the depth of our souls.
“Purple Rain” would have been the natural closer, but it also would have been a bit cliched. And no one wanted to leave the venue after hearing something so heavy. So I was thrilled it was only the penultimate track. Instead we went out dancing to “Alphabet St.” I think that’s just what Prince would have wanted.

Prince might be gone, but thanks to musicians like New Power Generation he is far from forgotten. They are doing a remarkable job of keeping his legacy alive. I am so thrilled I got to spend time in the presence of their musicianship and Prince’s incredible songs, even if it was without the man himself.

Image source: Stephen Katulka

Posted on by Lauren Katulka

John Waite @ Wests Leagues Club, Newcastle – 27 March 2018

After four decades in the business, it’s amazing to think John Waite’s current Australian tour is his first. But it was a tour worth the wait for the faithful who’ve flocked to intimate venues around the country to see this talented British singer-songwriter.

Sarah McLeod was an inspired choice of opener. She’s such a warm, giving performer, with a killer voice that really shines in an acoustic setting. Her last album Rocky’s Diner was one of her finest in my opinion, a masterclass in songwriting with stripped back tracks telling some incredible stories. Songs from that release were showcased along with some surprising covers like “House of the Rising Sun” and a clever mash-up of Mahalia Jackson’s “Lord Don’t Move That Mountain,” George Gershwin’s “Summertime,” and Leadbelly’s “Where Did You Sleep Last Night?” Her version of Max Merritt and the Meteors’ “Slipping Away” had everyone singing along. By the time her set was done, my mum was singing her praises and declaring her one of the best new acts she’d seen. Something tells me she wasn’t the only one in that room “introduced” to her talents.

Firstly, I want to apologise for the quality of my John Waite photo, the best of a bad bunch. It seems my lesson on how to adjust the shutter speed on my camera came a day too late. After 40 years in the business though, I don’t think John would mind images being a little out of focus. He’s not aging badly, but like all of us the years are showing.

This was billed as an acoustic tour, but there were plenty of tracks delivered with a full band. The show started boldly with “Midnight Rendezvous,” from John’s time in The Babys, and “Change.” Two of my favourites, “Every Time I Think Of You” and “When I See You Smile,” came next, making me think John had better pace himself. You don’t want to show all your cards straight up!

I think they got the balance right, although the stripped back numbers were my favourites. They let me hear the lyrics of songs I wasn’t so familiar with, like “Bluebird Café” and “Downtown,” so clearly and give me a greater appreciation of his talents. They also gave John the opportunity to talk to the crowd about his life and experiences. After 40 years in the industry, there are some stories to tell. He also got the chance to tell us what this tour means to him and how much fun he’s having in this country.

I needn’t have worried about John running out of steam, because the back end of the show had us in raptures. “Missing You,” one of my favourite songs of all time,” was utter perfection. A cover of “All Along the Watchtower” let John’s band shine. “Isn’t It Time?” gave John the opportunity to bring back Sarah. Needless to say, we didn’t miss The Babettes who lent their vocals to the original recording. The set left no stone unturned, so I was sure there’s be no encore. Then nervous when I heard the opening strains of “Whole Lotta Love.” John’s voice had been superb all night, but surely he was nuts to take on Robert Plant! He proved me wrong, rocking just as hard with one of the greatest vocal performances I think I’ll ever witness.

It’s always a concern when someone tours here so long after their heyday that they will be past their prime. But age hasn’t wearied John Waite. His voice is so strong and his songs incredible. I went in only knowing a handful but left the venue determined to track down more. Whether you’re a long-time fan or a casual listener like me, the Wooden Heart tour is not to be missed. Tickets are still available for all remaining dates.

3 April 2018 – Astor Theatre, Perth
5 April 2018 – The Gov, Adelaide
6 April 2018 – Evan Theatre, Penrith

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Exile – Songs & Tales of Irish Australia” – Various Artists

I’m not sure where I was in 2016, when a wealth of Australian and Irish talents played the ABC’s Radio National of Exile shows in Melbourne and Brisbane, but the concerts certainly passed me by. Hearing about them doesn’t even trigger a vague memory. However, I’m glad the songs performed as part of these shows are now seeing the light of day as Exile – Songs & Tales of Irish Australia.

This is such an intriguing recording, with songs that tell the story of Irish immigration to Australia, the impact that relocation had on the Irish people who decided to call Australia home and the difference their presence made to our wide brown land.

It’s a diverse album which captures the spirit of Irish people so well. Normally I gravitate to songs with lyrics I can latch onto, but I loved the beautiful instrumental pieces like “O’Carolan’s Welcome” and the stirring “The Orphan/Australian Waters.” “Na Conneries,” performed by Pauline Scanlon, shows the power of a single, pure, beautiful voice. It gave me chills.

Songs like “Moreton Bay,” performed by Declan O’Rourke, and “Mary Kate,” performed by Lynelle Moran, have such a timeless quality. There’s a gravitas about these songs we rarely hear in modern music.

“Silvermines” drew me in to its story of a young Irish woman making her way through the world in such challenging circumstances. Leah Flanagan shines on this track, which may be my favourite on Exile. I also felt my soul stir listening to “Cry of A Dreamer” performed by Sean and Aine Tyrrell.

And you know you’re in good hands when industry legends Paul Kelly and Shane Howard team up for “Farewell Dan and Edward Kelly.” John Spillane’s “Ireland and Australia” is such good fun, the kind of raucous track that calls for a sing-along with pint in hand.

With almost a third of Australians claiming some degree of Irish ancestry, this is an album sure to resonate with many people living here. Exile – Songs & Tales of Irish Australia is out now. Find it in digital stores and physical record stores, where it’s bundled with a live DVD.

Image used with permission from Universal Music Australia

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