Category: Reviews

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

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.