Category: Reviews

Posted on by Lauren Katulka

“Soul Mumma” – Rochelle Pitt Watson

Rochelle Pitt Watson first hit my radar during her time on the X Factor. Those sorts of shows are a great way to gain exposure, but they don’t really tell you a lot about a musician. I feel like I hadn’t really met Rochelle until I listened to her new EP Soul Mumma.

On a gloomy day here in NSW, the great grooves and the textures of Rochelle’s vocals on the opening track “Should We” are like sunshine. But listen a little closer and you’ll hear this is more than just a funky song. Its politically charged lyrics are inspiring. This is soul music the way the pioneers like Sam Cooke and Marvin Gaye intended it to be.

“I Believe” has a great gospel vibe. Fittingly, Rochelle’s powerhouse vocals take it to church. “Challenge the Exclusion” is a hard-hitting title, but Rochelle takes a softly-softly approach with this song. It’s thematically powerful, but it speaks of unity rather than division and mutiny. It’s a beautiful ballad that moves the heart and mind. “Jimbaraal” is the most hard-hitting track on the album, a swampy, bluesy number with a driving drum and bass beat and squealing guitars. “Resilience” has a great reggae-inspired groove and more dynamite vocals and lyrics. It’s everything Rochelle does best.

The final track “Maudie” is beautiful, a tender track which seems to tell a very personal story. It’s so delicate compared to other the EP’s other songs, with Rochelle reining in her vocals and letting the lyrics do the talking. It’s such a simple but powerful love song that speaks to the heart.

Rochelle Pitt Watson’s Soul Mumma tackles some important issues with the insight her Indigenous heritage affords. Those issues can be confronting, but Rochelle’s sublime vocals and groovy sound help the message go down easily. It’s an EP which shows that really introduces us to the reality TV graduate, proving that she has much more than a killer voice on her side.

Image used with permission from August MGMT

Posted on by Lauren Katulka

“What We Do” – Lou Scarrs

As the guitarist for Money for Rope, Lou Scarrs appeared to be at the top of his game. The band played Glastonbury and South by Southwest, to say nothing of the leading festivals here in Australia. But he risked it all to follow his own musical vision and go solo. If he felt any nerves, they don’t seem to show in his first EP, What We Do.

The music of this EP reminds me a little of the sounds of Robbie Williams or the Kaiser Chiefs. There are vocal similarities with both these British acts, but also a similar rebellious attitude and cockiness that makes Lou’s music irresistible.

The EP bursts out of the gate with the bold title track. I love the deep thumping drums and confident lyrics. “All I Ever Knew” is brooding and intense, and above all totally compelling. “Lapdog” is a song of such strength, an anthem for emotional independence. Lou Scarrs keeps his foot on the pedal for the closing track “Measure Up.” It’s got a similar anthemic quality that’s so satisfying.

The songs of “What We Do” are punchy, with all tracks around that magic three-minute mark. It takes considerable skill to create tracks in that perfect pop form, but this is more than the disposable pop so many commercial radio stations flog. Elements of rock and electronica influence this music, helping it sound fresh and dynamic. Lyrically it’s also so strong. In just four tracks, Lou Scarrs has left his mark.

Posted on by Lauren Katulka

“Tip of the Spear” – Pataphysics

It’s been several years since I checked in with the music of Melbourne-based hip hop artist Pataphysics. After so many years, his new album Tip of the Spear proves he’s still got a fire fuelling his creativity.

The old-school modem sounds of the opening “Prologue” are a little bit jarring, but they force you to pay attention. That’s so important when you listen to the music of Pataphysics, because he’s got a lot to say and a rapid-fire delivery. It’ll probably take a few spins of Tip of the Spear to catch everything, but when the music sounds this good you won’t mind. His rhymes are positive and inspiring and the music groovy and laidback, with hints of jazz and funk. Guest artists like Diego Villalta, Kaiit, Allysha Joy, and Aamer Rahman complement Pataphysics’ vision beautifully.

“Frames” is a favourite, with its exploration of the constants in an ever-evolving world. I love the positivity and optimism of “Today. “Shake the Roots” provides vital commentary on the modern financial landscapes, the haves and the have nots. “Cycle of Oppression,” which explores detention centres and our treatment of refugees may be one of the album’s most important tracks.

