Category: Reviews

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

Posted on by Lauren Katulka

Rick Price @ Hardys Bay Club, Hardys Bay – 21 October 2017

The very best gigs for me are the intimate ones. So many people get excited when acts that debut at the top of the charts play the nation’s arenas, but music loses a little of its magic for me in a space so large. And while a loud show with a full band can be thrilling, I’m usually more moved seeing a performer stripping their songs back so you can appreciate the nuances of their lyrics. That’s why seeing Rick Price at Hardys Bay Club on Saturday night is one of the best gigs I’ve attended all year.

I fell for this tiny Central Coast venue when I saw Bob Evans there earlier in the year, and I was thrilled to return. It’s one of the most intimate live music venues around. There’s no pretension about it, a modest stage with tables and chairs in the middle and couches around the side. It’s the kind of space that breaks down the traditional barriers between performer and audience. Rick’s always been the kind of artist who shared himself and the stories behind the songs with his audience, but he was a little chattier and more amusing than usual.

He also sounded superb, despite struggling through a case of the man flu. As the old saying goes, the show must go on. And go on it did, with a superb set drawing from his entire career. I was taken back to my childhood with hits like “Not a Day Goes By” and “Walk Away Renee” and relished the opportunity to hear new tracks from his recently released album Tennessee Sky. I actually didn’t think I was going to take any photos, because I didn’t want to break the spell cast over the room by snapping away. If not for an up tempo song, I wouldn’t have reached for the camera at all, because in those ballads I just couldn’t look away. Without a band in tow, Rick did most of the heavy lifting at this show, but his friend Belinda Ling showed she could do more than delivering cups of lemon water when she joined him for a couple of numbers. What an incredible voice she has. She brought something new to one of my favourite songs from Rick’s debut album, “Fragile.”

Rick Price’s Brought to Life a Dead Man Walking tour won’t be the one that gets the media outlets buzzing, but these shows are guaranteed to make a big impression on you. Here are all the remaining dates:

26 October 2017 – Brisbane Jazz Club, Woolloongabba
27 October 2017 – Bison Bar, Nambour
28 October 2017 – Park Ridge Tavern, Park Ridge
29 October 2017 – Coolangatta Hotel, Coolangatta
2 November 2017 – The Oxley, Cowra
3 November 2017 – Camelot Lounge, Marrickville
4 November 2017 – Harmonie German Club, Narrabundah

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Dancing With Mannequins” – Ra Ra Ruby

Pottsville Beach on New South Wales’ Far North Coast isn’t exactly a place the rest of the nation thinks of as a hive of musical talent, but it has birthed at least one Aussie act worth noticing: Ra Ra Ruby. The trio has just released its first EP Dancing With Mannequins, a collection of four songs that hint at their talent.

The opening track “She” bursts out of the gates with a flurry, instantly putting listeners on side. The follow-up “Undress” is such a sexy number, with its throbbing bass and provocative lyrics. “I Need a Woman” is another rock masterclass, the kind of song that sounds great on a record but is likely to be even better in the live arena. And then there’s “Pam,” which has a playful vibe reminiscent of The Kooks or The Wombats. It’s a great way to end this EP which with just four tracks is over way too soon.

Dancing With Mannequins is such great fun. Each number is bursting with energy, filled with frantic driving drums and singalong choruses. It all sounds a little raw, with the instruments perhaps turned up a little high for the vocals, but there’s something endearing about the imperfections. Hopefully we hear a lot more music from this promising local three-piece.

Dancing With Mannequins is out now.

Image used with permission from A&R Records

Posted on by Lauren Katulka

“Timber” – Liv Cartledge

Sometimes a single grabs you but the album or EP it comes from doesn’t live up to that promise. However, sometimes it takes a few more songs for you to really understand an artist and the longer release exceeds your expectations. I love when that happens, so I was thrilled to hear Liv Cartledge’s EP Timber.

It’s not that the single “Heard Your Name” didn’t impress me, because it did. I liked its cruisy vibe and I thought Liv’s voice has a really distinct huskiness to it. But if I heard an EP of five songs in the same vein, it might have become one of those pleasant background releases that I’d like well enough, but didn’t feel compelled by. However, Timber is such an intimate, special recording. Lyrically it lays everything bare. It’s at its best in its quieter moments, like “Running” and the title track, a sublime closer.

It was only on listening to Timber that I felt I got a real sense of who Liv Cartledge is. The soft husky tone I loved first is showcased well, but what impressed me most is her intimate and raw songwriting talents. She’s not afraid to show us who she is and what’s been through, and that’s powerful. There’s darkness, strength, fragility, and true beauty in this release.

Timber is out now. Liv is currently touring the EP around the country. You can still catch her at the following gigs.

12 October 2017 – Porch Light Sessions, Sydney
13 October 2017 – Parlour Show, Sydney
21 October 2017 – Swagger Music Festival, Wandiligong
3 November 2017 – Happy Wanderer Festival, Benalla
5 November 2017 – Parlour Show, Benalla
10 November 2017 – The Grace Emily, Adelaide
18 & 19 November 2017 – Brown Brothers, Milawa
24 November 2017 – The Taphouse, Bendigo

Image used with permission from Beehive PR

Posted on by Lauren Katulka

“California Dreaming” – Rick Price & Jack Jones

California Dreaming has been one of my most anticipated albums of the year. The idea of two of Australia’s best voices – Rick Price and Jack Jones – coming together really excited me. The track listing was superb, featuring songs I’ve known and loved all my life. But could it possibly match my expectations? It’s a big yes from me.

This album sounds just like it should, with Rick and Jack’s beautiful voices front and centre, but ably supported by a tight band and superb backing vocals. The covers are delivered with such heart and reverence. They’re not cookie cutters of the originals, which I appreciate, but they don’t veer too far away from the source material. I haven’t felt a cover of “Light My Fire” did justice to The Doors classic until now. Their take on “Both Sides Now,” by Joni Mitchell, is so moving. I didn’t quite expect the emotional punch “Desperado” delivered either. Then there are the tracks that are just good fun, like “Take It Easy” and “Running on Empty.” These guys might not have written the songs, but goodness they tell the stories convincingly. They also get the balance right; there are some heartbreakers here but also those songs that are just so much fun to sing along with.

This is the kind of album that the grandparents of Australia are going to dig. It’s the music they grew up with executed perfectly. I just hope more young people take a listen to it over family BBQs, because it really deserves to be heard. I’ve listened to a lot of albums of covers recently, and California Dreaming is one of the best.