At 14 songs, including the bonus track, Tip of the Spear covers a lot of ground. Unlike so many lengthy albums though, it feels cohesive without any filler. It’s an important record that packs a powerful punch.

Tip of the Spear is out now.

Image used with permission from Pataphysics

Posted on by Lauren Katulka

Beautiful @ Lyric Theatre, Sydney – 10 December 2017

I was seeing musicals before I ever saw a concert. The music of Carole King has been a constant comfort in my life. So when I heard of the musical Beautiful’s creation, I was so hopeful it would eventually land on Australian shores. My parents saw it on Broadway and raved about it, and that only heightened my anticipation. But could it possibly live up to all that hype. For me it’s an emphatic yes.

The performance of Esther Hannaford as Carole is the lynchpin of this performance and she excels. Carole has such a unique way about her and Esther captures her voice and mannerisms without ever becoming a caricature. She’s supported beautifully by other key players: Josh Piterman as the troubled, complex love of her life Gerry Goffin, Amy Lehpamer as her vivacious and loyal friend and fellow songwriter of note Cynthia Weil, and Mat Verevis as Cynthia’s own songwriting partner and beau Barry Mann. While this isn’t Weil and Mann’s musical, as a fan of their music I was excited to learn a little more about the lives of the creators. The chorus of minor players was also exceptional. They brought us The Drifters, The Shirelles, Little Eva, and the songwriters of Don Kirshner’s Dimension Records in a such superb voice and retro fashion.

The music of the era, especially the songs of Carole King, both on her own and with Gerry Goffin, are key to Beautiful’s success. But the story is no afterthought. It’s told with heartbreak and humour drawing the viewer in and helping them understand more about these songs that are such a part of the upbringing of many of us. The players weren’t there just because they could sing and dance well, but also because they could bring the right emotional note to that story. It was a curious decision to refer to a “Nick” who encouraged Carole as she broke away from Gerry and resolved to start a new musical journey in California, when it so easily could have been James Taylor. But this was really my only quibble as I watched Carole transition from teenage Carole Klein to the Grammy-Award winning Carole King playing Carnegie Hall.

Beautiful is at Sydney’s Lyric Theatre until February 4. It will then travel to Melbourne, Adelaide, and Brisbane.

Posted on by Lauren Katulka

“Higher Ground” – Reuben Koops

I had high hopes for Aussie expat Reuben Koops‘ music when I heard he’d been working with the likes of David Ryan Harris and William Bowden. Despite those lofty expectations, his new EP Higher Ground didn’t disappoint.

It feels good from the opener and title track, “Higher Ground,” an optimistic radio-friendly pop rocker that seems instantly familiar without being cliched. “Something to Believe In” is another crowd pleaser with just as much heart.

After a few upbeat numbers, Reuben Koops shows a softer side with “Lady on a Train.” It’s a beautiful reflection on those moments when you’re struck by someone, struggling to get the courage to try to make it something more. “You and I” is another tender ballad, a nostalgic number recalling young love and the way it can grow into something more.

“Labour of Love” kicks the energy up a notch. It’s a rollicking feelgood track that leaves no doubt Reuben Koops has a big future ahead of him.

I think a lot of people underestimate the skill that it takes to create music like this which is instantly accessible. There might not be a lot of sharp edges to the music Reuben’s making, but that’s part of its charm. Higher Ground certainly doesn’t challenge the ear, but sometimes it’s nice to hear a collection of songs that speak to you from the first listen, and only get richer with every subsequent spin.

Higher Ground by Reuben Koops is out now.

Image used with permission from Circa41

Posted on by Lauren Katulka

“Take Her” – Taylor Pfeiffer

When I slipped on Take Her, the new EP from Taylor Pfeiffer, I was struck by her sweet vocals and prowess on the banjo, a formidable combination for any country-crossover artist. I couldn’t help but think of another musical Taylor’s early material as I listened to her music. There’s a similar confessional nature to the songwriting, an innocence that’s so endearing.

The opening track “Beauty is the Beast” is a searing commentary on the modern obsession with our external beauty and a reminder of the importance of looking inside when evaluating ourselves and one another.

The title track “Take Her” reveals more colours to Taylor’s voice. I just love her little yodel and the quirk of this powerfully feminist song. This isn’t a tale of sorrow at a relationship’s demise; rather than wallowing, Taylor sings that “sometimes it feels good to be alone.”

There’s more of that strength in “Murder in the Dark.” What a powerful track this is, dark and brooding.

After the layered instrumentation of the previous tracks, the simplicity of “Make Today Count,” a duet with Matt Scullion, is so endearing. Their voices blend beautifully in this song about grabbing life with both hands.

“Romeo” is a sweet closer, the kind of song we might expect from a young performer like Taylor. However, while it’s expected, that doesn’t make it any less gratifying.

Taylor Pfeiffer is likely to draw comparisons to Taylor Swift which her pop-country songs, but that’s not a bad thing. We can only hope the future is as bright for this talented young Aussie. Take Her is available now from leading digital platforms and via mail order.

Posted on by Lauren Katulka

“I Saw Red” – Struggle With Glory/ Harry James Angus

Just a few weeks ago I was singing Harry James Angus’ praises, celebrating his innovative single “I Saw Red,” released through his Struggle With Glory project. Now after hearing the EP with the same name, I’m even more impressed.

To bring you up to speed, I Saw Red is an EP of gospel-jazz tracks inspired by Greek mythology. The music doesn’t just live on the recordings; it’s from the Struggle With Glory show Harry James Angus has showcased at theatres and will soon take to music and arts festivals around the country. This is no ordinary musical project. It’s not delivered as one, and it doesn’t sound like one either.

I Saw Red transports you to a different time, a time when jazz, soul, and blues came together for people in mourning and exultation. “Kill The Priest” has a morbid title, but it feels like a song of praise and positivity. It’s a beacon of light which juxtaposes beautifully with the darker title track. “Struggle With Glory” sounds like an old slave song, sorrowful and full of soul. “He Took The Fire” rounds out the EP, lifting us up just as we began. It’s a slow burner, but when the gospel choir and brass band kicks in you’ll be clapping along.

I Saw Red stands alone as a stellar collection of songs. But it also makes me intrigued about Harry James Angus and his Struggle With Glory show. Something tells me I’d appreciate these incredible songs even more in that context.

The I Saw Red EP is available now. Struggle With Glory will play the following events.

1 March 2018 – Perth Festival, Perth
14 & 15 March 2018 – Adelaide, Adelaide

Image used with permission from Riot House Publicity

Posted on by Lauren Katulka

Live @ Roche Estate, Pokolbin – 18 November 2017

I’m not sure what it is about Hunter Valley winery gigs, but so often they go hand-in-hand with rain. Somewhere along the way my excitement about the show turns in to trepidation and relentless weather checks.

Roche Estate was already a muddy swamp by the time I arrived on Saturday. It didn’t take long for the ground, and us, to get a whole lot wetter. It poured virtually nonstop for the first two acts. My raincoat quickly became as soaked as the rest of me. My feet were squelching in my shoes. I’ve had rain at concerts before, but never so much that I was still soaked to my skin by the time I got home.

It’s a cliché to suggest rain didn’t dampen the crowd’s enthusiasm, because it was certainly unpleasant. But the music was so outstanding that it actually seemed worth the downpour. I last saw Thirsty Merc playing acoustically. Before that, Rai Thistlethwayte was playing solo. I hadn’t seen the Merc is all their plugged-in splendour for ten long years. So I was thrilled to see these guys playing a set for the real fans. They’ve had so many hits over the years, certainly enough to fill their six-song set. While songs like “Someday, Someday” and “In the Summertime” featured, they were interspersed with killer album tracks like “Claude Monet” and “I Wish Somebody Would Build a Bridge (So I Could Get Over Myself).” Their set was full of energy and appreciation. While the crowd was relatively small by that point, they lapped up what Thirsty Merc gave us.

I worried I might spend The Calling’s set simply waiting for “Wherever You Will Go,” but the California act were a real surprise package for me. It turns out thanks to Spotify’s suggestions, I knew more songs than I thought. However, even the ones I weren’t familiar with didn’t feel like fillers. Alex Band is one dynamic front man. I barely took my eyes off him. His presence made their set so enjoyable.

Lifehouse continued the nostalgia with a tight set peppered with more of those Spotify favourites. I couldn’t fault any of the musicians, but after being so impressed by The Calling, this set felt a little lacking to me. Maybe some jetlag or a busy tour schedule has caught up with them, because it felt a little “by the numbers.” Bass guitarist Bryce Soderberg’s cover of “You’re The Voice” was great fun though, and the band’s biggest hits “You and Me” and “Hanging By a Moment” also had everyone singing along.

You want the headliners to take things up a notch and boy did Live deliver, bursting onto the stage with “All Over You.” The set drew mainly from early albums, especially the breakthrough Throwing Copper, and like so many fans I lapped it up. “I Alone” was an absolute standout; I wish I could have bottled the electricity when we all let loose. “White, Discussion” might have been penned decades ago, but it resonated strongly as I thought of the current political climate. “Selling the Drama” went off just as much as it should. Even debut album Mental Jewelry got a look-in with “Pain Lies on the Riverside.” “Lakini’s Juice” from Secret Samadhi was positively electric.

Live is a band that rocks hard, but they’re every bit as powerful in the quieter moments. An acoustic cover of Johnny Cash’s “Walk the Line” was breathtaking. “Turn My Head,” the tender ballad from Secret Samadhi and one of my favourite Live tracks, was so moving. I saw more than a few misty eyes when the band played Audioslave track “I Am The Highway” in dedication to Chris Cornell.

The seven-year break hasn’t made Live rusty. They sound so tight and Ed Kowalczyk is every bit as magnetic as he ever was. He is such a charismatic performer, a kind of Messiah figure who is utterly mesmerising to watch. I’ve always admired him, but after experiencing the show he puts on I’d put him within the top five front men I’ve ever seen. He was that good.

Despite Ed’s importance, Live is a brothership and that seems stronger than ever after the band’s taken an extended break from one another. There’s a renewed sense of energy about Live these days. I saw them a couple of times in the late ‘90s and early ‘00s, but I can’t remember feeling so blown away by their performance. Ed let slip that they’re planning another Aussie tour for March. It can’t come soon enough. Because quite simply, this was for me the best gig of the year.

Image source: Stephen Katulka

Posted on by Lauren Katulka

’80s Mania @ Enmore Theatre, Sydney – 11 November 2017

I’ve been meaning to write this review all week but time seemed to slip away from me. Now with another concert looming, I figured it was time I carved out a moment to get my thoughts down because free time just wasn’t going to present itself. I consider myself a bit of an ‘80s pop tragic. It was the music of my youth, the songs I’d hear on early morning clip shows or the radio, at least until Dad came along and changed the channel. So even though I’d seen many of the acts before, I couldn’t resist a trip to Sydney for 80s Mania.

Cutting Crew kicked off proceedings with a tight set of pop-rock favourites. Lead singer Nick van Eade was on guitar this time, unlike last tour, and I think it restricted his performance a little. Last time I remember him falling to his knees overcome with emotion, as over-the-top as it was entertaining. I couldn’t fault the set, but it didn’t have that extra something. Although of course, “(I Just) Died in Your Arms Tonight” got a massive reaction.

Paul Young was trotted out next. Honestly, I’m not sure why he continues to earn a place at these kinds of events. While he’s written some of the best songs of the decade, they can’t make up for his vocal failings. Neither can his charisma, although he’s got that in spades too. We’re used to hearing these songs with such a pure voice and incredible vocal range, but he just doesn’t cut it. Thankfully his set was mercifully short. However, that did make his second song choice curious. I don’t claim to be his biggest fan, but I didn’t know it. Much bigger hits like “Love of the Common People” and “Senza Una Donna” were cut to make way for it. Why?

Wang Chung was the first act I hadn’t seen before, and the first time I felt like I hadn’t seen it all before. Strengthened by Cutting Crew’s Gareth Moulton, Nick Feldman took us through the band’s monster hits, “Let’s Go,” “Dance Hall Days,” “Everybody Have Fun Tonight.” As a Breakfast Club fan, I was a little disappointed “Fire in the Twilight” didn’t get a run, but I couldn’t be too critical. The set was one of the most fun of the night.

After a short intermission we were back with the always outstanding Go West. I still can’t understand why they insist on playing “Black and Gold” and “Sex on Fire,” but when delivering their original material there’s nothing to fault. The sound, the energy, the charm, and of course those songs. If you don’t get excited seeing these guys play “King of Wishful Thinking,” something is wrong.

I couldn’t help but be wowed by Taylor Dayne as she burst onto the stage, the final act on our nostalgic evening. At 55, she’s got the energy and body of a woman less than half her age. She didn’t seem to break sweat dancing around to her iconic cover of Barry White’s “Can’t Get Enough Of Your Love.” And that voice was still as powerful as either. This lady can belt along with the best of them. High-energy hit after high-energy hit came and I lapped it all up. I found myself getting a little teary when she slowed things down for a cover of “Nothing Compares 2 U,” a dedication to Prince and the other musicians we’ve lost before their time. It was a beautiful sentiment, but I found myself wishing Taylor showed a little more restraint and control. The same sadly went for “Love Will Lead You Back,” one of my favorite songs of the era. Taylor has an incredibly strong voice, but I found myself wishing for more tenderness. I’m not sure whether she doesn’t have the control any more or whether she’s just trying to keep up with the divas of the modern world.

It’s impossible to have a bad time at one of these shows. They’re a carefully curated slice of music nostalgia, with musicians we remember fondly delivering their biggest hits and a few surprises. However, I couldn’t help feeling like I’d seen it all before. With the exception of Wang Chung and Taylor Dayne, all the other acts were on last year’s ‘80s Mania bill. I couldn’t help comparing it to I Love the ‘90s, who put on such a fun night earlier this year and will return in 2018 with a totally different lineup that promises to be every bit as fun. The ‘80s were so rich in musical talent and so many of the acts are still playing shows today across the world. Tiffany, Debbie Gibson, The Time, Billy Ocean, Belinda Carlisle, and Roland Gift all immediately spring to mind. Don’t tell me some of them wouldn’t jump at the chance to visit Australia for the next ‘80s Mania. I can only hope organisers realise that while we love nostalgia, we get a bit bored of the same old thing.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Monday Night” – Jazz Party

Jazz is a genre that’s been watered down a lot over the years. Jazz festivals have become playgrounds for artists who could more accurately be described as blues or soul acts. You rarely hear musicians scatting any more. True jazz might not be popular anymore, but Melbourne’s Jazz Party don’t seem to care about that. On their debut album Monday Night, it sounds like they’re having far too much fun to consider the opinion of the masses.

This album will transport you to a retro New Orleans speakeasy. It’s got a fantastic, infectious energy about it. The band manages to play with an unbridled frenetic sound which seems spontaneous, yet they’re the tightest bunch of musicians you’re likely to hear. From the heavy-handed honky-tonky piano to the brassy horns section, everything is just where it should be. Songwriter and leader of the band of eight Darcy McNulty says recording Monday Night was the most fun he’s ever had in a studio, and that shows. From opening track “Want a Baby,” this album leads you to the dancefloor and twirls you around until your feet are sore. I love Darcy’s Harry Connick Jnr-esque vocals, but the tracks featuring the sassy, soulful Loretta Miller on lead are probably my favourites. She’s a revelation on numbers like “Sleep” and “Magic Man.”

Monday Night is released on November 3. Jazz Party will launch it with shows around the country. If the album’s any indication, anyone attending these shows are in for one hell of a time.

11 November 2017 – The Croxton Bandroom, Melbourne
16 November 2017 – The Flamin’ Galah, Brisbane
16-19 November 2017 – Mullum Music Festival, Mullumbimby
24-26 November 2017 – Queenscliff Music Festival, Queenscliff
16-18 February 2018 – Riverboats Music Festival, Echuca-Moama